NOW YOU HEAR IT! NOW YOU DON’T!

Wiener Platz – Cologne
Rhythms, spaces and listening perspectives
A sonic work by Hannes Strobl

This work was created within the framework of Faci Paci Baci (25–30 August 2026), a project by
Mythen der Moderne (artistic direction: Pia Janssen).

Wiener Platz is a dynamic urban sonic space shaped by different temporal and spatial structures. Timetables, traffic lights, machine cycles, movement, weather and human activity generate recurring rhythms that overlap and change. The sound map brings together different listening locations and temporal states of the square, forming a composition of sonic layers, rhythms and temporary sonic territories rather than a documentary record of the place.
Introduction — long version

The 18/13 station is a defining sonic presence at Wiener Platz and a central source of its acoustic character. Its entrances, shafts and openings connect the underground station to the square above, allowing the sounds of arriving and departing trains to permeate the surrounding space. The arriving train creates a crescendo, increasing sound density and masking quieter sounds; as it departs, the sound field recedes and these sounds re-emerge. Two escalators can be heard in the distance, with their rhythmic clattering and a recurring squeak resembling a bird call. During acceleration, the train produces a two-tone signal forming a minor sixth.
https://aporee.org/maps/work/?loc=73452

At the transition from the Line 4 tram stop to the square, a continuous sequence of traffic-light clicks creates a steady three-beat rhythm, like a waltz. In the near field, voices and footsteps mix with the passing tram. Further away, road traffic forms a constantly changing layer of sound. As the traffic decreases, the underground trains of lines 18/13 emerge in the distance. The distant escalator produces a recurring squeak resembling a bird call. The square lies beneath an approach path to Cologne Bonn Airport, adding a recurring vertical rhythmic layer to the sound field.
https://aporee.org/maps/work/?loc=73453

On the western side of Wiener Platz, water flows down several steps. The continuous rushing and gurgling creates a distinct acoustic space, masking the surrounding sounds and creating a more secluded space within the public square.
The steps are used as a place to sit and linger. Children play here, their voices emerging from the sound of the water. Air traffic remains clearly audible despite the strong water noise.
https://aporee.org/maps/work/?loc=73454

The slightly damped acoustics of the shopping passage, together with voices, footsteps and movement, create a dense social sound layer in the near field. Different languages can be heard as people move through the passage.
The sinusoidal checkout tones create an irregular rhythm as goods are scanned. The subway lines 18/13 can be heard from a great distance, acoustically connecting the interior with the underground system of Wiener Platz.
https://aporee.org/maps/work/?loc=73455

On the northwestern side of Wiener Platz, a shaft leads directly to the underground station of lines 18/13. Through this opening, sounds from below become audible at the surface.
The rhythmic clattering and squeaking of the escalator can be heard, along with the arrival and departure of the underground trains. The shaft opens the underground sound space directly into Wiener Platz.
https://aporee.org/maps/work/?loc=73456

The round benches around the trees—five on the north side and six on the south side of the square—form a dense social sound space. Voices, conversations, footsteps and different languages overlap in the near field.
In the far field, the U-Bahn lines 18/13 remain audible. From the same direction, the very distant squeak of the escalator, resembling a bird call, can also be heard. Above this, the recurring vertical rhythm of air traffic forms another layer of the sound field.
https://aporee.org/maps/work/?loc=73457

The street sweeper produces a distinctive recurring sound. Its movement across the square becomes audible as it approaches and recedes, making the spatial dimension of the place perceptible.
The machine produces a sinusoidal tone centred approximately on D, combined with the broadband noise of the rotating brushes. As it approaches, the sound becomes louder and denser; as it moves away, it recedes. The sounds of playing children remain audible but are repeatedly masked by the sweeper.
https://aporee.org/maps/work/?loc=73458

At the eastern entrance to the U-Bahn station of lines 18/13, the escalator produces continuous rhythmic clattering and a continuous sinusoidal tone with slight pitch variations. Voices and footsteps are audible in the near field.
The arrival of the U-Bahn can be heard from the tunnel system. In the distance, the squeak of the escalator at the western entrance is also audible, acoustically connecting the two entrances.
https://aporee.org/maps/work/?loc=73459

The traffic on the Mülheim Bridge forms a rising and falling sound field, rhythmically punctuated by the traffic lights. Cars and motorcycles overlap with the regular clicking of the pedestrian signal. Above this, air traffic forms a vertical acoustic layer. When the cars stop at the traffic lights, the sonic space briefly opens up. Voices and footsteps become audible before the sound field becomes denser again as the traffic moves off. A loud exhaust pop is reflected by the surrounding buildings.
https://aporee.org/maps/work/?loc=73460

Weekly, the market fundamentally changes the acoustic character of Wiener Platz, creating a temporary sonic territory shaped by its use. Vendors call out their goods, conversations begin and end, people move between the stalls, shop and linger. Voices, calls and footsteps overlap, constantly changing the density of the sound field.
In between, the underground lines 18/13 can be heard. The arrival and departure of the trains form a recurring orientation sound that cuts through the market activity.
https://aporee.org/maps/work/?loc=73461

A pedestrian bridge connects the entrance to the U18/13 station with the passage. The form, size and materials of the space create a long reverberation time. Two escalators can be heard in the distance, with their rhythmic clattering and a recurring squeak resembling a bird call. The reflections of the squeak make the acoustic architecture of the space audible. Voices and footsteps in the distance become less clearly localizable through the reverberation.
https://aporee.org/maps/work/?loc=73462

The Evelyn Cotter playground is a noticeably quieter listening location within Wiener Platz. In the near field, children playing dominate the sound, while air traffic forms a vertical rhythmic layer above and can briefly mask the sounds of the playground. In the far field, U-Bahn line 18/13 is clearly audible. Its sound reaches the playground from the western-southern entrance and the adjoining passage.
https://aporee.org/maps/work/?loc=73463

A staircase connects the upper part of Wiener Platz with the main square. Around the seating areas, voices, conversations and footsteps dominate the near field. At the same time, the underground lines 18/13 and the squeak of the escalator can be clearly heard in the distance. The listening location connects the immediate social sound field with the sounds of the underground system.
https://aporee.org/maps/work/?loc=73464

In the eastern part of Wiener Platz, a small café has tables outside. Conversations and the presence of people, overlaid by the sound of rain, create a temporary sonic territory within the square.
From a distance, the underground lines 18/13 and the squeak of the escalator can be heard. The listening location connects this immediate social sound field with the more distant sounds of the square.
https://aporee.org/maps/work/?loc=73465

Standing in the middle of the staircase leading down to the U-Bahn lines 18/13, the sounds of the underground become immediate. Trains arriving and departing, voices, footsteps and the rhythmic clattering of the escalator fill the large reverberant space. The recurring squeak of the escalator, resembling a bird call, is reflected throughout the space. The reverberation colours all sounds, making them part of the acoustic character of the space. The sound moves between the square above and the station below. What was heard from a distance at the beginning of the sound map is encountered here at its source.
https://aporee.org/maps/work/?loc=73466