Tomasz Chwiałkowski, portfolio by chwialkot

Projektowanie graficzne

Tomasz ChwiaĹ&#x201A;kowski

T: + 48 517 972 933 E: chwialkot@gmail.com P: issuu.com/chwialkot

Tomasz ChwiaĹ&#x201A;kowski

EDUKACJA:

DOŚWIADCZENIE:

Stypendium zagraniczne, licencjat

Studia magiste

Southern Oregon University, USA fotografia i projektowanie graficzne

Uniwersytet im. w Toruniu — Edu

2005 –2008

2011

Kinesis Inc / Ashland, Oregon www.kinesisinc.com Blackstone Audio Inc. / Ashland, Oregon www.blackstoneaudio.com

KONTAKT: t. 517 972 933 e. chwialkot@gmail.com

tomasz chwiałkowski

eskie

Mikołaja Kopernika ukacja Artystyczna i Intermedia

2016 Współpraca New Amsterdam www.newamsterdam.pl Nizio Design International www.nizio.com.pl Centrum Sztuki Współczesnej w Toruniu www.csw.torun.pl Valkea Media www.valkea.com Alia Pr & Marketing / Toruń www.alia-pr.pl

1 miejsce w konkursie na wystawę stałą Muzeum Jarocina, (koncepcja graficzna wystawy, New Amsterdam, 05.2016) 1 miejsce w konkursie na pawilon 1050 Chrztu Polski na Starym Mieście w Warszawie, prezentowana na przełomie lipca i sierpnia 2016 roku (kierowanie zespołem i koncepcja graficzno-scenograficzna) Nizio Design International, 03.2016

Publikacje Katalogi prezentujące projekty pracowni Nizio Design International na konkurs International Property Awards, 2015 Prosta forma publikacji podkreśla oszczędny styl realizacji wychodzących z pracowni Mirosława Nizio i przyczyniła się do zdobycia nagród w swoich kategoriach: — Highly Commended dla Starej Kopalni Centrum Nauki i Sztuki w Wałbrzychu — 5 Stars (najwyższe wyróżnienie) dla najlepszego europejskiego obiektu w kategorii Leisure Architecture dla Zoom Natury w Janowie Lubelskim

Architecture and use of space

Location

1.PLAN OF OF THE SIGLE UNIT

2.KEY AREAS OF THE OVERALL DESIGN

Opis obiektu

Floor plan and room layout of the ‘Recycling and Energy Laboratory’

3. ROOM LAYOUT

The characteristic, dynamic reinforced concrete construction symbolizing the forest, which sustains a timber-built, horizontal and openwork canopy, constitutes a symbolic ‘Gateway’ to Zoom Natury. A building with a total area of 363.14 square metres is located at the beginning of the main pedestrian walkway and leads visitors into the space of the Park. Inside, there is an office area and toilets, along with a ticket and souvenirs sales booth. Gabions in the form of steel nets have been used on the facade of the building. Natural local materials have been used on the inside - stones and trunks

of different tree species. In addition to improving the thermal properties of the building, this solution also has an educational aspect – it acquaints visitors with materials derived from local natural resources. The aforementioned ‘Gateway’ leads visitors into the heart of Zoom Natury, i.e. Energy Square. Here, all the paths for exploring the facility intersect. The energy accumulating in this point flows not only from nature. It is also generated by using the muscle strength of those visitors who operate an interactive sculpture-machine set up in the square. By moving and playing with the

elements of the fan, Archimedes machine, spring-loaded machinery or the compressor, visitors learn how kinetic energy is converted into sound or electricity. This place is dedicated to fun, science, physics and mechanics. Here too are located illuminated fountains built into the paving of the square.

1. LOCATION AND THE POSITION OF THE PROJECT WITHIN THE SITE

The ‘Zoom Natury Main Laboratory’ is in essence the most important feature of the Recreational Park. This is a characteristic building looming out of the landscape with total area of 407.16 square metres, whose walls give the impression of rising from out of the

The investment was carried out in the south of Janów Lubelski, on an area on the banks of the Zalew Janowski bay. In the north-west, the investment site lies adjacent to communal roads and on its western side, borders on forested areas. From the south, the investment site is bordered by the area of a holiday resort, while in the east, its boundary is defined by the Zalew Janowski bay lake and agricultural plots.

