*In the captivating article titled “A Star Architect’s Buildings Soar. He’s Nowhere to Be Seen,” published by The New York Times on October 5, 2025, author Michael Kimmelman delves into the intricate fallout surrounding David Adjaye, a renowned British-Ghanaian architect.
Despite the storm of sexual misconduct allegations against him, many of Adjaye’s remarkable projects continue to progress without his direct involvement. This situation raises vital questions about the relationship between an artist’s legacy and accountability in the architecture sector.
Background on David Adjaye
Adjaye, 59, has long been hailed as one of the industry’s leading “starchitects,” known for his compelling designs that blend modernism with cultural significance. Born in Tanzania to Ghanaian parents and raised in England, Adjaye founded Adjaye Associates in 2000, quickly making a name for himself in the global architectural community. His work often reflects a deep appreciation for cultural history and the communities he serves. Among his accolades is the prestigious 2017 Royal Gold Medal from the Royal Institute of British Architects (RIBA).
Some of his most notable projects include:
- National Museum of African American History and Culture (Washington, D.C., 2016): This iconic museum features a bronze corona-inspired facade symbolizing African American resilience and serves as a significant Smithsonian landmark.
- Smithsonian National Museum of African Art expansion (also in D.C.).
- The Nobel Peace Center (Oslo) and Moscow School of Management SKOLKOVO : These projects further showcase his international influence.
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The Allegations and Consequences
In July 2023, significant allegations surfaced through investigations by major news outlets, including the Times. These investigations revealed that Adjaye engaged in inappropriate relationships with three female employees, marked by coercion and an abuse of power. While he admitted to “inappropriate behavior,” he denied any criminal actions. The fallout from these revelations was swift and severe, leading to several major consequences:
- Adjaye stepped down from prestigious commissions, notably the Ghana National Cathedral and the African American Cultural Center in Louisiana.
- His London office temporarily closed, and he issued public apologies, committing to therapy and personal reflection.
As a result, Adjaye distanced himself from the public eye. Kimmelman’s article highlights that although he was once a regular presence at glamorous launches and events, he now avoids them entirely, leaving much of the day-to-day management of his firm to others. The architectural community saw RIBA strip him of honors, further tarnishing his reputation.
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Projects Progressing Without His Presence
The article notes the irony that despite the controversies surrounding him, significant architectural projects continue to move forward. The following examples illustrate this:
- Studio Museum in Harlem Expansion : This $300 million project, designed as a sanctuary for Black artists, is now complete but downplays Adjaye’s contribution as he had disengaged in July 2023.
- Mansa Hotel and Museum : Located in Kigali, Rwanda, this cultural institution mandates that female architects lead its remaining phases, requiring Adjaye to publicly address the allegations after the project’s opening.
Despite his absence, projects like the National Museum of African American History , which opened in 2016, and various U.S. civic works are nearing completion, benefiting from momentum built before the scandal.
Broader Context and Industry Implications
The Times’ article connects Adjaye’s situation to broader discussions within the architecture field, particularly the concept of the “starchitect.” This term, popular since the 1970s, describes architects whose celebrity can significantly elevate property values. However, Adjaye’s challenging circumstances invite reflection on whether fame can buffer or accelerate an individual’s downfall.
Additionally, institutions are grappling with the ethics of completing projects that bear the architect’s name while maintaining a responsible distance due to the allegations. This situation mirrors movements in other industries, like ##MeToo in Hollywood, highlighting the complex relationship between creativity and accountability in a collaborative field like architecture.
In a statement to The New York Times, Adjaye expressed that he is focusing on personal growth and selective future projects, prioritizing healing over erasure.
As David Adjaye’s narrative unfolds, the architectural community is left to grapple with the delicate balance between celebrating artistic achievements and demanding accountability for personal actions. The developments surrounding him will likely continue to influence discussions on ethics, representation, and the responsibility of public figures in shaping cultural landscapes.
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