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“Music and light take place in time, and ideas can only evolve and develop over time if you have a situation set up that provides time," he said. FEW people in the New York art world — or anywhere in the world, for that matter — make an entrance with quite the flair of La Monte Young, the minimalist composer. Lentjes buzzes me into "Dream House" and hands me a packet of information about the exhibition.
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While listening in on their daily rehearsals, Zazeela made the drawings that would eventually become the constantly-transforming calligraphic projection Abstract #1 from Quadrilateral Phase Angle Traversals. Just Charles has been made possible with generous support from Peter Freeman, Inc., Lostand Foundation, and the Aaron Copland Fund for Music. Young and Zazeela's original, collaborative work involves Zazeela's visuals coupled with what Lentjes calls "the drone" -- not the flying vehicle, but rather a minimalist musical genre. Intricate, looped harmonies created by Young are projected through the converted apartment. The placement and mix of the tones create something called a "psychoacoustic phenomenon" or, as a sound engineer friend of mine put it, "weird ghost sounds." What you can hear in the music changes based on whether you're standing up, lying down, in the back, or in the front of the room. The work is meant to immerse the viewer and listener in a complete sensory environment, to trigger a subconscious awareness via physical immersion in purple light and and deep tones.
Experiences
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Designed to make women feel comfortable in a bar setting, they were filled with homey, domestic décor. Premarital sex became less stigmatized and a singles culture began to rise with the arrival of the sexual revolution, the F.D.A.’s approval of the birth control pill and the women’s movement. Ms. Brown’s book served as a guide for women looking to fulfill their newfound sexual freedom. Now, Ms. Dalsing lives in Saint Joseph, Mo., in what she called her own dream house. “We got to pick everything out and give our daughters a nice, shiny, new home.” It’s also a ranch home, just like Barbie’s.
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See how the sidewalk is extra wide in front of the old St. Francis building? The neighborhood is filled with brownstones and townhouses that don’t change much or quickly. “Even placing things in my home now, I’m asking, ‘what’s the best angle, what’s the best thing? ’ I thought about that 10 years ago, too,” said Ms. Roy, who lives in an apartment in the Canadian province of Alberta.
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Rockrose’s president, Justin Elghanayan, would not comment on whether the specific Remsen Street restrictions impacted its purchase of the St. Francis site. Over their 60 years on the street, the campus evolved, ever keeping to the eight-foot line where required. And soon, likely, the campus will be redeveloped, but the extra eight-foot sidewalk will remain. The Brooklyn Bridge opened in 1883, further fueling Brooklyn’s upturn, which had already become the country’s third most populous city by 1880.
Downtown Brooklyn’s retail, commercial and financial hub exploded, right at the doorstep of Remsen Street. When you see this row of townhouses, all in a line set back from the street, the front courtyard is not just for aesthetics — it’s often required. Other Brooklyn Heights developers followed the Pierrepont family’s lead by establishing restrictive covenants on their land sales, too. Henry led his fellow heirs in establishing restrictive covenants for all of their inherited property. Pierrepont expanded on the period’s customary land use restrictions by also adding required types, materials, and sizes for buildings, and lot geometry minimums — concepts which are familiar from today’s zoning. Specifically, it’s the part of the sidewalk to the right of the person in the brown coat.
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Unlike zoning which can be adopted or rescinded by a legislative body, private covenants are “very, very hard” to remove, he said. Pierrepont and his heirs’ restrictions were largely intended to establish residential living. Not much more than a generation after the original developers had enforced their intended vision of neighborhood character, Brooklyn boomed. The signs, which can be found on street posts throughout Brooklyn Heights, celebrate Pierrepont, “a transplanted New Englander,” as important to the history of the neighborhood. Bill Bosch at Pillsbury, a lawyer for Rockrose, told the court that Alexico knew about the eight-foot setback restriction even before signing the purchase agreement with St. Francis College. Society has held up “this promise of homeownership as part and parcel of the American dream,” for centuries, said Ms. Castro.
But all of these conversions continued to adhere to the eight-foot setback, as was still required by the deeds. An 1887 Sanborn fire insurance map which shows the eight-foot setback on Remsen Street as the shallow white space between the street and each pink or blue building outline. Pierrepont, a wealthy Brooklyn Heights landowner, wanted to sell plots of his property to wealthy Manhattanites looking for a retreat from the big city. Pierrepont mapped out his land with today’s familiar street grid and filled it with 25-by-100-foot building lots.
The space is soft pink, neon purple, and incredibly loud; you hear the music with your body as much as with your ears. Giant speaker cabinets surround the small room, which is lined with wall-to-wall carpeting and has pillows strewn about the floor. Lounging is encouraged, as Young’s work deliberately invites visitors to slow down and experience the present.
Catch up on the most important headlines with a roundup of essential NYC stories, delivered to your inbox daily. “The Dream House is one of my greatest inventions,” said Young, who maintains that his work can only be truly experienced over long periods of listening and repeated visits. First conceived in the early 1960s by La Monte Young — the giant of minimal music who inspired Brian Eno and John Cale and was in a band with Andy Warhol and Jasper Johns — the original iteration was built above his loft on Church Street in 1966. I take a final look around the buzzing, purple room and exit "Dream House" into the bright afternoon sunlight.
He named one of the streets after himself but gussied up the spelling from “Pierpont” to “Pierrepont” for added cachet, later doing the same thing with his own family surname. “It’s really hard to bottle up sound and light and sell it to rich people so they can put it on a wall, or in their yacht, or whatever it is they do with art these days,” Pugh said in front of the door on a recent Friday afternoon. He said he's seen people spend more than two hours in the Dream House — and people who turn right around and leave.
Now she’s hitting the big screen in the “Barbie” movie, reportedly made for $100 million. Production designer Sarah Greenwood and set decorator Katie Spencer aimed to create an “idealized version of Palm Springs,” Ms. Greenwood said.. In an interview, Kim Culmone, Mattel’s head of design for Barbie, said that apart from wheelchair accessibility, the Dreamhouse doesn’t reflect those identities. “The size of the average American house rose from about 1,500 square feet in 1970 to more than 2,300 square feet in 2001, with a particularly big growth spurt” in the late 1990s, The Times reported. Barbie’s signature pink began increasingly popping up in the 1970s, part of Mattel’s effort to brand toys to stand out from competitors, said Mr. Burrichter.
Most of the people who enter the space, about 10 in all, seem to intuitively orient themselves towards the blue lights. "Dream House" has essentially remained the same for the last 23 years. But through October 8th, the space is hosting a rare temporary exhibition, an installation called "Ahata Anahata, Manifest Unmanifest X" by an artist and longtime mentee of Young and Zazeela's, Jung Hee Choi. Choi is perhaps Young and Zazeela's most committed student and an heir to their minimalist legacy. For the exhibition, Choi filled the space with strange visuals -- a video of swirling blue dots, a projection that looks like dancing smoke -- and wrote an accompanying sound piece based on an algebraic sum of sound frequencies (Choi calls them her "Tonecycles"). It's heady stuff, but the immersive sounds, smells, and light of the mystical-feeling space make it easy to forget the technical complexities.
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