The magazine of an international Galerie Philia has reached out to bureau’s founder Olga Treivas to discuss her career in architecture and art.
Here are some some snippets from the article and the complete interview is available here.
What is your first memory connected to the art world ?
My first art-related memory is deeply intertwined with architecture. Growing up in a family of architects, I was frequently exposed to the creative process from a very young age.
One particular memory that stands out is when I visited the Moscow Architectural Institute as a child. The halls were filled with architectural models, drawings, and discussions about space, design, and art. This environment, full of creativity and the constraints associated with growing up in the Soviet Union, was my first exposure to the fact that art and architecture are closely connected.
It was then that I realized the power of interpretation and the potential of working in the simplest conditions with shapes and spaces and still evoke emotions – a realization that still influences my work today.
Why did you choose the specific materials you work with ?
I chose to work with crystal glass because of its intriguing qualities—its transparency, fluidity, and the way it interacts with light. Crystal offers a unique blend of fragility and strength, allowing me to explore both the material’s delicate nature and its ability to create bold, sculptural forms.
Having said this, to be honest, crystal is so complex to produce that there’s simply less competition. To create a single piece, you need a small factory and a team of 5 to 12 specialists across various disciplines. It is our mission to highlight the intricacies of this craft.
Living and working in Brazil has also taught me not to chase the latest technologies, but rather to interpret my craft through the use of regular materials. In my work, I apply this understanding to the fullest, engaging with a wide range of traditional materials—from wood to synthetic polymers.
If your works had to belong to a design movement, in which one would you define it ?
Ha! In terms of approach, I resonate with the principles of the Metabolism movement from the latter half of the 20th century. On top of that clear, structured framework, I would layer elements of pinpoint surrealism with a touch of moderate deconstruction.
If you had to summarize your creations in one word or sentence, what would it be ?
We are confident that what makes architecture special or even outstanding is not static shapes but the feelings and vibrations it may provoke in a spectator by showing its imperfection, irregularity and even roughness.