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The James Cook sweater, designed by Helga Lilja Magnúsdóttir, fashion designer, in collaboration with Stephan Stephensen, artist, for BAHNS, is the winner of Product of the Year at the Icelandic Design Awards 2024 for being an excellent example of good design’s social influence.

The James Cook sweater is an extraordinary example of good design’s social influence. There is a sense of community among the fans of this garment, which has rightfully become a modern classic in Icelandic design. A successful iconic pattern was created that draws inspiration from fishing and seamanship. The pattern is also represented in a variety of other knitted garments and swimwear by BAHNS. The sweater is unisex and therefore suitable for all. It is manufactured and released in various colors in limited supply, which enhances its value as a collectible.

BAHNS does not follow the traditional ideology of the fashion industry where the norm is to release new items every year. Knitting is inherently environmentally friendly compared to other garment manufacturing processes as its waste material is minimal and the result is a durable, long-life product.

The James Cook sweater is an extraordinary example of timeless Icelandic design that is conceived from and manufactured for Icelandic reality, versatile in weather and dynamic in zeitgeist. Design and production are given breathing room resulting in a well-made, iconic, and durable garment.

Smiðja, office building for Alþingi by Studio Granda is the winner of Place of the Year at the Icelandic Design Awards 2024. Smiðja is a top-quality city monument that honors Icelandic creativity and craftsmanship.

From the jury:
Smiðja is a six-story building on the corner of Tjarnargata and Vonarstræti in Reykjavík, which combines offices and meeting rooms for members of parliament and the staff of Alþingi. Studio Granda designed the building following the results of a design idea competition in 2016.

The shape of the building and the pattern of windows are discreet at first glance. Still, the purposeful stone facade attracts attention with its reference to cultural relics of Kvosin and the country's geological history. Ribboned exposed concrete and stone, visible both outside and inside, are characteristics of Studio Granda’s architectural style. Once inside, these become even more apparent, especially on the highly trafficked first floor, which is mainly intended for daily committee meetings. Stone is the main character of the exterior look of the building, and its central role is also apparent indoors on the walls and floors. All the stone in the building was leftover material from other construction, therefore no mining was done for this project.

The main entrance facade includes an art piece by Kristján Hrafnsson, and the reception area ceiling is covered by an installation by Þór Vigfússon. Other floors with oak walls and natural-colored offices offer a more subdued atmosphere. The building serves many people and purposes, yet the design is flexible, with the possibility of combining meeting rooms through variable and movable walls.

The architects have focused on Icelandic materials and craftsmanship, and the design is meticulously executed. Interior furniture is a mix of reused pieces from Alþingi and new items designed by Erla Sólveig Óskarsdóttir and manufactured by Á. Guðmundsson.

Smiðja is a top-quality city monument that honors Icelandic creativity and craftsmanship.

The building is representative of Studio Granda Architects, where the focus is often on ribboned exposed concrete, Icelandic stone, and oak. In this work, Margrét Harðardóttir and Steve Christer showcase their strength in their field with the powerful interplay between discipline and compliance made evident in the finest detail. Meanwhile, they guide the eye by following their own house rules, such as ensuring the angle of a floor pattern and a wall wood grating are always in a north/south orientation or by making the shapes and material of exterior layers follow through to the interior.

The architecture results from a competition for design ideas announced by AÍ and FSRE on behalf of Alþingi, for a building with diverse and intense activity. The result is a building that represents both discipline and passion for design. It was the best possible design for this purpose, executed by the most cost-efficient developer, and delivers a holistic intellectual work with excellent craftsmanship. It is a building that Alþingi, Icelandic designers, and the nation as a whole can be proud of. 

Children and city planning by the interdisciplinary design team Þykjó, is nominated as Project of the year to the Icelandic Design Awards 2024.

Children's imagination and creativity are an endless source of power — if they have the opportunity to unleash it. The project Children and city planning aims to give children a voice and mobilize these important people to influence real decision-making processes through their specialty — creativity and play.

The design team Þykjó captures their ideas and converts them into an action plan where their suggestions can become a reality. This project relies on courage and trust, as, unfortunately, we do not often listen to children’s opinions, even though we can clearly hear them. Similarly, we do not have a long tradition of taking ideas from children and young people seriously and communicating them respectfully in order for them to be implemented. In this project, Þykjó guides them to think practically, whether the topic is playgrounds or trash cans. However, playfulness and notions of belonging, nature, and beauty are always at the forefront because children wish for inclusion and a better world.

It is undoubtedly gratifying and sets a good example when design is used to empower communication and understanding. This was done when representatives for Ásbrú shared their dreams for the future with children and asked for their input during development plans for a new framework strategy for the municipality of Reykjanesbæ. Children and youth are an active and valuable part of society, and their views and needs should be considered.

