"I long for the day where suppressing my identity is no longer part of the job"

Black architects are forced to be palatable in order to be successful, says architectural designer Naila Opiangah, who shares her experiences of racism within the industry.

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For months now, the discourse on race and equity has been predominant in every setting of our lives. Non-black people have had another series of introductions to the injustices faced by the black community.

This flux of attention on racism that emanated from police brutality is not a novel occurrence. In fact, in the short period of time I've lived in the US, from late 2012 to today, several murders of innocent black people by the police received similar attention and sparked protests by the Black Lives Matter movement.

Architecture has never been a haven for genuine racial discourse in my experience

What is different today is that the killings that occurred on 13 March, 25 May and 12 June triggered a reckoning on racial injustices at all levels of society, pushing the movement well into the architecture and design world.

Architecture has never been a haven for genuine racial discourse in my experience. In my opinion, it has been a petri dish for blatant racism. When I moved to the US from my home country of Gabon to study it and later to practice it, I did not expect that my success would be defined by how well I managed to suppress my black and African identity.

I learned early in the process that assimilation was a must in order for me to fit in a field where black people only account for a sliver of its members. This awareness came after direct and indirect forms of discrimination and microaggressions in school, from the studio workshops to the midterm and final reviews.

I also quickly realised that my mere presence, perceived as an oddity and often a threat, was something that I had to justify, not only with the quality of my work but also through the degree of my eloquence. One instance of the many microaggressions I was subjected to was when I was told by a guest juror that I was a better foreign student because of how articulate I was. However, I should quit talking about race so much as it distracted the audience from my otherwise good studio project.

Entering the professional practice of architecture was equivalent to graduating to a higher level of social gymnastics

I can also recall the time when one of my studio projects involved researching a neighbourhood in the Chicago South Side with all of my studio mates. Only one of them seemed truly committed to understanding that neighbourhood while the rest kept on sharing prejudiced and racist "observations" and fears of going on a studio visit in a predominantly black neighbourhood, that is "infested by gang violence".

Being the only black student in that group, I always tried to reassure them, but I ended up feeling defeated and exhausted.

Despite working extra hard to prove my worth as a student of the academic institutions I attended, it never felt good enough, and that shortfall followed me well beyond college. Entering the professional practice of architecture was equivalent to graduating to a higher level of social gymnastics.

I participated in the marginalisation of other black people by accepting the marginalisation I was subjected to

Considering that getting this far in the field is still so rare for a young black woman, I navigated these spheres resolute to constantly express my gratitude for such a chance. In a less sarcastic way, it meant that I defeatedly complied to the low assessment that was established of me, convincing myself that it was a sort of rite of passage. I participated in the marginalisation of other black people by accepting the marginalisation I was subjected to.

Early in my career, I accepted a position much lower than my qualifications because I believed my employers knew better. After months of doing my best to please them, I was told by one of the principals that he and the rest of the leadership team was very concerned by my communication style and tone. That comment came after I finally gathered the courage to ask for the better position I was "promised" to have. Blooming into my full self and attempting to exert my full potential was always something that I felt could negatively affect my career growth; unfortunately, it did.

Black people evolving in architecture and design face a disturbing amount of racism. It is insidious, vain and strategically set up to keep us away from the upper echelons of the practice.

Although a very few of us manage to make it as far as possible, the treatment of the majority of us remains increasingly appalling. As society tackles once again the issue of race and policing, I can't help but wish for architecture to address its own issues of policing of the black people who practice it. I long for the day where suppressing my identity is no longer part of the job. Until then, I weave my way through the spaces, enduring one gaslighting at a time.

Naila Opiangah is an architectural designer based in New York City. She moved to the US from Gabon seven years ago to study architecture and developed multiple interests throughout her time in college. From social advocacy, politics, art and business, Naila has explored ways through which architecture could engage other disciplines. She's worked in various reputable design offices and her experience led her to found the Architecture Is Complicit movement.

