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Fast Company
08-07-2025
- Business
- Fast Company
'Design thinking' is on its deathbed (and that's okay)
BY and Mark Wilson Design thinking, the notion that anyone can solve problems like a designer with the right method and mindset, was a mainstay of corporate America from the 2000s into the 2010s. In recent years, though, the ideology's effectiveness has been called into question, and it has become one of the most divisive topics in the field. Now it looks like corporations have started sidestepping the term completely. When analyzing 176,000 design job listings for our annual report on Where the Design Jobs Are, we searched specifically for employers' use of the term 'design thinking.' We found that it dropped significantly year over year: by 9.1% in UX/UI design, 17.6% in product design, and a whopping 57.2% in graphic design. We have been scrutinizing the idea of design thinking for years. It began humbly, with late design luminaries including Sara Little Turnbull and Bill Morridge trying to codify the field's human-first principles (work that would evolve at Stanford's But as the term grew popular in the early aughts—presented primarily by the design firm IDEO as part magic, part skill that anyone could learn (just pay IDEO to learn it!)—it became the de facto veneer for Fortune 500 corporations that wanted to chase some of that Apple magic. They, too, could attempt a design-forward viewpoint. The super-early-rate deadline for Fast Company's Most Innovative Companies Awards is Friday, July 25, at 11:59 p.m. PT. Apply today.
Yahoo
25-06-2025
- Science
- Yahoo
The evolution of design thinking: From products to problem-solving across industries
Once a niche process used mostly in product design, design thinking has become a flexible, people-first framework for solving problems across business, education, entertainment, and more. This story, based on information gathered by Lazzoni, follows the five classic stages of design thinking — empathize, define, ideate, prototype, and test — and shows how major innovators have used it to shape everything from technology to storytelling. The roots of design thinking reach back to the 1950s and '60s. Architects and engineers were among the first to experiment with a structured way to think through creative challenges. In 1969, Nobel laureate Herbert A. Simon published 'The Sciences of the Artificial,' a foundational text that introduced the idea of design as a form of thinking. Simon emphasized quickly building, observing, and testing, core ideas that remain central to the modern process. Over the next few decades, the method evolved. By the 1970s and '80s, researchers and professionals refined the approach further, and in the 2000s, firms like IDEO and institutions like Stanford's helped it go mainstream. Their five-stage model helped turn design thinking into a go-to strategy for innovation. No longer limited to physical products, it's now shaping how teams solve problems, build systems, and improve experiences across industries. Empathy is the foundation of good design and often the most crucial part. It means avoiding guesswork and really getting to know the people you're designing for. That involves watching, listening, and immersing yourself in their day-to-day lives to understand what they do, what drives them, and what gets in their way. One of the most well-known examples is how Apple approached design under Steve Jobs. The team didn't just brainstorm in a room. They spent months studying how people actually used technology, paying close attention to the moments when things didn't quite work. And they weren't just looking for functional needs. They were trying to understand how products made people feel. Jobs once said, 'People don't know what they want until you show it to them,' a mindset that drove Apple's empathy-first design process and led to intuitive, emotional product experiences. Charles and Ray Eames brought a similar mindset to their work in furniture and installations. Their philosophy, 'To make the best for the most for the least,' was rooted in understanding people's day-to-day lives. They emphasized function, comfort, and accessibility in their work. Their designs were beautiful, but they were also shaped by a deep awareness of user context, whether that meant a lounge chair or an educational exhibit. Furniture and interior designers have long relied on empathy to create pieces that genuinely enhance users' lives. For instance, at Ikea, designers routinely spend time in customers' homes to observe how people live, their challenges with existing furniture, and unmet needs in daily routines. This thinking led to modular storage solutions and flat-pack furniture, which addressed real-world constraints like affordability and space and simplified assembly. George Nelson of Herman Miller similarly innovated furniture and space design. His focus on real use cases and emotional needs resulted in relevant iconic designs. They respond to how people use their homes and offices, emphasizing comfort, adaptability, and emotional well-being. In corporate environments, companies like Herman Miller have developed methodologies such as the Living Office, which begins with deep user research—workshops, interviews, and on-site observation—to understand how people work and interact, ensuring that every element of the workspace supports both individual and collaborative activities. Once designers deeply understand their users, the next step is zeroing in on the right problem to solve. The Define stage makes use of all of the research collected during the Empathy stage. It's about framing the challenge