Architypeture: Part I

Architecture Typography Lentos Art MuseumClick images to enlarge
Left to right, row by row: Lentos Art Museum, Linz, Austria, Weber & Hofer Architects. Caltrans District 7 Headquarters, LA and Cooper Union, NYC, both Thom Mayne, Morphosis, typography on Cooper Union was done in collaboration with Abbott Miller, Pentagram. Parsons The New School for Design, NYC, Lyn Rice Architects; exterior awning photo: Michael Moran. Interior auditorium acoustic graphic photo: Noah Sheldon.

Architecture Typography Ali Tayar Thom Mayne Why Not Associates Chermayeff & Geismar

Click images to enlarge
Left to right, row by row: PopBurger, NYC, Ali Tayar, Parallel Design. The Alembic door, Oliver DiCicco. 9 West 57th St. sculpture, Chermayeff & Geismar. UCSF, University of California, San Francisco. Minneart Building, Utrecht University, The Netherlands, Neutelings Riedijk Architects. University of Toronto, Graduate Student Housing, Thom Mayne, Morphosis. Hackney Empire theater extension, London, Tim Ronalds Architects. Blackpool Climbing Tower, Blackpool, England, Why Not Associates with Gordon Young. Tam O’ Shanter Pub Steps in Ayr, Verse from Burns’ Whisky, Why Not Associates with Gordon Young. G Hotel, Ireland, Philip Treacy Architects. Koninklijke Bibliotheek (Library in The Hague, Netherlands), designed by Wim Quist (?).

Nothing really comes up when you google “architypeture” other than the recently scooped up domain name, but I’ve decided to use it here as the fusion of architecture and typography, especially when successfully and beautifully rendered. I don’t think there is a designated term for this, but there should be. Architypeture is possibly one of my favorite things, and I don’t do favorites lightly. This is Part 1 of two posts (the second will follow shortly) showing examples of typography wonderfully incorporated into architecture; in some cases on the exteriors of the buildings and in other cases, the interiors. All names and credits that I was able to find (mostly of the projects and architects, a few of the photographers) have been listed with their corresponding links. If someone knows any credits that have been omitted, please feel free to let me know in the comments.

(See Part II here)

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