Renowned architect David Adjaye has spoken publicly for the first time since facing sexual misconduct allegations in 2023, strongly criticizing the Financial Times reporting and claiming he was unfairly targeted by what he called "a version of the MeToo slam." In a recent podcast interview, Adjaye expressed frustration with the media coverage, stating there was "just an interest in just destroying me" and that journalists showed no interest in hearing his side of the story.
The comments came during an interview with architecture critic Tim Abrahams for the podcast "Superhumanism," as reported by architecture and design magazine Dezeen. Adjaye specifically targeted the Financial Times article that first detailed the allegations against him, saying it "really destabilized a lot of people's confidence in me." He acknowledged understanding how news cycles and stories work but maintained that the coverage was fundamentally unfair to him personally.
Notably, Adjaye did not provide specific explanations for why he believed the Financial Times reporting was unfair during the podcast interview. When the original story broke in 2023, numerous publications, including Dezeen and ARTnews, reached out to Adjaye for comment but received no response beyond a brief statement he issued to the Financial Times in response to their investigation.
The original allegations involved three women who had worked with Adjaye and included claims of sexual harassment and assault. These serious accusations sent shockwaves through the architecture and art world, given Adjaye's prominent status and high-profile projects. The allegations prompted immediate scrutiny of his professional relationships and business practices.
The fallout from the allegations was swift and significant for Adjaye's career. Several major institutions severed their ties with the architect, with the most notable being the Studio Museum in Harlem. Ironically, this museum had just opened in its new building designed by Adjaye Associates, making the separation particularly high-profile and symbolically significant for both parties.
The timing of Adjaye's public comments coincides with recent openings of several buildings he designed, bringing renewed attention to both his architectural work and the ongoing controversy. Art critic Kate Wagner addressed this complex situation in an essay published in Art in America, reflecting on the broader implications of the MeToo movement within cultural institutions.
Wagner wrote that "MeToo was the closest thing many institutions got to a reckoning with incipient and rampant sexual abuse and harassment was both, in the moment, a triumph, and in the now, almost 10 years later, an abject failure." Her analysis suggests that while the movement initially seemed to promise meaningful change, its long-term impact has been more limited than many had hoped.
In his podcast interview, Adjaye adopted a somewhat philosophical stance about his situation, comparing it to weathering a natural disaster. "What can I do? You can't fight those kinds of social waves," he said. "All you can do is go underwater. Wait, let the wave go over, and hope there's something when you come up." This metaphor suggests he views the allegations and subsequent media coverage as forces beyond his control that he must simply endure.
The architect's decision to break his silence after more than a year raises questions about his strategy for rebuilding his reputation and career. His characterization of the situation as being "caught" in a MeToo movement rather than addressing the specific allegations directly may indicate his approach to moving forward professionally while the controversy continues to follow his work.
