In the future, the Bauhaus Museum Weimar wants to position itself more clearly and visibly in the triad of the cities Weimar, Dessau, and Berlin, and wants to be historically accurate, without being too literal. The occasion for the announcement of the corporate design is the new museum building planned for the 2019 anniversary, to accompany the new presentation of the collection.
The first years of the Bauhaus institution, 1919–1926, let you feel the energy and the zest for action from when they collided with the old regime in Weimar and exploded loudly. The impetuosity, the controversy and the sometimes naive searches for new forms of expression, are amongst others, manifested in these pictures: the Cathedral of Lyonel Feininger; Works by Paul Klee, Herbert Bayer, Alfred Arndt or Gunta Stölzl; the Ateliergebäude, the Haus Sommerfeld, Walter Gropius, but also Henry van de Velde. In keeping with the exclamation in the manifest: architects, sculptors, painters, we must all return to the crafts!
The spectrum ranges from the purely typographic posters to image-dominated.
Walter Gropius, Paul Klee, Johannes Itten. Three pioneers of the early Bauhaus, three positions, three fonts. The principal part of the design is the typeface Weimar with its three font styles, their appearance is static, stiff, somewhat awkward. It is cut into two parts, namely horizontal and vertical, and together they make a readable characteristic shape. Weimar Walter (horizontal for the first name) with Weimar Gropius (vertical for the last name) gives Weimar Walter Gropius. The other two sections are also divided, although Johannes Itten consists of one thin line and Paul Klee of three thin lines. Free combinations such as Paul Itten and Walter Klee are possible of course, and in addition the combined typefaces can be pushed together, rotated or coloured.
This font family is used as a tool for a universe of possibilities without losing the visual connection between the future visual statements. The font leaves a lot of room to play, can be varied endlessly, and also forms the second level beside the umbrella brand. It guarantees the quality and the recognition of the design.
The Bauhaus Museum Weimar word brand, by a shifting of the triad, unmistakably belongs to the umbrella brand ‘Klassik Stiftung Weimar’. The word Bauhaus is also donned with the geometric letter B from the Weimar Regular typeface, which reinforces the brand character.
The orthogonal B also appears in the body text.
‘My favourite colour is colourful.’ Walter Gropius.
The inspiration for this subdued palette was the colour circle of Alfred Arndt from the lessons of Gertrud Grunow. The house colours of Klassik Stiftung Weimar (the Weimar Classics Foundation) which are light blue and bronze are integrated here.
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