The recognition for best investment in design at the Icelandic Design Awards 2024 goes to Krónan for setting an excellent example in its partnerships with designers, where the common denominator is environmental awareness and sustainability.

Krónan has set an excellent example in its partnerships with designers, which are based on imaginative and modern approaches to environmental issues, recycling, using raw materials, and minimizing waste.

Krónan consists of 26 grocery stores nationwide; each focused on a wide product range and fresh produce. The first Krónan store opened in 2000. The business has continuously demonstrated its passion for improvement and cooperation with its customers and suppliers for the sake of the environment.

Since 2019, Krónan has partnered with numerous cutting-edge Icelandic designers where the common denominator is environmental awareness and sustainability. This facilitates environmentally conscious decision-making for the customers, for example through packaging recycling, sharing economy with reusable shopping bags and boxes, access to water faucets to fill water bottles, discounted waste produce, and using waste produce for fertilization. All solutions are presented clearly, concisely, and playfully, an excellent testament to the designers with whom Krónan partners.

In addition, this kind of marketing sets an important example as well as having an educational value. Interesting information about environmental preservation and responsible consumption has become integral to the Krónan experience, both on the website and in the stores. It is also a clear statement that Krónan has chosen to work with Icelandic designers and studios, for example, Studio Flétta, Plastplan, and Melta, and students at Iceland University of the Arts.

The overall style and logo of Krónan, made in partnership with Brandenburg, is also noteworthy. Krónan is successful in maintaining a holistic use of its logo and style throughout all its apps, advertisements, packaging, and signposts, which boosts the customer experience.

The selection committee's assessment concludes that this type of partnership has a valuable snowball effect on society, as it includes recognition of the quality and influence of Icelandic design, robust social benefits, and a whole lot of fun.

Gísli B. Björnsson has been selected for the Honorary Award of the Icelandic Design Awards 2024 for his contribution to graphic design.

Over the last decades, Gísli B. has established himself as one of the most influential graphic designers in Iceland, not only because of his many well-known works, but also because of his contribution to the field. Gísli taught commercial art and graphic design for 50 years, first at The Icelandic College of Arts and Crafts and later at the Iceland University of the Arts. In 1962, Gísli established the Department of Commercial Art at the college and was head of the department for 21 years. In 1973-75, he was the college dean. Through teaching, Gísli has shared his knowledge with generations of graphic designers and, through that, contributed significantly to the field as a whole.

Gísli´s work is diverse, but logo design is the category that most identify him with. A logo is a small visual intended for great things. Among his best-known works are the logos of the national television, on which he partnered with Hilmar Sigurðsson, The Icelandic Federation of Labor Art Gallery, The Norden Association, SÍBS, Hótel Holt, The Icelandic Heart Association, Icelandic Church Aid, BHM, Iceland Review, Múlalundur, Agricultural University of Iceland, and the list goes on. These logos fit their purpose well, and many are still in use.

In addition, Gísli has safeguarded the history of logos in Iceland, providing an overview of his own logos and other designers' development of the field.

This period has entailed great changes in the field of print technology, digitalization, and marketing studies, but Gísli’s core values stand the test of time. The characteristics of Gísli’s life’s work are his precision and clear aesthetic vision; his constructive criticism, not least of his own work; his drawing skills; and his deep knowledge of his field and the skill to convey it.

Gísli was born in 1938. He was endowed with an interest in the arts from birth and encouraged throughout childhood. His grandfather was Baldvin Björnsson (1879-1945), a goldsmith and visual artist; and his uncle was Björn Th. Björnsson (1922 - 2007), art historian. Both men had a great impact on Gísli growing up.

At seventeen, Gísli started studying applied visual arts at The Icelandic College of Arts and Crafts. His entrepreneurial nature flourished quickly in this environment, and the courses seemed tailored to his talents. A year later, he pursued further education at Staatiche Akademie der Bildnede Kunster in Stuttgart. Since his return home after finishing his studies in 1961, he has worked vigorously to advance his field. In the same year, he founded the advertising agency Auglýsingastofan hf., which he ran until 1965, then founding his second agency, GBB, which he ran until 1989.

Gísli leaves a great legacy which is now being documented in the Museum of Design and Applied Art where his work will undoubtedly inspire future generations.

The Airbag by Flétta for Fólk Reykjavík is the winner in the category Product at the Icelandic Design Awards 2023 for being an excellent example of innovative circular product  design.

From the jury:
The Airbag is a product designed by Studio Flétta and an excellent example of innovative circular product  design. Industry waste is transformed into a strong, multi-use pillow, 96% recycled and the material can be separated once the product's lifetime is over.

