Hi John, I think I am seeing several designs within this one. I like the grouping of the 1,2,7,Z as they are all thin by the use of single
block , the A,B,C,D,O,P,Q,0,8 work well together but the rest do not work smoothly together as a unit. the X is something else, my favorite character.

here is a few designs from around the world that use a similar design concept and in my opinion did a really nice job.

Thanks for the advice, guys!

I've always loved Stadia although it turns out that it's a revival of a much older font created in the Bauhaus way back when... interesting story.

Here's a partial redesign:



Do you think that having some characters weighted on the top and some weighted at the bottom is a good thing? Or should it be more consistent?

I think the weight "imbalance" is a key feature.

hhp

I think the Bauhaus font was slightly different perhaps something more like this one below . This one I believe was redone by Henrik Kuble (Danish) for fontyoufonts.com

Right now it's a big, lovable mess. There are lots of interesting individual characters, but they're not hanging together as a whole.

I think the most successful characters are the ones with the greatest thick/thin contrast: F,G,S,T,L,3. I'd like to see that top- or bottom-heavy approach applied throughout.

Not sure the pixel/stair-stepping technique works for the Z,2 or 7 either. You might consider applying the rounded corner approach of the K.

The double lump of the I and W is cool, too. More of that, maybe?