The newly reopened Studio Museum in Harlem stands as a testament to architect David Adjaye's distinctive yet divisive design philosophy, casting a somber presence over the bustling activity of 125th Street. The building represents one of two major projects completed by the renowned British architect following a sexual harassment scandal that severely damaged his reputation two years ago.

Adjaye's architectural approach has been described as a twisted version of "hostile architecture" – a design concept typically used to discourage loitering through features like divided benches, spiked ledges, and inclined seats. However, Adjaye has adapted this concept to create buildings that should theoretically be welcoming but somehow aren't, resembling the architectural equivalent of a bouncer's intimidating "Can I help you?" greeting.

Over the past 25 years, Adjaye has established himself as one of the last remaining global architectural superstars, consistently attracting high-profile clients despite his reputation for what critics describe as "chilly virtuosity." This raises questions about whether clients are drawn to the austere nature of his designs or if they perceive a warmth in his work that remains elusive to others.

The Studio Museum project, along with the Princeton University Art Museum, were both well underway when Adjaye withdrew from public view following the harassment allegations. When the scandal broke, both institutions scrambled to distance themselves from the architect, with Pascale Sablan, one of Adjaye's partners, and the firm Cooper Robertson taking the lead on completing both projects.

Despite the collaborative nature of major architectural projects, which typically involve teams of designers, engineers, landscape architects, and specialized consultants, these buildings still bear Adjaye's unmistakable signature. Adjaye Associates operates as a substantial company with more than 100 architects working across offices on three continents, yet clients originally sought out the firm not just for its technical expertise and innovation, but specifically for the founder's aesthetic vision and professional stature.

Adjaye's distinctive design palette – featuring graphite-hued concrete, dark aggregate materials, black steel, stained wood, and bronze – has become as instantly recognizable in the architectural world as Frank Gehry's flowing curves or the late Zaha Hadid's dramatic swooping forms. This consistent visual language continues to define his work even as his personal reputation remains under scrutiny.