Creativity and Collaboration in Early Design

  • Panos MarkopoulosEmail author
  • Jean-Bernard Martens
  • Julian Malins
  • Karin Coninx
  • Aggelos Liapis


Contemporary creative design practice draws from the fields of product design and user-centered design, as boundaries between these two traditions become blurred as design thinking is embraced by industry and academia. By early design we mean design activities taking place with the formulation of an initial design challenge all the way through to the articulation of a design concept and leveling off as designers shift their attention towards more detailed considerations of form, function and interaction, refining the design concept and making the transition to development work. Novel methods applied to the early stages of design help adopt a wider societal and business perspective transcending considerations of products or systems, helping to design for latent needs and emerging user experiences. Intense collaboration with stakeholders from different organizations throughout the design process is often required and design teams tend to be distributed across organizations and geographical locations, which reinforce the need for tools that can support collaboration during the early design process.


Design Process Design Concept Early Design Design Team Interaction Design 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.



This work has been partially funded by the EC under the 7th Framework Programme, under grant agreement number FP7-ICT-2013-10 – 610725- COnCEPT COllaborative CrEative design PlaTform.


  1. Barab SA, Thomas MK, Dodge T, Squire K, Newell M (2004) Critical design ethnography: designing for change. Anthropol Educ Q 35(2):254–268Google Scholar
  2. Beyer H, Holtzblatt K (1997) Contextual design: defining customer-centered systems. Elsevier, BurlingtonGoogle Scholar
  3. Buxton B (2010) Sketching user experiences: getting the design right and the right design. Morgan Kaufmann, AmsterdamGoogle Scholar
  4. Dean DL, Hender JM, Rodgers TL, Santanen EL (2006) Identifying quality, novel, and creative ideas: constructs and scales for idea evaluation. J Assoc Inf Syst 7:30Google Scholar
  5. Dorst K, Cross N (2001) Creativity in the design process: co-evolution of problem–solution. Des Stud 22:425–437CrossRefGoogle Scholar
  6. Dubberly H (2004) How do you design. Compend ModelsGoogle Scholar
  7. Gaver B, Dunne T, Pacenti E (1999) Design: cultural probes. Interactions 6:21–29CrossRefGoogle Scholar
  8. Gaver WW, Boucher A, Pennington S, Walker B (2004) Cultural probes and the value of uncertainty. Interactions 11:53–56CrossRefGoogle Scholar
  9. Hassenzahl M (2010) Experience design: technology for all the right reasons. Synth Lect Hum-Centered Inform 3:1–95CrossRefGoogle Scholar
  10. Norman DA, Verganti R (2014) Incremental and radical innovation: design research vs. technology and meaning change. Des Issues 30:78–96CrossRefGoogle Scholar
  11. Schön DA (1983) The reflective practitioner: how professionals think in action, vol 5126. Basic books, New YorkGoogle Scholar

Copyright information

© Springer International Publishing Switzerland 2016

Authors and Affiliations

  • Panos Markopoulos
    • 1
    Email author
  • Jean-Bernard Martens
    • 1
  • Julian Malins
    • 2
  • Karin Coninx
    • 3
  • Aggelos Liapis
    • 4
  1. 1.Department of Industrial DesignEindhoven University of TechnologyEindhovenThe Netherlands
  2. 2.Norwich University of the ArtsNorwichUK
  3. 3.Hasselt University – tUL – iMindsExpertise Centre for Digital MediaDiepenbeekBelgium
  4. 4.Intrasoft InternationalAthensGreece

Personalised recommendations