The Danish Design Prize 2002


The Danish Design Centre once again awards the Danish Design Prize, this year on the 1st of November 2002. The aim of the Danish Design Prize is to promote the importance of good design and show the present development of design.

All together 13 prizes within three manin categories and a number of subcategories will be awarded - including the Classics Prize and the Visions Prize.



Self-praise?

By: Ulla Hovgaard Ramlau, Managing Director Danish Design Centre

Why do we keep handing out a design prize? Does self-praise make any sense? The viability of a pro-duct is best tested by throwing it to the lions – into the marketplace, where there are no guardian angels or designer colleagues to look to for support. A design prize risks being seen as propaganda and self-glorification without credibility and worth. But our reason for awarding design prizes is a desire to communicate that design makes a societal dif-ference – that good design has innovative, aesthetic and social qualities that enhance our com-petitiveness in the knowledge economy. Design can improve environmental aspects and work processes, as in Rockwool’s environmentally pallet concept, ensure a coherent identity, as in the Billund Airport design pro-gramme, or, as munthe plus simon-sen did, create effective corporate branding.

This year, we aimed at a broader scope for the prize, partly by encouraging the entry of proto-types. Few such entries were made, however, and the challenge for the coming year is to make this happen, to make the design prize a platform that also supports the less established, more experimental design, which may give a taste of tomorrow’s design. We feel that we have good reason, not for self-praise, but for celebrating the innovative results achieved by the designers and companies that are this year’s winners. Congratulations!

The jury's statement
By Flemming Relster, jury chairman

With 225 items, the number of entries for the Danish Design Prize 2002 was not quite as overwhel-ming as it was last year.

One explanation may be that the dramatic world events have also had an impact on development activities in Denmark. However, the jury was happy to see the many excellent and well-designed products and graphic projects that represented improve-ments within familiar contexts, and which met the jury’s strict demands for design quality, practical useful-ness and technical and emotional qualities. On the other hand, there were fewer products that had that certain, special element that may demonstrate the highest levels of Danish design.
The categories ‘Future products’ and ‘Innovative graphic design’ were new additions this year. The Danish Design Centre aims for these cate-gories to work as inspiration in showing products that are not yet in production and graphic design that blazes new trails. The jury hopes to see many more entries for these categories for next year’s design prize, even if the projects are not yet fully developed.


Thus, the jury looks forward to also seeing the growth layer of Danish design. In seeing this year’s entries, however, the jury must also conclude that Danish design is alive and well.

Juryen 2002

  • Flemming Relster
    Direktør (chairman)
  • Per Boelskifte maa mdd
    Professor, arkitekt
  • Anders Brix maa mdd
    Professor, arkitekt
  • Louise Campbell mdd
    Industriel designer
  • Michael Jensen
    Grafisk designer
  • Eva Wiborg Lange maa
    Webdesigner
  • Dorte Zangenberg
    Kreativ direktør