in a way that puts real human needs front and center, not just business goals or technical hurdles. This isn't always easy. Designers have to sift through everything they've observed to spot patterns and insights. Then, they write a problem statement that reflects the user's needs, not the company's assumptions. This stage is critical for making sure that the solution is both relevant and meaningful. Apple used this step to its advantage. When developing the iPhone, the team recognized how frustrating traditional smartphone keyboards were. That insight didn't come from guessing but from watching users struggle. Apple then reframed the challenge from simply 'building a phone' to 'designing a phone experience that feels natural.' That shift in focus made all the difference. Steelcase, a leader in office furniture, recognized that the shift toward open-plan offices created new problems, such as a lack of privacy and difficulty booking meeting spaces. By defining these challenges through user observation, Steelcase was able to develop solutions like the Room Wizard, an electronic system for reserving meeting rooms, and modular furniture systems that accommodate both collaboration and focused work. Today, the Define stage is being used far beyond product teams. Educators and business strategists now use design thinking to frame messy, complex problems in more human-centered ways, turning ambiguity into clarity and insight into action. Once the problem is clear, it's time to start coming up with ideas — lots of them. The Ideate stage is all about creativity and open thinking. Teams are encouraged to go wide, question the usual way of doing things, and explore ideas that might seem unconventional at first. This is where techniques like brainstorming, brainwriting, and mind mapping come into play, pushing teams toward fresh possibilities without worrying (yet) about feasibility. The goal isn't to find the perfect answer right away. It's to create space for out-of-the-box ideas, get them out in the open, and then build on them. In fact, quantity is more important than quality during this stage because even 'bad' ideas can lead to great ones. Design legends Charles and Ray Eames were early masters of this mindset. Their iterative process involved testing countless materials, forms, and functions before settling on their final designs. They didn't stop at the first good idea. They kept going. Their willingness to explore and revise, especially in their furniture and exhibit work, shows what strong ideation habits can produce.. Netflix takes a similar approach by constantly iterating on features. Whether it's improving personalization or experimenting with new user interface elements, the team leans on ideation to stay responsive to user needs and ahead of trends. Their focus on rapid concept generation helps them build tools that feel fresh, relevant, and intuitive. Once you've got a solid batch of ideas, the next step is to start building. Prototyping means creating quick, low-cost versions so you can test how something might work in the real world. These early models make it easier to try different approaches, gather feedback, and keep things moving. Instead of aiming for perfection, the goal is to learn and improve. Prototypes can take many forms, such as sketches, storyboards, physical mock-ups, or digital wireframes. What matters is turning ideas into something tangible that users can interact with. This helps identify what works, what doesn't, and what needs to be improved before investing too much time or money. At Herman Miller, designers build full-scale prototypes of chairs, desks, and office systems to test ergonomics, durability, and aesthetic appeal, often iterating through dozens of versions before settling on a final design. In educational settings, students are challenged to create weight-bearing furniture from unconventional materials using the design thinking cycle to ideate, build, and refine their creations based on real-world constraints and user feedback. Apple has long embraced this mindset. When the iPhone was in development, the team created and tested multiple versions, each shaped by user feedback. Those early prototypes influenced everything from the phone's look to the way we swipe and tap. Prototyping brings ideas out of the abstract and into the real world. It's a fast, flexible way to learn what sticks and what needs another round of thinking. The final stage of design thinking is all about testing, but not in a one-and-done way. It's about learning through real use. Teams put prototypes in front of actual users, gather honest feedback, and make changes based on what they observe. Often, this process loops back into earlier stages, sparking new ideas or reframing the problem. Furniture and interior design testing is an ongoing, iterative process that extends well beyond initial user trials. At Steelcase, new products undergo extensive usability testing in real-world office environments, where employee feedback leads to refinements in comfort, adjustability, and integration with technology. Ikea regularly invites customers to assemble prototypes in-store, gathering insights on where users struggle and what improvements are needed in instructions or hardware. Herman Miller's Living Office projects include post-occupancy evaluations, where designers observe how people use new workspaces and adjust based on observed behaviors and direct feedback. Apple has long treated testing as a critical phase. Before launching new products, teams conducted extensive user trials, adjusting both hardware and software based on how people actually used the device. The iPhone's intuitive