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The single bed and a framed photo of Ken further asserted that this was Barbie’s own, unshared domestic space. Financial institutions frequently turned down mortgage applications for women without male co-signers when Mattel debuted the Dreamhouse in 1962, three years after Barbie shook up the toy world, arriving in a one-piece bathing suit and kitten heels. On the ground floor, guests can relax at the Louis Vuitton café, which serves French pastries and a selection of beverages. Listen to Part 1 of La Monte Young’s 1974 record Dream House 78′ 17″ performed by La Monte Young, Marian Zazeela and members of the Theatre of Eternal Music.
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And if you walk down Remsen street today, you can see the eight feet on this extra-wide sidewalk in front of the former St. Francis College buildings. The public part of the sidewalk is 14 feet wide and the eight-foot strip closest to the buildings is private property. It’s this strip that led to the lawsuit, possibly slowing redevelopment of the site. Founded in 1993 by visual artist Marian Zazeela and experimental music icon La Monte Young, "Dream House" has served as a continuously running light-and-sound installation for decades -- part meditation room, part art installation. A decade ago, Artforum remarked of the place, "Outside it is 2006, inside it seems perpetually 1985." And it still does. The scene recalls a line from TV's 30 Rock, when Jack Donaghy says, "Never follow a hippie to a second location." This feels like the second location.
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It’s a powerful, all-encompassing experience perfectly complemented by Marian’s vivid neon atmosphere. The bulk of the experience comprises the fairly loud series of tones that are being generated by Young’s custom-built Rayna synthesizer on the second floor (where he and Zazeela live) and piped into the third floor (where Dream House is installed). These tones are based on microtonal adjustments, derived from prime numbers, which are basically impossible for most fretted instruments to achieve. Imagine less a piece of music than a demonstration of natural properties, an embodiment of what certain tunings can conjure. Young’s music moves so slowly in part to help the listener overlook the fact that it’s a composition.
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It also helps that the Church St building's landlord is apparently "sympathetic" to the installation. When walking down Church Street in Tribeca, keep an eye out for a black door with a cryptic white sign that reads THE DREAM HOUSE. Although this is not your typical dream house with a 4-door garage, it guarantees to be a one-of-a-kind experience, with its completely absorbing, constantly fluctuating sound waves accompanied by neon pink reflections of light. Jerold Kayden, a professor of urban planning at Harvard University’s Graduate School of Design and a lawyer, popularized the phrase “privately owned public space” to describe areas like the extra eight-foot sidewalk that could be produced either by zoning laws or restrictive covenants. Many of this block’s brownstone houses saw their old stoops replaced with ground-floor storefronts. Sometimes, the brownstone fronts themselves were refaced in more contemporary stone.
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The street-level door to the space is almost unmarked, so you have to seek it out -- which plenty of people do. "We get crowded on Friday nights," says Rebecca Lentjes, a music writer who has worked as a volunteer monitor at "Dream House" on and off for years. She says that she volunteers because coming to the space after a long day in the city relieves her stress. The buildings on Remsen Street’s south side are set back from the property line. To own a home at all, especially one with a three-story slide, can feel unattainable for most. From July 2021 to June 2022, home buyers were richer, whiter and older than they had been in decades.
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These performances coincided with the first Dream House installations, which eventually found a permanent residence in Young and Zazeela’s Church St loft in Tribeca in 1993. It’s still active today, and is among the most immersive sound rooms ever created — a space that, because of the array of specific pitches being multi-projected, makes sound become quite physical. The tones resonate so much that your whole body vibrates; with each small tilt of the head or minute movement, the overwhelming pitches modulate.
Young organized some of the group’s earliest events at Yoko Ono’s Chambers Street loft and created a set of instruction-based scores called Compositions 1960 during his stay in New York. The instructions of this score are to “draw a line and follow it.”3 Finding much inspiration and support for his art and music in New York, as well as a new found love, Young opted to stay. In 1963 Young moved into a loft apartment on Church Street with Marian Zazeela, an artist who was at the time working with calligraphically-inspired painted abstractions. In each other, Young and Zazeela found creative life partners, and have continued to work together ever sense.