Studio Flétta is designers Birta Rós Brynjólfsdóttir and Hrefna Sigurðardóttir, who focus on circular design in an uniquely creative way. The pillows are designed in collaboration with and for FÓLK Reykjavík, made from used airbags in cars that would otherwise have gone to landfill. 

The Airbags are sourced from an environmentally certified car parts supplier and the fill is leftover fabric from 66° North. The sewing is by the Danish sewing house Huset Venture, a non-profit organization that provides work for people who run into obstacles in conventional work environments.

The pillow’s appearance is modern, unexpected and beautiful.  Flétta’s and FÓLK’s extraordinary partnership is not only pleasing to the eye, but also encourages to contemplate more deeply over the products of today and answering the global call for more circularly economic design.

Edda, center for Icelandic Studies is the winner in the category Place at the Icelandic Design Awards 2023. Edda is by Hornsteinar Architects and creates a new framework for Icelandic national heritage, a strong landmark adapting well to its surroundings.

From the jury:
Edda, center for Icelandic Studies, is a unique and impressive building. Impeccable and professional work with attention to detail on the outside and inside. The oval shape of the building and the texture of the exterior hints at something valuable inside, standing in a reflecting pond and a copper cladding with text from manuscripts, decorating the walls and arouses curiosity of what lives within. Edda is open and bright with beautiful interiors which emphasize airiness and light.

Edda creates a new framework for Icelandic national heritage, a strong landmark adapting well to its surroundings. The interior is well executed, bright, environmentally friendly and serves well the multifaceted activities taking place in the building. Hornsteinar architects has successfully created a characteristic and impressive building that suits the subject.

A key building for Icelandic society as a home to the Icelandic Manuscripts, a treasure trove of Icelandic national heritage uniting the Árni Magnússon Institute for Icelandic Studies and the Faculty of Icelandic and Comparative Cultural Studies. Edda allows preservation and access to Iceland's most precious cultural heritage, for a long time to come.

Pizzatime with Flétta and Ýrúarí is the winner in the category Product at the Icelandic Design Awards 2023 for demonstrating the vast opportunities for value creation in using leftover materials instead of raw material, and successfully raised awareness of the negative environmental impacts of the textile industry.

From the jury:
Pizza Time with Flétta and Ýrúrarí is an original and clear example of how design can promote environmental awareness in a fun and interesting way. 

Pizza Time was a five-day performance that took place at DesignMarch 2023 where designers felted wool pizzas from Icelandic wool industry leftovers and sold them to customers just like normal pizzas. The setting was built around a felting machine which played the role of a pizza oven, and the designers played the roles of pizza makers and waiters. 

Playfulness was the prevailing sentiment of the overall representation and execution, apparent in the design of the menus, the costumes, the setting, and the product itself. The performance space had large windows that provided guests with a view of the whole process.

The designers managed to create a memorable experience, and an interesting social experiment, attracting many guests. They demonstrated the vast opportunities for value creation in using leftover materials instead of raw material, and successfully raised awareness of the negative environmental impacts of the textile industry. 

The wool pizzas were a hit, there were long queues and the designers could not keep up with the demand during the five days of Pizza Time.

The recognition for best investment in design at the Icelandic Design Awards 2023 goes to the Icelandic book publisher Angústúra for setting an example for high quality publications. 

From the jury:
Within a short time, Angústúra has contributed greatly to publishing in Iceland with diverse publications and emphasis on design. Angústúra publishes Icelandic and translated literature with focus on design quality, seen for example in cataloging of Icelandic design history, design analysis, and translations of books on design.

The ambition is realized both in the appearance of the books and the readers’ experiences. One of Angustúra's most interesting products is the book subscription program where readers receive literature from all corners of the world translated to Icelandic and well designed.

Angústúra publishing house was established in 2016 and has from the beginning partnered with leading designers and illustrators in the field. They have been entrusted with great freedom in interpreting materials visually in illustrations, cover design, and layout, that has led to the creation of beautiful printed items that appeal to a wide audience.

The jury's assessment is that Angústúra's investment in design has not gone unnoticed and resulted in great interest from readers. The publishing house has therefore set an example for high quality publications deserving special praise for its focus on Icelandic design history.

Sigrún Guðjónsdóttir, Rúna, has been selected for the Honorary Award of the Icelandic Design Awards 2023 for her contribution to ceramic art.