gestures, layout, and overall flow were all shaped through testing with real users. Netflix heavily relies on continuous A/B testing to shape its user experience. From personalized content rows to the autoplay feature, everything gets tested at scale. Teams ask what people like and study what people actually do. That focus on user behavior, combined with fast iteration, helps Netflix stay relevant and user-friendly in a crowded media space. Today, testing goes beyond products. Businesses use it to refine strategies. Educators use it to improve lesson plans. Even individuals apply it when making life decisions. Whether in tech or teaching, putting ideas to the test leads to better outcomes and keeps the process grounded in real-world application. Design thinking continues to grow and change. What started as a tool for product teams is now influencing how entire organizations work. One of the biggest shifts is how it's blending with other frameworks. More and more teams are combining design thinking with Lean and Agile methods to work faster without losing sight of the people they're designing for. This mix adds structure to the creative process, making it easier to keep innovating even in fast-moving environments. At the same time, new priorities are shaping how design thinking is used day to day. There's more attention on sustainability, data-backed decisions, and making space for a wider range of voices. As more industries see its value, design thinking is becoming a practical tool for anyone, not just designers. From healthcare to public policy, teams are using it to tackle real-world problems in their own fields. Still, it's not a perfect system. Design thinking can take time, which can be a challenge when speed is a top priority. Critics also point out that an overemphasis on user needs can sometimes lead to solutions that ignore business goals or broader systems. Scaling the approach across teams or organizations can also pose logistical hurdles, especially when there's limited buy-in. At its heart, design thinking is still about one thing: putting people first. And in a world full of big, messy issues like climate change, digital burnout, and inequality, that mindset matters more than ever. The tools might evolve, but the goal of approaching problems with empathy, clear thinking, and a drive to make a real difference doesn't change. This story was produced by Lazzoni and reviewed and distributed by Stacker.
Miami Herald
24-06-2025
- Miami Herald
The evolution of design thinking: From products to problem-solving across industries
The evolution of design thinking: From products to problem-solving across industries Once a niche process used mostly in product design, design thinking has become a flexible, people-first framework for solving problems across business, education, entertainment, and more. This story, based on information gathered by Lazzoni, follows the five classic stages of design thinking - empathize, define, ideate, prototype, and test - and shows how major innovators have used it to shape everything from technology to storytelling. The roots of design thinking reach back to the 1950s and '60s. Architects and engineers were among the first to experiment with a structured way to think through creative challenges. In 1969, Nobel laureate Herbert A. Simon published "The Sciences of the Artificial," a foundational text that introduced the idea of design as a form of thinking. Simon emphasized quickly building, observing, and testing, core ideas that remain central to the modern process. Over the next few decades, the method evolved. By the 1970s and '80s, researchers and professionals refined the approach further, and in the 2000s, firms like IDEO and institutions like Stanford's helped it go mainstream. Their five-stage model helped turn design thinking into a go-to strategy for innovation. No longer limited to physical products, it's now shaping how teams solve problems, build systems, and improve experiences across industries. Empathize: Understanding human needs at the core Empathy is the foundation of good design and often the most crucial part. It means avoiding guesswork and really getting to know the people you're designing for. That involves watching, listening, and immersing yourself in their day-to-day lives to understand what they do, what drives them, and what gets in their way. One of the most well-known examples is how Apple approached design under Steve Jobs. The team didn't just brainstorm in a room. They spent months studying how people actually used technology, paying close attention to the moments when things didn't quite work. And they weren't just looking for functional needs. They were trying to understand how products made people feel. Jobs once said, "People don't know what they want until you show it to them," a mindset that drove Apple's empathy-first design process and led to intuitive, emotional product experiences. Charles and Ray Eames brought a similar mindset to their work in furniture and installations. Their philosophy, "To make the best for the most for the least," was rooted in understanding people's day-to-day lives. They emphasized function, comfort, and accessibility in their work. Their designs were beautiful, but they were also shaped by a deep awareness of user context, whether that meant a lounge chair or an educational exhibit. Furniture and interior designers have long relied on empathy to create pieces that genuinely enhance users' lives. For instance, at Ikea, designers routinely spend time in customers' homes to observe how people live, their challenges with existing furniture, and unmet needs in daily routines. This thinking led to