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The book is built around a text by Vlad Ionescu (Faculty of Architecture and Art, PXL/UHasselt) in which he reflects on the work of Malgorzata Maria Olchowska, from 2009 to today. This is supplemented and illustrated by means of a visual essay in which Olchowska shows her work of the last five years. The design of the book is done by Ward Heirwegh.
The Modelling of Architecture by Vlad Ionescu
Foto-essay by Malgorzata Maria Olchowska
Introduction by Sofie De Caigny
Book is published in the print run of 400. Each book is numbered.
Published by Vlaams Architectuur Institute, 2023
Book can be order via website of VAi
On the occasion of the launch of the publication “Waiting Rooms of Architecture” there is also 2 editions available. Each comes with a book.
More info here
2022 – Models.
The Arhiteksti Foundation has published a three-volume edition marking the 35th anniversary of the installation The Riga Project by American architect John Hejduk at the University of the Arts in Philadelphia, where his structures Object and Subject were shown.
The original 1989 publication presented the opaque nature of the Object–Subject and the carefully documented production of the installation. The new revised edition expands on these reflections with two additional books in a custom–made slipcase — a Latvian translation and Act Two: The Riga Project, which initiates preparatory works for the reenactment of Hejduk’s Riga in Latvia.
Act Two: The Riga Project examines practical reflections of various artists, curators, poets, photographers, architects and architecture students on the ethos and nature of John Hejduk’s work. Contributors include: architect and poet Efe Duyan, architecture students Gustavs Grasis, Kirill Khusid and Sergejs Kopils, artist Indriķis Ģelzis, artist and composer Joe Namy, artist and printmaker Malgorzata Maria Olchowska, artist Elza Sīle, architect Juris Strangots, architectural practice «Studio Substrata», architect and researcher Dina Suhanova, and poet Kārlis Vērdiņš.
More info: Act two. The Riga Project.
2020 – A+ 284 ‘BELGIUM: NEXT GENERATION’
“When attitude becomes form. The art of architecture’ by Veronique Patteeuw
2020 – Filter
by Winibert Segers, Gys-Walt van Egdom en Henri Bloemen
1 Analogie tussen vertaling en architectuur
Het is niet zo moeilijk om een analogie te zien tussen het werk van de vertaler en dat van de architect. Eenvoudig gesteld kunnen we zeggen dat een vertaler met woorden een tekst maakt en dat een architect lijnen op een blad trekt, een bouwplan maakt. De woorden zijn de bouwstenen van de vertaling; de lijnen in verschillende soorten en diktes zijn de basiselementen van het bouwplan. Vertalers en architecten zijn doeners, makers, die handelen vanuit een bepaalde opvatting over vertaling, architectuur.
2019 – A+
2019 – A+
INTIMACIES: BOVENBOUW, M.M. OLCHOWSKA, DOGMA AT DESINGEL
by Aslı Çiçek
Since 13 March, three exhibitions have been running in parallel in the architecture programme of deSingel: Bovenbouw’s The House of the Explorer, M.M. Olchawska’s The Lost City, and Dogma’s Rooms. Remarkably, not a single photograph is to be seen in any of these shows. For the most part, the exhibits in all three consist of drawings, and this, at first sight, seems to be the only connection between them. The shows are to be visited according to a spatial sequence, but they each have an autonomous character. The sequence starts with Bovenbouw’s monographic exhibition, on show in the larger part of the exhibition box, draped in heavy black curtains. The ‘cabinet’ under the lower ceiling at the end of the hall is hidden behind these curtains and houses M.M. Olchowska’s (artistic rather than architectural) work. At one end of this area, a staircase covered in felt – a remnant of the the Dom Hans Van der Laan exhibition that opened in October 2017 – leads to the corridor-like space in the upper floor where Dogma presents an analytical work on the history of architecture’s smallest actor, i.e. the ‘room’. All three shows radiate the sense of intimacy differently: Bovenbouw through a labyrinthine scenography wrapped by the curtains, Olchowska through her highly personal approach to architecture, and Dogma by drawing the visitor into the privacy of rooms. However, each of them manages to create their own universe and to emphasize what is essential to the work on display.
2018 – A+
‘ALSOF JE IN EEN TEKENING LOOPT’
by Louis De Mey
2016 – Gazeta Olsztyńska
2016 – Kunstletters