From the jury:
Rúna’s life’s work encompasses design, visual art, craftsmanship, education, and innovation, while embracing partnership with other artists, businesses, and the public. Rúna’s work is characterized by playfulness, and her methods, distinctive features, and prominent style has awakened great curiosity and been an inspiration to her successors in ceramic art and design. We could claim that Rúna’s imagery has had a formative influence on generations of Icelanders, young and old, which is evident in the numerous artworks in Icelanders’ homes and institutions since the middle of last century. She is a pioneer of her time which is evident in the visible boldness of her work. While almost exclusively working with Icelandic clay, she has not hesitated to experiment with mixing types of clay and glaze firing. She has taken a deep interest in this medium being equal to other visual art and paintings. Rúna’s work is often described as poetic as she works with mystical memories and tales combined with Iceland's nature and scenic beauty in her palette of mild colors.

Rúna was born in 1926 and grew up in Hafnarfjörður. As a teenager, she studied at The Icelandic College of Arts and Crafts where she also earned a teacher certification at the age of 18.

In the year 1946, she went with her husband, Gestur Þorgrímsson, to Copenhagen where she studied painting, and he studied sculpture at the Royal Danish Academy of Fine Arts. Upon their return home to Iceland, the couple established the studio Laugarnesleir where Gestur sculpted pieces and Rúna designed and painted patterns and shapes.

Around 1970, Rúna started to experiment with porcelain colors and glaze firing of ceramics, and through that, developed a technique that involved imprinting colors with stencils. In preparation for the celebration of Iceland’s 1100 years as a nation in 1974, there was a competition for motifs for decorative plates, and Rúna’s contribution featuring profile images of faces, fish, and birds was chosen. These motifs are common in Rúna's work and became one of the most recognizable motifs in Icelandic homes at that time.

Rúna had successful partnerships with key actors such as Bing & Gröndal and Villeroy & Boch making tableware and painted tiles.

You can spot Rúna’s larger pieces in several public places in Reykjavík, for example in the headquarters of ÁTVR in Ártúnsholt and in the vestibule of Seljakirkja Church in Breiðholt. In addition, an art piece by Rúna and Gestur featuring athletes in high-fire clay is prominently displayed over the entrance of Laugardalshöll Sports Arena although the piece was first designed for the old grandstand in Laugardalur Stadium.

Rúna has been active in the Icelandic art scene since the middle of last century. She leaves behind a large number of artwork, books, book illustrations, and other designed objects. Rúna's work is displayed at many museums, in public places, and is a classic theme in Icelandic homes. Rúna taught at the Faculty of Ceramics at the Icelandic College of Arts and Crafts from 1973 to 1987 and was a very popular teacher.

“It is easy to enjoy life as long as you can work” is a well-known quote by Rúna who says she lives for the work. This is reflected in Rúna’s work as a pioneer in ceramic art in Iceland. It is therefore with great joy that the selection committee of the Icelandic Design Awards announces that the Honorary Award 2023 goes to Rúna. 

Plastplan is a design studio and plastic recycling company that, since its establishment in 2019, has been characterized by great creativity, experimental processes, contrivance, and a strong vision. During these three years, Plastplan has been dedicated to actualizing the life cycle of plastic by fetching plastic waste from local businesses and developing and producing not only beautiful new items in their own product line, but also practical items for businesses they are in partnership with. One example of their projects is interior and furniture design for Höfuðstöðin, art gallery and cultural center built around Chromo Sapiens, an installation by Shoplifter Art / Hrafnhildur Arnardóttir. The design is successful in its effort to create a multi-functional setting which both reflects on the art by Shoplifter and moves in parallel to it in a remarkable manner.

The impact of Plastplan is not only measured by the productivity of their machines, rather it is the vision that guides the work and is an inspiration to businesses and designers far and wide. Plastplan has focused on knowledge transfer in their community, which has yielded more and more partnerships with businesses that want to establish locally recycled plastic materials. Many want to do the right thing but have often been challenged by the lack of localized resources for recycling and production, which have instead often been outsourced to businesses in other countries. This removes the process from the hands of the consumer and therefore makes it largely invisible. 

The jury rewards Plastplan with the Icelandic Design Awards for their vision, their design, and their circulation of materials. Not only for doing things well, but also for doing the right thing.

About the project:
Plastplan is a plastic recycling project / facility / design studio located in Reykjavík. Day to day operations include plastic recycling, design and product development. The production makes way for circulation of post consumer plastic for the first time in Iceland.

Plastplans goal is to create valuable and functional objects from recycled plastic. With prooving the plastic can be a valuable raw material Plastplan hope to turn around societies unhealthy relationship with the material. Currently Plastplan are focusing on "mundane innovation" with their collaborators, to be able to address the problem with an audience wider than only the design community.

Fólk Reykjavík  was founded in 2017 with the aim to connect design and production with sustainability and circulating material. The company uses natural and recycled materials, such as stone, metal, glass, paper, certified wood from sustainably exploited forests, recycled steel, and recycled textiles. These materials have been used to produce tables, bookshelves, vases, candlesticks, and lamps, among other products.

