Dóra Balla → This book transgresses its bounderies in every direction in exciting ways. It documents, it’s classical and contemporary, it asks questions and gives and gives answers all at the same time. Its design, chosen materials and quality of production all secure this volume’s place among the best of the competition.
Anna Bárdi → This is a good example of a book, intended for a niche audience, that ends up reaching a much wider demographic because of the aesthetic experience offered by its formal qualities.
Ákos Déri → In this case one of the longest-standing mannerisms of the profession is perhaps warranted. Because this truly is a book object. The emphasis falls on the ‘perhaps’.
Bea Istvánkó → Fittingly large format for a heavy historical topic. The abundance of text is thankfully segmented by the pictorial content and other creative design elements. Excellent choice of papers and good bookbinding.
L2 → Meticulously designed book, delicate illustrations, typography and layout reflecting the discussed periods, unique choice of materials. Careful and free of compromise in every regard.
Róza Tekla Szilágyi → The visual abundance of this book as well as the materials used in producing it almost immediately made it stand out from the competition. The visual language chosen by the designers clearly facilitates the understanding of the decade-long story: the two world wars, the Siberian POW grandfather's journey and the weight of the historical context. In light of this story, I find the creation of a book object reminiscent of dictionaries a particularily beautiful solution.
László Valuska → This book object is a monument: architect András Katona edited and published the memoirs of his great-grandfather written during the world wars and while being a POW in Siberia. And while it is monument on one hand, it is just as much a virtual tour in time and space: displaying and making consumable the personal in the historical by means of graphic design and bookbinding techniques.