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Layered Botanics Comprise Artist Vanessa Hogge’s Delicate Porcelain Assemblages

All images © Vanessa Hogge, courtesy of Ester Segarra/Vessel Gallery, shared with permission

Vanessa Hogge translates her lifelong fascination with flowers into monochromatic assemblages of hydrangeas, roses, and myriad blossoms. The London-based artist (previously) has been working on EFFLORESCENCE, which is comprised of three ceramics, since October 2019. Each of the delicate porcelain pieces is adorned with innumerable hand-sculpted florets and leaves that blossom from a central base.

Rather than studying horticulture textbooks and the intricacies of plant life, Hogge works entirely from her memory and imagination and frequents gardens and other places where organic elements thrive for observation. “I’ve traveled to research in the Okavango Swamps in Botswana, the flower-filled valleys of the Northern Cape in South Africa, and this January (just before lockdown), to Southern India to be surrounded by the exotic vegetation there—just beautiful,” she tells Colossal.

Hogge’s inspirations, though, are vast. She imbues elements of the funky textiles created in the 1970s, miniature depictions of Indian gardens, and Frida Kahlo’s iconic flowers. “As an artist, the variety of their forms and structures is immense and endless. People comment and wonder when I will move on and if I will tire of flowers, but how can I? This fascination is also steeped in my family matriarchs—strong women gardeners and the great outdoors,” she says.

The artist offers a brief look into her studio and process in this short video and on Instagram. You also might enjoy Hitomi Hosono’s intricate vessels.

 

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Japanese house is "a gymnast's delight" says commenter

In this week's comments update, readers are critiquing a Japanese home designed by Suzuko Yamada and sharing their views on other top stories.

A house in Tokyo has caused a stir thanks to a scaffold of steel pipes and platforms, which connect the house to its garden and can be adapted according to the owner's needs.

Yamada designed the three-storey house and its gabled roof to be entirely clad in sheets of corrugated metal, apart from the front facing side.

"The architectural equivalent of a rich hipster dressing like they're poor"

Some readers are not impressed. "The architectural equivalent of a rich hipster dressing like they're poor," said Wilson MK.

Paul Bateman agreed: "What a visual blight on the neighbourhood. Forever a building site."

"Love the playfulness of this house and could imagine the occupants having a lot of fun with the building over the years," said Reg on the other hand. "I can appreciate that this piece of reconfigurable architecture would certainly not be to everyone's taste, however I can't help but admire it."

"The perfect set of monkey bars," concluded Aigoual. "A gymnast's delight."

Are you a fan of the reconfigurable house? Join the discussion ›

"Quitting flying was probably the trickiest thing" says carbon neutral architect

"People were doing things like this in the 1980s" says reader

Readers are discussing Buro Happold's director of sustainability Maria Smith's declaration that she has made herself carbon neutral. Smith has gone vegan and stopped flying.

"A lot of people were doing things like this in the 1980s," said Bras Cubas. "Hitchhiking, eating muesli, no kids, building passive houses, second-hand clothes, using furniture found in the street. Here we are 40 years later and nothing new to tell."

"Choosing not to have kids to reduce your carbon footprint?" continued Heywood Floyd. "That's the beginning of the end right there."

E§7Jack was more positive: "What do these comments prove? That working from home makes people really grumpy, perhaps. For a lot of people this article is inspirational and will help people change their own behaviours for the better."

Are you motivated to try and be carbon neutral? Join the discussion ›

Four times Melania Trump made headlines for architecture and design

Commenter says Melania Trump has "done what most architecture students want to do" 

Despite abandoning her architecture studies to become a model and then marry Donald Trump, Melania Trump is demonstrably still interested in design. We rounded-up four times the first lady hit the headlines, most recently with her redesign of the White House's Rose Garden, sparking reader debate.

"She only made headlines because she is the first lady," said Chris. "The projects associated with her are banal at best and not worth discussion."

