An Open Form Pavilion of Air is a floating roof of sound over a GPS-located area, accessed via a smartphone, headphones and the echoes.xyz app. Pavilion Field Sydney is a tessellation of multiple audioworks from this Open Form Pavilion of Air series, fostering a direct connection to their locations across Europe, bringing together to one site for the first time works such as those created for Warsztaty Kultury (Lublin, PL), Sirius Arts Centre (Cobh, IE), Folldal Kommune (NO), Sound Art Lab (Struer, DK), Piteå Science Park (SWE), Bergen Architecture School (NO) and the 4.5hectare audiowork for Merrion Square/New Music Dublin (IRL). Each Open Form Pavilion of Air is in a unique tuning system, the many sounds comprising this structure have the effect for listeners of creating a modulation of the location and its context - together as a Field they present multiple adjacent experiences of the site of the Field. Pavilion Field has no visible presence outside the app and can only be accessed and enjoyed at the specified site.

This constellation of Pavilion audioworks are enjoyed as a soundwalk to create a new experience of the site delineated within each Pavilion. The experience is accessed using a smartphone and the customised echoes.xyz app with headphones. Visitors become participatory listeners – by traversing the Field site using the app their choreography changes the sound creating a one-of-a-kind composition. Made from many overlapping zones ('echoes'), each Pavilion itself comprises a roof made from sound – without walls - which is heard to extend across the site. The 'shape' of the sound within each zone is derived from architectural roofing forms (like gables, hypar, mansard), together what they create is not a solid roof but a porous airborne concept, one that retains a stark physicality, letting in the elements and surrounding sound but also changing them - subtly reframing visitors' experience of the site’s audiosphere.

The series and its name draws on Polish architects Oskar & Zofia Hansen’s “Open Form” architecture and their work in post-war Poland developing social housing and a concomitant renewal of public space. The Open Form Pavilion of Air series offers a playful renewal and reframing of public space as an essential engagement for the community. The audio work can be enjoyed as a soundwalk using a smartphone via the Echoes app with headphones to create a new experience of the site delineated within these tesselated ‘Pavilion’ audioworks.

A complete primer on the Open Form Pavilion of Air series & information on Dublin Pavilion via RTÉ Culture 
https://www.rte.ie/culture/2023/0327/1366079-new-music-dublin-welcomes-you-to-the-open-form-pavilion-of-air/

Individual sites 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.
 

A concert performance comprising electronic elements from the Open Form Pavilion of Air series combined with live pipe organ has been commissioned by New Music Dublin for the NMD Festival in April 2023

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/