.jpeg)
Across various interactive stations, acoustic phenomena related to hearing become tangible: visitors can experience what structure-borne sound means and learn how noise and anti-noise can cancel each other out. Other stations actively explore the question: What does Stuttgart sound like? What sound does the Kräherwald actually make? And how does Stuttgart sound different during the day and at night?
While spatial design is normally dominated by visual stimuli, here the opposite is staged: in order to create a sensorily neutral environment, the visual dimension is largely suppressed. In the dimmed rooms, soft and acoustically effective materials dominate, and textual explanations are reduced to a minimum. Visitors are meant to fully immerse themselves in the experience of sound.
At the end, visitors step back into the light and become active participants in Stuttgart’s soundscape: using tactile materials such as paper, marbles, or metal sheets, they can produce sounds and bring a Stuttgart city scene to life. In doing so, they become Foley artists themselves – sound designers in a recording studio – and create the soundtrack of their city.
