Nominations for the Grand Prize of the Croatian Design Association 19/20

The selection committee of the Exhibition of Croatian Design 19/20 – consisting of Sanja Bachrach Krištofić, Karlo Kazinoti, Željko Serdarević, Svjetlana Despot, Marko Pavlović, Lea Vene, Vedran Židanik – decided on the three nominations for the Grand Prize of the Croatian Design Association. The nominated projects are “Pula City Pools” by Studio Tumpić / Prenc, “Omoguru” by Petar Reić, Marko Hrastovac and associates, and “MADE IN: Crafts and Design Narratives” by the art organization Oaza!

The HDD Grand Prize is awarded to a project that, according to the International Jury, with its quality, innovation, complexity or a clear and strong message of wide social recognition has stood out significantly compared to the rest of the design production. The selection committee of the Croatian Design Exhibition 19/20 nominates three projects that have achieved a noticeable effect and positive changes in the social, cultural and economic context in the past two years, and the International Jury will decide on the award-winning project. The Grand Prize will be announced at the opening of the Exhibition of Awarded Works 19/20 at the Museum of Arts and Crafts in November 2020. The following works have been nominated:

Pula – Pola City Pools

studio: Tumpić/Prenc
creative and art direction: Anselmo Tumpić
account director: Sara Prenc Opačić
graphic design: Anton Licul Grk


The newly opened, 5900 square meter Pula City pool includes various types of pools, locker rooms, a sauna, and many other facilities. The underlying concept our visual identity was built upon is based on a series of conversations we’ve had with professional and recreational swimmers. From these conversations emerged the concept of a line – a fundamental graphic element guiding the entirety of our creative decisions, similarly how a line at the bottom of the pool guides a swimmer towards their goal. As visitors walk through the building, they witness the evolution of signage and its purpose – from one that is purely functional, to one that gives life to the space and celebrates its purpose.

Explanation by the Selection Committee

The visual identity of the huge sports complex in Pula starts from the line motif as a characteristic element of the pool signage and lucidly develops it into a playful information system that functions equally successfully as an ornament. The 5900 square meters of the building are lined with line illustrations that, despite the elementary form, point to a wide field of references – from Aicher’s Olympic pictograms to Mediterranean architecture from paintings by Giorgio de Chirico. The Rovinj studio Tumpić / Prenc (Anselmo Tumpić, Anton Licul Grk and Sara Prenc Opačić) has already been deservedly awarded for this solution, whose main quality is in simply encouraging joy, such as the observation that the body of a swimmer on the facade of the building is actually the letter P.

Omoguru – tools for facilitating reading

Omolab komunikacije
concept, web i widget design: Petar Reić
typography: Marko Hrastovec
contributors: Augustin Gattin (widget project menagment), Amir Kos (widget development), Locastic (mobile app development), Ingemark (Chrome plug in development)


Omoguru project brings together speech therapists, designers, typographers, innovators and experts to find new ways to deliver a comfortable reading experience to dyslexics and people with reading difficulties. The OmoType font system is specially designed for dyslexics, with an innovative approach that offers customization to the unique needs of each user. Research and extensive testing show it reduces reading time, number of mistakes, and requires less effort to read. The OmoType font system achieves its full affirmation through Omoguru digital tools to facilitate reading and learning for people with dyslexia and other reading difficulties. Omoguru tools have more than 20,000 users.

Explanation by the Selection Committee

The Omoguru project brings together designers, typographers, speech therapists, innovators and other professionals with the aim of creating a pleasant reading experience for people with reading difficulties. Specially designed for people with dyslexia, the OmoType font system offers an innovative approach to adapting the text display to the unique needs of each user. Research has shown that children with reading difficulties with OmoType read faster with fewer mistakes and less mental effort. The OmoType font system achieves its full affirmation through Omoguru digital tools to facilitate and encourage reading and learning, which are used by more than 20,000 users. For now, 290 titles are offered in Croatian (of which 72 are required reading titles) and 45,000 in English, and users can add their books and other digital content. Numerous comments from Omo(gu)Reader users on Google Play and the App Store testify to their satisfaction, i.e. the success of the application of the tool. An overview of the Omoguru site, instructions, approaches and solutions shows the exceptional level of involvement and professionalism of all project participants.

