布鲁诺·蒙古齐 / BRUNO MONGUZZI, stone and air, architecture and harmony in Monguzzi’s graphics

对于一个平面设计师来说，能够像使用他的创作 工具那样习惯于精确和耐心的运用视觉语言是件 罕见的事情，但是对于布鲁诺· 蒙古齐（BRUNO MONGUZZI）这个在遣词造句甚至含沙射影方面都 颇有造诣的设计师来说，这就像训练有素的剑客 在决斗中一样这不足为奇。 因此，倾听他的讲话是一件令人愉快的事情。这 让听众们就像获得了一项进入他那些不能轻易被 阐释的作品的特权：对于平面设计和字体设计的 基本知识。他的工作看上去是二维的，但是实际 上他们是一种多维的建筑艺术：作为一个设计项 目的表达，类似于主要形状与其它部分共同寻找 平衡稳定的设计基础结构，以及建筑部门之间通 过文本和图像的穿插创造出一种数量和设计的空 间而非简单的填满构架。在这些意义上它们是多 维的。但是这不是单纯的把他的设计分解成为并 不关联的建筑层面，它更是一种力量，通过作者 对每一个独立的部分审慎的细节刻画而体现出 来。当很多设计师认为设计已经完成的时候，蒙 古齐还在思考着改进的余地，这是一个含砂吐珠 般缓慢渐进的过程。

To meet a graphic designer gifted with skill in the use of words, who can cope with them with the same patience and expertise he’s accustomed to when he manages his working tools, it’s a quite rare thing, but it’s not alien to Bruno Monguzzi who manages phrases, paraphrases and circumlocutions, just like a practiced swordsman in a duel. For this same reason, listening to him, becomes a pleasant way to guarantee oneself a privileged entry in the system of his works, which sometimes aren’t at all easy to interpret, in fact they require an appropriate knowledge of the story of graphics and typography. His projects seem bidimensional, but actually they are real architectures, and in this sense they live in different dimensions: the one of representation, as a necessary projection of an idea and its design; the one of stability, with the construction of the fundamental structure, where the elements of the design, such as the main shapes, join finding together a balance condition; finally a dimension of spatiality, where the construction of the elements, through the insertion of texts and images, rather than covering the structure, allows it to become volume and design space. But it’s not just the mere possibility of decomposing his designs into different and interrelated levels which reminds architecture, it’s also the power of every single element, whether irrelevant, of being thought and elaborated, through an always scrupulous chiseling process.