Magazine

19 Maine Architecture Projects Shaping the Built Environment

Maine’s architectural landscape is as varied as its terrain: ranging from renovated public libraries that strengthen community ties to beachside residences designed to weather salt air and shifting tides, to homes with Corten steel panels and others with salvaged foundations. For nearly two decades, MHD has had the privilege of documenting this ongoing story of resilience and imagination. These 19 projects reflect the best of Maine architecture—work that respects history, embraces innovation, and responds with precision to the demands of place. Together, they honor 19 years of architectural excellence and lay the foundation for what comes next.

2025 ARCHITECTURE LISTING—RESIDENTIAL

Weathering Steel House

Steel House

Sited on an existing wooded clearing, this house designed by ARQ Architects has views to a tidal harbor. The clients desired a straightforward but modern interpretation of traditional New England design using durable and timeless materials. The design process focused on critical plan relationships, along with views and natural light for all rooms. After reviewing exterior materials options, weathering Corten steel wall panels and a standing-seam roof were chosen, creating barnlike gable roof forms.

Four-foot-wide steel panels aligning with windows and doors add to the elegant rhythm of the exterior elevations. The design approach adopts the simplicity of Shaker design, reflecting the client’s approach to simplicity and minimalism. 

The house is sited between existing ledge outcroppings and mature trees that were critical features for the clients to retain. The one-story, 2,500-square-foot plan is fully accessible, designed for aging in place. The desired simplicity and ease of maintenance continue in the interior. There is a restrained palette, with emphasis on sustainable materials.

The floors are primarily linoleum made from all renewable natural materials. Gypsum walls and ceilings are augmented with areas of locally sourced ash ceilings, trim, and interior doors. Full-height pocket doors connect rooms, blurring the boundary between the interior and exterior.

The panelized wall and roof system reduces construction waste. Employing passive house strategies significantly lowers energy use and carbon footprint. These strategies include using continuous wood fiber exterior wall insulation, cellulose roof insulation, and continuous slab insulation. Air tightness tests confirm passive house goals, and energy analysis showed the number of heat pumps could be reduced to just one. The house design incorporates all the elements of the clients’ and ARQ’s simple, innovative, and sustainable approach.

Project Architects: Paul Bonacci and Lucy Schlaffer
Architect: ARQ Architects
Builder: Brendan King Construction
Photographer: Hennessy Productions
Location: Kittery Point
Completed: 2024

Weathering Steel House livingroom

Meadow Ridge

Meadow Ridge house exterior

Nestled on a hill, this newly constructed home blends seamlessly with its surroundings, making it feel as though it has existed for over a century alongside the fully restored 1887 barn still standing on the property. The former farmhouse was too dilapidated to remodel, but the owners knew the now-restored barn was the anchor of the property, and they wanted to ensure it remained the focal point.

Knowing they wanted a home that feels like part of this history, the owners set out to create a farmhouse that blends with the surrounding landscape and barn while including some modern upgrades.

The design team approached the build with deep respect for what had existed on-site for over a century before. Salvaged materials from the former house appear throughout the new build. Floorboards worn smooth by decades of foot traffic became a mudroom built-in, ceiling beams were restored and installed in the new living room and kitchen, and one of the antique doors cleverly conceals a play space tucked under a run of stairs.

A sun-filled, glassed-in walkway connects the garage to the mudroom. Featuring rustic reclaimed wood ceilings juxtaposed against polished concrete and glass curtain walls, the walk creates a moment of modern contrast to the farmhouse aesthetic. Reclaimed flooring, a double-sided fireplace built from stones found on-site, and Vermont-made artisan light fixtures lend the home a grounded, historic feel. 