MADE IN: Crafts and Design Narratives

creative direction: OAZA
visual identity: Ivana Borovnjak, Maja Kolar
design and layout of the exhibition catalogue: Ivana Borovnjak, Maša Poljanec
website design: Ivana Borovnjak, Maja Kolar
website development: Tomislav Modrić
exhibition design: Nina Bačun, Roberta Bratović, Maja Kolar, Tina Ivezić, Josipa Tadić
exhibition technical set-up: Darko Franjić (Močvarni hrast), Damir Debeljak
project organizers: Museum for Arts and Crafts, OAZA (CRO), Museum of Architecture and Design (SI), Nova iskra, Mikser (RS), Werkraum Bregenzerwald (AU)
program direction: Koraljka Vlajo, Dunja Nekić (MUO), Ivana Borovnjak, Maja Kolar (OAZA), Maja Vardjan, Cvetka Požar, Nikola Pongrac (MAO), Thomas Geisler, Miriam Kathrein (Werkraum Bregenzerwald), Relja Bobić (Nova iskra), Maja Lalić (Mikser)
curatorial concept: Ivana Borovnjak, Maja Kolar, Koraljka Vlajo (HR), Maja Vardjan, Cvetka Požar (SI), Thomas Geisler, Miriam Kathrein (AU), Relja Bobić (RS)
contributors: designers / Mischer’Traxler Studio, Studio Unfold with Alexandre Humbert, Jenny Nordberg, Rianne Makkink, Chmara.Rosinke Studio, Andrea de Chirico, Lukas Wegwerth with Giulia Bruno, Tamara Panić; Halligrimur Arnason, Theresa Binder, Michael Dorfer, Anastasia Eggers, Anna Gramberger, Sandra Holzer, Philipp Kolmann,Lukas Kopf, Anna-Amanda Steurer, Julia Obermüller (AU); Anđela Brnas, Lola Buades, Clara Bunge, Ivy Castellano, Sara Dobrijević, Andreja Lovreković, Lucija Mandekić, Lucija Matić, Ela Meseldžić, Marko Mišković, Marin Nižić (HR); Đurđa Garčević, Marija Kojić, Strahinja Kolobarić, Milena Stanimirović (RS); Patricia Bascones, Patrik Benedičič, Emily Dietrich, Florian Fend, Rok Oblak, Joana Schmitz, Eva Štrukelj, Jera Tratar (SI) craftsmen / Bechter Licht, Devich Holzschuherzeugung, Holzwerkstatt Faißt, Holzhandwerk Helmut Fink, Schneiderstüble Manuela Maaß, Tischlerei Mohr, Oberhauser & Schedler Bau, Tischlerei Wolfgang Lässer, Tischlerei Rüscher, Schwarzmann — Fenster und Türen aus Holz, Ofenbau Voppichler, Sennerei Mühle-Hub (AU); Cerovečki Umbrellas, Močvarni hrast, Bookbindery 1924, Mala Arta Ceramics, Clockmaker Lebarović, Lapidarium Jewellery Making and Fine Metalsmithing, Antun Penezić Combmaker, Havel Metallspinning, Hat making Škrgatić, Stjepan Zagorščak (HR); Bosiljčić Candy Makers, Boya Porcelain, Grbović Bookbinding, Studio Vilenica Textile, Nenad Jovanov Sava Perfumery, Rade Hats, Tatjana+, Xylon Wodwoork, Petrof Bookbinding, Bane Shoemaking, Naša Posla Leatherworking (RS); Franc Jaklič Woodenware and Vessel Making, Silvo Jelenc Art of Blacksmithing, AK Alojz Kraner Shoemaking Workshop, Joži Košak Straw Hat Making, Erik Luznar Beekeeping, Urban Magušar Manufaktura Ceramics, Beno Ogrin Stonemasonry, Petra Plestenjak Podlogar – Škofja Loka Baking Honey Breads and Hand-carving Moulds, Rural Development Cooperative Pomelaj, Štefan Zelko Pottery (SI)


MADE IN was launched to represent and promote craft heritage and innovative contemporary design at the European level. The resulting platform brings together six partner organizations and represents several development stages as part of a perennial interdisciplinary project: research and documentation of the context, impact and practice of the forty craftsmen from the region; development and realization of a curatorial concept with eight narratives about crafts and design based on collaborations (workshops, residential stays) with forty designers from all over Europe; and the creation of a rich printed and digital archive of craft knowledge.

Explanation by the Selection Committee

The very basic outlines of the project MADE IN – Crafts and Design Narratives – with a large number of stakeholders from several countries, collaborations and synergies, extensive research and documentation, as well as a wide range of design interventions – give a hint of its weight and importance. But we were not so much impressed by the scope of the project, its scale, but by the fact that each of its segments consistently feels its basic idea, origins and goal relevant to our time. MADE IN clearly indicates what we mean when we talk about the discursive and research dimension of design – because the project is really initiated by designers – and at the same time creates a tangible new value, new knowledge or a new structure for old knowledge, new ways of thinking about tradition and modernity, new networks of people, institutions and ideas, a new opportunity to think about what we do as designers and how it can help us.