Shiny Metal Objects D E P A R T M E N T   o f
Dialing from Canada? Tel: 204-480-8832 Dialing from the USA? Tel: 727-388-6918 Email: info@apollomarconi.com

A few stills from our 60 second video ‘Another Day at the Office’

Here, a few options we drew for the sidewalk entry canopy that leads to the front door of (the)

Gropius House. This deploys some of the methods we used at the TALISMAN condos in Seattle.

As the view up the drive-

way does not feature an

angle on this entry, not

many would see it here –

but it was begging for

some lettering, even if

this particular face isn’t

the one. Why? It breaks a

few legibility rules, which

I will go into elsewhere,

but which include the

font’s very small coun-

ters/negative space.

When in Rome…yes, so what if we’re in Massachusetts? When the house went up in 1938,

the world had long since moved to Arabic numerals, but for love of the Roman format it-

self, we’ve drawn them here (using the Bauhaus 93 font, not around in 1938 either).

Something for the horizontal aperture outside the kitchen door on the south side of the house.

How about the north side? Let’s say someone has come from Cambridge or Lincoln and overshot

the driveway turnoff. They look over their left shoulder while speeding west. Why not provide

something to set them straight; to brook no uncertainty?

Marcel

Breuer’s

house

530 ft |160m 210 ft | 64m

PASSENGER

“Was that sixty

eight?”

DRIVER

(Looks left)

“Yup”

More on this

one further

down the

page

For a Marcel Breuer influence, we explored tubular steel (as did Breuer with his iconic Wassily

chair and others) & exploit the Gropius’s neighbor’s love of bicycles, their engineering & and

their chief component: tubes (this time, scaled UP). Rolled aluminum, Cor-Ten or stainless.

Have we inadvertently created an anachronism? Probably not,

as grid paper at the Bauhaus would have naturally given way

to coloured-in squares, itself a naive typography predating the

20th century’s LCD/LED fonts.

Of all the Futura family members, the only one where the bot-

tom story of the 8 is the same height as that of the 6 is Futura

Light Condensed. See drawing, next. (FYI: our own NeoMetro1

borrowed its 4, 6 and 9 from Futura Light).

SIXTY EIGHT

There’s more to be said regarding this thought experiment, but for now we’ll leave it right here,

and say “to be continued…” - If any of these approaches stuck a chord with you, get in touch for

more on how we can help make an address statement happen for you.

Dialing from Canada? Tel: 204-480-8832 Dialing from the USA? Tel: 727-388-6918 Email: info@apollomarconi.com
D E P A R T M E N T   o f Shiny Metal Objects

A few stills from our 60 second video

‘Another Day at the Office’

Here, a few options we drew for the sidewalk entry

canopy that leads to the front door of (the) Gropius

House. This deploys some of the methods we used at

the TALISMAN condos in Seattle.

As the view up the driveway

does not feature an angle

on this entry, not many

would see it here – but it

was begging for some let-

tering, even if this particu-

lar face isn’t the one. Why?

It breaks a few legibility

rules, which I will go into

elsewhere, but which in-

clude the font’s very small

counters/negative space.

When in Rome…yes, so what if we’re in

Massachusetts? When the house went up in 1938,

the world had long since moved to Arabic numer-

als, but for love of the Roman format itself, we’ve

drawn them here (using the Bauhaus 93 font, not

around in 1938 either).

Something for the horizontal aperture outside the kit-

chen door on the south side of the house.

How about the north side? Let’s say someone has

come from Cambridge or Lincoln and overshot the

driveway turnoff. They look over their left shoulder

while speeding west. Why not provide something to set

them straight; to brook no uncertainty?

Marcel

Breuer’s

house

530 ft |160m 210 ft | 64m

PASSENGER

“Was that sixty eight?”

DRIVER

(Looks left)

“Yup”

More

on this

one fur-

ther

down

the

page

For a Marcel Breuer influence, we explored tubular

steel (as did Breuer with his iconic Wassily chair and

others) & exploit the Gropius’s neighbor’s love of bi-

cycles, their engineering & and their chief component:

tubes (this time, scaled UP). Rolled aluminum, Cor-Ten

or stainless.

Have we inadvertently created

an anachronism? Probably not,

as grid paper at the Bauhaus

would have naturally given way

to coloured-in squares, itself a

naive typography predating the

20th century’s LCD/LED fonts.

Of all the Futura family members, the

only one where the bottom story of

the 8 is the same height as that of the

6 is Futura Light Condensed. See

drawing, next. (FYI: our own

NeoMetro1 borrowed its 4, 6 and 9

from Futura Light).

SIXTY EIGHT

There’s more to be said regarding this thought experi-

ment, but for now we’ll leave it right here, and say “to

be continued…” - If any of these approaches stuck a

chord with you, get in touch for more on how we can

help make an address statement happen for you.