Interior of the ‘Recycling and Energy Laboratory’ – exhibition wall view

2. RELATION TO SURROUNDING ARCHITECTURE Zoom Natury lies within the buffer zone of the ‘Lasy Janowskie’ (Janów Forests) Landscape Park and functions as a zone of active rest and recreation that serves the residents of Janów Lubelski. The features organized within this zone include: a multipurpose sports pitch measuring 57 x 100 meters located in the northern part of the area, fenced horse stables, including a paddock and two single-storey outbuildings on an enclosed area of about 55 x 90 metres, located in the southern part of the area, as well as a swimming and leisure pool with single-storey service buildings located in the western part along the shoreline of the bay.

It was planned that all buildings located in the area of the planned investment would be demolished prior to its implementation. For this reason too, a point of reference for the designers was the need to create an architecture that blends with the surrounding green areas.

3. FINISHED CONCEPT IN RELATION TO ITS SURROUNDINGS For the investors, important features of the buildings and facilities to be introduced in this area included their non-invasive character, avoiding domination of the natural surroundings, and of the use of environmentally friendly solutions. The harmonious combination of the facilities, small architectural elements and the ordered planning imposed on the completed facility means that the visitors’ area of the Recreational Park is tailored to the needs of various age groups. The marked out pedestrian and biking paths and the radial arrangement of avenues leading from the central point of the Park — Energy Square — to the various facilities situated on its territory provides easy access to the park’s adjacent green areas to the visitors.

History

Design brief and site considerations

INSPIRATION FOR THE DESIGN

Design brief and site considerations

Mine in 1857

The Old Mine Science and Art Centre in Wałbrzych

1561

1769 – 1865

1865 – 1890

The first mention of the mine in 1561 confirms the existence of small communal mines in the area of the village then named Biały Kamień.

In 1769, pursuant to the new law on mining, the coal deposits became the property of the state. The ‘Julius-Schacht’ mine shaft at the ‘Fuchs’.

In 1865 a project was developed for the excavation of a deep mine applying the latest mining technology. Two years later, the ‘Julia‘ shaft was commissioned, while in 1874 the ‘Ida’ (later called ‘Sobótka’) shaft began production. In 1884, the ‘Dampf’ shaft was put into operation, featuring original masonry headframes. The first coal sorting system, using mechanical screens, was installed in 1888. The deeper the miners went, the higher were the headframes which were erected on the surface.

The ‘Julius-Schacht’ mine shaft in the 1920s photo from the collection of the Museum in Wałbrzych

The Old Mine Science and Art Centre (Stara Kopalnia – Centrum Nauki i Sztuki) is a multidisciplinary institution which aim is to revive the cultural and social life of Wałbrzych and whole region of Lower Silesia. It covers over 4 hectares of land and 16 former coal-mine buildings that have been given a new shape, purpose and function. The complex renovation is based on a functional and practical design prepared by the studio Nizio Design International. Eventually, the site will also accommodate, aside from non-commercial museum type facilities, allocated for permanent and temporary exhibitions, educational rooms and workshops, buildings where commercial activities will be conducted: for example a restaurant styled as a miner’s canteen. The Old Mine has set aside space for the activities of the Unique Ceramics Centre (Centrum Ceramiki Unikatowej). At the next stage of the project a Museum of the Future, a Coal and Mining Museum and a Museum of Geology will be built here. In addition to modern architectural elements and multimedia exhibitions, visitors will be able to witness the restoration of former mining equipment: motors, pumps, fans, or the modernization of the means of underground transport. The opening of the Old Mine to the public, which took place in November 2014, symbolically sealed the next phase of the works, which are still underway in the Wałbrzych facility. Further progress on the Old Mine Science and Art Centre is taking place in the form of a public tender. The project is planned to be completed by 2018. At that time the facility is also to be completed in terms of its exhibits. 6

1890 – 1945

1945 –1980

The mine’s own power generating plant was built in 1910, and a year later electric hoists were installed over the ‘Julia’ shaft. After 10 years the guild was dissolved and in its place the ‘Steinkohlenbergwerk cons. FUCHS & DAVID’ company was established. It became the property of ‘Kokswerke und Chemische Fabriken A.G.,’ a company belonging to the Berlin-based Schering corporation.

