Morgan was very conscious about her choice to build only what she needed. Her motto was, “Smaller is better—the smaller house forces you to interact with everything,” she explains. “There are no wasted spaces. No wasted utilities. It makes you live very mindfully.”
The lower floor is a painter’s dream of a studio. The space is open and flexible, offering plenty of storage, workspace, and white walls. Morgan is currently busy at work preparing for an upcoming solo show in Long Island, so the space is stacked high with recent paintings at all stages of completion.
The pièce de résistance is the south-facing side of the house. Huge floor to ceiling panel windows pour light into the living space and studio. Morgan describes it as “a Manhattan loft floating over a meadow.” When standing in the living area, you feel as though you are suspended over the surrounding field, with the hill dropping steeply below the house.
There is not a house in sight and the one-acre property seems to stretch out far below. The windows create a mixing, merging and overlapping of interior and exterior spaces. The outside environment surrounds you on almost all sides with sound, cross breezes, and light. Morgan relates how if the windows are open when it rains, “you feel like you’re in an open-air hut in Southeast Asia.”
The living space is decidedly cozy and eclectic in color and style, with inspired nods to modern and Scandinavian design. A George Nelson saucer lamp hangs in the middle of the room and provides a warm glow. Red partition walls offer a shock of color. Morgan’s design palette includes rich combinations of textures such as wood, concrete, metal, and stone.