![]() ![]() As Lobe adequately puts it: “To work for an institution such as the Bauhaus-Archiv is like being the coach of the German National Soccer Team. ![]() As you might imagine, it’s a task that’s intimidating to even the most seasoned designer. It’s a direct nod to the past without ignoring what the future necessitates. After all, with Bayer Universal not only did the designer get rid of serifs, he got rid of capital letters, too.īayer Next speaks to current times. It’s an interesting approach, especially when contrasted with Bayer’s original ideal for simplifying typography down to a universal typeface. With the glyphs, Lobe and his team created what amounts to an expansive database of typographic options for the museum. You’ll see a “g” with a triangle for the tail and up to 20 different versions of an “a”. No two materials look the same-some use a simplified version of the typeface, while others incorporate geometric glyphs. Looking at the materials, you’ll notice the sheer variety of letters and glyphs involved. “Parameters such as line width and x-height served very well as a method to unify the glyphs yet in an arranged form.” The typeface ITC Bauhaus is a design from 1975 by Ed Benguiat and Victor Caruso inspired by the ideas of Bayer, Schmidt et al, but it is not a revival of any. “While experimenting with different “letters” we hit across many unique glyphs and wanted to add them to our new archive,” he says. It needed to have edges and structure it needed to be full of inexhaustible options. The goal of Bayer Next, he says, was to create peculiarities within the typeface. The simple curves of Bayer's typeface are still present, but added to that are a host of angular, geometric glyphs. Lobe describes Bayer Next not as an update to the original, but an expansion or a natural evolution. It recently unveiled its first corporate identity, which will be used in printed materials, on the website and at the museum itself. But as the museum expands its scope and looks to add another building to its Berlin headquarters to account for a growing number of visitors, it was time for the organization to think about how it wanted to present itself to a new generation of design appreciators. In that time, it’s never had a corporate identity. The Bauhaus-Archiv opened in Berlin in 1960 as a place for documenting and archiving all things Bauhaus. In 1960, the font released for public use. Joe Taylor designed this elegant typeface and Fotostar founded it. But a museum dedicated to the Bauhaus? That’s much more manageable. Bauhaus font is a sans-serif Geometric font. This makes it hard to assign the Bauhaus something like a logo. Today, the Bauhaus is an idea, an aesthetic, a nod to an influential moment in design history-it’s not a tangible thing per se, though its principles are manifested through tangible things. What you don’t think of is a logo or corporate identity. ![]() When you think of the Bauhaus, you probably think of buildings, objects and famous designers. ![]()
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