space, which is infinite. A G Fronzoni. Progettare voce del verbo amare.
laboratorio di progettazione architettonica 2_2002/libricino_1 I rely on the empty space to communicate, something which is revealed
graphic mareike henschel
gennaro postiglione paolo giardiello bruno vaerini alessia mosci paolo vimercate
in the relationship between filled and empty areas, where space
consequently also plays a crucial role. I attribute great importance to the
void, not as absence (of information) but as significant moment. I consider
the empty areas at least as important as the filled ones, and in some cases
I attribute greater importance to the void as a pause, interruption, a moment
of inspiration and reflection. Within the area the text plays a fundamental
role, regardless of the de-codification of the words, of the terms; this
of inspiration and reflection. Within the area the text plays a fundamental
relation to the void it is surrounded by. I want the word to be what it is
as a whole, to reflect its profound essence. The word, the typographical
character, is very rich from an expressive viewpoint. It has infinite
possibilities; I never cease to marvel when confronted with the force of
a character that may beRoman, italic and that may convey strength,
dynamism; typography is truly a very expressive world. And if it is true
that typography is originally black and white, then it is in this dualism, in
this bichrome nature, that the sense of typography, namely to communicate
with absoluteness, with essentiality, is to be found: the white is the white
of the paper, the black is that of the ink, of the letter and these two elements
are therefore significant as such, and serve to suggest the essential
character of typography. In fact, I have not designed many works with
colors. I have only done so when I have considered it essential for the
message I had to convey...
And not an imagined reality?
The synthesis is not fiction; no simulation of something that does not
exist, but a new and unsuspected reality. Colors and their possible
combinations do not serve to render something which exists. Black and
white indicate the limits of the field of perception; On the one hand they
convey the light, and on the other darkness, the synthesis of the
communication. Black and white, interior and exterior, here and beyond,
private and public, presence and absence, noise and silence, interruption
and continuity, rhythm and arrhythmia. Black and white as a desire to
reduce, carried to the extreme of cancellation: less is more. White is first
of all elimination, sometimes it is penetration in other secrets of reality,
and other times it is an investigation within ourselves which, reaches
interior resonance or addition with the creation of another reality .
White areas are journeys we never made, even if we wanted to, things we
never said, love given and forgotten. The fact of not possessing. White
spaces, small and large: interior world, spirit, another world, a void, a
surprise, a chance, a generous gesture, a hope, an enigma, a feeling,
a buzz, a place, a space, an invented world. The absence of objects, of
partitions, of doors in white open space; inside we find Man, who is color.
The black areas are occupied by the power which, beyond any tolerable
limit, intent to destroy the world in a delirium of profit. Black is non-
of inspiration and reflection. Within the area the text plays a fundamental
mystery. The night sky is full of the force of achromatic colors, the moon
How many things would never have happened and could never happen without you, AGF. Thank you
The questions of students, assistants or simple visitors become an occasion for reflection on the part of AGF, who always succeeds in channeling, within the ampler design philosophy, the numerous issued tackles on a given occasion. It may thus happen that the same project develops in a completely unpredictable manner during a day, depending onthe participation and contributions made by the different persons present and,above all, by occasional visitors. It is not uncommon that also critics, designers or young architects have found themselves involved in important design decisions made in the workshop, zwhich have then given rise to interesting projects; one of the latest emblematic cases is the design, by the Fronzoni studio, of products for Samsonite and the redesign of some of the company s showrooms in Milan and abroad.
and the stars shine and stand out against the void. Obscurity suggests