modular storage solutions and flat-pack furniture, which addressed real-world constraints like affordability and space and simplified assembly. George Nelson of Herman Miller similarly innovated furniture and space design. His focus on real use cases and emotional needs resulted in relevant iconic designs. They respond to how people use their homes and offices, emphasizing comfort, adaptability, and emotional well-being. In corporate environments, companies like Herman Miller have developed methodologies such as the Living Office, which begins with deep user research-workshops, interviews, and on-site observation-to understand how people work and interact, ensuring that every element of the workspace supports both individual and collaborative activities. Define: Framing problems worth solving Once designers deeply understand their users, the next step is zeroing in on the right problem to solve. The Define stage makes use of all of the research collected during the Empathy stage. It's about framing the challenge in a way that puts real human needs front and center, not just business goals or technical hurdles. This isn't always easy. Designers have to sift through everything they've observed to spot patterns and insights. Then, they write a problem statement that reflects the user's needs, not the company's assumptions. This stage is critical for making sure that the solution is both relevant and meaningful. Apple used this step to its advantage. When developing the iPhone, the team recognized how frustrating traditional smartphone keyboards were. That insight didn't come from guessing but from watching users struggle. Apple then reframed the challenge from simply "building a phone" to "designing a phone experience that feels natural." That shift in focus made all the difference. Steelcase, a leader in office furniture, recognized that the shift toward open-plan offices created new problems, such as a lack of privacy and difficulty booking meeting spaces. By defining these challenges through user observation, Steelcase was able to develop solutions like the Room Wizard, an electronic system for reserving meeting rooms, and modular furniture systems that accommodate both collaboration and focused work. Today, the Define stage is being used far beyond product teams. Educators and business strategists now use design thinking to frame messy, complex problems in more human-centered ways, turning ambiguity into clarity and insight into action. Ideate: Generating innovative solutions Once the problem is clear, it's time to start coming up with ideas - lots of them. The Ideate stage is all about creativity and open thinking. Teams are encouraged to go wide, question the usual way of doing things, and explore ideas that might seem unconventional at first. This is where techniques like brainstorming, brainwriting, and mind mapping come into play, pushing teams toward fresh possibilities without worrying (yet) about feasibility. The goal isn't to find the perfect answer right away. It's to create space for out-of-the-box ideas, get them out in the open, and then build on them. In fact, quantity is more important than quality during this stage because even "bad" ideas can lead to great ones. Design legends Charles and Ray Eames were early masters of this mindset. Their iterative process involved testing countless materials, forms, and functions before settling on their final designs. They didn't stop at the first good idea. They kept going. Their willingness to explore and revise, especially in their furniture and exhibit work, shows what strong ideation habits can produce.. Netflix takes a similar approach by constantly iterating on features. Whether it's improving personalization or experimenting with new user interface elements, the team leans on ideation to stay responsive to user needs and ahead of trends. Their focus on rapid concept generation helps them build tools that feel fresh, relevant, and intuitive. Prototype: Bringing ideas to life Once you've got a solid batch of ideas, the next step is to start building. Prototyping means creating quick, low-cost versions so you can test how something might work in the real world. These early models make it easier to try different approaches, gather feedback, and keep things moving. Instead of aiming for perfection, the goal is to learn and improve. Prototypes can take many forms, such as sketches, storyboards, physical mock-ups, or digital wireframes. What matters is turning ideas into something tangible that users can interact with. This helps identify what works, what doesn't, and what needs to be improved before investing too much time or money. At Herman Miller, designers build full-scale prototypes of chairs, desks, and office systems to test ergonomics, durability, and aesthetic appeal, often iterating through dozens of versions before settling on a final design. In educational settings, students are challenged to create weight-bearing furniture from unconventional materials using the design thinking cycle to ideate, build, and refine their creations based on real-world constraints and user feedback. Apple has long embraced this mindset. When the iPhone was in development, the team created and tested multiple versions, each shaped by user feedback. Those early prototypes influenced everything from the phone's look to the way we swipe and tap. Prototyping brings ideas out of the abstract and into the real world. It's a fast, flexible way to learn what sticks and what needs another round of thinking. Test: Learning through user feedback The final stage of design thinking is all about testing, but not in a one-and-done way. It's about learning through