Jacabson is known for his strict control of quality of design. While practicing as an architect furniture design became a natural part of his building development and total design style. Jacabson had an exceptional talent of understand the conception of the spaces he was designing. He strove to solve structural problems while simultaneous creating valuable aesthetic possibilities.Because of his strong convictions and temperament his designs were sensible, well thought through and beautiful, molded to the exact environment he foresaw.
As a silversmith Henning Koppel studied at the Danish Academy of Fine Arts and after WWII he began working in Georg Jensen's Solvsmedie. His work ranged from glass, stainless steel, fabric to stamps, furniture and items molded from plastic and porcelain. He was said to "Renew possibilities within silver." His original works, designed with attention drawing strength and shape have been up to much interpretation while inspiring imagination in the viewer. He was a believer that excess was suitable when surrounding oneself with beautiful art. In this strange paradox a silversmith cannot be a "social artist" due to the exclusivity of the material. This attitude is generally avoided by most Danish designers, as formally mentioned Arne Jacabson was eager to explore materials that all could afford. One might argue Jacabson a designer, Koppel an artist. 
Borge Mogensen's idea was the simpler the better. He prided himself on finding constructive solutions to design problems and challenged himself by using natural materials, most specifically and more often then not, wood. While dedicating himself to quality he was a pioneer in developing better everyday products for the larger public. He saw furniture as everyday tools and specified in using pinewood to create light pieces of furniture. While the term not yet coined he focused on using products that were cradle to cradle, he thought it a waste to use synthetic materials like plastic, regarding such items as useless rubbish. He sought to improve quality of life while also improving how designs were being developed and produced.
Moller compares the problem solving attitude of Mogensen's to that of Palle Nielson. Palle Neilson graduated from the School of Arts, Crafts and Design, Copenhagen and also the Royal Danish Academy of Fine Arts. His primary design work drawing spaces that opened doors for the viewer to first recognize problems in society, and also to imagine distant places. He saw his work as a way to "Exist in space formed by innumerable intersections in my way of expressing existence" (104). He has the ability to see in a form of expression and experience. He thought the "Artist exists on experience. Not theories" (107). While Mogensen created for function he shared the same school of thought as Nielson. If one cannot see the problems, they cannot fix them. And if they do not exist and experience the problems, they will never know how to fix them. Mogensen lived quite modestly and when encountering a problem for himself, he was design a solution first for himself, and then he would make it available to all. Nielson shared his knowledge of experience with the masses through his drawings. Moller continues to discuss the designs of Lars Ulrik Thomsen, a goldsmith. His work remained exclusive throughout time of production, comparable to that of Hanning Koppel, the material did not offer itself to the general population. Thomsen went to the School of Applied Art Copenhagen. He was a surrealist and his work was mystical, fantastically covered in jewels and rubies. More often then not they were uneven surfaces and did not compare to the aesthetics of typical sleek, simple, subtle Danish design. Thomsen created art over the purpose of design...while his works were beautiful and crafted with quality of Danish standards, they were not made with the masses in mind, or much thought of functionality. In a sense one could say, though while a cabinet maker designer Finn Juhl shared Thomsen's favoring of the unique and precious. Juhl rendered himself to the materials in which he worked and designed by the sculptural effects of the Nuevo Period. His works were dandy and sensitive to many art forms. He was strong in creating spacial compositions that embodied the soft forms of music. While his fellow cabinet makers were strict in practice and perfecting he allowed spaces to develop and come into themselves. Jacabson wanted to know exactly how his design would function and precisely what it would look like when complete while Thomsen explored materials less aggressively.
Moller explores the styles and careers of several Danish design front runners. It seems most designers shared the passion of exploring ones own potential within their given field. Each seeking to improve upon the perfected. Though some created for mere aesthetic luxurious pleasure and others improving the functions of daily tools, all were attempting to push the boundary of what had been done before. When thinking of typical Danish design I think of these architects and designers as one class of elites. It is important to remember that while they all shared common grounds, they differ from each other on many levels, each with his or her own motivation. It goes back to the designers place in society within the art system. Why do we chose to design? It is because we're drawn to certain materials, because we know not what else to do with our imagination or is it truly because human nature propels us to explore the possibilities of man's mind. By pushing this boundary a designer enhances the quality of life for the masses and for the selective elite who can afford ruby covered gold. Is that not a key role in shaping a functioning society?
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