MAKE ROOM FOR DAVID ADJAYE'S BUILDINGS AND IDEAS
Spaces and places and exploration exist in more than Jazzanova cuts and the musings of Dr. Seuss tales, but also surface when surveying the architecture of David Adjaye. Adjaye, a Ghananian architect and advocate of public space for collective consumption and appreciation, is one of Britain's freshest starchitects, prompting the world of architecture to make room for his force, ideas and topology. The Studio Museum of Harlem hosts several of Adjaye's samplings during his first solo exhibit in the United States, "Making Public Buildings". The exhibit introduces American audiences to Royal College of Art–trained architect most recent commissions and completed works like the The Idea Store in the London and Nobel Peace Center in Oslo, but also initiates the discussion, or at least the acknowledgement, of scant diversity seen in major architecture.
"Making Public Buildings" invites the American audiences to experience several of Adjaye's works from concept to conception through full-scale schematic models and renderings, noting how he draws inspiration from African architecture and capital cities as platforms, or sentiments for public space. Adjaye's models, often accompanied by an analogous African image, model or sculpture, demonstrate reference points for his buildings-simple at the initial glance, but continuous and dimensional upon further examination. Adjaye’s ability to translate a client’s concept from idea to institution, while working within the environmental context is the force that deems him a desirable candidate for public commissions exhibited within the exhibit, as well as private homes and studios.
The exhibit displays recent projects like the Bernie Grant Arts Centre in Tottenham, Rivington Place in London and the Stephen Lawrence Centre in Deptford, noting a shift in Britain honors diversity. All three highlighted structures possess an African-British component explicit within its purpose, mission and even architect-Daid Adjaye. Although Adjaye refuses to allow his recently acquired commissions to pigeonhole him into tokenism, the lack of competition merits acknowledging the absence of diversity and evaluating how diversity can be demonstrated within public space.
“Making Public Buildings” continues at the Studio Museum of Harlem through October 28. Adjaye’s first American public space, the Museum of Contemporary Art Denver is open for the public on October 28.