The proposed work for Andøya is part of the pan-European Open Form Pavilion of Air series, following Pavilions for Warsztaty Kultury (Lublin, PL), Meetfactory (Prague, CZ), Sirius Arts Centre (Cobh, IE), Folldal Kommune (NO), Struer Tracks festival/Sound Art Lab (DK) and Bergen Architecture School (NO) (with 3 additional works in development to ultimately encompass 10 sites across 8 countries by end of 2023) - each offer a modulation of a location and its context. The series and its name draws on Oskar & Zofia Hansen’s “Open Form” architecture and their architectural concept to signify service areas within their design of Lublin’s LSM housing complex with a parabola-shaped roof.  The Open Form Pavilion of Air uses sound and site-mapping to offer a playful renewal and reframing of public space as an essential engagement for the community.‘

The audiowork’s elements are mapped onto zones such that visitors’ navigations of the site compose a unique piece in real-time using the free Echoes app. The Pavilion’s logo shows these overlapping zones that form the Pavilion, its logos. Geolocation identifies visitors’ place on-site, movements across zones trigger associated audio elements and combine to create an interactive composition - the roof of sound - streamed via their mobile connection to their headphones. The Pavilion without walls is delineated by this audio roof, which is heard to extend across the site. This isn’t a solid roof but a porous airborne concept, one that retains a stark physicality, letting in the weather and surrounding sound but also changing them while subtly reframing visitors' experience of the location's audiosphere.

No physical infrastructure is built as part of the Pavilion process.
The Pavilion has no visible presence outside the app. It can only be accessed and enjoyed on-site.

The elements forming the Pavilion use mathematical principles, such as those underlying the phase-shifting of beating frequencies and LSM’s hyperbolic paraboloid. Their rising or falling shape can be heard as rising or falling tones, like lines forming a Bezier curve, within the Pavilion that intersect and change one another. Traversing the Pavilion creates a choreographic movement where the sounds change as you navigate through these zones, under the invisible but audible shapes constituting the Pavilion.

This choreography, the Pavilion's framing of shifts in the sound within the location over time, also produce changes and modulations for each point and each navigation over time – revealing subtlety where before was boundaries. Thus the site’s ephemeralisation – in this case its virtual materials brought into a real causal relationship with the physical world, their circularity materialised from our ‘always online’ existence – becomes grounded via a concrete ontological examination of the site itself. The simplicity and physicality of the invisible roof – the Pavilion’s audio – interacts directly with the physical site, drawing the non-physical into the physical realm: effectively rendering the site’s sound, the location's context more concrete.

Also in the Open Form Pavilion of Air series:

Additional information - Hansen’s pavilions employing hyperbolic paraboloid in Open Form architecture:
Stockholm International Fair (1953) with Stanislaw Zamecznik and Wojciech Zamecznik [info]
Hansen-Tomaszewski (HT) structure -  Izmir (Turkey, 1955) with Lech Tomaszewski [image] 
Sao Paolo (1959) with Lech Tomaszewski & Zofia Hansen [image]

Approaches underlying Hansen’s pavilions using the logos of 'Open Form' architecture:
The Pavilions of Air parallel Hansen’s move to use the designs for the international fair pavilions as* “testing ground for designs that shifted focus from the object to ‘cognitive space’: to the individuals using them” – the modulation of the individual’s perception by the Pavilion of Air occurs at a variety of levels, among them the individual’s experience and apprehension of “space” ie location around them and its context. [* quote: Krzysztof Kosciuczuk - Frieze magazine]

Equally, as a spatial choreography through which listeners each move through on their own paths to compose their own piece through this movement, the Pavilion of Air echoes Hansen’s “pavilion for the Warsaw Autumn Music Festival (with Zofia Hansen, 1958) [which] were not only meant to expose the displayed products (or music in the case of the latter), but also turn the visitors into active participants and co-creators of their spatial experiences”. In the case of the Pavilion of Air the displayed content is the site over which the invisible roof rests without the material support of walls, only sound, air and imagination… [quote: Institute of the Present - Aleksandra Kedziorek]

Furthermore, as Hansen commented during the Team 10 meetings in 1960 “Open Form has the task of helping the individual find himself amid the collective, to make himself indispensable in the formation of his own environment,” – the Pavilion of Air aims to allow, produce or effect a realization within the individual that reframes their engagement with the location, the site and thereby society-at-large.

“It would seem that society should facilitate (and not impose, as Closed Form does) the development of the individual. There needs to be a synthesis between the objective, collective, social elements, and the subjective, individual elements.” Similarly the individual sound elements of the Pavilion of Air combine and are combined by the listener’s movement to produce a gestalt effect that facilitates this shift in site-perception.

Project background in previous sound/architectural works:
Open Form Pavilion of Air follows on from these previous selected architectural works:

- Climata (2015): recorded entirely in 15 of James Turrell’s skyspaces in 9 countries where each Skyspace was briefly transformed from an architectural light installation into a sound installation where you can hear the air move.
Climata was realized as an:

- SPECTRES (2019/20) - composed entirely of in-situ recordings with tone generators in 9 post-Communist architectures, it presents an interrogation of contemporary society across the threshold of the architecture from a former, but recent, epoch. SPECTRES was realized as an:

- Threshold Works No 17 (2021/22) – a multichannel work and permanent collection acquisition - entrance sound installation for Polish National Museum in Kraków permanent exhibition  ‘Sections: Gallery of Polish architecture of the 20th and 21st centuries’ ('Przekroje: Galeria Architektury Polskiej XX i XXI Wieku') https://www.recordedfields.net/installations/sections/