Navigating expression, methodology and expectations: A conversation with Matthew Johnson about the architect and the cityscape

Navigating expression, methodology and expectations: A conversation with Matthew Johnson about the architect and the cityscape By Hadeel Ayed, Natalia Bianco and Pedro Morais 

After a remarkable career at DS+R, a firm known for its experimental and progressive approach to architectural practice, Mathew Johnson’s experience continues to push key takeaways into the spotlight—or exactly out of it. From designing parks and sets in NYC to keeping a consistent practice in an ever-changing scenario, this conversation navigates towards the creative nature that these experiences solidify. 

Deep Blue Sea, at Park Avenue Armory - Courtesy of Diller Scodio + Renfro 

Bridging the gap between identity and design is a task that can have either a wide urban impact, such as displayed in the High Line, or a very particular target, as seen in the set designed for Bill T. Jones’s Deep Blue Sea. When tackling the first situation, Matthew highlights the need for architects to leave flexibility in the design so that it can adapt to the changing demographics since the targeted community and its identity considered during the first stages of the project weren’t the ones who mostly use it nowadays, quoting: “you’re too specific about the groups you’re designing for, you are always gonna get it wrong”. Meanwhile, the digital set designed for Park Avenue Armory came as the result of a series of intense workshops in close contact with the artist to come up with the best way to convey his history in a specific design, showcasing the different approach that this same subject - identity - can demand of an architect. When dealing with identity expressions as a designer, specificity and flexibility, as much as knowing who you’re designing for while leaving room for the unexpected, set a dynamic balance to be managed in an architect's work. 

In its approach to this balance, DS+R often pushes the boundaries of architecture and design, merging art, technology, performance, and public space in innovative ways. This invites a deeper exploration of how a firm can navigate interdisciplinarity and avoid specialization; not leaning too much into the technological aspects, and still make a statement through a synthesis of these mediums. 

To achieve this through their practice, they avoid the distinction between any of those disciplines during the design process; strong ideas are materialized regardless of their medium, quoting: 

“Good concepts are good concepts, it just comes down to ideas and how you tackle a problem, and we try to do that independently of whatever the medium is. An approach to an art theater project might be similar to an architectural design; it all comes down to concepts”. 

DS+R’s efforts in integrating technology into the public space introduce new media into a tangible, large-scale experience, in ways users have not previously encountered. This approach is exemplified through many of their early projects that bring these unique experiences to a pedestrian scale. 

Blur Building, Swiss Expo 2002 - Courtesy of Diller Scodio + Renfro

In the context of emerging technologies, and the question of AI taking over the designer's role, it still comes down to big concepts, in Matthew’s opinion. An image resulting from Midjourney for example, is meaningless on its own because it's not doing anything conceptually. There's no continuity with a bigger idea or a social condition. 

Matthew Johnson's work exemplifies this principle, particularly with the High Line, which he regards as his dream project. This endeavor provided him with a unique opportunity to meticulously refine every detail, ensuring that each inch of the space was thoughtfully considered and deeply connected to a larger narrative. 

He articulates that the High Line has become the defining project of his career, not solely due to its substantial impact but also because he has evolved alongside it over the past two decades, witnessing its continuous transformation. The project, akin to his personal journey, has expanded not only in scale but also in its refinement and adaptability over time. For Matthew Johnson, the High Line is not merely a singular entity; instead, it comprises a collection of spaces that differ in purpose and impact, reflecting its vast scope. It transcends conventional urban design, embodying the thoughtful integration of public spaces into the urban fabric while nurturing a profound connection to the surrounding community. 

His personal experiences have shaped his perspective on creativity despite not hailing from a background in the fine arts. His innate curiosity about the city prompted him to seek out spaces that elicited joy and encouraged lingering. He came to realize that these moments were the result of intentional design. Matthew Johnson highlights that even the most subtle details within a project, when executed with purpose, can significantly enhance user experience and inspire engagement. For him, design must extend beyond mere functional elements—such as parking lots and generic furnishings—that fulfill practical needs but lack the capacity to inspire.

The High Line - Courtesy of Friends of the High Line