There is no shortage of drama in architecture.
In a constellation of anticipation and suspense, developing design projects—particularly large works planned for the public realm—are keenly followed and critiqued, both eruditely by architecture’s opining class of professional critics and casually by the hoi polloi. Buildings then emerge unashamedly in full public view, like weary exhibitionists whose once dare-devilish exploits have long since become a dull routine. And occasionally, even the destruction of architecture signals a kind of performance. While the recent tragedy at Notre Dame was not quite what Hugo had in mind, that conflagration’s rapid dissemination through print and digital media underscores the 19th-century novelist’s insistence on architecture as an endangered—yet formidable—protagonist.
This histrionic capacity of architecture unsurprisingly extends to—or perhaps emanates from—the academy. In a fashion of education quite unlike most others, students of architecture are constantly engaged in a highly choreographed presentation of their work, resulting in a highly public (and sometimes traumatizing) cycle of humiliation and praise.
The dramatics that unfold in the architectural academy are well known to playwright Oren Safdie, who, before embarking on a writing career that has spanned nearly three decades, earned a master’s degree at Columbia’s Graduate School of Architecture, Planning and Preservation. And while pursuing these studies may have initially been an endeavor to maintain ties with the family business (the playwright’s father is Moshe Safdie), Oren’s experiences in architecture school clearly impacted his writing.
Indeed, one of Safdie’s earliest plays, Private Jokes, Public Places, detailed a young architecture student’s final presentation which, thanks to the presence of some big and obnoxious egos on the jury, spiraled horrendously out of control (staging the play has become a kind of annual tradition at architecture schools around the world).
Some years later, in The Bilbao Effect, Safdie’s satirical pen revisited architecture, this time with a decidedly more macabre stroke. In Bilbao, we see the fallout that occurs when the play’s starchitect-protagonist, Erhardt Shlaminger, is blamed by a Staten Island resident for the death of his wife, who—unable to reconcile herself with the formal qualities of a new Schlaminger tower in her bailiwick—is driven to suicide.
Safdie’s latest project, Color Blind, returns once again to architecture and its potential for drama and (perhaps unwanted) spectacle, but this time in the context of race. The play, which was debuted in a read-through at the University at Buffalo, is a fictionalized account of the jury deliberations surrounding the selection of an architect for the Smithsonian National Museum of African American History and Culture (NMAAHC) in Washington, D.C., Designed by David Adjaye, the NMAAHC was completed in 2016. Color Blind, on the other hand, is very much a work in progress. Nevertheless, the early drafts are further evidence of Safdie’s acute awareness of the tensions and contradictions that underlie architectural culture and production, and the ability of these to yield highly theatrical—and sometimes excruciatingly uncomfortable—moments.
The play invites its audience into the usually sealed-off space where critical decisions about architecture are made. There, we are introduced to six fictional jurors who will decide the shape of the first institution dedicated to African-American history on Washington’s National Mall. This motley crew is composed of a diverse set of players whose exchanges hover between guarded diplomacy, heartfelt confessions, and downright acrimony.
The imagined jury includes the future museum director and his assistant, both of whom are black. The former is the staid elder statesman, the latter, a fiery and plainspoken woman who speaks her mind. Also present is the museum’s Korean-American treasurer, who is meek and wise. Rounding out the committee is a highly neurotic community organizer (Jewish), as well as a pedantic architecture critic, and a folksy but established starchitect (both of whom are white).
The racial and ethnic backgrounds of the characters are worth noting because they foreground the competing experiences and prejudices that contextualize each juror’s vision for the museum. In this sense, Color Blind is aligned with Private Jokes, Public Spaces, and The Bilbao Effect; all three recognize architecture as not just a silent protagonist, but as a dramatic vehicle for exposing broader contradictions and conflicts embedded in architecture—some, occasionally, not too deep below the surface.
Color Blind relies heavily on popular stereotypes about race and ethnicity—and the conflicts these imply—to drive its plot forward. As such, scattered throughout the jury’s deliberations over the six finalist museum proposals are somewhat formulaic monologues: an emotional harangue on the experience of being a single mother on welfare (black assistant to the director); a frenzied, confessional tirade riddled with liberal guilt (Jewish community organizer); and a demure complaint—in broken English—about the perils of over-achievement (Korean-American treasurer).
These cliches render Color Blind’s dramatic trajectory for the most part predictable, and Safdie’s later drafts would certainly be helped by the addition of nuance and moments of surprise. Still, the play’s overall agenda deserves our attention. In a profession that maintains a track record on inclusivity that is shameful—about 2 percent of registered architects in the U.S. are black—and in a nation where xenophobic and racist hostility in both discourse and action appear at alarming levels, the play’s vision is both timely and telling.
With Color Blind, Safdie’s desire to lift the veil that renders the process of architectural production bewildering to outsiders, and his portrait of the conflicts that lie just beneath the veil’s surface could, in the end, do more than give credence to the dramatic possibilities latent in architecture. When finished, the new play has the potential to instigate a critical dialogue about uncomfortable issues that extend far beyond architecture but are undeniably relevant to the field.
Color Blind was presented by undergraduate students at the school in a live reading. The event was followed by an informal discussion with Safdie and was held in connection with The Whiteness of American Architecture, a day-long symposium examining the racial discourses underlying “American Architecture” movements from independence up to the first decades of the 20th century. Color Blind has been selected as a finalist in the Kernodle Playwriting Competition at the University of Arkansas and will be presented again in a staged reading by the Architecture Foundation in London this fall.