Abandoning the Master’s House

“For the master’s tools will never dismantle the master’s house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change.” — Audre Lorde

This essay aims to present the necessity and urgency of the proposed Spatial Practice Bachelor of Design degree and the formation of a Union of Spatial Practitioners. With social justice as a central tenet of our proposal, understanding issues of elitism and race within the built environment provides a pathway to ensuring our proposal is genuinely inclusive, and that it doesn’t rely on buzzwords or more of the same calls for ‘diversity’.

This essay will explore the colonial past of the built environment and architecture. Despite efforts to change the culture of the industry, architecture still exemplifies cultures of elitism and racism, creating exclusive environments. Those who agree with the aforementioned Audre Lorde quote, would argue that the socio-political structure of organisations, such as the Royal Institute of British Architects (RIBA), cannot lend themselves to true reform when the crux of their creation lies in imperialism. I agitate that the social issues within the architectural profession are not born of individual cases of racism — but deeply rooted systemic ones.

I will discuss these issues in three sections. In Building the Masters House I will explore aspects of the history and context of the architectural profession in regards to race, colonialism and elitism. In Dismantling the Master’s house I will focus on attempts that have been made by individuals and groups to change the institution of architecture from within and discuss how effective those methods have been. In Abandoning the Masters House I take into consideration the first two sections to conclude that in order to enact true change we must abandon the professional and educational structures of the architectural profession we have come to know.

Building the Masters house

‘Colonialism is a system, not an era’

Seldom do we look to the past of architecture to recognise the context of systemic issues that rear their ugly heads time and time again. The truth is that the architectural profession we know today is born from an era of colonialism and imperialism. In an interview with Architectural Record, Mabel O Wilson discusses how the rise of Renaissance architecture and the work of Filippo Brunelleschi coincided with the travels of Christopher Columbus. ‘At the moment of colonial encounter…comes this sense of the European understanding himself in relationships to others. So race has to be conceptualised.’ This understanding of self and construction of race has important implications on how the discipline of architecture developed. These constructs defined how Europeans saw themselves and their global position. Therefore ingrained in the artform of architecture and architectural practice are ideas of empire and white supremacy.

In the same interview, Architect Mario Gooden, defines white supremacy as ‘ a hierarchical system of patterns and practices that continuously privileges the white subject and consistently disadvantages the Black body and people of colour.’ The architectural field can be seen to be one of these such practices, as at countless points in history, the built environment has taken form at the expense of people of colour. The architectural practice of Thomas Jefferson, statesman, architect, slave owner and 3rd president of the United States supports this notion. The Virginia State Capitol building completed in 1788 is arguably the earliest form of American civic architecture. Jefferson wanted the Virginia State Capitol to ‘symbolise and enable the power of ‘the people’.’ As a built representation of freedom, liberty and democracy, the Virginia State Capitol took inspiration from roman classicism, rather than the popular british georgian style to signify freedom from British rule. However, the racial dynamics of the time suggests that ‘the people’ truly meant the white American people, who held dominion over enslaved Africans. ‘It is critical to consider that enslaved Black people, humans classified as property, built several of the nation’s most important civic buildings: the Virginia State Capitol, the White House, and the U.S. Capitol.’ Thus, the birth of the nations civic architectural identity not only excluded black people from the narrative of democracy and freedom but benefited directly from their enslavement. When we consider Donald Trumps attempt to make all United States federal buildings mirror Jeffersons classical style we can contextualise how ‘white supremacy has been allowed to fester within the traditional architecture movement.’

Fig1. The Virginia State Capitol

Notions of supremacy and elitism are also embedded in the origins of many institutions and organisational structures created during times of colonialism. ‘It can be argued that architecture was born of privilege, patronage, political leverage, and Renaissance elitism’, and that the development of the industry benefitted from the wealth that came from the 400 year transatlantic slave trade and global imperialism. Therefore we must acknowledge that the RIBA is one of these institutions grounded in wealth and elitism, benefiting from these atrocities.