After the acquisition of the plant by Polish administration, on August 13, 1945 the mine’s name was changed from ‘Fuchs’ to ‘Julia’. For a period of four years – from 1946 until the end of 1949 – it was called ‘Biały Kamień’. In 1950, in honour of the leader of the French Communist Party, its name was changed to ‘Thorez’.

3. FINAL APPROVAL

2014

In 1993, the mine’s name ‘Julia’ was restored. Three years later, in September 1996 the mine ceased coal deposit extraction. From that point on, the only work carried out involved liquidation of the excavation infrastructure. In 1999, the Museum of Industry and Technology in Wałbrzych was established using the ‘Julia’ coal mine industrial buildings located on the ground.

As a result of its renovation and adaptation for cultural purposes, the ‘Julia’ coal mine was turned into the modern Science and Art Centre named ‘Stara Kopalnia’.

The intention of the investor, i.e. the Municipality of Wałbrzych, was that the revitalization project, which was launched along with the closing of operations at the Wałbrzych coal seams, would begin a process of seeking a new purpose for the postindustrial space that was once the heart of the working town of Wałbrzych. It was expected that Wałbrzych former industrial potential would be creatively converted into a complex of facilities for education and art, unlike any other in Poland or Europe. The investor sought solutions that would allow the creation of a complex with educational, cultural and entertainment functions, in which technical monuments of the industrial past, restored to their former glory, would be accompanied by the most modern tools for the creation and presentation of new artistic values. The investor was keen to ensure that the Old Mine would not be closed for several years, which is why its revitalization was planned to be completed in stages. This operation was intended to allow the local community to become accustomed to the facility, enjoy its attractions and be able to watch live how it underwent change.

The ‘Thorez’ mine in the 1980s

1980 – 2000

It was intended that this investment, like other revitalized facilities on post-industrial sites, would be used to stimulate the cultural and social life of Wałbrzych and the entire region. Thanks to its modern infrastructure, the planned facility was to enable the organization of various events and festivals which would stimulate the local community to action and bring about steady development of tourism in the economically stagnating town. Wałbrzych needed a well-designed, multi-functional area for organizing

The ‘Julia’ coal mine, 1993-1994

The revitalization project selected for implementation meets the main points raised by the investor. It evoked the historical operations of the mine, Wałbrzych industrial past, the specific nature of the mining region, the work of miners and how it shaped the life of the local community, its customs and traditions. On the other hand, it planned for an innovative way of showing the future through the prism of the mining industry, coal and its extraction technology, and alternative energy sources. It combined tradition and modernity in a creative way. Not without significance was also the planning of attractive new spaces for exhibitions and a broad range of cultural activities, involving music, photography, art and ceramics, for the production of which Wałbrzych is famous. The design of the educational trails and development of their accompanying narrative was based on ideas that are the result of discussions and consultations with historians and Wałbrzych residents, a factor that helped in the development of an optimal design for functions tailored to the needs of various groups of visitors.

1. CLIENT’S MAIN REQUIREMENTS

concerts, conferences, cultural, scientific, educational, tourist and recreational events and exhibitions – on a local, national and international scale.

2. THE DESIGN PROCESS The Old Mine project is - like any other revitalization - a unique and timeconsuming undertaking, requiring a number of specialist operations. The planning and introduction of an entirely new feature for the town,

namely exhibition spaces, educational trails and a new narrative for its main historical facility under the custody of a conservator, is a challenging task, faced by the architects. The Old Mine complex had to be looked at as a valuable feature that would create the local community’s sense of identity and become its trademark.

A thorough reconstruction or revolutionary architectural and conceptual changes could not be carried out in the area. The designers approached both the physical aspects of the place – badly treated by time — and general plans concerning the future functions of the facilities with respect and concern for the preservation of what was most precious in them. The newly designed space along with the future permanent exhibition covers over 6000 square metres. All the revitalized buildings have been given a new purpose and functions developed on the basis of the KWK Julia mine’s history and that of the region. That was what had the greatest impact on the work on the project and the crea-

tion of such an exhibition theme, which on the one hand touches on the history and heritage of the place, on the other, would intrigue and attract visitors from Poland and Europe, thanks to a modern narrative linking the stories of the past and ideas for the future. Design activities began with research, taking place on many levels. These included numerous construction analyses, as well as geological and architectural works. It was necessary to carefully examine the physical condition of buildings, analyse their old plans and conduct a thorough documentation of the complex.

rise to the creation of a project encompassing the intended functions, i.e. the ‘contents’ of the Old Mine’s facilities. All these activities took place with the participation of experts cooperating with architects and representatives of the local community, whose opinions helped in the project’s development. This project underwent transformation as the revitalization work continued — having to be modified for, among other reasons, design and technological faults in the ancient structures that were later discovered.

