Originally called Boswijck, meaning “little town in the woods” or “heavy woods,” the Town of Bushwick included the nowadays neighborhoods of Bushwick, Williamsburg (named for Jonathan Williams, Benjamin Franklin’s nephew who surveyed the area), Greenpoint (for its once-grassy banks along the East River), and part sof Ridegwood. Peter Stuyvesant, who picked the name Boswijck after sanctioning the area in 1661, was along with the Dutch West India Company in 1638 to secure the contract from the local Lenape people. At the time, Bushwick was the last of the original six Dutch towns of Brooklyn to be established within New Netherland. The community was settled, though unchartered, on February 16, 1660, on a plot of land between the Bushwick and Newtown Creeks. The group centered their settlement around a church located near today’s Bushwick and Metropolitan Avenues. The major thoroughfare was Woodpoint Road, which allowed farmers to bring their goods to the town dock.

Proposing an alternative way of re-imagining historical and anthropological contexts in urban settings, the idea is to build a public interactive installations that stages audio representations that evokes sensations. By recollecting socio-cultural materials and restoring subliminal artifacts the installation in its own becoming a responsive environment. Inserting a strategy in contemporary architecture called “cross-atmosphering” where a coalition of incompatible functions causing a contradictory connection between actions and spaces, the project seeks to turn audiences into active contributors of the newly mapped experience.

Specific to this project is the stretch around Bushwick Avenue to Morgan Avenue where warehouses or factories manufacturing from metal, glass, frames to tortilla, tofu, canned-soup, etc.

As an active neighborhood, this area evokes two strong sensory experience: hearing and smell. Central to this project is the subtle continual presence of persistent low-frequency sound (hum). Woven LED-spanish-moss is triggered through motion detector sensors and its illumination goes brighter or dimmer depending on the amount of motion it recognizes. Using David Tudor’s method in Rainforest, dozens photoresistors are implanted on the ground or on the wall to catch illumination from the LED, pick up [], feed it back and distribute the sound out again to speakers. The hope is that this cycling phenomena will produce an irradiant, mysterious, sonic sculptural indoor garden through various textures that comprehends acoustic densities and spatial effects.