Quality Icelandic design has been the guiding light for their business. The jury reckons that the company has succeeded in exhibiting what is possible in creating quality design and practical items with sustainability in mind. While production processes and marketing are usually the main obstacles for independent designers, Fólk Reykjavík has increased their product range through prosperous partnerships with Icelandic designers. The focus of their product development is to meet the requirements of sustainable development, and at the same time manufacturing durable products.

The jury concludes that the company's investment in design represents positive influence and an incentive for other businesses to acknowledge the possibilities involved with cooperation with skilled designers while being guided by sustainability and circulation of materials.

The company has exhibited its confidence in Icelandic design in a noteworthy and successful manner and therefore the recognition for best investment in design this year goes to Fólk Reykjavík.

Reynir is a pioneer in Icelandic landscape architecture and the traces of both his design and his influence are widespread. He is among the very first educated Icelandic landscape architects and has created a legacy with a broad variety of projects. Among these are plans for residential areas including environmental design, recreational areas, playgrounds, and parks, but also other environmental projects such as avalanche barriers. Reynir has a unique sense for the environment and its shapes, and how built environment and natural landscape can be linked holistically.

Reynir was born in Reykjavík in 1934. He finished examination as a horticulturist from the State Horticultural School in Reykjar in 1953, and a postgraduate degree from Det kongelige haveselskabs anlægsgartnerskole in 1955. He then graduated as a landscape architect from Det Kongelige Kunstakademis Arkitektskole in Copenhagen in 1961. Reynir worked for a time in Denmark and with planning projects in Greenland. Soon after his return home to Iceland, he founded a private practice, Reynir Vilhjálmsson Design Studio, in 1963 and in 1989 he established the studio Landscape Architects Reynir Vilhjálmsson and Þráinn Hauksson, and finally he founded the design studio Landslag in 1999. During his years in Denmark, Reynir adopted an interdisciplinary approach to the work of architects, landscape architects, and engineers, and continuously applied this approach in his work.

Upon his return to Iceland, Reynir was one of the specialists that laid the groundwork for the general zoning plan for the city of Reykjavík, which was in the making for the first time. He also worked on zoning plans for the areas Árbær and Breiðholt. During his career of over 40 years, Reynir has laid the foundation for green spaces in Reykjavík by providing them with a more sheltered and human environment. He has shaped some the most popular recreational areas in the city: Elliðaárdalur, Laugardalur and Klambratún. 

Reynir has always been active and influential within the architectural society. In 1978, Reynir and other architects founded the Icelandic Association for Architects (Félag íslenskra landslagsarkitekta, FÍLA) and Reynir served as its director. Reynir was a mentor for many landscape architects and others that work with shaping built environment.

Reynir has always based his work on the various attributes that are associated with quality-built environment. He focused on the impact of weather and wind direction, access for children to playgrounds and recreational areas, and linking private and public spaces. In his first planning projects, Reynir laid the groundwork for the green public spaces that still today are the city's main landmarks. Reynir has cooperated with several architects on developing parks and open spaces around buildings and through that had considerate influence on the environment of the city landscape we have today. In this work, the focus has always been on a holistic approach to the building, the landscape, and the surrounding environment, in an integral interaction between the interior and the exterior. National and University Library of Iceland is a well know example of Reynir's design, his capacity to make interesting and unexpected spaces shaped by rocks, passageways, vegetation, and a great sense of landscape in the larger context. The avalanche barriers in Siglufjörður are examples of landscaping that are especially gratifying, positioned in harmony with the natural environment while also providing new access to enjoy nature in this area.

In 2010 Reynir received the Grand Cross of the Icelandic Order of the Falcon, an honorary recognition given by the president, for his pioneer work in planning and shaping of the built environment. He has also received international awards, for example the avalanche barriers in Siglufjörður were nominated for the Barba Rosa-European Landscape Prize in 2003 and received a special mention.

Reynir is a pioneer in landscape architecture in Iceland who has greatly influenced the city landscape and planning in Reykjavík, which we will continue to enjoy for many years to come. 

The record “∞” is a timeless epoch-making piece with its graphical and three-dimensional approach. For the record cover of Hjaltalín’s fourth LP record, Sigurður Oddsson, a graphic designer and the art director for this project, brings up ideas about permanence and reification of music in conversation and cooperation with the sculptor Matthías Rúnar Sigurðsson and the three-dimensional designer Gabríel Benedikt Bachmann. 

The process of composing and publishing the record was a cognitive pregnancy, the musician's brainchild that takes form, grows and develops throughout the process. The record release is the birth, epoch-making with an irrevocable product. Unwavering and infinite, written in stone.

