Robert Barelkowski | West Pomeranian University of Technology, Szczecin (original) (raw)

Papers by Robert Barelkowski

Przestrzeń i Forma, Jun 30, 2022

The essence of urban design is the transformation of the environment in a way that maximizes the ... more The essence of urban design is the transformation of the environment in a way that maximizes the quality of human life. The tools to achieve this goal must cope with the complexity of natural and urbanized spaces, and designers use them to anticipate future environmental states. The article presents theoretical considerations, supplemented by the practical implementation of the area in the Swarzędz community, on the relationship between the organization of urban design in the context of multi-level integration (planning, design) and the emergence of a high-quality urban environment. This process requires controlling many parallel threads between which there are dynamic changes in the relationship - the holarchy.

Przestrzeń i Forma, Jun 30, 2022

Self-education is an essential component of architectural practice. In this work, it marks the fi... more Self-education is an essential component of architectural practice. In this work, it marks the field in which an attempt is made to define the relationship between the project, the design process, problems and goals of the project, and the architect's attitude (towards the project). It is a contribution to the organization of knowledge about how the elements dependent on the designer himself affect the shape of the solution being formed and how, consciously, selected attitudes can be used in specific situations.

International Journal of Design & Nature and Ecodynamics, Aug 30, 2018

Przestrzeń i Forma, Dec 31, 2018

Przestrzeń i Forma, Mar 30, 2021

Przestrzeń i Forma, Dec 31, 2018

International Journal of Design & Nature and Ecodynamics, 2018

International journal of energy production and management, Jun 30, 2015

Ecology and the Environment, Jun 22, 2009

Artykuł podejmuje kwestię lokalizacji przedsięwzięć związanych z pozyskiwaniem energii odnawialny... more Artykuł podejmuje kwestię lokalizacji przedsięwzięć związanych z pozyskiwaniem energii odnawialnych i oceną ryzyka ich negatywnego oddziaływania. Postuluje systematyzację zróżnicowanych przedsięwzięć, ich kategoryzację pod kątem uciążliwości środowiskowych, usystematyzowane diagnozowanie wpływu na sferę kulturową i społeczną. Proponuje także metodykę związaną z przygotowywaniem polityki lokalizacyjnej na szczeblu planistycznym w skali gminy lub wyższego szczebla.

International Journal of Design & Nature and Ecodynamics, Oct 1, 2016

Czasopismo Techniczne. Architektura, 2007

Space&FORM

The present paper treats the network of railway water towers as a group of architectural objects ... more The present paper treats the network of railway water towers as a group of architectural objects forming the system of multi-dimensional connections - historic networked architectural resource (HiNAR). HiNAR functions within dimensions: technological one, reflecting technical and processrelated basis of the erection and functioning of towers as railway facilities; the organisational one as an object serving specific transport connections; the typological one at levels – local/regional, national or international. Perceiving a single tower as an architectural object does not allow to assess its significance and thus to correctly categorise the object in connection with the needs of conservator’s protection, as it is necessary to accept the role that it may be serving in a broader dimension.

Space&FORM

It has been intended to present international typological, formal and chronological relations of ... more It has been intended to present international typological, formal and chronological relations of these types of structures in the context of the selected technical and technological solutions that would influence the emergence of architectural structures. Railway infrastructure used to develop both with reference to specific actions undertaken within the framework of activities of state administration as well as constituted the expression of universal needs and technological requirements. The essence of this analysis is to recognise which of these typologies can be referred to as functioning within the national resource and which within the international one.

Space & Form, 2023

The present paper treats the network of railway water towers as a group of architectural objects ... more The present paper treats the network of railway water towers as a group of architectural objects forming the system of multi-dimensional connections-historic networked architectural resource (HiNAR). HiNAR functions within dimensions: technological one, reflecting technical and processrelated basis of the erection and functioning of towers as railway facilities; the organisational one as an object serving specific transport connections; the typological one at levelslocal/regional, national or international. Perceiving a single tower as an architectural object does not allow to assess its significance and thus to correctly categorise the object in connection with the needs of conservator's protection, as it is necessary to accept the role that it may be serving in a broader dimension.

