Imagine you were asked to name your favourite building. Have you ever closed your eyes when visiting that building and listened to its sound?When the Italian architect Renzo Piano was asked in a BBC Interview how he begins to start thinking about a building, he answered: “... I don't remember one single job ... that I started to work on without trying to understand the place, and to listen. You know place[s] talk, you just have to shut up and listen...” (R. Piano, BBC 2004).While Renzo Piano in his interview obviously refers to listening skills in a rather metaphorical way, there is also an environmental dimension to hearing in Architecture: noise and sound.In the context of architectural design education, noise and sound awareness appears to be slightly underdeveloped. While a 5 year architectural program will primarily focus on the visual, building acoustics, even in the real world, is mostly limited to noise control, and room acoustics tends to be reserved to specific projects such as concert halls or theatres.In our approach to architectural education, we have set up a programme that integrates sound perception into the design process from the conceptual stage.In recent years, we have been confronting architectural students in 2nd year design studio with audio samples, hoping to stimulate them and to make them reflect on sound as an exciting design tool in architecture.Every time we introduce the topic to 2nd year students, we provoke surprise: “Hearing in architecture”? However, students who have learned that light is much more than just being bright or dark, will easily understand that sound is much more than noise or silence, and that sound planning can be much more than just using anti-noise-panels.We have used audio samples that would represent real-world-situations, and our experiences so far suggest that most young architects, even at the early stage of 2nd year studies, are very curious and interested to (re-)think sound, and that they are well able to derive precise descriptors from their aural stimulation such as reverberation and speech intelligibility (J. Bauer, 2009).Currently, we are extending our catalogue of stimulating audio samples and the identification of acoustic descriptors deriving from it. At the same time, we do not want to overload this list; we believe that fewer hearing experiences and their meaningful conclusions are more valuable for a sound design process than an endless list of criteria that hinder rather than aid the creative design act, particularly in the framework of an undergraduate design education. We are also working on the idea to use our class room (and its poor acoustics) as a sound design lab “on the job”.The paper aims to summarize the latest experiences and findings in our approach to build up a “Hearing Aid” in 2nd year architectural design studio.