Sounds propagate through the rooms, previously recorded in Ramallah and the old city of Jerusalem; the on-going buzz of helicopters, the distant beats from teargas ammo and firecrackers as well as the murmur from the marketplace and the sounds of the traffic. One outtake from the number of occasions the conflict bursted into flames.

I found motives and considerations within the experiences from traveling to Israel and Palestine. The discussions among the people I worked with, within the light of the political situation and the attempt to have an ordinary life, left a big impression. Directly afterwards, at the Pompgemaal, the contrast couldn't be bigger. It became evident to appropriate this confusion as matter for the development of work.
I will focus how the 'contextual conflict', such as an architectonic and a sonologic intervention, empowers the change of the experience of a place. A new reality unfolds as the existing is discussed.

The building as an actor.
According to the acoustic behavior of the interior space of the Pompgemaal, the recorded sounds (from the trip to the middle east) were digitally filtered.
First, an analysis of the acoustics was performed at 17 spots throughout the interior: in corners and cavities, on windowsills, in the middle of the space, directed to walls and curtains, etc. A collection of 'impulse responses' was the result of this operation. Collected parameters like these are capable to be imposed upon other sources of audio, to sound like they are in that room virtually.

At the Pompgemaal, after this process of filtering, the recordings played back in the actual space; a 'doubled' effect emerged. Consequently, the space itself became more apparent, became more like an instrument. A system of 9 speakers enabled this procedure to address the spatial specifics.

The sounds were intense, distorted, sometimes on a low level, almost quiet, sometimes harsh and brutal.
The sound arrangement was circulating and sometimes jumping from spot to spot in between the speakers. At the same time, the curtains of the residency closed and opened in a choreography, synchronized to the multi-track audio composition. The curtains were automated with small computer-controlled motors.

Dealing with technology as an activator within the spatial installation, the work connected metaphorically to communication technologies, historically rooted in inventions for military purposes like multiband filtering, vocoding and sound encryption. A link to the historic relationship of Den Helder with the navy and its system is not distant.

Pavilion 4 was an installation that functioned in a sensory 'direct' way; the loud noises, the silence in between, the view upon the scenery and the blocking of it, the changes of light. Staged to lead the seeing and the hearing, it questions ones position being in the luxurious retreat of the Pompgemaal and the opposite conditions elsewhere.