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Decades-Old ‘Dream House’ Sound Installation in Danger of Closing: ‘Artists Live Like This Their Entire Lives’
Welcome to Louis Vuitton’s dream house, an Upper East Side mansion filled with the house’s fabulous flights of fancy. The Dream House is located at 275 Church St. To enter, visit between 2 p.m. For more information and an occasional schedule of live performances in the space, visit the MELA Foundation’s website. The newest season of the Dream House overlays a sound composition by Choi on top of Young’s composition and features a light-based sculpture by Choi. Downtown Manhattan's long-running sound-and-light installation the Dream House has reopened for its 30th season, after briefly shuttering for maintenance and repairs.
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Young’s idea was to create a room that would play long, sustained tones, constantly, for 100 years. The current version, one floor above the same loft space, has been running since 1993. The couple’s Church Street loft hosted hours of collaborative improvisation between friends, and eventually, Young and Zazeela, along with John Cale, Tony Conrad (and occasionally Terry Riley) formed a musical group they called The Theatre of Eternal Music. The group gave performances and also recorded many sessions on tape, with Zazeela providing atmospheric light and images with multiple slide projectors. Immediately opposite the ovals is a light effect that weaves across a large sheet of graphite-covered paper. This piece is a video homage to incense smoke, according to Choi's description in the exhibition literature.
The official titles of the two sound pieces that play in Dream House – one by La Monte Young and one by Jung Hee Choi – would take up half of the word count of this text. Picking up a plush pillow from a stack near the door, I make my way into the apartment's front room, where two women sit with their legs crossed and eyes closed. Another couple is lying on the floor, holding hands, and gazing at the ceiling. Bass tones resonate through my body as I take a seat facing a video piece called "Rice," which consists of two swirly, pupil-shaped projections that seem to grow and shrink at once. Sometimes the movement of the video matches the "drone" and sometimes it doesn't. The projections appear to spiral inwards and dance outwards at once, a transfixing illusion.
The current Dream House installation has been a mainstay on Church Street since 1993, when it opened as a different iteration of an earlier Dream House supported by the Dia Art Foundation from 1979 to 1985. Though Dia acquired a separate iteration of the work that was presented in the Chelsea gallery district in 2015, the Church Street Dream House has been overseen by the MELA Foundation since its beginning. At 79, Mr. Young still operates as defiantly within his own sphere as he has since moving to New York from the West Coast in 1960, taking the avant-garde by storm. So Rockrose is moving ahead with its proposed redevelopment of the site — eight-foot setback included.
Visiting the Dream House myself on several recent occasions, I encountered a social environment of people peacefully communing with each other and sound through the shared experience of listening. Carpeting and pillows invite visitors to find a comfortable space and stay a while, letting the droning tones wash over them. Over a time spent in the space, different frequencies emerge in one’s hearing; even though the sine wave generators are unwavering in their constancy the frequencies seem to undulate. Different parts of the room envelop listeners in different acoustical phenomena that occur from sound waves colliding in architectural space. Visitors can also “play” the room like an immersive instrument by moving their own bodies through the rooms to hear different effects; even a slight tilt of the head produces a dramatic difference. In 1960, Young was awarded a scholarship to study electronic music with composer Richard Maxfield in New York, and while in the city, Young fell in with the flourishing Fluxus art and performance scene.
In 1985, due to financial troubles at Dia, this version of the Dream House closed, though Young and Zazeela found new means of support to revive the piece in 1993 through their newly established Mela Foundation. This move was a homecoming of sorts for the Dream House, as it returned the piece to the Church Street loft where it was conceived. This location remains open today for visitors to experience Young and Zazeela’s unique environment of light and sound for a nominal suggested donation fee.
