Imagine a 500-page book so vibrant and unconventional, it lands on your coffee table like a creative bombshell. That’s DixonBaxi’s REMIX—a bold, green square that demands attention and refuses to be ignored. But here’s where it gets controversial: this isn’t your typical design monograph. It’s a gloriously messy love letter to the process of making things, and it’s as physically demanding to read as it is intellectually stimulating.
From the moment you lay eyes on it, REMIX stands out. Its size—305 × 305 mm, mirroring a 12-inch record sleeve—is a deliberate nod to the studio’s roots in designing album covers. Co-founders Aporva Baxi and Simon Dixon explain that its scale isn’t just for show; it’s designed to pull you in, to immerse you in their creative process no matter where you open it. ‘It’s like a wide-screen experience,’ Simon notes, ‘a cinematic journey through our work.’
But REMIX isn’t just about looking—it’s about engaging. You’ll find yourself maneuvering its hefty 4.33 kg frame, turning it 90 degrees, or holding pages open with a forearm to decipher Slack screenshots or scribbled notes. This physical interaction adds a layer of delight, making it more than just a book; it’s an experience. And this is the part most people miss: it’s not meant to be perfect. It’s raw, chaotic, and unapologetically honest.
Part retrospective, part manifesto, part studio diary, REMIX chronicles 18 months of DixonBaxi’s output. It’s a mix of live projects, reimagined work from their 24-year history, unseen experiments, raw notes, Slack chats, receipts, travel photos, and inside jokes. Some of it you’ll recognize, but much of it feels like peeking behind the curtain of a studio known for its elite-level work for global brands.
‘The design book market is flooded with perfect case studies and how-to guides,’ Simon points out. ‘But REMIX is about the messy middle—the part where creativity happens before everything clicks into place.’ This tension between process and performance is what makes the book so compelling. It’s a reminder that it’s okay to create without a brief, without permission, just for the joy of making something.
The book’s overlapping, chaotic layout reflects this ethos. A health-tech exploration sits next to a sports identity; notes from a trip to Mexico slide beneath screenshots from an LA talk; mundane Slack messages like ‘receipts please’ pop up between bold typographic experiments. ‘That’s the day-to-day,’ Aporva explains. ‘It’s the fabric of how creativity gets made.’
One of the most intriguing aspects of REMIX is its Superfutures practice, where everyone in the studio—not just designers—reimagines past projects without the constraints of a brief. At one point, British Land gave them a floor in London’s Broadgate to lay out over a thousand spreads, offering a macro view that shaped the final book. ‘It was liberating to see everyone participate,’ Aporva reflects. The result? A collective, collaborative remix of their collective creativity.
Despite its intensity, REMIX has a lightness to it. It doesn’t take itself too seriously, and the joy of making it is palpable. ‘Early in your career, all you want to do is make things,’ Simon says. ‘There’s a joy in that flow state, and this book gave us an excuse to revisit it.’
Accessibility was also a priority. Alongside the limited-edition hardback (only 2,500 copies), there’s a digital version that reshuffles each time you visit, creating a living document that evolves with interaction. Student discounts and free copies for colleges ensure that REMIX reaches beyond those who can afford a hefty design object.
When asked if the book might appeal to someone with ADHD, Aporva and Simon agree. ‘A lot of creative people process the world differently,’ they say. ‘REMIX feels like stepping into that headspace—colorful, intense, and beautifully chaotic.’
So, here’s the thought-provoking question: In a world obsessed with perfection, does REMIX’s embrace of messiness challenge how we view creativity? Or does it simply remind us that the best work often comes from the chaos? Let us know what you think in the comments—we’d love to hear your take on this bold, unconventional masterpiece.
