Barbara Stauffacher: A Biographical Booklet

A Biographical Booklet by Nate Mittan & Timothy Woo

The Sea Ranch Post Office with Supergraphics styling it.

Abstract

This booklet is intended to educate and inform one of the visionaries of the 20th century; Barbara Stauffacher Solomon. Born in San Francisco, Barbara began in fine arts, but shifted to design so that she could support her child as a single parent. She had to be ruthless to fight against sexist attitudes in the design field, but succeeded where few had before. She was an innovator, and a fighter. Her creation of Supergraphics was revolutionary, and she did it despite systemic resistances to a woman becoming a leading figure.

Her main contribution to design was in the vibrant and wonderful mixture of Swiss Modernism and California Cool. She used this new style to accentuate existing forms, creating bold and striking graphics which helped guide someone through an area smoothly. Barbara went on to become a leading figure in accentuating existing architecture, and bringing out latent beauty in the mundane. Her mark will not soon leave the world.

Barbara’s career began in the arts and dance. When she met the filmmaker Frank Stauffacher, Barbara’s life was introduced to the creative characteristics of the avantgarde world. It wasn’t until the death of her husband that she moved to Switzerland to study under Armin Hoffman, a revolutionary leader of the Swiss Modernist movement. She became the first American to study graphic design at Kunstgewerbeschule in Switzerland and her mentorship led to her rise in prominence in the art and design world.

Barbara meets her husband, Frank Stauffacher.

1946

Barbara is born in San Francisco.

Barbara completes her work on the Sea Ranch. First example of supergraphics.

Barbara is given a solo exhibit at the SF MoMA.

1966 1991

2019

Barbara’s husband passes away. She moves to Switzerland to study under Armin Hoffman.

Barbara creates the Ribbon of Light spanning the Embarcadero of San Francisco.

Background

Her late husband had been well known in architecture fields. She sold her designs to Lawrence Halprin, who gave her recognition and publicity. This allowed her to make a name for herself and then detach from Halprin later on.

Additionally, she networked with the famous architects of the time. This is a crucial aspect of her commercial success, and was no easy feat. As a woman in the 60’s and 70’s, she was in a fragile position, but managed to be practical in her push into the field.

The branding of Barbara Solomon is effective and many pronged. She created documentaries and promotional films to help get new generations on board with the concepts of Supergraphics. She also creates many products which hold her super graphics, such as tote bags and clothing items.

Barbara Solomon was also successful in her brand for several reasons. Swiss Modernism was in its heyday during the 60’s and 70’s, yet had become somewhat monolithic. With her background in West Coast Cool design, she could ride a trend right into an unfilled niche that no one had done before.

Jim Alinder/Princeton Architectural Press

Inspiration & Drivers

Barbara’s inspirations are focused on Swiss Modernism mixed with California Cool style.

Swiss modernism focuses on clean lines and readability; California cool on eclectic coloring and boldness in form. These styles were brought together in a new art style called “Supergraphics.” Supergraphics were large imposing visuals painted over existing buildings to change the way in which they were perceived. While imposing and vivid, they are also playful, light and a joy to look at.

Armin Hofmann’s Swiss typography, focused on clean lines and readability.

West Coast eclectic modernism.

The blending of these two camps resulted in “Supergraphics.”

A midcentury modern art form given new life through “exuberant” color use and harsh geometry.

“I do what the walls tell me to do.” -Barbara Solomon on her approach to design.

Design Approach

Barbara mainly worked in the capacity of a contract hired project lead. She would accept a contract, lead the work on the project (generally applying supergraphics to installations), and then ensure that the project finished in its allotted time frame. Her late husband had been well known in architecture fields. She sold her designs to Lawrence Halprin, who gave her recognition and publicity. This allowed her to make a name for herself and then detach from Halprin later on.

Additionally, she networked with the famous architects of the time. This is a crucial aspect of her commercial success, and was no easy feat. As a woman in the 60’s and 70’s, she was in a fragile position, but managed to be practical in her push into the field.

An image showcasing Barbara’s personal studio.

Marketing & Promotion

The branding of Barbara Solomon is effective and many pronged. She created documentaries and promotional films to help get new generations on board with the concepts of Supergraphics. She also creates many products which hold her super graphics, such as tote bags and clothing items.

Barbara Solomon was also successful in her brand for several reasons. Swiss Modernism was in its heyday during the 60’s and 70’s, yet had become somewhat monolithic. With her background in West Coast Cool design, she could ride a trend right into an unfilled niche that no one had done before.

Research & Development

To prepare for a supergraphics project, she looks at the site and analyzes ways to complement the existing form. She finds ways to enhance existing form & structure, this kind of modern design revolutionized old spaces through addition of color and form. Barbara works are always done in existing forms. A large part of her research involves studying the form and elegantly accentuating it. Her work on gardens exemplifies her research phase:

1. She begins by drawing representations of gardens from her memory, then reducing these illustrations down to their most base forms.

