As attachment: A0 poster. My research deals with translations of sounds into notations which are then used to design spatial experiences. During the spring of 2006 I recorded sounds with a digital photo camera (CANON Powershot A85) in the old city centre of Kaliningrad, a former Prussian city in a Russian exclave. The research location is based on a stretched lake which is dividing the area in two parts with four bridges. I made a 24h sound recording session on these bridges at points which are parallel and perpendicular to these bridges. For the first abstraction of the sounds I used a basic music software program called Wavesurfer 1.8.5 which visualises sound into a traditional notation based on pitch on the vertical axis versus time on the horizontal axis. To highlight the most clear frequencies on the recordings I replaced the dark spots of the first abstraction with lines and rectangles in the second abstraction. Because the recordings of the digital camera where attached to pictures it was simple to relocate the sounds to their points in the location and to visualise the exact time and duration of each recording. After several experiments of setting out the most evident characteristics of sound such as pitch, time, duration and range in space I developed three main notations which are representing all sounds in three sequences; morning, afternoon and evening. These notations could be seen as visualisations of spatial qualities within its specific location and are exploring the traditional field of architectural notations. WORKING METHOD: Sounds_1 > Notations ------- Notations > Sounds_2--------Notations > Space--------space > Sounds_3. I see my building as a Concerto, seemingly fragmented, (only) understandable by listening. Navigation through the museum is sound related. Perception of time in all scale levels (lifetime/years/seasons/months/weeks/days/hours/min/sec) most fundamental element in experiencing the museum. The museum is a soundboard of reality, containing the inevitability of change. Developing the building has been a result of interpretation combined with the various translations of the notations. The shape of the museum consists of 37 boxes which are floating on various heights and angles in the location. All 37 boxes have their walls perpendicular to its roof and floor surface but are rotated on 2 different angles. No hierarchy in corners, horizontal and vertical are of the same order. Goal of this is to disorient the visitors and to strengthen the awareness of the senses. The spaces in between these intersecting boxes becomes a filter (opens up) so it can be used to go from one space to the other. Every plane in space which is intersecting another box is used to design lighting and other additional elements which I call extension lines. These lines can be used as orientation lines, every line is corresponding to a plane in space parallel and perpendicular to the viewer.