Matt Roman is an architect and teacher. He is currently an associate at Robert A.M. Stern Architects in New York and an adjunct instructor in design at The Cooper Union. Previously he was a project architect at Eisenman Architects in New York and an adjunct instructor in design and theory at the New Jersey Institute of Technology School of Architecture. With Robert A.M. Stern Architects, Matt has overseen all phases of the Camden Waterfront Master Plan and has worked on large scale residential, commercial, and hospitality projects in New York, Miami, Houston, and Camden. While with Eisenman Architects, Matt coordinated international exhibitions for the 13th and 14th Architecture Biennales in Venice, Italy, co-curated the exhibition Palladio Virtuel, and was project architect for the first-place entry to the Yenikapi Transfer Point International Competition in Istanbul, Turkey (in development) and a third-place entry to the Taichung Cultural Center Competition in Taichung, Taiwan. Matt graduated summa cum laude in Architecture from Princeton University in 2003 and received an M.Phil in Architecture and the Moving Image from Cambridge University in 2004. He worked previously for Ziger/Snead Architects in Baltimore, LTL Architects in New York, and Joeb Moore + Partners Architects in Greenwich. He is the co-editor, with Tal Schori, of The Real Perspecta 42 (MIT Press, 2010) and has written articles for Log Magazine, Perspecta, and The Architect’s Newspaper and a book with Peter Eisenman titled Palladio Virtuel, which was published by Yale University Press in 2015.
View Matthew Roman's CV here.
Projects & Links
Yenikapi Transfer Point and Archaeo-Park
Project Architect, Eisenman Architects. Phase 3, Design Development of 750,000 sq. ft. archaeological museum and retail/office buildings, March 2014; Phases 1 and 2, master plan and urban design for 1.2 million sq. ft. on the Historic Peninsula, December 2013; International Competition, First Prize, April 2012.
The project introduces a new organizational force (the four-square) into the city that both weaves together the incongruent features of the existing site into a series of different urban matrixes and generates an energy that fl ows out from the site and thus re-enlivens the major elements of the existing palimpsest of the city as a whole– its histories, archaeologies, organizational and stylistic diversities.
Taichung City Cultural Center
Project Architect, Eisenman Architects. International Competition, Taiwan, Third Prize, August 2013 (with Fei & Cheng, Land Collective)
The Taichung City Cultural Center aspires to be a gateway, a showcase, a cultural landmark, an ecological benchmark, and a garden pavilion, and to house a fine arts museum and a public library. Called “The Machine in the Garden,” the project synthesizes these ambitions in an iconic form that negotiates the proposed Taichung Gateway Park and master plan, the surrounding context, and the intricate programmatic and environmental requirements.
Less is Mies: IIT School of Architecture
“The studio is structured to consider change in relation to architectural thought. Both the “Shape of Time” by George Kubler and the “Anxiety of Infl uence” by Harold Bloom deal with issues that relate to creative responses to brilliant artistic ancestors. Each student in this studio will be expected to be conversant in the architecture of Mies van der Rohe by the end of the semester. In addition the origins of Mies’ architectural legacy will be a source of discussion during this studio.” - Studio Brief
The project, “Less is Mies,” allows this anxiety to be expressed in the diagram by overlaying two historical and contemporary disciplinary projects: one is a problem of composition, which follows from a Beaux-Arts tradition of arranging spaces and forms; the other is an interest in indexing internal and external information so it becomes legible in the project. This information is contextual, historical, and formal and is expressed in the detail of the curtain wall, the perversion of structure, and the figural site plan.
The Real and the Symbolic
Composition, Index, and An Architecture of Negation
Building from the premise that the work of Adolf Loos represents a moment in architecture caught between 19th century eclecticism and 20th century modernism, the project for an archive of Nazi documents developed from a series of formal operations on what we perceived as real, imaginary, and symbolic artifacts on the Brown House site in Munich. In order to overcome Nazi rhetoric, the darkest manifestation of modernism, these operations of multiplication and repetition dislocate the symbolic value of the two Ehren Temples and disrupt the existing pre- and post-Nazi axes in the city. This re-fi guring of the urban landscape is analytic in its approach and critical in its relationship to history and contemporary architectural issues of composition and index.
[All work was produced collaboratively with Parsa Khalili, M.Arch 2009]