This article appeared in the August 14th edition of the Baltimore Sun newspaper.

MUSEUM SHOULD BE TRUE TO HISTORY

Recent Articles in the Sun have highlighted the controversy surrounding the design of the Maryland Museum of African-American History and Culture when it was presented to the Baltimore City Design Advisory Panel. The majority of the comments from the Panel were right on target. The aesthetics of the building presented fell far short of expectations. But the architects for the project are in a difficult position. They are responsible for responding to a number of individuals in official capacities who hold totally opposite philosophical positions on the building's design. It appears that some do not feel it is important, relevant or necessary for a museum focusing on African-American History and Culture to include any reference to Africa. The establishment of a museum in Maryland to showcase the history and culture of it's African American citizens is long overdue. Historic, and institutionalized, discrimination have caused much of the African American story to be hidden from the general population as well as the African Americans themselves. Restoration of this knowledge is critical to our society. The history of African Americans did not begin in America, it began in Africa. Before the Atlantic holocaust African societies enjoyed a long continuous history. The Africans who were brought here were ripped from their place in that history. Upon arrival the Africans were forced to abandon much of their culture; and despite heroic efforts, a precious piece of heritage was lost with each succeeding generation. We have replaced this emptiness with the cultural elements of our new home, the United States of America, and combined it with the pieces of our heritage that somehow survived. So today we find that we have evolved into a unique people, the African Americans. We are a branch apart from our distant cousins in Africa; but, descendants of the same ancestors, and heirs to the same culture.   The exhibits and programs housed in the new museum building will undoubtedly provide visitors with a more complete story of the African American citizens of Maryland. However, the building can do more than just house exhibits. It can be an integral part of the whole museum experience. In the same way that museum exhibits instruct visitors on the history and culture of African Americans, so too can the building.   Visitor exposure to the architectural heritage of African Americans can be just as enlightening as their exposure to our art, music, dance and literature. The architecture of the museum should be a proud expression of African American culture.   Throughout history societies have developed distinctive architectural expressions. The peoples of Africa are no different. African architecture goes way beyond pyramids. In fact the shear size of the continent, the tremendous variation of environments and, the extensive duration of continual habitation have resulted in a wide range of diverse architectural expressions. These expressions have two important common elements, they are unique to Africans and they are part of the lost heritage of African Americans.   In designing the museum building there is no need to utilize abstract allusions to music, textiles or family structure. The best source for inspiration in the design of a culturally reflective building is other buildings. But herein lies the challenge. I believe there are individuals involved with the museum project who are embarrassed to admit that they know nothing about African architecture and therefore dismiss any attempts to explore the exciting possibilities. But virtually no one in this country knows anything about African architecture, including most architects and educators.   While many culturally expressive disciplines have been rediscovered and integrated back into the African American community, the world of African architecture has been completely ignored. It is one of the last culturally expressive discipline to be restored in the minds, hearts, and lives of the African American community.   As a result, there is an insufficient body of architectural work in the United States to constitute a recognizable African American architectural aesthetic. African American architecture will be the result of the infusion of African architectural expressions into the architecture of America. We are only in the very beginning stages of developing this aesthetic. The Maryland Museum of African American History and Culture has a unique opportunity to help define this aesthetic and add a new chapter to the history of African Americans in Maryland. To those in positions of influence on this project I implore you, please, don't be afraid.     SANKOFA:   "It is not a sin to go back and retrieve that which you have left behind."       Paul L. Taylor, Jr., AIA, NOMA, is a licensed architect and native of Baltimore. He is the Director of Capital Projects at The Johns Hopkins University, a Research Assistant Professor at the University of Maryland School of Architecture, President of African Heritage Architecture, Inc. and President-Elect of the National Organization of Minority Architects.