Flying Saucer disagreed: "If this was Michelle Obama's work it would be on the cover of the NYT Style Mag complete with fawning accolades. The hatred for this woman is palpable."

"I have no hate for Melania," added Erich Trumpelstiltskin. "She's done what most architecture students and practicing architects want – to quit architecture and marry into wealth instead."

Are you a fan of Trump's designs? Join the discussion ›

Sea Stone is a concrete-like material made from shells

"Please get these materials into commercial construction" says reader

Waste seashells salvaged from the seafood and aquaculture industries have been ground down and bound to create a sustainable material that resembles concrete, dividing readers.

"Please get these materials into commercial construction ASAP," said Rustbeltbrett. "Even if only as a cladding material."

"Had that idea years ago," added Troy Smith Studio. "Glad to see someone is doing it. Think of the endless shells of oysters alone. The banks of Manhattan are built on them in places."

"Why do we need this?" asked Takki, who was less keen. "Surely this waste product decomposes without any issues to the environment."

What do you think of the material Sea Stone? Join the discussion ›

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Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page.

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Thatched roof tops open-air Japanese restaurant for Mexico's Hotel Escondido

A fusion of Japanese and Mexican architectural techniques feature in this restaurant on Mexico's Pacific Ocean, designed by TAX Architects for Hotel Escondido.

Called Kakurega Omakase, the restaurant is for Hotel Escondido near the lively Mexican port town of Puerto Escondido that is famous for surfing. TAX Architects, which is led by architects Alberto Kalach and Adolfo Romero, created the architecture of the hotel's restaurant to feature a combination of Mexican and Japanese designs.

Kakurega means hideout or refuge in Japanese and is similar to the Spanish word escondido, after which the hotel is named, that means hidden.

In keeping with Hotel Escondido's thatched-roof bungalows, which were designed by Mexico City architect Federico Rivera Río, TAX Architects also created the restaurant with a massive natural covering.

Known as palapa, this structure a traditional construction method in the Oaxacan region comprising layers of palm branches on a wood frame.

Other contemporary projects that feature palapa include Monte Uzulu boutique hotel and Tadao Ando's Casa Wabi artist retreat, both of which are nearby.

To add a Japanese touch to the design,  TAX Architects opted for blackened wood beams using the traditional Japanese technique shou sugi ban.

Thick wooden beams scale two storeys to support the massive overhanging palapa roof, which is formed by thinner charred boards. Blackened wood planks also form the floor.

The restaurant is two levels and features bricks walls on the ground level made from reddish clay sourced and fired locally. The walls create private enclosures with concrete floors built lower into the ground and have plantings, a reflection pool, areas to sit and a covered space to prepare foods.

Two outdoor concrete staircases on opposite sides lead to the dining area of the restaurant on the first storey.

Lacking walls and windows, the open-air design allows the ocean breeze to cool the space naturally. Instead, the eating area is enclosed by thin metal railings that wrap around the perimeter and connect to the blackened pillars.

A long bar is in the middle of the dining space and is a where Japanese food is prepared in the omakase tradition, meaning the chef selects for the customers a series of dishes to be enjoyed.

A series of wood bar stools with woven backs and seats complete the decor, alongside ceramic bowls and plates and woven light fixtures.

Kakurega Omakase is a collaboration between TAX Architects with local artist Bosco Sodi and photographer Luis Urrutia. The interior design was by Lucía Corredor and Ceci Tena, founders of Mexico City antique furniture store Década, and can accommodate 12 people.

Kalach founded TAX Architects, also known as Taller de Arquitectura X, in Mexico City with Daniel Álvarez in 1981.

In addition to this restaurant, Kalach has also designed a brick chimney at Casa Wabi artists retreat in the coastal region, which accompanies a pottery pavilion designed by Portuguese architect Álvaro Siza.

Photography is by Sergio Lopez.

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RIBA set to introduce mandatory competency tests for architects as part of "once in a generation" reform

The Royal Institute of British Architects plans to regularly test architect's competence as part of an overhaul of architectural education and continuing professional development in the UK.

