In Glencoe, a landscape marketed as pristine wilderness, listening reveals a different story: a contested soundscape where human and natural systems continuously collide. My project, Frequencies of Coexistence, rejects the romanticised silence of the Highlands to ask: what if architecture stopped trying to block out the elements and instead learned to welcome sound? Taking inspiration from Felix Mendelssohn’s translation of waves into musical staves, I developed a series of installations designed as acoustic instruments. Working with the valley’s competing tracks – the bleat of sheep, the twang of fence wires, the hiss of rain, the rhythm of the river – these interventions use porous walls, staggered perforations, and calibrated platforms to filter, delay, and resonate with the environment rather than replacing it. The result is not a harmonious symphony but a choreographed discord: a space where human and nature, invasive species and indigenous flora, manage to coexist without resolution.