This instinctual draw toward empty spaces has since given way to an enigmatic architectural style: a signature approach to proportion and light, which accompanies a potent language comprised of windows, doors, and walls. Whether at the scale of a monastery, a house, or a ballet, everything John creates can be traced back to a consistent set of preoccupations with mass, volume, surface, proportion, junction, geometry, repetition, light, and ritual. In this way, even something as modest as a fork can become a vehicle for broader ideas related to how we live and what we value.
John’s most recent endeavor—his personal home in Gloucestershire, England—is no exception. What started off as a 7,000-square-foot property containing a 17th-century farmhouse, 18th-century stables, and several outbuildings has since transformed into an aesthetically moving environment. In order to learn how his design philosophy came to life in Home Farm, Andrew Trotter and I met with John in his quiet corner of English countryside.