‘Nature is the ultimate luxury, and no fancy city house can match it’

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There are people who love their homes, and then there’s Kate Orne. Orne is so passionate about her 1811 stone-and-wood farmhouse in upstate New York, she’s regularly moved to tears by it.

“Sometimes, I step out into the yard, I walk a few steps and turn back and look at it, and I get teary eyed,” she says, her voice breaking with emotion.

The backyard of the home has several large trees and long stretches of stone walls.

The backyard of the home has several large trees and long stretches of stone walls.

When Kate Orne purchased this property, much of it was overgrown. One day while investigating the land, she discovered the original stone walls hidden beneath the underbrush and has worked to reveal them.

After spending two decades in New York City, Orne bought the old home to realize her dream of living in nature. “I’m from Sweden, but I’d lived in New York for a long time. Over those years, I would come up here to visit friends, and I loved it,” she says. “When the market went to hell in 2008, suddenly owning a place like this became financially feasible. I bought this house in 2009, packed up, and moved out of Chelsea.”

The house is a fieldstone structure just outside the town of Highland, with a Colonial-blue, cedar-shingled addition. It sits on what’s left of an old dairy farm, 13 bucolic acres with just two acres mowed and the rest in a natural state. “At one time, it was a vast farm,” Orne says. “But over the years they sold off parcels. Now, this is what’s left.”

Although it’s roughly a 90 minute drive from the front door of the farmhouse to Orne’s old Manhattan neighborhood, there’s a feeling of being far away from it all and engulfed in nature. To urbanites, it might seem lonely. To Orne, it feels more like home than the city ever did.

On the stone exterior, you can see SW 1911 carved.

On the stone exterior, you can see SW 1911 carved.

The initials of the builder are carved on an exterior wall along with the year 1811—the year the home was built.

A photograph shows the stone exterior and a gambrel roof.

A photograph shows the stone exterior and a gambrel roof.

The original structure was built with fieldstone. Later, a shingled addition was added.

“I sometimes felt lonely in the city, but I’ve never felt lonely up here,” she says. “The trees, the air, the sky and the animals keep me company. I see lots of deer, foxes, coyotes, and sometimes bear.”

In order to meet some of her human neighbors, she started a website, Upstate Diary, that was quickly joined by a biannual print publication. “I felt strongly that the artists and homes we cover deserved to be featured in a beautiful print publication—we just launched our fifth issue,” she says.

A shot that looks down a wooden stairway surrounded by white plaster walls.

A shot that looks down a wooden stairway surrounded by white plaster walls.

A stair leads to the master bedroom, a room that once served as a storage area.

A wooden wall shows marks of white from where plaster was removed.

A wooden wall shows marks of white from where plaster was removed.

In the living room, a wood-paneled wall that was exposed when layers of paint were removed is left in its unrefined state.

A detail of an antique rug showing a blue-and-gold pattern of flowers and vines.

A detail of an antique rug showing a blue-and-gold pattern of flowers and vines.

Antique rugs add texture, pattern, and color throughout the home.

Her occupation of the house started with an assurance to the people who brought it back to a near-original state. “When the previous owners sold it to me, I promised to them I wouldn’t change it,” she says. “This isn’t a remodeled home, it’s a restored home.”

When those owners purchased it, it was covered in less than attractive vinyl siding and wall-to-wall carpet. The finishes weren’t pretty, but they acted as a protective shield. “They started with a kitchen remodel, and they happened to hire Brian Kennedy, a contractor who is an expert in restoring historic homes. He told them they were sitting on a gem,” Orne says.

A black, wood-burning stove is in the corner of the living room.

A black, wood-burning stove is in the corner of the living room.

Orne installed a wood-burning stove in the living room.

The planned kitchen remodel became a whole-house restoration. As the vinyl, carpet, and drywall were removed, original stone walls, rustic wood floors, and hand-hewn ceiling beams were uncovered.

“All of this had been preserved, as if it were under wraps,” says Orne. “They only made a handful of updates, like adding a dishwasher, laundry room, bathrooms, and insulation. They also updated electric and plumbing. The only thing I have changed is the exterior color, which the sellers admitted they chose in haste. I don’t consider myself the home’s owner, I consider myself it’s keeper. I’m preserving it for future generations.”

It’s the kind of place where you feel like the barrier between past and present grows very thin. On the outside, the original farmhouse is constructed from fieldstone pulled from the surrounding land. The shingled addition, built around 1860, was built as the farm family grew. That family would likely recognize the wide-plank floors and mullioned windows. After all, they are the same ones the original residents used.

The ceiling of the bedroom is completely crafted from wood.

The ceiling of the bedroom is completely crafted from wood.

In the master bedroom, the wood ceiling and beams were carefully preserved.

A low bed is tucked into an eave beneath a steeply pitched roof.

A low bed is tucked into an eave beneath a steeply pitched roof.

The ceilings in the bedroom rise more than 13 feet over the bed.

What might surprise them is the master bedroom, located in the what used to be the large storage area above the first floor. The attic-like space was once used to house looms, dried vegetables, dried fruits, nuts, and the like. With no insulation, it was like a refrigerator.

In order to make it habitable in all seasons, insulation was needed. “If they had put it up on the interior, all that wonderful wood would have been covered,” says Orne. “So, they raised the roof, installed insulation on the exterior side, and replaced the shingles.”

Now, Orne (who previously lived in a studio apartment in New York City) calls it “the most beautiful bedroom in the world.” The gabled ceilings soar more than 13 feet above her bed, and they are done in unrefined wood that creates a cozy, homespun feel. “It reminds me of a dance studio in Paris. Everything is made with materials from the land where the house sits, and there’s a feeling of calm,” Orne says. “I lay in bed and feel so happy.”

A square mirror stills beside windows and casts light into the room.

A square mirror stills beside windows and casts light into the room.

A mirror in the bedroom reflects light from adjacent windows.

Downstairs, back in the day, the original family heated the home with a fireplace that has since been removed. Although an oil boiler was installed at some point, Orne prefers to use the wood stove she added after she purchased the home.

“I love to sit in front of the stove in the winter,” she says. “I love the way the heat goes deep into your bones—and also warms your heart and soul. It’s amazing to sit there, smell the fire and think of all the other people who sat there having a similar experience. If these walls could talk, the stories they could tell!”

She enjoys the stove’s radiance from one of the only new pieces of furniture she purchased for the home, a sofa. “At first, I considered furnishing it in a period way,” Orne says. “But then I thought it would be too much, and become more like a museum than a home.”

A detail of the stone wall with bunches of dried flowers hanging on it.

A detail of the stone wall with bunches of dried flowers hanging on it.

The stone walls are visible on the interior as well as the exterior.

A detail shot of rough plaster, with some of it chipped away and showing the lathe. A picture hangs on the wall.

A detail shot of rough plaster, with some of it chipped away and showing the lathe. A picture hangs on the wall.

Orne celebrates the rustic finishes in the home.

Instead, she chose to use furniture she found in local antique markets and vintage shops, adding the items to a small collection of Arts and Crafts pieces she brought from the city. “I like to things to be understated, but to have a certain underlying elegance,” she says.

But to her, the true luxury of the place isn’t the finishes or furnishings, it’s the quiet. “There’s no noise pollution here, no light pollution, no sound pollution,” she says. “There’s only the sounds of birds, insects—nature sounds. Nature is the ultimate luxury, and no fancy city house can match it. Today, my life is richer for it.”