Press: BITS at Soho’s a83 gallery could not have arrived at a better time
Return to &tc.
Words: Matthew Allen
Photography: Vincent Tullo
The Architect’s Newspaper (Published December 8, 2021)
BITS, an exhibition on view at a83 in SoHo, offers a confetti of prints and projects to welcome us back into the shared material world of architectural discourse. The show highlights the magic that can happen when the materiality of representation is taken as an impetus for experimentation. It’s in the little things. Light glinting off gold ink. Collages composed with care. The visceral hue of a blueprint. Prints on paper, on acetate, on porcelain enamel-coated steel. Drawings worth framing.
A spirit of cross-media experimentation is evident in the various works on display, which range from painting and measured drawings to misprinted blueprints.
The exhibition is comprised of 44 works by ten architects and artists. Some are well known, like a multi-layered drawing of the molded plastic and sheet metal Dymaxion Bathroom by R. Buckminster Fuller. The prints of Villa dall’Ava, Parc de la Villette, and Boompjes Tower Slab by Rem Koolhaas’s OMA are standouts. The villa prints, incidentally, depict an early version of the project with a rooftop canopy and tilted, rainbow-colored piloti, which serves to highlight the overarching ethos of the show: The discipline of architecture is better when drawings are allowed to take on a life of their own.
The timing of the show is perfect, following months spent online that have probably reinforced deleterious habits of digital production, including the tendency to equate “output” with a click of the Print button. As the pandemic recedes and climate change fills the vacancies left in the news cycle, we are reminded that ignoring the material world around us can be perilous. I suspect that the return of the real that’s underway will play out in a variety of forms, and I hope that architectural representation will be one of the areas to be brought to light and reimagined. Computer software has reinvigorated architectural image-making, but the labor, the techniques, and the craft of representation remain as subterranean as ever. As a result, drawings are imagined to be immaterial and ephemeral—no sooner created than disposed of. What would a more sustainable ecology of practice look like?
BITS shows how it pays to consider the craft of media. Many of the works on display come from the archive of John Nichols Printmakers, whose SoHo space played an important role in connecting architects, artists, and gallerists throughout the 1980s; at a83, the drawings of buildings certainly count as works of art. This elevation of architectural drawings seems to happen naturally when architects focus their attention on materials and methods of representation. The Mistake Prints series by Takefumi Aida, for instance, comprises what appear to be torn and misprinted blueprints, with the gaps and misalignments becoming moments for design. The spirit of cross-media experimentation is also evident in an unusual work by RUR/Jesse Reiser and Nanako Umemoto; called The Shadow Theater, it is a steel screen of the type used for printmaking, with lines and text in emulsion. It looks like something along the lines of Daniel Libeskind’s Micromegas and remediating the printmaking technology as the artwork itself doubles down on the spirit of deconstruction.
Works by Michael Graves, Charles Moore, and others were drawn from the archives of John Nichols Printmakers, an erstwhile architecture gallery once located in the same space.