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Loon Meadow Farm
Jerome spent years working with minimalist sculptor Donald Judd, collecting his work, and becoming a friend of two decades. She credits him with training her to see in a completely different way. “Judd took art off the wall. He broke boundaries by changing how we look at art emphasizing that the space around a work is no less important than the object itself. There should be a seamless integration between the work of art and its surroundings.” Jerome keeps this firmly in mind when beginning any building project. “The site I select, the style of architecture, the scale of the rooms, ‘the all of it’ I think of as a big sculpture that is one harmonious environment.”
When she found an old house in Connecticut, she thought of Judd when deciding how to fill — or, more importantly, how not to fill — its rooms. She expanded the small early 19th-Century farmhouse and installed antique floorboards and pale plaster, which cued Jerome to the new design mood: clean, quiet, elegant. If the proportions are balanced, she believed, the architecture won’t need to shout.
With a view that includes open fields, mature trees, and, notably, not a single other house, the property embodies a timeless ideal. The only development, in the course of a day, is the movement of clouds, the rustling of leaves, and the trek of the sun through the sky, observed from nearly every room of the house. The building hugs the land, but doesn’t overwhelm it. A self-confident house lets nature work its magic.
Photography by Maureen Jerome.