Designprijs Rotterdam 2003

The Designprijs Rotterdam is a prize worth twenty thousand euros which is given to Dutch design. The prize is awarded bi-annually to the designer of the best product of the two preceding years.
Designers and firms established in the Netherlands can submit their entries for assessment and a committee of Dutch experts nominates between twentyfive and fifty submissions for the prize. The nominated products are exhibited for several weeks in Museum Boijmans Van Beuningen in Rotterdam. The prize winner is chosen by an international jury.

The Designprijs Rotterdam has been awarded annually since 1993. From 1997 on the prize is awarded every two years. This year’s edition marks the Designprijs’ 10th anniversary.

www.designprijs.nl

Museum Boijmans Van Beuningen
Museumpark 18-20
3015 CX Rotterdam
0031 10 - 44 19 400



	Designprijs Rotterdam 10 May– 27 Juli 2003 Museum Boijmans van Beuningen Rotterdam
	41 nominations: 01 Simon Barteling / Arnout Visser, BushGlass project 2002 02 Jurgen Bey, Linnenkasthuis 03 Irma Boom, Otto Treumann 04 Arian Brekveld, couch p/mtr 05 De Designpolitie (Richard van der Laken, Pepijn Zurburg, Alex Clay, Karin van den Brandt), Het voordeel van de twijfel 06 Saskia van Drimmelen, ADIDAS Designseries 2001 07 Niels van Eijk, Bobbin Lace Lamp 08 Feiz Design Studio (Khodi Feiz), Alessi Desk Objects 09 Madieke Fleuren, Knitted China 10 Erik Frenken, damescollectie 11 Gésine Hackenberg, Schervenlepelset 12 Ineke Hans, Black Beauties 13 Ineke Hans, Black Gold 14 Peter van der Jagt, Erik Jan Kwakkel en Arnout Visser, Tilekitchen project 15 Experimental Jetset (Marieke Stolk, Danny van den Dungen, Edwin Brinkers), Kelly 1:1 16 JongeriusLab (Hella Jongerius), Repeat 17 Chris Kabel, 1 totree 18 KesselsKramer (Erik Kessels), Make Trade Fare, corporate campaign 19 Rem D. Koolhaas, Möbius schoen 20 Nel Linssen, papieren sieraden 21 Suska Mackert, Favourite Things 22 Maurer United Architects en TU Eindhoven, MU bowl 23 Luna Maurer, Grid Series 24 Wiebke Meurer, Metallblumen Waschen 25 Carla Monchen, Turtle 26 Mevis & Van Deursen, Catalogi divers 27 Mevis & Van Deursen, Uitnodigingskaarten Viktor & Rolf 28 Maureen Mooren & Daniël van der Velden, Archis 29 Maureen Mooren & Daniël van der Velden, Room uitnodigingen 30 Eelko Moorer, Berenvel 31 i29 Ontwerpbureau (Jasper Jansen, Jeroen Dellensen, Robber de Goede), i29 Computermeubels 32 Viviane Sassen, Miu Miu campagne 33 Floris Schoonderbeek, Dutchtub 34 Wieki Somers, Matrasvaas 35 Spijkers en Spijkers (Truus en Riet Spijkers), Spring/ Summer 03 Collection 36 Stichting Submarine Media (Bruno Felix en Femke Wolting), Submarinechannel.com 37 Frank Tjepkema, Bling Bling 38 Thonik en Eden Design & Communication, De Stijl van Amsterdam 39 T.T.T. VO, SuperGrid serie 40 Robert Winkel Architecten, Smarthouse 41 Frido van der Weij, Collectie women's couture / Pret à porter
	Museumshop with Design from Rotterdam, provided by VIVID vormgeving
	The Designprijs Rotterdam is a prize worth twenty thousand euros which is given to Dutch design. The prize is awarded bi-annually to the designer of the best product of the two preceding years. Designers and firms established in the Netherlands can submit their entries for assessment and a committee of Dutch experts nominates between twentyfive and fifty submissions for the prize. The nominated products are exhibited for several weeks in Museum Boijmans Van Beuningen in Rotterdam. The prize winner is chosen by an international jury. The Designprijs Rotterdam has been awarded annually since 1993. From 1997 on the prize is awarded every two years. This year’s edition marks the Designprijs’ 10th anniversary. www.designprijs.nl Museum Boijmans Van Beuningen Museumpark 18-20 3015 CX Rotterdam 0031 10 - 44 19 400
	Two years ago, the Designprijs Rotterdam last presented a variety of nominees and spotlighted the state of design. At that time, discussions conducted by the nomination committee and jury were fuelled by the notion of context which also served as a guideline for the presentation. Today that notion has lost little of its significance, although new questions are now being asked. Questions that necessitate an ongoing critical look at developments in design and confirm the legitimacy of a competition like the Designprijs Rotterdam. After all, two years ago, with the boom economy, design was on course to a glorious future. With the demise of the ‘new economy’ however, that future seems jeopardised. Society’s demand for norms and values is echoed in design. Indeed the call for social relevance in art and design seem to grow ever louder. What are the consequences of these desires for design? Has not industrial design like no other been able to articulate this desire? Or have the segments of design operating on the market sidelines supplied an answer to this question? Subsequently we ask ourselves, how can these results be assessed within the context of the Designprijs Rotterdam? Which specifically Dutch questions currently play a dominant role? Dutch design has outlived its biggest, international hype and now immediate media success can no longer be taken for granted, a review of the own position seems to be noticeable. Does this have repercussions for the so widely praised conceptual manner of thinking, are there shifts discernable and if so, where?