real use. Teams put prototypes in front of actual users, gather honest feedback, and make changes based on what they observe. Often, this process loops back into earlier stages, sparking new ideas or reframing the problem. Furniture and interior design testing is an ongoing, iterative process that extends well beyond initial user trials. At Steelcase, new products undergo extensive usability testing in real-world office environments, where employee feedback leads to refinements in comfort, adjustability, and integration with technology. Ikea regularly invites customers to assemble prototypes in-store, gathering insights on where users struggle and what improvements are needed in instructions or hardware. Herman Miller's Living Office projects include post-occupancy evaluations, where designers observe how people use new workspaces and adjust based on observed behaviors and direct feedback. Apple has long treated testing as a critical phase. Before launching new products, teams conducted extensive user trials, adjusting both hardware and software based on how people actually used the device. The iPhone's intuitive gestures, layout, and overall flow were all shaped through testing with real users. Netflix heavily relies on continuous A/B testing to shape its user experience. From personalized content rows to the autoplay feature, everything gets tested at scale. Teams ask what people like and study what people actually do. That focus on user behavior, combined with fast iteration, helps Netflix stay relevant and user-friendly in a crowded media space. Today, testing goes beyond products. Businesses use it to refine strategies. Educators use it to improve lesson plans. Even individuals apply it when making life decisions. Whether in tech or teaching, putting ideas to the test leads to better outcomes and keeps the process grounded in real-world application. The future and limitations of design thinking Design thinking continues to grow and change. What started as a tool for product teams is now influencing how entire organizations work. One of the biggest shifts is how it's blending with other frameworks. More and more teams are combining design thinking with Lean and Agile methods to work faster without losing sight of the people they're designing for. This mix adds structure to the creative process, making it easier to keep innovating even in fast-moving environments. At the same time, new priorities are shaping how design thinking is used day to day. There's more attention on sustainability, data-backed decisions, and making space for a wider range of voices. As more industries see its value, design thinking is becoming a practical tool for anyone, not just designers. From healthcare to public policy, teams are using it to tackle real-world problems in their own fields. Still, it's not a perfect system. Design thinking can take time, which can be a challenge when speed is a top priority. Critics also point out that an overemphasis on user needs can sometimes lead to solutions that ignore business goals or broader systems. Scaling the approach across teams or organizations can also pose logistical hurdles, especially when there's limited buy-in. At its heart, design thinking is still about one thing: putting people first. And in a world full of big, messy issues like climate change, digital burnout, and inequality, that mindset matters more than ever. The tools might evolve, but the goal of approaching problems with empathy, clear thinking, and a drive to make a real difference doesn't change. This story was produced by Lazzoni and reviewed and distributed by Stacker. © Stacker Media, LLC.
Forbes
19-06-2025
- Business
- Forbes
Negative Feedback? Amazing! How to Turn it into a Success Unlock
Negative feedback I'm working with a prominent tech company to accelerate an innovative culture and mindset. As we did a deep dive on the culture at design firm IDEO, one executive noted something unusual. As the design team in the video is working, a someone shares some negative feedback about the prototype and Tom Kelley gets excited! The excitement is shocking because most of us hate to get negative feedback. I certainly dislike it, and most often respond defensively. When I can remind myself, this simple principle helps me transform criticism into excitement, or at least acceptance: negative feedback is really a signal towards how I can get better. When I'm at my best, I'm able to actually listen! Academic culture is famously constructed from critiquing, challenging, and outright disagreeing with each other. It is so constant, with varying intentions, that when negative feedback comes in, it's easy to bristle. But some of my best insights have come from responding and even integrating others' feedback. When I try to understand their intention to react, realizing that some truth in their resistance doesn't sink the idea, I can make significant improvements. Context matters of course. In the example I was teaching this these tech executives, the IDEO team designed a prototype and because they'd invested only a few days, rather than a few years, it was easier to hear that their 'baby' was ugly. Even that holds a profound lesson. So often we wait until we have perfected something to get feedback—either because we are embarrassed or want people to like it or don't want to look foolish. We don't realize that exposing an idea early can help us get that critical feedback, potentially defining success or saving us years. I'm still working to get better at hearing negative feedback, maybe even getting excited, especially in personal life. If we could find a way to get excited … wow, imagine what we might learn!