In the hands of the team the soundscape of creation is reified as a wolf child sculpture in basalt which also is drawn and saved in a digital three-dimensional form in order to maximize the lifetime of the art and manifest its accessibility in different media. The wolf child is intended a permanent resting place in Úlfarsfell (Wolf Mountain), which is a three-dimensional monument for the continued existence of the album, paving a completely new path for the future of record publishing. 

The graphical presentation is skillful. The interplay between light and shadow creates a unique sense of calm and warmth. A moment frozen in time. The choice of font is appropriate, and the code refers in a tasteful manner to the Golden Record of the Voyager spacecrafts which is a message in a bottle from mankind to outer space. The jury of the Icelandic Design Awards 2021 concludes that the design and over all implementation of the record cover “∞” is an especially integrative piece and an ambitious monument for the future.

Since CCP was founded in 1997, the company has released several award-winning multi-player games such as EVE Online, EVE Valkyrie, Dust 514 and EVE Echoes. Over nearly a quarter of a century CCP has formed and created an art style and a scene of action that has fascinated gamers worldwide and to this day the EVE Universe has evolved through the participation of around 40 million people. 

At CCP designers play an important role in multidisciplinary teams which together create a unique scene of action in a distant future that unleashes the imagination. Furthermore, CCP is the largest workplace of designers in Iceland. Currently 40-50 designers work at the studio with very diverse assignments that touch upon everything from interface design, game design, and three-dimensional design to experience design, narrative design, – to name a few. 

Today the gaming industry is one of the pillars of software creative industries in Iceland, where there are now more than twenty companies that specialize in game development. CCP has had enormous effect on the field as a whole and paved the way for a new platform for design in Iceland that today is an established part of the economy.

Gunnar’s author characteristics are enchanting forms and apt use of material mixed with functionality and quality construction. Genius solutions made from simplicity and respect for the material. Gunnar’s work is identifiable – geometric forms are prominent, and they shine of joy and play. Timeless design, which is confirmed for example by the fact that Fólk, a young Icelandic design company, is now reproducing a selection of his work.

Gunnar was born in Ólafsfjörður in 1933. He finished a journeyman’s examination with Víðir wood workshop in 1956 where he learned from his mentor Guðmundur “the blind” and familiarized himself with diverse ways of manufacturing furniture. At the same time, he studied at Reykjavík Technical School and Reykjavík School of Visual Art where he was mentored by Sveinn Kjarval in furniture design. Afterwards, Gunnar worked with the well-known furniture manufacturer Fritz Hansen before he started his studies in furniture- and interior design at Kunsthandværkerskolen in Copenhagen in 1959. Already during his studies, Gunnar was winning various awards and his work was manufactured by companies like Søren Holm and Christensen & Larsen. After finishing his studies, Gunnar worked together with Børge Mogensen, a skilled designer whom he admired, before moving back to Iceland in 1963.

The first year back in Iceland, Gunnar worked with architect Skarphéðinn Jóhannsson before starting his own wood workshop that he ran until 2002. Gunnar’s years in Denmark were in the prime of Danish design and he returned with deep insight and experience that he shared with his students at Reykjavík Technical School. At the school, he taught technical drawing for furniture, interior design and architecture as well as geometric-, surface- and artistic drawing for more than thirty years alongside his productive career as a furniture designer and interior architect. Gunnar thus had a defining influence on generations of carpenters, upholsterers, designers and architects. 

Gunnar’s career of over forty years is represented by diverse projects varying in scale and volume. Among these are: the chessboard for the “duel of the century” when Fischer and Spassky competed in 1972; various interior design projects for ships and airplanes; furniture design for the manufacturing companies Skeifan and Kristján Siggeirsson; and various forms of collaborations with furniture workshops that benefited greatly from his knowledge of construction and manufacturing as well as from his great talent as a designer.

Gunnar always emphasized the creation of atmosphere that was convenient for each space, whether it was a kitchen, a bank, or an educational institution. He designed furniture and interiors for a large number of homes, companies and institutions – for example interior and furniture for Hotel Holt, Iceland’s former Bank of commerce and Iceland’s School of education. Due to the emergence of both new lifestyles and new business styles many of these creations have had to fade away while others still lead a good life in the hands of people who appreciate classic and quality design.

Throughout the years Gunnar has participated in numerous exhibitions and received various international awards. While his work represents the spirit of Nordic design in the latter part of last century, Gunnar’s author characteristics are exquisite and make his work unique as distinct representatives of a prime period in Icelandic furniture design.  

