This chapter examines how sound-informed design paradigms can contribute to the creation of sustainable and inclusive spatial models within the domains of hospitality and public space. Grounded in the theoretical legacy of soundscape studies (Schafer in The soundscape: Our sonic environment and the tuning of the world, Destiny Books, 1977), the proposed approach explores the role of acoustic perception as a catalyst for ecological awareness and social relationality, positioning sound not merely as an environmental condition but as a design medium capable of shaping spatial identity and shared meaning. The first section, through analytical and historical desk research, delineates a theoretical framework that intersects acoustic ecology, sound design, and relational spatial practices. This perspective foregrounds the sonic dimension of space as a critical parameter in advancing environmentally conscious and socially cohesive forms of inhabiting spaces. By fostering attentiveness to auditory parameters, these paradigms open pathways for rethinking design practices in light of multisensory sustainability and community-making processes. The second part of the chapter presents a few curated case studies developed through both academic research and didactic activities. These projects investigate the potential of sonic parameters to orient design strategies in diverse spatial contexts-from hospitality interiors to transitional thresholds, from performance and exhibition spaces to public environments—towards environmental responsibility and social sustainability, where sound becomes an active agent in constructing welcoming atmospheres of care, inclusion and ecological sensitivity. By bridging theoretical constructs with tangible spatial outcomes, the chapter argues for the potential of sound-informed design to support sustainable redevelopment, promoting spaces that are not only ecologically responsible but also socially welcoming, fostering interspecies coexistence, urban regeneration and participatory forms of belonging.