Article, 2022

Przestrzeń i Forma, Jul 14, 2017

IOP Conference Series: Materials Science and Engineering, 2017

The paper delves into the improvement of Meta-Design methodology being the result of implementati... more The paper delves into the improvement of Meta-Design methodology being the result of implementation of triple learning organization. Grown from the concept of reflective practice, it offers an opportunity to segregate and hierarchize both criteria and knowledge management and at least twofold application. It induces constant feedback loops recharging the basic level of "design" with second level of "learning from design" and third level of "learning from learning". While learning from design reflects the absorption of knowledge, structuralization of skills, management of information, learning from learning gives deeper understanding and provides axiological perspective which is necessary when combining cultural, social, and abstract conceptual problems. The second level involves multidisciplinary applications imported from many engineering disciplines, technical sciences, but also psychological background, or social environment. The third level confronts these applications with their respective sciences (wide extra-architectural knowledge) and axiological issues. This distinction may be represented in difference between e.g. purposeful, systemic use of participatory design which again generates experience-by-doing versus use of disciplinary knowledge starting from its theoretical framework, then narrowed down to be relevant to particular design task. The paper discusses the application in two cases: awarded competition proposal of Digital Arts Museum in Madrid and BAIRI university building. Both cases summarize the effects of implementation and expose the impact of triple-loop knowledge circles onto design, teaching the architect or helping them to learn how to manage information flows and how to accommodate paradigm shifts in the architectural design process.

Przestrzeń i Forma, Jun 30, 2022

International Journal of Design & Nature and Ecodynamics, Aug 30, 2018

Przestrzeń i Forma, Dec 31, 2018

Przestrzeń i Forma, Mar 30, 2021

Przestrzeń i Forma, Dec 31, 2018

International Journal of Design & Nature and Ecodynamics, 2018

International journal of energy production and management, Jun 30, 2015

Ecology and the Environment, Jun 22, 2009

International Journal of Design & Nature and Ecodynamics, Oct 1, 2016

Czasopismo Techniczne. Architektura, 2007

Space&FORM

Space & Form, 2023

The present paper treats the network of railway water towers as a group of architectural objects ... more The present paper treats the network of railway water towers as a group of architectural objects forming the system of multi-dimensional connections-historic networked architectural resource (HiNAR). HiNAR functions within dimensions: technological one, reflecting technical and processrelated basis of the erection and functioning of towers as railway facilities; the organisational one as an object serving specific transport connections; the typological one at levelslocal/regional, national or international. Perceiving a single tower as an architectural object does not allow to assess its significance and thus to correctly categorise the object in connection with the needs of conservator's protection, as it is necessary to accept the role that it may be serving in a broader dimension.

Article, 2022

Przestrzeń i Forma, Jul 14, 2017

IOP Conference Series: Materials Science and Engineering, 2017

9788301229108, 2023

Jednym z najbardziej fascynujących aspektów tworzenia architektury jest to, że realizuje ono ludz... more Jednym z najbardziej fascynujących aspektów tworzenia architektury jest to, że realizuje ono ludzkie dążenie do odciśnięcia trwałego śladu danego pokolenia lub danej jednostki w przestrzeni. U źródła pomysłu przekształcenia środowiska jest oczekiwany rezultat. Ma on zapisać się w historii, przezwyciężyć przemijanie albo przynajmniej w wyjątkowy sposób udokumentować czas powstania, towarzyszące mu tendencje, estetyczne i ideowe wzorce. Pod tym dążeniem kryje się tajemnica mechanizmów i zależności współkształtujących proces twórczy.
Autor, praktykujący architekt, nauczyciel akademicki, a także teoretyk architektury podjął odważną próbę prezentacji zarysu spójnej teorii projektowania. Przedstawia wiarygodnie, podbudowane teoretycznie wyjaśnienie fenomenu projektowania architektonicznego. To zbiór refleksji dotyczących najważniejszych pojęć, ale również zarys koncepcji procesu projektowania architektonicznego.

Introduction by Robert Barelkowski (notice: book published in Polish) Książka prezentuje relacje ... more Introduction by Robert Barelkowski (notice: book published in Polish)
Książka prezentuje relacje między człowiekiem a szeroko pojętym środowiskiem prze- strzennym, zarówno tym zastanym przez człowieka, naturalnym, z jego walorami przy- rodniczymi, jak i tym ukształtowanym przez siły cywilizacji, wyrażającym się trwałym przekształceniem otoczenia, uformowaniem obszarów miejskich i wiejskich, które człowiek ubogaca wartościami dodanymi. Znaczna część tej publikacji poświęcona jest analizie, jak te wartości dodane rozumieć, jak je utrwalać, pamiętać, a także jak je tworzyć i chronić. Temat łączy bardzo różne opra- cowania, rozpoczynające się od rozważań teoretycznych z zakresu doktryny konserwacji zabytków architektury, poprzez teorię architektury oraz wielorakie analizy historii archi- tektury i rozumienia dorobku jej twórców, kończąc na współczesnych aplikacjach wielkiej i małej skali. Zebrano opracowania z czterech ośrodków: Bydgoszczy, Krakowa, Poznania i Szcze- cina, podejmując tematy teoretyczne, historyczne, konserwatorskie, urbanistyczne, architek- toniczne i inżyniersko-budowlane. Przestrzeń otaczająca człowieka może być dzielona na fragmentaryczne analizy, ale nieustannie musi za tym przyswajaniem podążać perspektywa widzenia problematyki przestrzeni w całej złożoności, w jej interdyscyplinarnej naturze.