Drangar is an ambitious transformational design project from Studio Grandi and an excellently projected example of a demanding architectural subject in contemporary Iceland. The transformation of several old farm buildings into tourist accommodation is meticulously carried out. The weathered buildings are left more or less untouched to preserve their atmosphere and historical context. This is for example evident in the new main guest building, without windows and doors the old outer walls stand open and raw, doubled with interior walls that allows for an impressive play with shadows and rhythm, thus enhancing their architectural quality and aura.  The interior areas and spaces are framed with warm oak and colors. Colors in different tones and textures are used to give a nod to the former use of the farm buildings, be it the color of bovins or the glossiness of tractors. Detailing is of great quality, materials framing the spaces together around the life within. The project is an important example and sets the standard for an increased number of buildings, not the least in the rural areas, that call for redefinition and reconstruction due to age and new and changed roles.

Drangar is a large estate in Skógarströnd on the northern coast of the Snæfellsnes peninsula including a handful of islands in the Breiðfjörður archipelago. Until recently it was a working farm with a motley collection of buildings, built in the early eighties, according to standard, state issue, blueprints. When the present owners acquired the property, it was in a decrepit state of repair and some buildings had even collapsed of their own accord.

Studio Granda was established in Reykjavík by Margrét Harðardóttir & Steve Christer in 1987.

Recognition for the best investment in design in 2020 is awarded to 66°North, which was founded in 1926 to meet the vital need for workwear for fishermen and later rescue workers. The brand has developed over the years and now designs high quality outdoor clothing with a strong connection to its heritage.  

The uniqueness of 66°North is without a doubt the professionalism that characterizes all levels of the brand and their ability to translate the current world, whether they are designing technical outdoor clothing, their marketing material and strategies or in experimental collaborations with Icelandic and foreign designers. 

66°North is a clear example of a company where good design is used to lead the growth and development of a brand, their design team now includes about 15 people.

Kristín was born in 1936 and her design history begins when she was 15 years old and started studying in the fine arts department of the Icelandic arts and crafts college from where she graduated in 1955. Aside her studies she worked at the design studio of renowned Icelandic furniture designer Sveinn Kjarval and was also assistant teacher of painter Sverrir Haraldsson. 

Kristín then worked as a graphic designer and design director for decades. In 1967 she and her husband Hörður Daníelsson founded one of Iceland’s most popular advertising agencies, AUK (Auglýsingastofa Kristínar) which they operated until 1992. The agency was so popular that companies and institutes had to be put on waiting lists to become their clients, which clearly shows how popular it was and furthermore underlines Kristín’s ambition to prefer quality over quantity. 

Kristín’s long career encompasses an extensive collection of works spanning very different subjects, from adverts to image campaigns, from book covers to monetary bills. Many of her works are still very much in use today and we know them well from our daily lives, whereas others were done for temporary publication and only live on in our archives and our memories. 

Kristín’s work methods, research, her interest and her sensitivity to the subject characterize her work methods. One example is the logo of the town of Mosfellsbær, a stylized version of shields that adorned the back of silver coins from an ancient treasure hid by Viking poet Egill Skallagrímsson’s daughter in the vicinity of Mosfell.  Kristín’s best known works are without a doubt Iceland’s banknotes, made in collaboration with Stephen Fairbairn. She has been in charge of the design of all the banknotes since the currency changeover in 1981. There are now eight different banknotes, each of them full of history, information and even secrets. 

“One does not endeavour on such an important project without absolute knowledge of the subject matter. A lot of work lies in each banknote. If you look at them more closely you will be able to find a deep meaning and a message from almost every part of the surface.”

Those who know or are acquainted with Kristín, or have enjoyed a meeting with her to converse about her work and her career all agree that what characterizes her is humility and sincere interest in her work, even decades after it was completed. She does not shy away from giving compliments to her coworkers, especially to her husband of 65 years,  Hörður, who has been her biggest partner throughout her career. 

Kristín has received several recognitions for her work, such as being chosen an honorary member of the Icelandic Graphic Design Association (FÍT) and as the Kópavogur city artist. In recent years Kristín has concentrated on her art and her works can be found on display at many institutions, companies and art galleries. She has exhibited her work regularly since 1985. 

It is with great pleasure that we give Kristín Þorkelsdóttir the Honorary Award of the Iceland Design Awards 2020.  We would like to offer our sincere congratulations and thank her for her priceless pioneering work in the field of graphic design in Iceland. 

Genki Instruments received The Icelandic Awards 2019 for Wave, a ring designed for musicians to enhance their experience and interpretation. It is a tool for creativity, an exciting and futuristic project pointing to where wearable technology is heading and should feel natural.

