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“For me, architecture is a social act,” he says. I just have to concentrate on what’s the best building I can make for this museum.”ĭavid Adjaye on one of a line of chairs that he recently designed for Knoll. Look around on the Mall, and you have a narrative about the history of architecture, from Karnak to the Renaissance to the neoclassical style in America. Adjaye said, “I try not to think about that too much. The museum, which is being built on the last unoccupied site in the centerpiece of Pierre Charles L’Enfant’s 1791 master plan for the capital, is by far his most important commission. Just over six feet tall, with a clean-shaved head and an elegant fringe of mustache that continues downward to frame his chin line, he was casually but impeccably dressed in narrow-cut black pants and an open-necked blue-and-white checked shirt, with a stylish windbreaker slung over one shoulder. Adjaye is forty-six, young for a profession that favors age and experience, and he projects a youthful and frequently joyous self-confidence. Behind us was the Washington Monument, shrouded in scaffolding for repairs and maintenance. Construction din made conversation impossible, so Adjaye asked the foreman to drive us to the other end, where we sat under a tree on a grassy bank. When I visited the site in June with David Adjaye, the Ghanaian-British architect who won an international competition in 2009 to design the building, it was a five-acre hole in the ground. The National Museum of African American History and Culture, on the Mall in Washington, D.C., is a little more than two years away from its scheduled opening.