The third edition of NPATAK’s International Architecture Festival took place in Yerevan from September 9 to 14, 2025.

From Büro Uebele:

From the relatively minor task of designing a poster for an architecture conference there evolved – without the slightest effort on our part – a surprisingly attractive and effective visual identity. Which we make no bones at all about claiming as our own work. Because our Armenian clients adopted elements of our poster (the colourful stripes, the specific typesetting mode), rearranging them for different applications and using them with background images.

The striking Balkenschrift font created by typeface designer Gabriel Richter in collaboration with Andreas Uebele looks like it was drawn with a ruler – making it a good match for the architectural theme. because every product, whether it’s a building or a brand, needs to tell a story and be structurally sound. Only then can you really work with it.

Krasz and GT Walsheim are the typefaces used for the identity of fuxundkauz. From Büro Uebele:

I’m me and you’re you

fuxundkauz (the German name references two very different creatures, the fox and the owl) takes philosophical workshops or rather “thinkshops”, into schools. Given that we’re all different, there’s more than one way of looking at fundamental issues. Which provides plenty to talk about, also and especially with students.

The visual identity translates this approach into simple, clear imagery – two individuals meet and engage in dialogue, showing that peaceful coexistence is perfectly possible even when you’re not cut from the same cloth. you just have to talk to one another. Here we have a clear statement from our two clients and, incidentally, not only political education but aesthetic training as well: being quirky can be beautiful; you don’t have to fit in.

satzfahnen is an exhibition by Büro Uebele, shown in January 2025 at Necktar 127. From the studio’s website:

what we are committed to is no secret: we show it in our exhibition »satzfahnen« and give an insight into what we think and how we act. because without language there is no design and there is no design without principles.

Hin und wieder aber dennoch – now and then but nonetheless.

Large-scale, luminous words accompany the students at the Morgenstelle Cafeteria of Tübingen University not – as we might expect – while they are studying but while they are eating. Suspended from the ceiling in the cafeteria where the food is served, the words and their possible meanings add an element of interest and diversion to the time spent in this functional space. They are a playful adaptation of words by the philosopher hannes böhringer selected specifically for this location. Light sequences of different colours create an ever-changing atmosphere, bringing the whole cafeteria to life. — Büro Uebele

Stuttgart municipal museum visual identity. Invited competition, not realized.

Büro Uebele:

“In the past, the german parliament lacked an overarching uniform visual identity. In the invited competition for the new corporate design, the question arose as to whether the german parliament needed a new logo. The answer is simple: no, because it already has a logo. There is no need to design a logo for the german parliament because it already exists – in the shape of the federal eagle.

Through its formal abstraction, the three-dimensional form that the cologne-based artist Ludwig Gies designed in 1953 for the german parliament maintains a pleasing equilibrium between sovereign distance and a more accessible naturalistic representation. Every member of the german parliament and everyone who works for the administration will be proud to use this logo on his or her headed stationery. There are many arguments in favour of retaining this iconographically distinctive brand. As this figure was designed for three-dimensional application, weaknesses emerge when it is used in two dimensions. So the heraldic bird was subjected to a fundamental makeover, which nonetheless left it bearing a strong relationship to the eagle designed by Ludwig Gies.”

Invited competition; 1st prize, realized
Client: Deutscher Bundestag
Project team: Katrin Dittmann, Daniel Fels, Angela Klasar (project manager since February 2009), Tristan Schmitz (project manager May 2008 – January 2009), Andreas Uebele
Photos: Werner Schüring junophoto, Julia Novak-Katz

“nineteen storeys, and nineteen times the same story: the same door, the same wall, the same floor. the only unmistakable element is the graphic wall-covering. the figures that make up the number of each floor are combined in graphic patterns that decorate the curving walls. they tell me: i’m at the right level.”

Geometrical coloured patterns guide visitors to their destination and lighten the mood of this sterile setting. Each of the numerous locations has its own combination of pattern and colour to set it apart, then each visitor can identify “their” colour and pattern that will guide them through the hospital complex.  

The ward reception areas are identified by large areas of characteristically coloured, patterned wallpaper, with identical designs on the counters and doors. this visual coding gives these areas their own distinct identity. The system is based on a highly flexible concept that can be easily and quickly.