Project visualizations approved by the client.

The designers studied historical documents and conducted substantive analyses as well as extensive consultations with public opinion. Their results gave 9

Publikacje Custom Publishing 2012–2015 Klienci: Alia Pr&Publishing, Valkea Media Magazyny modowe skierowane do klientów galerii handlowych

Magazyn Alfa Style CH Alfa, BiaĹ&#x201A;ystok, Wiosna 2013

Publikacje

Magazyn Alfa Style CH Alfa, BiaĹ&#x201A;ystok, Wiosna 2015

Publikacje

Magazyn Alfa Style CH Alfa, BiaĹ&#x201A;ystok, Wiosna 2014

Publikacje Custom Publishing 2012â&#x20AC;&#x201C;2015 Klienci: Alia Pr&Publishing, Valkea Media

Magazyn Agora CH Agora, Bytom 2013

Magazyn Wisła CH Wisła, Płock Zima 2013

Publikacje

Expeditions projekt magazynu podrĂłĹźniczego dla Southern Oregon University 2008

Montaż łuków

nowego mostu drogowego w Toruniu www.most.torun.pl

Raport prezentujący etapy budowy mostu Miejski Zarząd Dróg w Toruniu 2013

Projektowanie graficzne w przestrzeni

Opracowanie graficzne wystawy: Plastyka Toruńska. Architektura Wnętrz 1945–2000, I Festiwalu Architektury i Wzornictwa TORMIAR, CSW,Toruniu, 2014

Projektowanie graficzne w przestrzeni

Opis projektu: https://issuu.com/chwialkot/docs/t_chwialkowski_projektowanie_wystaw

Projektowanie graficzne w przestrzeni

1 nagroda w konkursie na projekt mobilnego narzędzia promocyjnego miasta Łódź, Nizio Design International Współtworzenie koncepcji wystawienniczej oraz opracowanie 9 unikalnych książek/pop-upów pokazujących przestrzenną mapę Łodzi w różnych okresach jego istnienia, 2015

Widok na Pawilon od strony kościoła św. Anny

Przestrzeń — ŚWIĘCI W DZIEJACH POLSKI Brama Drzwi Gnieźnieńskich prowadzi do przestrzeni świętych Polskich prezentowanych przez Jana Pawła II, ukazuje ich wizerunki na pionowych panelach regulujących dostęp światła do wnętrza, symbolizujących wertykalne filary kościołów i katedr, co symbolicznie może sugerować ich rolę jako filarów Kościoła i Polski. W przestrzeni tej umieszczony jest też wertykalny panel reprezentujący Jana Pawła II jako narratora oraz pulpit z interaktywnym monitorem prezentującym kroniki Polskie. Kulminacją tej przestrzeni jest panel ukazujący Obraz Matki Boskiej Częstochowskiej w kaplicy na Jasnej Górze. Ogłoszenie Matki Boskiej Królową Polski, jest wynikiem ślubów Jana Kazimierza, których tekst ułożył męczennik tych burzliwych czasów św. Andrzej Bobola. Stanowi to przykład tego jak historia Polski wiąże się z życiem świętych. Takie zaaranżowanie tej przestrzeni podkreśla rolę Matki Boskiej w dziejach Polski.

Pawilon Chrztu Polski wraz otoczeniem potraktowaliśmy jako zintegrowaną przestrzeń składającą się: ze wspomnianego pawilonu, będącego miejscem prezentacji wystawy: „Jan Paweł II w świetle duchowej historii Polski”, plenerowego miejsca spotkań-kawiarni w miejscu określonym jako Skwer Wolności i Solidarności oraz plenerowej przestrzeni audytoryjnej wokół pawilonu, służącej projekcjom filmów, widowisk multimedialnych oraz odbywania się przedstawień teatralnych koncertów i prelekcji. Założenie to stanowi też swego rodzaju instalację upamiętniającą jubileusz Chrztu Polski.

