{"id":35474,"date":"2026-05-27T12:26:30","date_gmt":"2026-05-27T10:26:30","guid":{"rendered":"https:\/\/www.orticolario.it\/intervista-a-matteo-fraschini\/"},"modified":"2026-06-15T16:39:11","modified_gmt":"2026-06-15T14:39:11","slug":"intervista-a-matteo-fraschini","status":"publish","type":"page","link":"https:\/\/www.orticolario.it\/en\/intervista-a-matteo-fraschini\/","title":{"rendered":"Intervista a Matteo Fraschini"},"content":{"rendered":"\t\t
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Traces, a project by<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Matteo Fraschini <\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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[a few questions]<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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How did your story begin?
<\/strong>As an architect, I have always been fascinated by the relationship between construction and the ground. By living in and inhabiting nature in order to transform it into \u201cplace,\u201d human beings leave traces that testify to a process of continuous modification\u2014one that I seek to interpret as dialogue rather than opposition: not a struggle between present and past, nor a conflict between humanity and nature which, unfortunately, today seems destined for a dramatic outcome.
I consider the Masterplan for Euroflora to be a moment of synthesis within my research. It was a project that engaged me for more than two years, alternating formal investigation with technical and construction-related challenges. Later, I felt the need for something more intimate and perhaps deeper. I therefore began reworking concepts and structures in a freer form, exploring the possibilities offered by a small 3D printer. And from there, perhaps completing a circle, I returned to reflecting on a theme that has always been fundamental to me: the relationship between form and its image.
Orticolario gave me the opportunity to present this reflection as both narrative and dialogue through an installation. It felt natural to extend the perceptual dimension of the installation into a musical plane. I therefore invited Simone, whom I have known for many years and with whom I have already collaborated on projects exploring the relationship between architecture and music, to join me in this adventure.<\/p>

How does nature inspire your projects and lifestyle?<\/strong>
As an Italian, a European, and a Mediterranean, there are many places from which one can learn. However, having lived in South Africa for several years, I also came to know a powerful nature capable of almost overwhelming you. The experience of travelling across vast expanses where the only human trace visible on the horizon is the gravel road beneath your feet challenged many of my certainties.
The emotion of standing at the Cape of Good Hope, on that rocky promontory where two oceans meet, will remain forever etched in my memory.<\/p>

Who are the people who have most inspired you artistically and professionally?<\/strong>
There are many, I would say. Among architects, certainly Filippo Brunelleschi: a true revolutionary capable of uniting vision and technique, understood as the knowledge of how to make things. Then, perhaps, Guarino Guarini even more than Borromini. Having recently visited his churches in Turin, it is remarkable to observe how his complex geometries function as \u201ctransparent\u201d devices for guiding sunlight into architectural space.
Looking at the contemporary context, I am undoubtedly connected to figures such as Peter Eisenman, Rem Koolhaas, and Frank O. Gehry. Gehry, in particular, was able to develop software that translated a physical model made of folded cardboard into architecture. In a sense, just as perspective was for Brunelleschi, he created a tool for \u201cinterpreting\u201d the world.
Equally fundamental was my doctoral supervisor, Ernesto d\u2019Alfonso, who guided me through a dialogue spanning more than twenty years, helping me understand and develop the ideas we are discussing.
And finally, my father, an engineer, who used to tell me the story of the Odyssey by drawing it in a small notebook, always reminding me that drawing is, first and foremost, a way of knowing.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Which artwork\/design object would you place at the center of an exhibition?<\/strong>
My first thought is Michelangelo\u2019s Rondanini Piet\u00e0. Perhaps because, living in Milan, I\u2019ve had the chance to see it several times, and each encounter reveals something new. It is a process of emergence from stone that was left unfinished, yet it radiates a remarkable sense of movement and vitality. It succeeds in bringing together the intimacy of a single moment and the dimension of eternity.<\/p>

