about
A champion of the grid system and German Modernism, graphic designer Otl Aicher is cemented in history as a pioneer in corporate identity in post-war Germany. Throughout his lifetime, Aicher enriched traditionally-austere Central European design with rigor and freedom, empowering the grid to breed structured, yet visually active design.
He insists that the ordinary working day is still more important than the “cultural Sunday.”
early life
Born and raised in Ulm, the south-western state of Baden-Württemberg, Germany on May 13, 1921, Aicher experienced the devastation of the Second World War first-hand. He had anti-Nazi views and cofounded Die Weisse Rose (the White Rose) non-violent resistance group before serving in the German army in 1941 against his beliefs. After several attempts to leave, he finally deserted the army and hid in the Scholl residence. Upon Germany’s surrender, Aicher moved back to Ulm to engage in the rebuilding of the city. He organized Thursday Lectures-- gatherings with the intention of stimulating the population--and promoted them with his designed posters. In the late 1940s, after years of grappling with the decision to become a fine artist and a brief semester studying sculpture at the Academy of Fine Arts Munich, Aicher realized that “‘the street is more important than the museum’” and was unable to justify creating fine art when his hometown required practical action for reconstruction. (Rathgeb 23) Aicher had started creating client work at his own design studio Büro Aicher by 1947, and the following years were instrumental in Aicher’s exploration and interest in modernism, ultimately defining Aicher’s design identity.
Aicher’s war-ridden early life was an important catalyst for his transformative influence to Germany’s post-war image in the coming years. Despite having artistic talent and interest, Aicher was unable to “reconcile the gap between [fine art], which for him lost its sociological foundation, and the realities of the world around him,” leading him to adopt a mindset that challenged pure aesthetics. (Rathgeb 23) This rejection of art, in effect, led Aicher to his lifelong pursuit of design for political and social change.
commitment to education
In the continued effort to help revitalize Germany, Otl Aicher, Inge Scholl, and Max Bill founded Hochschule für Gestaltung Ulm (HfG) or Ulm School of Design in 1953, a progressive design school intended to train socially-minded designers. This mindset will later be known as the Ulm Model, grounded in modernist principles, aiming to curb nationalist and militaristic mindsets and reshape the future of Germany. During his time consulting and teaching at the Ulm School of Design, Aicher emphasized the profile of the designer as a profession, not just as an artist or architect that “designs”, which was the general opinion on designers in the mid 20th century. His teachings emphasized objectivity of design methodology, the power of design to serve as the model of science and technology, and how design should be involved in the decision making process of industrial production. Some notable projects that were produced from the Ulm School of Design include the first completely stackable tableware, Braun’s audio equipment, and the functional yet cost-efficient Ulmer stool. Although the school only existed for 15 years, it has been known as the most influential design school after the Bauhaus.
Many of Aicher’s influential relationships began at the HfG. Famous designers and architects of the mid-century such as Tomás Maldonado, Max Bense, Hans Gugelot, Dieter Rams, Josef Albers, and Gui Bonsiepe taught students at the school and collaborated with Aicher on many of his notable projects. Aicher established relationships with the iconic Ray and Charles Eames in the United States, and even more designers internationally. In the industry, Aicher was known for his intellect and according to British architect Norman Foster, “more than a designer…[but also] a philosopher… a poet… he was political in the greatest sense.” (Norman Foster sobre Otl Aicher)
corporate branding
In the continued effort to help revitalize Germany, Otl Aicher, Inge Scholl, and Max Bill founded Hochschule für Gestaltung Ulm (HfG) or Ulm School of Design in 1953, a progressive design school intended to train socially-minded designers. This mindset will later be known as the Ulm Model, grounded in modernist principles, aiming to curb nationalist and militaristic mindsets and reshape the future of Germany. During his time consulting and teaching at the Ulm School of Design, Aicher emphasized the profile of the designer as a profession, not just as an artist or architect that “designs”, which was the general opinion on designers in the mid 20th century. His teachings emphasized objectivity of design methodology, the power of design to serve as the model of science and technology, and how design should be involved in the decision making process of industrial production. Some notable projects that were produced from the Ulm School of Design include the first completely stackable tableware, Braun’s audio equipment, and the functional yet cost-efficient Ulmer stool. Although the school only existed for 15 years, it has been known as the most influential design school after the Bauhaus.
Many of Aicher’s influential relationships began at the HfG. Famous designers and architects of the mid-century such as Tomás Maldonado, Max Bense, Hans Gugelot, Dieter Rams, Josef Albers, and Gui Bonsiepe taught students at the school and collaborated with Aicher on many of his notable projects. Aicher established relationships with the iconic Ray and Charles Eames in the United States, and even more designers internationally. In the industry, Aicher was known for his intellect and according to British architect Norman Foster, “more than a designer…[but also] a philosopher… a poet… he was political in the greatest sense.” (Norman Foster sobre Otl Aicher)