In 1834 the Institute of British Architects (now RIBA) was founded by a group of practicing architects who were frustrated with the lack of formal education and recognition of architecture in the UK. Prior to the official formation of this group, multiple societies and groups existed with similar sentiments, some starting as exclusive dinner parties and others as groups within the Freemasons. It would be fair to suggest there was healthy competition to create an institute or society that gained wide recognition, with members of different groups teaming up and forming alliances in the early 1800s. In 1835 the Institute of British Architects had 50 members who were practicing architects, allowing them to claim the role of the architectural professions representative body. In other words, they won. This supports the idea that the origins of the RIBA lie in elitism and the social politics of upper class circles of the early 1800s — made up entirely of white men. In 1837 the institute would receive a royal charter, and become a Royal Institute of British Architects. All 12 of the founding members were british and practicing forms of architecture — all 12 of them were white men. It is evident that the creation of the RIBA operated contently in a time of imperialism and with that embraced notions of supremacy and elitism.

The current system of architectural education is relatively new when considering the long history of the built environment. ‘Before the 1800s, any talented and skilled person could become an architect through reading, apprenticeship, self-study, and admiration of the current ruling class.’ With the formation of the RIBA came the introduction of the RIBA exams in 1863. In 1882 ,it became compulsory to pass the exams to become a member of the institute and a chartered architect. The path and education of becoming an architect from that point was forever changed. By 1842, the requirements for studying architecture included fluency in French, Italian and Latin, as well as proficiency in maths and drawing. Yet, most striking is the financial cost of study which at the time was £500. In today’s money, this equates to £1,920,000 — although the most wealthy in society in the mid 1800’s would earn around £5000 per annum With this knowledge there is no questioning that studying to become an architect was something only considered by the most wealthy families of the time. After the RIBA formalised the professional role, the architect was pushed further into the realms of elitism and exclusion.

When we consider the structure of the education path to become an architect, there are some clear hangovers from the 19th century. One of the biggest signifiers of elitism in Architecture is still the cost of education. Today the average cost of training to become an architect is £100,000. This financial burden associated with studying architecture, along with the length of study is fundamentally exclusionary. For many students from less wealthy economic backgrounds, it is simply not an option to study for 7 years to become an architect. Statistically these students are more likely to be of colour.

Olayinka Herbert Samuel Heelas Badmus Macaulay, known as Herbert Macauley born in 1864 was the first known black man to take RIBA exams and become a chartered Architect. However, not long after qualifying he was forced to leave the industry. Macaulay was granted a scholarship from the colonial Nigerian government in 1890 to study engineering at Plymouth University in the UK. During his time in the UK, Macaulay took RIBA exams, and was subsequently able to practice as an architect. When Macaulay returned to Lagos, now a Civil engineer, Architect and Surveyor, he began to work for the government. However, as the first Nigerian civil engineer working for the British administration, he was paid less than half the wage of his white counterpart at £90 per annum instead of £200. Frustrated by his treatment, in 1898 he set up his own independent practice. At that time, without working for the government his options for work were limited, so shortly after he stopped practicing as an engineer and architect and focussed primarily on his political activism against colonial rule.

This example of Macauley’s experience is eerily familiar to the conversations surrounding rac and modern architecture. It is heartening to know that Macauley was permitted and even encouraged to take RIBA examinations, but his poor treatment exposes familiar issues. In architecture today, women and people of colour are likely to be underpaid in comparison to their white and male counterparts — this is one reason why it is less likely for both women and people of colour to stay in the profession. By underpaying Macauley, he was not able to thrive within the colonial built environment industry. The government pushed him out of an industry he had dedicated many years of his life to studying — in a similar way people of colour in architecture today are pushed out of industries they dedicate their lives to because of systematic racism, pay inequality and the ever present glass ceiling. In the context of this argument, we can observe elements of systemic racism stemming from the colonial era, that permeate through the architectural profession today. How can we truly change the profession for good if these issues are so long standing?