Is there a recurring dream\u2014or idea\u2014that returns throughout your work?<\/strong>
Jackson Pollock\u2019s work comes to mind. On one hand, it evokes the idea of a fundamental interchangeability between the vertical surface (the scene) and the horizontal surface (the stage). On the other, it speaks of a ground made of layers that emerge with varying degrees of intensity, suggesting a deep terrain rising to the surface and revealing different traces, where transparency becomes thickness.
It inspires me because it suggests the coexistence of different actors inhabiting a space\u2014not as isolated atoms, but as distinct units of signs and traces. Our territory is complex, made up of networks, heterogeneous fabrics, agricultural and natural landscapes. How can we think about, imagine, and design this complexity so that every \u201cactor\u201d is represented?<\/p>

Is there a fictional or fantastical scenario that embodies your artistic imagination?<\/strong>
I would like to say no, and yet the question makes me reflect. The word paradise itself refers to the idea of an enclosed garden: a vision of nature that is always mediated through culture.
Throughout history, this image has taken many forms, from the abstract geometries of the Renaissance garden to the \u201cnatural\u201d landscapes of the picturesque garden, often shaped by the real contexts from which they emerged.
Today, however, we tend to imagine fantastical nature as a place without any human presence. To me, this feels like a paradox: conceiving beauty only through our own exclusion.<\/p>

At Orticolario 2026, what emotion or feeling do you hope people will experience when encountering your work?<\/strong>
I hope they feel curiosity.
I have imagined a work that does not necessarily need to be understood at first glance; it is something to be discovered and experienced. Different narrative layers interact with one another, and I hope visitors will be willing to engage directly by working with the matrices and prints, understanding the meaning of the story through the very act of making.<\/p>

If your project were music, what would it be?<\/strong>
A composition built from simple cells that repeat, transform, and interact over time in a continuous flow\u2014never entirely predictable, always balanced between order and variation.
Music is a structural component of the project and, in this sense, Simone Libralon\u2019s work interprets with precision the principles of stratification and dialogue that underpin it: elements that coexist, overlap, and influence one another while retaining traces of their passage.
What emerges is a sonic landscape that unfolds not in a linear way, but through surfacings and returns, like a memory in motion. The result is an experience to be traversed, where every gesture leaves an imprint and enters into relationship with what came before and what follows.<\/p>

Five words closely linked to the concepts of dream and illusion<\/strong>
Memory, unknown, flow, trace, passion.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t

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[BIO]<\/p>

Matteo Fraschini (1976) is a Ph.D. architect and lecturer at the Politecnico di Milano. Formerly a lecturer at the University of Cape Town, he developed the masterplan for Euroflora 2025, which was exhibited at the 2025 Venice Biennale. The recipient of awards in international competitions, his research explores the relationship between the tactile and the visual through geometry and digital modelling. He is the author of Design Disegno<\/em> (2018).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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[BIO]<\/p>

Simone Libralon (1988), musicista e sound designer, \u00e8 viola solista dell’Orchestra Sinfonica di Milano. Esplora il suono come dispositivo ambientale, con all’attivo diverse incisioni e pubblicazioni sul rapporto tra musica e design. <\/span><\/span> <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cToday, however, we tend to imagine fantastical nature as a place without any human presence. To me, this feels like a paradox: conceiving beauty only through our own exclusion.” – Matteo<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tRead the next interview >><\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<< Traces, a project by Matteo Fraschini [a few questions] How did your story begin?As an architect, I have always been fascinated by the relationship between construction and the ground. By living in and inhabiting nature in order to transform it into \u201cplace,\u201d human beings leave traces that testify to a process of continuous modification\u2014one […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-35474","page","type-page","status-publish","hentry"],"yoast_head":"\nOrticolario 2026 | Intervista a Matteo Fraschini<\/title>\n<meta name=\"description\" content=\"Intervista a Matteo Fraschini che partecipa con "Traces" tra le installazioni fuori concorso della sedicesima edizione di Orticolario...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.orticolario.it\/en\/intervista-a-matteo-fraschini\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" 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