Clients & collaborators:
Angela Weber Meubles
Edition Patrick Frey
Kunst Halle St.Gallen
The John Institute
Ligature: Can you tell us more about your background and approach of graphic design?
— What really interests me is the question of how we design our environment and graphic design plays a minor, yet complex part in it for it’s supportive to all other cultural disciplines but, as an exception, has no purpose without them. This interrelation is what makes it quite universal for being a detail and that’s a good starting point.
I only work with carte blanche and aim to create a certain mood whilst keeping things as plain as possible. People shouldn’t get disturbed by my work and I somehow wish I would get paid for taking graphic elements away, rather than adding them. I’m definitely more concerned about the space that gets interfered by my design than about my design getting impaired by it’s surrounding space.
Ligature: We would like to know your thought about the meaning of what is a designer and what is his role?
— A designer has the power to change the way how space gets perceived and therefore how people feel which entails a great social responsibility. He has to be driven by quality as a prerequisite to any other interest and the independence this requires can only be secured by the willingness to adapt to any living condition. I think the current generation of designers should pass the expectation of making a secure living by design. By no means I suggest working for less money or am I against financial success, but the desire for security results in a dependency on clients and therefore in making compromises.
Defining his role would exceed the interview format, I’d just like to point out that nowadays one of his most necessary roles probably will be found in the one of an educator.
Read the full interview here: ligature.ch
Ingrams-Review: As the world has become so tightly connected, do you feel national and regional design signatures are being sacrificed for the sake of creating globally acceptable images? Do you think there’s a case to be made for a return to highlighting and celebrating regional character?
— Not at all. Good design is universal, the regional signatures with a raison d’être are the ones who will survive anyway because of their specific function and what hopefully will disappear could be best described as decoration or folklore, driven by the past. I’m much more interested in quality than heritage.
Read the full interview in Ingrams-Review issue 02