Fig2. Key moments — a timeline

Dismantling the Masters House

Within the architectural profession as we know it today, discussions and recognitions of its social inequalities are becoming more frequent. With publications such as the Architects Journal conducting surveys around equality, and groups such as Black Females in architecture and Paradigm marginalised groups are voicing issues and organisations are beginning to gather in their support. For over a decade the RIBA has committed to ending racism within the industry and making it more inclusive — the ‘Inclusion Charter’ is one of many campaigns set to do this. However, despite these intentions, a recent survey by the Architectural journal found that racism in the UK architecture industry is actually increasing, whilst it remains that only 1% of architects in the UK are black. Organisations within the industry and individuals of the profession have made varied efforts to challenge the culture of the architectural profession, but the systems created by the RIBA and other institutional bodies make it difficult to enact true change.

Education can be seen as a clear point of intervention for dismantling the master’s house and reshaping the culture of architecture. When considering race and elitism within architectural education there are many schools that have vowed to tackle inequality through the way in which they provide education. In recent years Apprenticeship schemes work to allow students to earn in practice whilst studying with the aims of reducing the financial burden of training.

The London School of Architecture is one of these schools that upon its opening promised lower university fees as a way to diversify student intake and remove barriers of exclusion. I interviewed Betty Owoo, a black female Architectural Designer who graduated from the London School of Architecture in 2020 and has become a prominent young voice of the Architectural profession. The biggest take away from my conversation with Owoo was that even the courses with progressive and inclusive outlooks such as the LSA struggle to stay true to their promises whilst operating within RIBA accreditation and the UK higher education system as a whole. By seeking RIBA validation the LSA hoped to recruit more students, but it can be argued that is at the detriment of their initial schools vision to be a radically different approach to teaching. Owoo explains that the LSA is not as class diverse as she believes it set out to be in part due to the still present issue of cost. In its first three years 2015–2017 the LSA offered lowered tuition fees of £6000 per annum — but following years saw fees rise to £7500 and then to £9000 making it the same price as most Master courses. Although the option to work 3 days a week as part of the course and salary sacrifice could cover tuition, the model fails to offer solutions to the fact that living in london is extremely expensive, meaning there is still a significant financial burden placed on the individual student. As a result, The LSA is still a school that draws in predominantly upper class students as London living costs as well as the tuition fees are not covered by the amount a student can work whilst studying. Consequently, the LSA’s aim to be more racially diverse than other courses has suffered significantly.

In order to enact the change in practice that the profession vows to make, it is not only the organisation of architecture courses that need redesigning but the curriculums themselves. ‘Architecture schools must embrace the deconstruction of their curriculums to question not only the future of architecture, but to expose the racist past they helped construct.’ Positively this is something that schools such as the Bartlett at UCL have included these ideas in their curriculums. ‘Race’ and Space: What is ‘race’ doing in a nice field like the built environment? Is the new curriculum and online resource and reading list created by the UCL Faculty of the Built Environment aimed at teaching staff to understand the relationship between race and space but also students studying at UCL who are looking for guidance on the subject. In the curriculum’s introduction they state that within architectural education ‘one field is noticeable for its invisibility, it screams loudly in a silent void — the field of critical race studies.’ This is something we can easily comprehend considering the historical context of architecture. If the RIBA is serious about changing the culture of the architectural profession, learning about the relationship between architecture, race and colonialism should be compulsory elements of studying architecture and its history. As the RIBA are the institutions that provide school validation requirements that often directly influence curriculums, they have the power to help enact change.