2. From there, she brings out sensations of travel and movement which pair with how one would move through a garden.

3. Finally she structures the transition from house to garden, and creates a flow from one to the other.

“I do what the walls tell me to do.” - Barbara Solomon.

An illustration from Barbara’s book: Gardens & Utopia

Comparative Analysis

To analyze the success of Barbara’s striking supergraphics, we can look to one of her contemporaries, Paula Scher. Paula is an American designer who revolutionized typography in the 1970’s, and now is one of the most well known names in graphic design.

Paula’s design influence came from the Tyler School of Art, and her early career was spent making hundreds of iconic record covers. In 1982 she left this field and developed a new typographic family from Reworking outmoded Russian Constructivist principles. From there she worked with Terry Koppel to start Koppel and Scher, an influential design firm. She started Pentagram, a leading design magazine, and now works as an educator.

The two designers were linked through their interest in experimental typography, and American eclecticism. Some key differences are that Paula was more interested in leadership and education as she progressed through her career. Regardless, both gained prominence despite facing challenges from institutional sexism.

Case Study

To understand the impact of supergraphics, Barbara’s prodigal design project for the Sea Ranch community is a perfect exemplar. Sea Ranch started as an idea of an unobtrusive, environmental utopian community. Nestled in the hills facing the sea cliffs south of Mendocino, the founders wished to better integrate high scale living into the natural environment.

Founders worked hard to integrate community into the environment. They grew trees to shelter it from the wind, forbade non wood shingling in the exteriors, and created sloping sillouettes which helped it blend into the surroundings.

This progressive architectural project was perfect for Barbara’s Supergraphics design. She created the iconic ram image intending to mix the ideas of pastoral calm and the wild crashing of the waves below. All communal interiors held Barbara’s iconic graphics, and helped bring an avant garde brightness to the otherwise integrated natural living space.

“it was this character that I hoped we might achieve, ... a feeling of a community.”

Social Impact

Barbara’s career was constantly at risk from the sexist power structures and superiors she had to contend with. She forced herself to endure horrifying working conditions to support her child.

One way she achieved success was through networking. Her late husband had been well known in architecture fields. She sold her designs to Lawrence Halprin, who gave her recognition and publicity. This allowed her to make a name for herself and then detach from Halprin later on. She turned the tables on a system determined to keep her down.

Solomon was a pioneer in a male dominant world; her design styles were innovative, and opened many doors for the design world that made her part of the modern design movement. Barbara Stauffacher Solomon fought to normalize women as designers, and also created new style possibilities thanks to her boldness and innovation.

Barbara photographed in a Sea Ranch interior.

Conclusion

Barbara Stauffacher Solomon was a visionary graphic designer who created a

new niche from her unique perspective. She forged new pathways for women everywhere through her efforts, and pushed a design style which emphasizes accessibility, equity and accessibility.

Today when looking at any museum, or artistic shared space, there will likely be Solomon’s mark on the once bland walls. When you walk through an exhibit and wonder why you seem to be guided through it just by the design, look to Barbara Solomon for the origin of this trend.

“It’s very hard at a certain point to be serious,” she says. “I’ve become seriously silly. I think that’s all you can do about anything these days.” - Barbara Solomon

Sources

1. https://www.placewares.com/pages/barbara-stauffachersolomon

2. https://www.fastcompany.com/90655404/the-most-influentialdesigner-youve-never-heard-of-is-a-92-year-old-artist-in-sf

3. https://www.designweek.co.uk/issues/22-28-february-2021/ barbara-stauffacher-solomon/

4. https://www.vonbartha.com/artists/barbara-stauffacher-solomon/

5. https://bampfa.org/page/life-and-art-cinema-barbarastauffacher-solomon-and-frank-stauffacher

6. https://readymag.com/designstories/stauffacher-solomon/

7. “At 90, Barbara Stauffacher Solomon Has No Time for the Art World (and Never Did)”. KQED. 2018-08-16

8. Segran, Elizabeth (2021-07-15). “The most influential designer you’ve never heard of is a 92-year-old artist in SF”. Fast Company

9. Paula Deitz (29 November 2011). Of Gardens: Selected Essays. University of Pennsylvania Press. pp. 51–. ISBN 978-0-8122-0696-8

10. Fletcher, Jennifer Dunlop. Sea Ranch: Architecture, Environment and Idealism. Prestel Verlag GmbHamp; Co KG, 2019.

This booklet was created as part of a school project for DES 300 at San Francisco State University, 2022.

Printed on glossy card stock. Types used are: Playfair Display and Neue Haas Grotesk. Printed at SFSU Campus Copy Center ‘Ctrl+P.’

Type and Design by Nate Mittan & Timothy Woo.