1 nagroda w konkursie na projekt wystawy 1050 Chrztu Polski, Nizio Design International Jan Paweł II

PRZEDSIONEK

CHRZEST

ŚWIĘCI

ŚW. FAUSTYNA

ŚW. M. KOLBE

Namiot Spotkania/ Przybytek Mojżeszowy

BŁ. POPIEŁUSZKO

KONCEPCJA PAWILONU JUBILEUSZU CHRZTU POLSKI Gotycki kościół Wniebowzięcia Najświętszej Marii Panny w Toruniu Elewacja lewa

Współtworzenie koncepcji wystawienniczej oraz opracowanie graficzne projektu ekspozycji, Warszawa2016 1939

Auschwitz

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Św. Stanisław ze Szczepanowa 1030 – 1079

Św. Jadwiga Andegaweńska 1373 – 1399

Św. Andrzej Bobola 1591 – 1657

Św. Albert Chmielowski 1846 – 1916

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Polska

1979

1966

Warszawa

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KONCEPCJA PAWILONU JUBILEUSZU CHRZTU POLSKI

zło dobrem zwyciężaj

Częstochowa Okupacja faszystowska 1939–1945

Św. Zygmunt Szczęsny Feliński 1822 – 1895 ,tema tis rolod muspi meroL ibroM .tile gnicsipida rutetcesnoc anru tema tis mutnemele ,siprut xe -suS .surup teuqila arterahp ,tege ,domsiue malluN .itnetop essidnep xe ,teidrepmi euqitsirt a sutem tse sumixam des ,mes susruc ucra -aruC .isilicaf alluN .tilev di siruam ,siruam nasmucca ropmet rutib ,siprut xe ibroM .tile gnicsipida rutetcesnoc ,tema tis rolod muspi meroL essidnepsuS .surup teuqila arterahp ,tege anru tema tis mutnemele ,mes susruc ucra xe ,teidrepmi euqitsirt a sutem ,domsiue malluN .itnetop nasmucca ropmet rutibaruC .isilicaf alluN .tilev di siruam tse sumixam des euqsetnellep teidrepmi cnuN .siuq sisilicaf sucal rutetcesnoc ta ,siruam maid cen euqen rotittrop rutibaruC .a subinfi siruam secirtlu silucai ,orebil .niduticillos sucnohr -nellep rolod niduticillos sittigas ,atrop siprut cen lsin sutcul euqsetnelleP

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Bł. Wincenty Kadłubek ok. 1150 – 1223

Św. Wojciech Sławnikowic

ok. 956 – 997

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Elewacja prawa

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non violence

Warsaw

Okupacja faszystowska 1939–1945

Projektowanie graficzne w przestrzeni

Wystawa plenerowa w ramach seminarium: Modernizm w architekturze Warszawy lat 60. zorganizowana przez Biuro Stołecznego Konserwatora Zabytków, Miasto Stołeczne Warszawa, 2012

Fragment wystawy i projekt publikacji

Kreacja

Wybrane projekty okล adek audiobookรณw dla wydawnictwa Blackstone Audio Ashland, OR, USA 2007

Kreacja

Plakat do 22 Międzynarodowego Konkursu Pianistycznego dla Dzieci i Młodzieży w Szafarni, 2014

Plakat programu szkoleniowego, Warszawa, 2011

Kreacja

Wyróżnienie w konkursie na plakat w ramach 1 Międzynarodowego Festiwalu Typografii PLASTER, Toruń 2010

Plakat promocyjny CH Alfa, GrudziÄ&#x2026;dz, 2013

Logo

wersja podstawowa

rozwinięcie znaku

06. Zastosowanie

Projekt konkursowy na logo promująceznak Łodzi miasto Łódź, kandydującego na gospodarza Expo 2022. Znak wyraża istotną dla Łodzi ideę miejskich rewitalizacji. 2016

Logo

2 miejsce w konkursie na identyfikację Muzeum Polaków Ratujących Żydów w Markowej

T: + 48 517 972 933 E: chwialkot@gmail.com P: issuu.com/chwialkot