There are many architects, researchers and academics within the industry that have tried to enact real change from within the institutions of the industry, however often those attempts backfire, as the institutions themselves are often not willing to change enough. Architect Elsie Owusu has dedicated significant parts of her career to bettering racism in the industry. She is the founder of the Society of Black Architects, and in 2015 was added to the RIBA role models list ‘ in support of inclusivity and diversity.’ The events leading to her controversial dismissal as the chair of the RIBA Architects for Change diversity group, could be seen as an example of the institution resisting the drastic changes it needs. Owusu has continuously been vocal in calling out racism, and has made multiple accusations of institutional racism within the RIBA. In 2018, Owusu refused to exclude two blackwomen from a meeting, and again flagged racism. The RIBA sent cease and desist letters to Owusu in a bid to stop her making ‘public statements ( that were) very damaging to RIBA’s reputation’. Shortly after she was dismissed from her role as the chair of the aforementioned diversity group. This dismissal can be interpreted as an aggressive move to silence Owusu, rather than deal with the deeper issues she has flagged. Serious conversations need to be had within institutions such as the RIBA that allow for an intellectual understanding of how systemic racism presents itself on a micro and macro level, so that productive conversations can be had without fear of damaging the RIBA brand. The priority must be tackling the social injustices and listening to marginalised peers and colleagues.

2020 saw a surge in conversations about race and racism regarding police brutality and the murder of George Floyd, but also systematic racism wihtin society. Unfortunately in the UK the profession of ‘Architecture performs poorly in the Black Lives Matter debate’. Although the industry recived heavy criticism in the wake of the BLM protests due to the many issues of systemic racism, the RIBA did publicly condem discrimination and proudly stated ‘black live matter’. However around these topics and this time, they continued to run into trouble publicly.

Fig3. Twitter screenshot from BFA

Instead of big institutional level changes we unfortunately see institutions such as the RIBA slip into problematic performative allyship. Black Females in Architecture is a network that addresses the intersection between race and gender in the architectural field, actively addressing social injustice. The group hosts events, talks and workshops for black women in the industry, and founders of the organisation often give talks about the experience of being a female person of colour within the architectural system. In June of 2020 after the height of the Black Lives Matter protests, BFA directed a public tweet to the RIBA correcting them on falsely publicising the two were in partnership with each other. This significant slip up from the RIBA happened to occour after the organisations Equality, diversity and Inclusion manager Annie Cosentino, responded to a post on Linkedin that said ‘Black lives Matter’ with the comment ‘Discrimination and racism in any form is unacceptable, black lives, all lives matter’. The term All Lives Matter has been used primarily by those who criticise or fail to understand the Black Lives Matter movement. Therefore it can be interpreted as inappropriate for the person who is meant to be tackling racism within the RIBA to use the phrase, even if it had good intentions. As Chris Bradley says in an article for the Architectural Journal this is indicative of an institution with issues of systemic racism. ‘The structurally racist fault here is in [the RIBA’s] recruitment of an equality, diversity and inclusion manager who either doesn’t know All Lives Matter is a highly charged phrase, or is lazy enough with their role to use it in a complacent way,’

In all of these scenarios from education reform to the treatment of individuals to the response to the BLM movements, we witness institutions like RIBA actually stunting the radical progress that the architectural profession is yearning for.

Abandoning the Masters House

Through this essay I have provided insight into the creation of the architectural profession as we know it. The colonial past of architecture and the elitist origins of our most important architectural institutions are inescapable. Issues that we encounter today with inequality and exclusion of people based on their socio-economic circumstance and/or race are stunting the necessary growth of the built environment. The industry has to keep up with society, and having understood its origins, it seems clear that the system itself needs to be redesigned or restructured or simply replaced. Now, in the times of Covid-19, Brexit and Black Lives Matter, our proposal feels even more urgent.. At the crux of our proposal is the distribution of power and decision making for the built environment, in order to make sure the ways we practice spatial design are flexible and able to grow with the ways in which we live.

We must abandon the masters house. The systematic issues of the architectural profession and architectural education cannot be changed from within the system. In order to move forward in meaningful and progressive ways we must create something new.

Image References

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Fig 2 Colonialism and Architecture a timeline — Ayanna Blair-Ford

Fig 3. ‘Black Females in Architecture on Twitter’, Twitter <https://twitter.com/BlackFemArc/status/1271070682739347456> [accessed 11 January 2021]

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