Herbert Bayer

In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications.

[3] Bayer is one of several typographers of the period including Kurt Schwitters and Jan Tschichold who experimented with the creation of a simplified more phonetic-based alphabet.

Bayer's architectural work in the town included co-designing the Aspen Institute and restoring the Wheeler Opera House, but his production of promotional posters identified skiing with wit, excitement, and glamour.

When Anderson saw the ultra-modern, Bauhaus-inspired home that Bayer had designed & built in Aspen, he walked up to the front door and introduced himself[citation needed].

Prior to the completion of ARCO Plaza, Anderson commissioned Bayer to design a monumental sculpture-fountain to be installed between the dark green granite towers.

Originally titled "Stairway to Nowhere" Anderson laughed[citation needed], but felt the Shareholders wouldn't see the irony; thus he suggested it be named Double Ascension and it still stands between the twin skyscrapers today.

ARCO's collection was eclectic, and consisted of an extremely wide range of media & styles; ranging from contemporary and earlier paintings, sculpture, works on paper (including drawings, watercolors and signed original lithographs, etchings and serigraphs) and signed photographs to tribal and ethnic art from many cultures, as well as historic prints and artifacts, all displayed throughout ARCO's buildings in Los Angeles and several other cities.

Bayer made provisions to donate, after his death, a collection of his works which had been housed in ARCO's conference center in Santa Barbara to the Los Angeles County Museum of Art.

[8] Bayer's works appear in prominent public and private collections including the MIT List Visual Arts Center.