Büro Destruct 4

In contrast to the strict and somewhat restrained Swiss Style of the 1960s, Büro Destruct stands for design without the handbrake on. Apparently everything is possible. It can be humorous, loud, colorful and zeitgeisty. At the same time, minimalism, precision and craftsmanship are present in all their work. The Swiss, who see themselves and their studio as a kind of band, again present a skillfully composed album with this new book. The Bern-based foursome have never dealt in safe or conventional consensus graphics, but prefer distinct, sometimes trashy and always refreshingly original designs. Blessed with a healthy dose of insatiable curiosity, they have been seeking out inspiration from beyond the mountain ranges since the mid-1990s—long before the proliferation of Internet access and distribution. The Swiss strongly associate with values inherent in Japanese culture, in which they have found—and continue to find—inspiration over the years. However, unlike Emil Ruder and other heroes of classic Swiss graphic design, who also drew on Japan, they are more inspired by the wild side of Japanese culture. Büro Destruct’s vector-heavy graphics have always conformed to “think global, act local.” Often against the grain of public they were among the few to ignore the temporary, yet intense flirt of Swiss graphic design with fledgling neo-conservatism. Over the past 27 years, Büro Destruct have successfully avoided being pinned down or getting too comfortable in a defined area. At the same time, of course, it is that special Destruct eerie feeling. An independent handwriting, for which many words could be found, but which even after more than two decades is best conveyed by looking at their work …