Published in a document called The Way Ahead, RIBA's Education and Professional Development Framework outlines "a new direction for architectural education and continuing professional development, with a greater emphasis on health and life safety, the climate emergency and professional ethics".

A major change contained in the document is that architects will need to be tested on four "mandatory competences" every five years to retain the right to be RIBA accredited.

Architects will be tested on fire safety every five years

Under the new rules, architects will be tested on health and safety knowledge with a focus on fire safety as the first competence.

"In effect, all chartered architects will be re-accredited every five years in respect of mandatory competencies – with an initial focus on demonstrating a minimum level of health and safety knowledge, including fire safety," explained RIBA.

"RIBA Council has approved the introduction of a mandatory level of health and safety knowledge, including fire Safety, for all chartered architects, to be tested every five years."

The testing, which will have to be undertaken online on the institution's RIBA Academy platform, will need to be passed for members to continue being chartered in 2022.

A further three competencies, which will focus on "climate literacy", ethics and research, will be introduced at a later date.

Testing will "create public confidence in the capability of chartered architects"

According to RIBA president Alan Jones, the testing is being introduced to rebuild public confidence in the architecture profession following the Grenfell Tower fire in 2017, which killed 72 people.

"We need to emphasise the attainment and maintenance of competencies and professional behaviours that create public confidence in the capability of chartered architects to deliver buildings and spaces that perform to the standards, and higher, that clients, building users and society rely upon," said Jones.

"We must step forward showing leadership, accepting responsibility and demonstrating competence when asked to deal with risk and liability and to prove our expertise."

Described by RIBA as a "single standard covering pre and post-registration education and professional development", the document also includes plans to add accreditations for specialist roles and to focus undergraduate education on technical skills.

"The RIBA Education and Professional Development Framework represents a once in a generation opportunity to take a holistic re-look at the way we support the arc of a professional career in architecture," added Wendy Charlton, chair of RIBA's practice and profession committee.

"Not particularly helpful for small practices"

RIBA's plans to introduce mandatory testing was met with suspicion from architects on social media who suggested that the examinations could be a way for RIBA to make money and could make the industry less diverse.

"I am assuming that these exams would have to be paid for on top of RIBA fees on top of lost earning time for revision and sitting exams," tweeted architect Stefanie Stead.

"Not particularly helpful for small practices. Which means fees will go up and clients go to cheaper non-architects."

Architects also questioned whether the testing would make the industry less inclusive.

"In an industry that already contains so many barriers to entry, I'm not personally convinced that RIBA's proposals for further exams and study are the way to encourage more people into the industry and encourage a diverse profession,"  tweeted Ben Channon, an architect at London-based studio Assael.

"It is also putting more hurdles in place for those that find it harder in the profession, due to systemic discrimination both in the education system and professionally. UK arch. already do twice as much CPD as US architects annually," added Deborah Bentley. "What is the RIBA thinking?"

However, others refuted this claim including architect and former RIBA presidential candidate Sumita Singha.

"I can't understand the issue with diversity and inclusion in checking for professional competency," she replied. "If competency excluded women and BAME in the professions, then we wouldn't see female and BAME doctors, surveyors, etc. If anything, many women and BAME tend to be overqualified."

"Baffling ostrich-like response to testing"

RIBA's proposals, including its plans for mandatory testing were defended by several other architects, including former RIBA president Ben Derbyshire, who leads London studio HTA Design,

"Baffling, ostrich-like response to testing architects," said Derbyshire. "RIBA members are already required to comply with mandatory online CPD recording. Testing of a small, critical part of the curriculum adds no additional burden and reassures the public as to competence in the profession."

"I find it extraordinary how many architects expect protection of function but not the competency checks that come with it," added RCKa Architects co-founder Russell Curtis.

"It's clear that much of the profession is both woefully inadequate and hugely self-entitled."

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