Genki Instruments is a design-driven hardware technology company, an inspirational start-up were design, engineering and music combine, encapsulating vision, passion and endurance, and has received recognition from across the world. The team behind Genki Instruments are Ólafur Bogason, Haraldur Þór Hugoson, Jón Helgi Hólmgeirsson, Þorleifur Gunnar Gíslason og Daníel Grétarsson.

The process from idea to best selling product is exciting, from the start Omnom has worked with designers, first André Visage and now Veronica Filippin, throughout the whole process, from product development and packaging to POS material. This holistic approach of taste and branding has led to a successful business story and is a clear example of added value by good design.” 

For the first time a special Honorary prize was given out at the Icelandic Design Awards 2019 and that went to Manfreð Vilhjálmsson, architect.

Basalt Architects won the Iceland Design Award 2018 for architecture in Icelandic bathing culture. They have contributed greatly to the development of baths and bathing culture in Iceland. Recent examples include The Retreat at the Blue Lagoon, which they co-designed with Design Group Italia, and the GeoSea Geothermal Sea Baths in Húsavík.

Basalt Architects have a unique ability to intertwine architecture and landscape and have become a role model in designing nature baths in Iceland. The architecture is of the highest quality with every detail deliberated over and spaces designed with respect. Their architecture creates a humble framework inviting guests to a unique experience in the remarkable nature around Iceland.

The Lava Centre is an example of an ambitious project in the tourist industry. It uses the tools of design to explain in a captivating way the scientific knowledge behind the epic forces of nature that shape our planet and created Iceland millions of years ago. Basalt Architects designed the building, and the exhibition design is the cooperative work of Gagarín interactive designers and Basalt Architects. The result is a clear example of added value by good design.

The Marshall House, originally built in 1948 as a herring factory, is a new art venue by Reykjavík’s Old Harbour . Architects Ásmundur Hrafn Sturluson and Steinþór Kári Kárason of Kurt og Pí led the project’s design in collaboration with ASK arkitektar.

The project embodies the successful conversion of an old, industrial building into a new, contemporary space. The architects developed the project all the way from the conceptual phase and brought together a diverse group of people to bring it to completion. They did a great job of incorporating the building’s history and the context of the locale. The result is a new destination in an interesting area that is developing in the city. This project is a good example of how the methods of design bring about innovation in the urban environment.

Blue Lagoon has worked closely with exceptional designers and architects, design is integral to its overall brand. Their foresight has without a doubt contributed to the company’s success. The company is one of Iceland’s best examples of the great advantages of investing in good design.” 

As We Grow  is owned and run by textile designer Guðrún Ragna Sigurjónsdóttir, fashion designer María Th. Ólafsdóttir and managing director Gréta Hlöðversdóttir. In their collections, the company combines tradition and modern day demands, aesthetics and durable clothing that both grows with the child and lasts between generations.

As We Grow builds upon sound environmental values and a sustainable approach to the use and life cycle of the products. The timeless simplicity of the design and high quality of the products with a societal responsibility and ambitious environmental policy has created a unique position for the company both in Iceland and abroad. 

Geysir receives the award for Best Investment in Design 2016. The company has worked with all parts of its business with outstanding designers, be it to do with the brand, images, store interiors, graphic design or fashion. By making design a priority, Geysir has in a short time reached unique success in the market and become one of the most well known brands in Iceland. 

The exhibition Eldheimar, Volcano Museum in the Westman Islands, was designed by exhibition designer Axel Hallkell Jóhannesson; Gagarin (the interactive part of the exhibition), architect Margrét Kristín Gunnarsdóttir and landscape architect Lilja Kristín Ólafsdóttir.

“The exhibition communicates a unique moment in the Icelandic natural history in an extraordinary way, using creative, well implemented and functional solutions with powerful aesthetics to interact with the visitors. The project is exceptionally ambitious. It is also a profoundly important, rare example of a cross-disciplinary collaboration between designers and architects.

Össur was the first company to receive The Icelandic Design Awards, recognition in design. The company has managed to integrate design, science and traditional production in an extraordinarily successful way. Since its founding in 1971, Össur has put considerable emphasis on design, invested in design, and included design as one of the key factors in its product development process. With its values, the company has encouraged its staff to constantly strive for progress, break the rules and to take considered risks. The results speak for themselves.

Össur has repeatedly introduced new, revolutionary designs that have radically improved the quality of life of its customer

Designs from Nowhere is a comprehensive project. It explores the possibilities for a small-scale design and production in East Iceland, using locally sourced materials and skills. The project, which was initiated by Pete Collard and Karna Sigurðardóttir features the designers Þórunn Árnadóttir, Gero Grundmann, Max Lamb and Julia Lohmann who collaborated with local practitioners in East Iceland. The apt connection of people, places and material sources results in a dynamic dialogue from which new material outcomes derived.