Yahoo
02-05-2025
- Business
- Yahoo
IDEO picks former partner Mike Peng to reinvent the storied home of ‘design thinking' for the age of AI
IDEO, the design consultancy credited with popularizing the concept of 'design thinking,' has named Mike Peng, a former partner, as its next chief executive officer. Peng will return to IDEO to assume his new role in June, following a five-year stint as chief creative officer at Moon Creative Lab, a venture studio affiliated with Japanese trading and investment company Mitsui & Co. Peng succeeds Derek Robson, a veteran marketing executive who has served as IDEO's CEO since 2023. Robson will move to a group-level role at Kyu Collective, a network of creative services firms that includes IDEO and is owned by Hakuhodo DY Holdings, Japan's second-largest advertising group. Peng's appointment comes at a critical juncture for IDEO. The San Francisco–based firm's history is tied to the pioneering use of 'human-centric' design techniques to fashion iconic products like Apple's first mouse, the GRiD Compass (the world's first laptop computer), the Palm V personal digital assistant, and Procter & Gamble's stand-up toothpaste tubes. But the company faces new pressure from clients demanding faster, tech-enabled solutions, and from rivals, including consulting giants and in-house corporate design teams. Meanwhile, the breakneck pace of advances in artificial intelligence has created severe challenges for providers of design and creative services by automating tasks once considered the domain of expert designers. IDEO, like many other design firms, underwent significant restructuring in the wake of the COVID pandemic. In 2023, the firm announced two rounds of layoffs that together reduced the company's global workforce by about a third, to fewer than 400 people, down from a total headcount of about 725 in 2020, and closed its Munich and Tokyo offices. IDEO declined comment about current headcount or revenue. Peng's challenge will be to demonstrate that IDEO can help clients cope with geopolitical as well as technological upheaval. In an interview, he argued that IDEO's core capabilities—including empathy, cross-cultural awareness, and a democratic approach to problem-solving—are ideally suited to helping clients build resilience in an age of uncertainty. 'I feel like the world needs IDEO more than ever right now,' he said. Peng brings an unconventional mix of skills and experiences to his new role. He earned an undergraduate degree in neuroscience at the University of California, Berkeley, and spent 10 of his 14 years at IDEO in Japan, where he helped launch the firm's Tokyo office, and cofounded D4V, a venture capital firm for early-stage startups. At Moon Creative Lab, Peng helped launch new businesses focused on health care, wellness, and digital transformation. Moon Creative was a departure for Mitsui: an experiment meant to help the giant Japanese conglomerate incubate new businesses outside its traditional trading and commodities portfolio using human-centered design to unlock innovation. IDEO played a key role in shaping Moon's original structure and creative methodology. As chief creative officer, Peng, operating out of Moon's Palo Alto studio, focused on building ventures that could bridge corporate legacy systems with emerging digital opportunities. The experience, he says, left him 'a lot savvier about what it takes to implement ideas' in large global organizations. Peng is expected to position IDEO not just as a design consultancy but as a broader creative partner, helping organizations navigate the shift to AI without losing their human compass. IDEO's affiliation with the Kyu Collective may complement that strategy. Since joining Kyu in 2016, IDEO has collaborated with sister companies such as SYPartners, a design consultancy specializing in organizational transformation, and creative agencies including Sid Lee and Digital Kitchen on large-scale systemic projects. Under Peng, IDEO is expected to deepen these collaborations, blending strategy, technology, and design. IDEO, founded in 1991 through the merger of several small firms, rose to global prominence by demonstrating that design could be a powerful force for innovation, not just aesthetics. In addition to their early work in industrial design, IDEO designers also rethought service delivery in sectors like health care, helping hospitals redesign patient experiences to prioritize empathy and dignity. By the late 1990s, IDEO had become synonymous with 'design thinking,' a method that brought structured creativity into the corporate boardroom and encouraged executives in large organizations to adopt the mindset of designers. IDEO urged that, rather than rushing to identify the 'right answer' as quickly as possible, corporate teams should first seek a deep understanding of user needs, define challenges carefully, brainstorm widely, prototype quickly, and iterate based on feedback—all with the goal of producing more human-centered, innovative outcomes. In his 2009 book Change by Design, then-CEO Tim Brown distilled these principles into a broader vision: Design was not simply a set of skills, he argued; it was a way of thinking applicable to any domain. That vision wasn't for everyone. As IDEO's ideas spread globally, detractors complained that 'design thinking' had become a buzzword and sneered at its disciples' fondness for whiteboards and brightly colored Post–it notes. Peng shrugs off the criticism. 'You can argue about the different tenets of 'design thinking,'' he says. 'But I know it works because I've seen it. When you are human-centered, the odds your project will succeed are much, much higher. It's how you get from good to great.' This story was originally featured on
