Five degrees of the same composition, from your layout with the window removed through to fully abstract. Set in Trajan, which is the typeface your wordmark already uses. All real vector.
Your mark, window removed, nothing else changed.
The literal answer to your question, built to your own proportions. I measured the ridge at 21 percent across and the right plane running the full width, so the sweep is yours rather than my guess at it. Redrawn as real vector so it can be cut, etched and embroidered. The window was about 9 percent of the mark height and filled to a dot below roughly 32px, so pulling it was a production fix as much as a look.
Same mark, the long right plane brought back in.
Your right plane runs to the very edge, which is why the mark fights a square sign, a profile picture and a browser tab: the silhouette is a wide wedge, so anything square has to shrink it to fit the width. This trades a little of the sweep for a mark that sits properly in a square.
The B sits on the roof instead of through it.
In your version the roof diagonal cuts the B's lower bowl, and that crossing is where it goes ambiguous: the bowl's right side reads as a separate stroke, which is why it half reads as two letters. Separating them removes the ambiguity and keeps the balance.
One stroke weight. Letter and roof as one system.
No serif and no thick to thin: the B is drawn from a stem and two bowls at the same weight as the roof, so the whole mark is one piece of line. This is usually what abstract means in practice, and it is the version that survives embroidery and single colour vinyl best.
Fully abstract. Ridge and upright, nothing else.
Your composition stripped to the two moves that carry it. The letter is gone and the wordmark does that work instead. The only one here that is unmistakable at 16px and from a moving truck.