LIFE BEYOND FIRST CLASS
ESTATES
SUNRISE TO
SUNSET
Set on nearly five acres between the Atlantic Ocean and Shinnecock Bay, this Francis Fleetwood-designed estate carries forward the Hamptons’ most enduring architectural traditions with uncommon warmth, scale, and permanence.
2150 Meadow Lane, Southampton, New York
$29,500,000
JESSICA HALL
Southampton bears little resemblance to the fishing and farming settlement established here in the 17th century. Over time, it became a Gilded Age summer colony and eventually one of the world’s most coveted enclaves, where stretches such as Meadow Lane came to represent the rarest kind of East End ownership. But one thing seems to have endured. The most desirable estates are still defined by proportion, privacy, generous land, mature landscape, and architecture that feels inseparable from its setting.
At 2150 Meadow Lane, those qualities come together with particular conviction. Set between the Atlantic Ocean and Shinnecock Bay, the residence was designed by AIA architect Francis Fleetwood, whose work helped shape the architectural identity of the modern Hamptons. “There is a history of architecture in the Hamptons, and Francis Fleetwood designed some of the most noted homes across the landscape that have stood the test of time,” says listing broker Tim Davis. “This gracious and sprawling home was conceived for enjoying life on a grand scale while remaining connected to the surrounding dune-scapes, the Atlantic Ocean, and Shinnecock Bay.”
That balance between scale and setting may be the clearest expression of Fleetwood’s work here. He borrowed freely from the language of the Shingle Style, weathering cedar, sweeping rooflines, projecting bays, substantial brick chimneys, porches, balconies, and asymmetry, then loosened the formality with light, views, and rooms designed for a life that moves constantly between indoors and out.
This is not a house trying to look historic. It is a house that understands the history of where it stands.
That understanding is visible before one steps inside. The roofline moves rather than marches, rising and dipping around chimneys, bays, and balconies, while the cedar shingles lend the whole composition a softness that will only deepen with age. A long columned terrace runs along the garden side of the house, connecting the principal rooms directly to lawn, pool, and sky. For all its size, the architecture never feels stiff. There is room here for formality, certainly, but also for wet bathing suits tossed over a chair, dogs asleep beneath the porch table, grandchildren moving between pool and beach, and dinner guests who stay long after the light has gone from the bay.
That ease continues inside. Across 11,410 square feet and three levels, the house offers eight bedrooms, nine full bathrooms, and two powder rooms, but the plan never feels like an exercise in acreage. Fleetwood broke the interior into rooms with distinct moods and purposes: a library for disappearing with a book, a family room built around conversation, a formal dining room that can take a proper dinner, a den, media room, gym, and five fireplaces that pull people naturally toward them when the season changes. The house is large enough to hold a crowd without asking everyone to inhabit the same room.
That may be one of its most Hamptons qualities. A summer house should be able to hold several versions of the day at once. Someone can be reading in the library while children vanish toward the pool. Lunch can stretch across the terrace while another guest comes back sandy from the beach. A quiet cup of coffee can happen at one end of the house while preparations for dinner are already underway at the other. The architecture accommodates all of it without making any of it feel orchestrated.
Inside, Fleetwood’s detailing continues the story. Paneled walls, divided-light windows, transoms, warm wood floors, traditional lanterns, deep window bays, and carefully scaled millwork give the rooms the character of a house assembled over time. There is a pleasing sense of accumulation rather than perfection. Blue-and-white porcelain, patterned textiles, books, paintings, wicker, upholstered window seats, and antique forms sit comfortably within the architecture. The rooms feel inhabited, not installed.
In the primary bedroom, softness takes over. Pale blue walls, layered textiles, a window seat overlooking the dunes, and a private terrace create a room that feels settled rather than staged. There is space to read, write, linger over coffee, and watch the light change over the Atlantic. Elsewhere, guest rooms and gathering spaces maintain the same sense of comfort, supporting the kind of long stays for which Hamptons houses were always intended.
Light is fundamental to the experience. Large windows and broad openings draw the surrounding landscape inward, allowing the rooms to shift with the day. From above, the geography is almost theatrical: Shinnecock Bay lies on one side, the Atlantic on the other, and the house occupies the narrow world between them. Morning arrives from one direction, evening departs in another. Very few estates can make both sunrise and sunset feel like part of the daily architecture.
Outside, a heated 20-by-50-foot gunite pool and spa sit within broad lawns and coastal planting, with covered porches and terraces providing the shaded spaces that make summer life possible from morning through evening. The best moments are not necessarily the grand ones. They are breakfast under the porch roof, bare feet on warm brick, a swim before anyone else is awake, or the hour before dinner when everyone seems to drift outside at once.
Beyond the lawn, approximately 200 feet of ocean frontage establishes the property’s true rarity. The Atlantic forms the eastern edge of the estate, buffered by dunes and beach grass that make the landscape feel protected rather than manicured. On the opposite side, Shinnecock Bay adds another horizon and another way onto the water. The property does not simply overlook two bodies of water; it lives between them.
That relationship with nature is central to the Shingle Style itself. The great summer houses of the Northeast were conceived as retreats from the formality of city life. Their shingles were allowed to weather, their porches encouraged a more casual rhythm, and their asymmetrical facades made substantial homes feel approachable. Fleetwood understood why that language continued to resonate more than a century later. His interpretation was not about nostalgia. It was about continuity.
At Meadow Lane, traditional architecture supports a thoroughly contemporary way of living. Extended family stays, entertaining, wellness, media, privacy, and indoor-outdoor life are all accommodated without asking the house to abandon the visual language that makes it so appropriate to Southampton. That is perhaps why Fleetwood’s work still feels persuasive. It was never designed around a fashion cycle.
Southampton itself rewards that restraint. For all the glamour now associated with the village, much of its pleasure remains elemental: morning swims, farm stands, long lunches, bicycles left against weathered shingles, evenings on the lawn, and the beach after the summer crowds have gone. Meadow Lane occupies a more rarefied corner of that world, where significant oceanfront estates are prized not simply for value, but for the amount of land, privacy, and water they preserve.
Nearly five acres gives 2150 Meadow Lane something many large houses never achieve: breathing room. The architecture can spread out, the lawn can remain generous, the dunes can remain dunes, and the water can still dominate the view. Nothing feels squeezed into place.
Davis describes the property as “a rare opportunity” for both the present owner and “future generations,” and that idea feels especially appropriate here. Fleetwood’s best work was never simply about shingles, chimneys, or porches. It was about creating houses with enough character to feel inherited, even when they were newly built.
At 2150 Meadow Lane, the Atlantic, the bay, the dunes, the weathered shingles, and the rooms filled with books and blue-and-white porcelain all seem to belong to the same story. That may be the house’s greatest achievement: it feels less like an estate placed on Meadow Lane than one that has always belonged there.
2150 Meadow Lane, Southampton, New York is offered at $29,500,000.
For more information and a private showing, please contact:
Tim Davis, Licensed Associate Real Estate Broker
Thomas P. Davis, Licensed Real Estate Salesperson
Corcoran Group Real Estate
24 Main Street Southampton, NY 11968
T: 631.702.9211 or 516.356.5736
E: tgdavis@corcoran.com
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