The industrial chimneys served to expel smoke and harmful gases produced by the old furnaces. They were a way of isolating those places of contaminating practices from the rest of the city.

The interior of an abandoned factory's chimney, although still marked by soot, doesn't keep references to the fumes and scents that it expelled toward the sky. On the contrary, the circular enclosure formed by the brick tube is bathed by a delicate light halo. Those who enter it see a very high circle of sky, contained in the tower's darkness, like an archaic space. Today the chimneys work as a guide that puts us in contact with the city, through which come to us _ filtered, involved in silence _ the noise of cars, of trains, heard at the distance. Through the chimney are played the ruin's lost time and the metropolis's present time. The empty silence of the past mixing with the frenzy of present time. José Miguel Wisnick transformed the chimney into a great musical instrument. Inside it, a composition of several sound sources arrives to the listener through different acoustic trails and reverberation tempos, dialoguing with the city noises that enter by the tube's top mouth, amplified by microphones. Sounds of wind instruments, in a reverberation of the tube principle, carriers of musical memory and affinity with the mechanical world. Noises that refer to the very mechanics of the instrument and to tools, motors, sirens and horns, whose spectra are incorporated in the composition. The inert chimney is transformed in a pipe that puts the listener in circulation among different spaces, this abandoned area and the rest of the city, and between different times, the mechanical acoustics' era and the metropolis' amplified present.