blocky, elemental forms are seen first. “The white-painted wood gable forms of the New England farmhouse are here reinterpreted in a crisp, abstracted
composition,” says Albert.
The red mullions of the glazed entranceway provide the only flash of color. Otherwise, the wooden
house depends upon the proportions of its constituent units. Except for the wall of windows that opens
onto the terrace, the fenestration consists of plain
four- or eight-pane farmhouse windows. Initially
blocked from view by the house itself, the topography of meadow, stone walls, and hills is not revealed
until one enters the living space.
What at first appears to be just another unas-
suming white New England farmhouse is really an
exquisite pavilion sculpted into the
landscape. Concrete retaining walls
form bold terracing, sunset-facing
plateaus that act as 18th-century Eng-
lish gardens with ha-has to create unob-
structed views from the house to the field beyond.
Land and dwelling are open, uncluttered, basic.
This is design without gimmicks, without flash,
without ego. Such self-effacement is rare in archi-
tecture, but as Lantern House demonstrates, always
the owners opened up the
meadow and had retaining walls
built (above), but otherwise left
the landscape untouched —
deciding to wait and see how the
house and the property grow
together before making any
transformative changes to the
landscape. The terrace (facing
page) can be accessed from the
kitchen, living/dining space, and