David Adjaye's new project for the Princeton University Art Museum has emerged from scandal to deliver an unexpected triumph. The Ghanaian-British architect's meteoric rise turned into a dramatic fall after three women accused him of sexual assault and harassment in 2023, leading to numerous projects being cancelled. However, Princeton University persevered, handing over day-to-day coordination to Cooper Robertson and refusing to let the scandal overshadow its ambitious new museum.
The result is a stunning building that wraps around the heart of the university's leafy campus like a cluster of serrated concrete bunkers. The imposing structure boasts a vault-like quality, fitting for a repository housing Princeton's astonishing collection of art and antiquities β 117,000-strong and spanning centuries. For once, the absence of a celebrity creator allows attention to fall on those who led the project after Adjaye stepped back, chiefly Marc McQuade, Erin Flynn, and Ron McCoy.
Upon entering the museum, visitors are greeted by Nick Cave's colossal mosaic figure leaning forward in a riotous gesture of welcome, setting the tone for an immersive experience. The grand hall is a triple-height space with hefty concrete buttresses supporting two-metre-deep wooden glulam beams framing skylights above. A clever sequence of galleries switches size, height and colour to avoid museum fatigue.
"We wanted it to feel like an open thoroughfare," says chief curator Juliana Ochs Dweck, "If the students happen to see a couple of works on their way through, and get interested in the arts, that's a bonus." The hope is that visitors will have accidental encounters on their way from A to B, with productively lost wanderings encouraged.
This model of collaboration has clearly paid off. While David Adjaye's institutional work at scale has often been disappointing, this project stands as a testament to the value of experienced lead architects, collaborative contractors, and a model client. The Princeton museum is leagues ahead, a rare success story for an architect whose name still hangs above the office door.
The result is a stunning building that wraps around the heart of the university's leafy campus like a cluster of serrated concrete bunkers. The imposing structure boasts a vault-like quality, fitting for a repository housing Princeton's astonishing collection of art and antiquities β 117,000-strong and spanning centuries. For once, the absence of a celebrity creator allows attention to fall on those who led the project after Adjaye stepped back, chiefly Marc McQuade, Erin Flynn, and Ron McCoy.
Upon entering the museum, visitors are greeted by Nick Cave's colossal mosaic figure leaning forward in a riotous gesture of welcome, setting the tone for an immersive experience. The grand hall is a triple-height space with hefty concrete buttresses supporting two-metre-deep wooden glulam beams framing skylights above. A clever sequence of galleries switches size, height and colour to avoid museum fatigue.
"We wanted it to feel like an open thoroughfare," says chief curator Juliana Ochs Dweck, "If the students happen to see a couple of works on their way through, and get interested in the arts, that's a bonus." The hope is that visitors will have accidental encounters on their way from A to B, with productively lost wanderings encouraged.
This model of collaboration has clearly paid off. While David Adjaye's institutional work at scale has often been disappointing, this project stands as a testament to the value of experienced lead architects, collaborative contractors, and a model client. The Princeton museum is leagues ahead, a rare success story for an architect whose name still hangs above the office door.