Museums, exhibitions & public space
Installations
Music written for rooms rather than screens. Permanent museum scores, spatial audio systems and interactive public artworks — where the piece plays continuously to visitors moving through a physical space, and the room itself is part of the instrument.
Ossów, Poland · 2025
Museum of the Battle of Warsaw 1920
A comprehensive musical score for a museum commemorating one of the most important battles in Polish history. The work ran alongside the building itself, from 2020 to 2025, and opened with it.
The score was composed and mixed for the museum's custom-designed Spat Revolution system — considerably more complex than Dolby Atmos. In the foyer, a playlist of epic, immersive pieces is distributed spatially across 20 speakers and 4 subwoofers, so the music moves through the room rather than arriving from a screen, placing visitors inside the atmosphere of 1920.
- Architecture by Czesław Bielecki · 4,800 m² of exhibition, cinema and conference space
- Spatial mix for a bespoke Spat Revolution installation — 20 speakers, 4 subwoofers
- Five years of work, from groundbreaking to the 2025 grand opening
Wrocław, Poland · 2015
Hydropolis
Music for Hydropolis, a knowledge centre devoted to water, built inside a nineteenth-century underground water reservoir in Wrocław. The exhibition runs across eight themed zones holding sixty-four interactive installations, and the score follows visitors through all of them.
Among them is The Planet of Water — a 360-degree film wrapped around the room, where the music carries the whole sweep of the piece with almost no narration to lean on.
Kunstareal-Fest, Munich · 2025
Europe – Move Your Stars
Music for an interactive light installation where visitors can, quite literally, set the stars in motion — created for Kunstareal-Fest 25 in Munich, the annual open-air festival at the heart of the city's Kunstareal, one of the most important museum and cultural districts in Europe.
An interactive light installation by jink.one, with music by jink.one and Krzysztof A. Janczak. Because the audience drives the piece, the music had to work as an open, responsive system rather than a fixed cue.
