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Acting as more than just an exhibition, Raise the Roof: Building for Change was a conversation starter that explored the narratives and attitudes embedded within the fabric of °ÄÃÅÍõÖÐÍõ’s headquarters at 66 Portland Place in London.

Through the exhibition and public programme campaign, we unpacked themes around gender, race, and imperialism through a series of new creative works that have helped shape how we approach these topics going forward.Ìý

Decolonisation is a process of identifying existing colonial systems or structures and challenging them through education, open conversations and cultural shifts. By adjusting our perceptions of what is ‘the standard’ we can think more broadly about why these systems were put in place to begin with and how we can shift from a culture of exclusion to one where making space for others betters our own knowledge systems.Ìý

Why now?

The timing for this exhibition was an opportunity to look at the problematic design features within °ÄÃÅÍõÖÐÍõ's headquarters, 66 Portland Place in London at a time when the institute was about to mark the building’s 90th anniversary of the building’s opening.

We are also looking ahead to when the building will be closed for renovation, and questions around the conservation of these features are being held as part of our broader House of Architecture consultations. Currently, there is a lack of awareness of the complexity of the imperial links within the building, and to be transparent with our members, we wanted to bring this conversation to the forefront.

The exercise intended to critically and creatively address the key features within the building, which include the mural in the Jarvis Hall and the Dominion Screen in the Florence Hall, two central public spaces often used for high-profile events. One key event scheduled against this backdrop in 2024 was the Royal Gold Medal ceremony, awarded to Professor Lesley Lokko, a central figure leading the dialogue around decolonising architecture.

It felt critical to shine a light on these features to redress and question their visibility in a public building, as well as a building of architectural significance. What do these features say about °ÄÃÅÍõÖÐÍõ today and how do they correlate to the values and vision of the organisation for the future?

ÌýStep 1: Commissioning the artworkÌý

The four commissioned creatives were selected based on their existing work, practice and research and each explored the themes through different art forms. The objective was to celebrate the diversity of architectural discourse as well as include creatives from outside the profession to represent a multitude of voices.ÌýÌý

Working with artists from diasporic communities was also important in ensuring a range of perspectives were profiled as perspectives on decolonisation are varied and subjective, there is no single authority or right solution.Ìý

The intent of the space was to reflect the multicultural conversations that needed to be facilitated and to celebrate the different cultural influences that we are surrounded by, therefore showing the importance of these voices being centre stage. With all of these ambitions, the outcome was to initiate a progressive dialogue between past and present, as well as diverse cultural expression, and to hold space for new ideas and aspirations for working with an equitable agenda.ÌýÌý

Working with exhibition designer Bushra Mohamed of Msoma Architects and Plan B on graphics, an installation was created to house these commissioned works and to create a space for reflection and dialogue. The design concept was to create hybrid forms through merging different patterns, decorative features and architectural forms.ÌýÌý

A critical objective was to create a space that was welcoming and safe. One of the many intentional outcomes of decolonising is to create a greater sense of belonging. Although 66 Portland Place was a building originally designed by architects for mostly male architects, moving forward, it is fundamental that we open our door and the wider public feels comfortable about talking about architectureÌý – whether professionals or not – and understands the value and importance of the built environment.Ìý

Step 2: Decolonisation explored through different mediumsÌý

Using different mediums, each commission confronts imperial and colonial narratives, exploring their lasting impact in shaping the modern built environment.

Esi Eshun’s multidisciplinary response, a film called The Vanishment, integrates sound and the overlay of archival imagery to tell narratives behind specific features of the building within the Jarvis Mural. Her interests lie in the history and placement of some of the buildings and their constructs of power, both in relationship and in contrast to the figurative depictions of indigenous characters.ÌýÌý

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Thandi Loewenson’s piece Blacklight unearths stories of resource extraction, exploitation and racialisation, themes that underlie the visible layers of the Jarvis Mural and the world they supported to build. This piece was designed and produced in collaboration withÌýZhonghsan Zou, founder of JiaJi Architects in China.

Architectural designer Arinjoy Sen’s response to the Jarvis Mural, The Carnival of Portland Place, draws on the theatrical nature of the existing screen to reveal the inner mechanisms not only of the screen itself but also the colonial traces that the mural references.

Giles Tettey Nartey’s unique piece of furniture Assembly directly responds to the Dominion Screen. His work invites viewers to think more broadly about the motifs used to describe and represent culture and architecture. Throughout the exhibition, Assembly served as a dynamic conversation starter, inviting visitors and groups to engage and question the meaning behind the images displayed within the Dominion Screen.  

One workshop facilitated by Giles was with the Youth Forum and printmaker and artist Alex Booker. With a group of 16 to 19-year-olds, Giles explored ideas around home, rituals, and representation. Drawing from his own cultural heritage, Giles introduced a new panel that synthesised the ideas explored throughout the development of his commission. 

In this film, architect, artist and educator Giles Tettey Nartey shares insight into his artwork Assembly. This critical and creative intervention challenges the colonial legacies embedded within our cities by providing new ways to read and interpret these histories.

Film produced by .

The commitment and dedication shown by all the creatives involved in this exhibition was incredible. The timeframe was extremely short due to the desire to have the work on show for the Royal Gold Medal ceremony, nevertheless, each individual did everything to ensure the optimism and hope of their work was evident in their interpretations of a difficult subject matter.

Step 3: Opening up the conversation 

The work in the gallery was always seen as a platform from which events and activities could stem and people could come together to explore the themes and impact of these ideas in a broader context. There is still an ambition to present more voices and share case studies and conversations around decolonisation to better understand the importance and impact of this dialogue in the real world. This did not materialise within the gallery, but rather as a day-long symposium which was curated to bring voices together and discuss the themes beyond the exhibition and the building.  

Discover our findings and watch the event recordings from the Decolonising Architecture symposium.

Step 4: Looking forward to a new 66 Portland Place

The feedback and engagement from Raise the Roof was motivating and I am hopeful that this exhibition and its programme is just the start of the conversation. Alongside our House of Architecture programme now is the time for more in-depth work that will create and inspire new perspectives and opportunities to explain and reclaim histories that have been dominated by the same rhetoric. These conversations also go beyond the architectural profession and invite other cultural institutes to look at their histories and buildings in a similar way.  

Find out more about our exhibitions, EDI (Equity, diversity and inclusion) resources and °ÄÃÅÍõÖÐÍõ's work around unpacking imperialism within our institute.