Foreword by Prof. Hanna Garbalinska: Architecture is a common good and its involuntary, unforced ... more Foreword by Prof. Hanna Garbalinska:
Architecture is a common good and its involuntary, unforced perception is shared by every person who passes by architectonic objects, often in a rush, without noticing them intentionally. However, this does not mean that the objects, by means of their impact power, do not influence the observer's subconsciousness. On the other hand, the contemplation of architecture–contrary to the works immortalized, for instance, on canvas, which require from the recipient to find time and money for a visit in the art gallery–is accessible to everyday experience. Thus, architecture, in its message, can reach everybody; it is within every human being's perception all night and day. Continuing this comparison, it can be observed that contrary to a piece of art, framed and hung on the wall–the background of an architectonic object changes dynamically. An architectonic object is perceived variously–it looks different lit by sunrays, decorated by snow flakes, wrapped in mist, hidden behind rain or only silhouetted against the starlit sky. Architecture is influenced by the time of day and night, by the weather and a situation. The experience of architecture is richer than the experience of artworks, for example, paintings or sculptures, since it is realised simultaneously on two levels of the dual perception of the outer and inner environment. Taking advantage of the effects of the architect's work inside the object is usually a personal decision of potential users, who were encouraged to purchase or erect a building taking into account its interesting location, attractive function or aesthetic values. The outer shape of the buildings around us is a result of an architect's work and is usually beyond our direct influence on its specific shape or practical value. The facades of the buildings, well or badly designed, remain with us forever–they accompany us during our strolls along the streets of the city or reel behind the windows of our cars, buses or trams. They may enrich sensitive recipients by a beautiful form and harmonious realizations or deprive them of the pleasure of staying in a given environment. Thus, architects bear tremendous responsibility for their architectonic creations, which enter, without seeking our permission, the personal space of all of us. It is a creation that cannot be quickly removed, like a painting from the wall, which we are not fond of any more. It is the work that accompanies generations. The awareness of this responsibility should teach humbleness. The material reality cannot be created for an architect's fame; it must be created for other people so they could enjoy, for a very long time, the splendid effects of the designers' and constructors' work. The architect's task is to make future generations want to return to the structures created nowadays–with the same pleasure with which we return to the rich heritage of our ancestors that has successfully passed the test of time. The author of this remarkable book leads us through this heritage recorded in sophisticated photography and a subtle commentary. The book makes us more aware and more sensitive, gives us plenty of joy stemming from the possibility of having contact with the wise text and great pictures. As a non-professional–not an architect but a construction engineer– I honestly recommend this literary work to everybody. I also thank the Author for requesting me to write the foreword to this publication and thus giving me an opportunity to break free, for a moment, from the turmoil of everyday chores by engaging me in fascinating reading which introduced me to the amazing world of His personal observations, emotions and contemplations.

The synthesis of architecture in camera lens: A frame includes both the truth and falseness abou... more The synthesis of architecture in camera lens:

A frame includes both the truth and falseness about architecture. Falseness stems from a selective treatment of an object, its fragmentary perception, most often reduced to becoming acquainted with a phenomenon of aesthetic creation. This is a distortion of perception, impossible – in other conditions – to absorb in such a condensed way of only that which can be contained in a given, observable format. This is, in fact, a free interpretation and presentation, by the author of the photo, of what architecture of a given object is not. The observer obtains a suggestive and fallacious picture, promising a different space than the one in which the reality functions. What is left, it is to treat the recorded image as a relief that exposes light and texture. How often the truth becomes revealed in the process of exposing the elements of a concealed message, both aware and unaware, pressed into rough matter, strenuously sculpted and polished. This process, in a most sincere manner, demonstrates that architecture, only at some locations, came close to the ideal pursued by the designer; that in the image recorded in a frame there is a grain of information about an architect's dream concerning the space, which the constructed object was supposed to bring to life. A utopia, impossible to realize, crushed by the prose of everyday life. A photographic record is thus nothing else but revealing of ambivalence of architecture. First of all, it is the author's – photographer's – creation treating an architectural object as grounded canvas with imposed outlines. A synthesis of space deliberately deprives it of the majority of attributes, only to show the ones selected, in order to embrace shape and the air that surrounds it, colour, texture, suddenly frozen dynamics or stilled statistic composition in a close-up unavailable as part of absorption of our surroundings. The author of the picture must rely on the local conditions, on the limitations imposed on them by time and place where the task is realized. Quite often they are forced to share a fate of a reporter who has extremely little time to capture a moment and the object. And anyway, in such a nature of activities, being the result of a conscious process of photo-architectural [re]creation, there is an element of beauty. It stems primarily from imperfection of a human being and an imprint it leaves at a created work, providing that this flaw is a minor scratch, being at the same time a signature confirming the authenticity not only of the work but also of the process of its creation.
The process of recording architecture is similar to designing. It is also connected with choice, with a dilemma of rejection and acceptance. It focuses strongly on evaluation, on the need and the duty of preserving a critical attitude to the problem observed and being solved. It arises in the author's mind and there it must ripe, launching the decision track burdened
the synthesis of architecture in camera lens with unavoidable risk connected with – impossible to overcome – hiatus between the conception and intention and the result of creation. It is an expression of an emotional attitude to space and to the construction objects functioning in it, as the dynamics of architectural forms – interesting and varied – must always yield when compared to the mystery of life, the beauty of nature; consequently, without appropriately directed passion, documenting of concrete, glass, steel or wood might seem a work of an archivist, deprived of joy, the shivers of discovery, amazement at man's own works. Our unconscious imitation of the natural environment in shaping the picture of reality, in connection with a distance which differentiates creation of various forms by nature from our inefficient and unstable formation of simple geometries, very different from delicate anatomical functionality of an animal or the structural and functional precision of a plant, only apparently is unknown in the landscape. It is this very imitation which makes an integral ingredient of space out of the elements added by man – gigantic funeral hills standing at the desert gates, a mediaeval monastery huddled to the mountain's slope or the spires of high-rises growing into the sky at the backdrop of mountainous scenery.
The intention of the volume Architektura zaczyna siê ponad horyzontem Architecture Starts Above the Horizon is to show the images of the architectural contemporaneity chosen by the author, and also demonstrate the contemporary treatment of space, and simultaneously a human being. Moreover, it is a referral to the truth about the perception of architectural intentions, which become revealed in the secondary features of construction objects in space – not in their function, useful parameters or the manner in which people make use of them, but in the forms which can be discerned beyond the sphere of everyday human activity – namely, beyond the scale and the limitations of their bodies, above the sightline, not obstructed by the objects related to everyday activities, work, entertainment, education... It is the first part of the project intended as a cycle of three presentations of photography depicting three separate conceptual views on space. Architektura zaczyna siê ponad horyzontem is supposed to narrate about the geometrical expression of conceptually created places, their details and their moods. It also highlights a conventional, alien character of civilizational intrusions into landscape, most often even omitted in photos. The autonomous evidence of materialization of design ideas. The second part shall depict architecture which has already clashed with nature. Historical objects – intertwined in the landscape, integrated with it or devoured by it – shall be the topic of a nostalgic trip to places where a human work, although conquered, has been lastingly woven into the beauty of creation that is independent of us. The third part will be a trip to the land of imagination, to imaginary architecture, demonstrated through quasi-photos – computer generated images of non-existent spaces, impressionistic visualizations and the world of unrealized forms. The volumes chronology shall refer to the aspect of time and its relation to the process of creation, perversely starting from the present time – shown in the first cycle of images. The present, the past and the future – a construct, a memory [reference] and an idea. The publication includes reproductions of the photographs forming an exhibition under the same title [it can be also treated as the exhibition's catalogue], which have not undergone any graphical processing or “improving quality” by their author.

Exhibition of diploma works at the University of Technology and Life Sciences in Bydgoszcz, Facul... more Exhibition of diploma works at the University of Technology and Life Sciences in Bydgoszcz, Faculty of Civil and Environmental Engineering, and Architecture

Participation in spatial planning has specific origins rooted in the ideology that in the past wa... more Participation in spatial planning has specific origins rooted in the ideology that in the past was responsible for inhuman actions and large-scale social manipulations. This article is an account on participation, written in the context of over twenty years of experience in actively introducing participatory techniques into various planning procedures. The original assumptions about making spatial planning a matter of importance to local communities had to collide with the reality determined both by the authorities and by individual and collective interests. The attempt to reorient the paradigm of social participation is aimed at preserving many of its positive features.