omaggio a AG Fronzoni

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