Meadow Ridge home entrance

Architect & Interior Designer: Kevin Browne Architecture
General Contractor: Zachau Construction 
Landscape Architect: Gretchen Giumarro
Landscape Design + Installation: Rosengren
Landscaping

Mason: Green Island Stonework
Photographer: Jeff Roberts
Location: Pownal
Completed: 2025


West End Residence Barrett Made

West End Residence

This project, located in Portland’s historic West End neighborhood, included a full renovation of a Victorian-style home’s interior while carefully preserving the exterior’s period-specific massing and detailing, as it is a landmarked house built in 1866. The existing interior of the house was plagued by structural issues, old, cracked plaster finishes, outdated wiring, single-paned windows that were drafty and nonfunctional, a lack of insulation in the walls, and outdated mechanical systems. 

The original home had undergone countless renovations throughout the past century and a half, resulting in many awkward, disconnected spaces full of “Yankee ingenuity” that needed thoughtful architectural consideration to improve the home’s flow, quality of light, and safety.

Care was also taken to modernize its amenities and finishes to selectively complement the well-preserved historic elements that remained. Key high-use rooms in the existing layout, including the kitchen, dining room, and sitting room, were too small and enclosed for modern living and furnishings to be functional. The house had existing structural issues that needed to be corrected, allowing the opportunity to reimagine the existing wall layouts in the key living areas to open up the space to improve livability, while also giving functional access during construction. 

The existing exterior shell remained intact throughout the project. New historic-style windows were installed throughout the house while the existing historic exterior trim remained original. Several exterior areas of the home received updated window arrangements to provide more natural light into the key living areas while maintaining the original design intent of the architecture. The process of fusing the old and the new produced a residence that represents its neighborhood: a place where modern urban living meets the historic sensibilities that have long made the West End a gem.

West End Residence
kitchen

Project Manager: Brian Knipp
Architect + Builder: Barrett Made
Structural Engineer: L&L Structural Engineering Services, Inc.
Interior Designer: CK A+I and Barrett Made
Photographer: Erin Little
Location: Portland 
Completed: 2023


West End Garden House

Ground-up residential projects often start with a blank slate—a vacant lot or a quiet patch of woodland. However, this house, situated in Portland’s historic West End, began its journey on an existing garden plot. Nestled within one of Maine’s oldest and most cherished neighborhoods, this verdant oasis provided a unique and inspiring touchstone for the project. The garden had been well maintained for decades and was a visual staple of the neighborhood. It offered a natural respite for pedestrians navigating the dense fabric of the West End.

The main objective was to design an energy-efficient, sustainable house that would remain in dialogue with its surrounding landscape. BRIBURN began by locating the house on the southwestern end of the lot. This preserved as much vegetation as possible while also forming a central patio space to give a direct, landscaped connection to the owner’s existing home nearby (now occupied by extended family). Next, BRIBURN worked closely with the owner to minimize the building footprint and increase green space.

These two opening design moves were simple yet fundamental to the project’s successful integration with the garden. Recognizing the client’s meticulous attention to the garden, it was essential to design an exterior that would match this level of discipline. A durable exterior cladding layout that combines wood species, textures, and colors was developed to introduce another natural pattern within the landscape.

The lapped siding is black locust, a domestic, durable hardwood with varying grain patterns, stained a light silver to help “pre-age” its complexion and complement the surrounding greenery. To add contrast, the darker-stained cedar battens set a vertical rhythm across the facade. These horizontal and vertical lines define a module, which in turn helps generate the exterior features of the house.

Architect: Briburn
Project Team: Christopher Briley, principal; Samuel Day, project architect
Builder: Wright-Ryan Construction
structural Engineer: L&L Structural Engineering
Photographer: François Gagné
Location: Portland
Completed: 2024


House at the Water’s Edge

Built on a constricted parcel of less than two-tenths of an acre, this site would be unbuildable based on present zoning, but an existing grandfathered structure provided the footprint and volumetric constraints for rebuilding within the shoreland setback. The original foundation was salvaged and reused for a new residence that was built to exceed the International Energy Conservation Code. Zoning allowed for a small expansion to the west, but otherwise the house reorganizes the new plan within the perimeter of the original structure, incorporating the basement into the scheme.

The owners wanted a tight, efficient envelope that would be environmentally friendly and not reliant on fossil fuels. Taking advantage of the southern exposure, a solar array on the roof provides 50 percent of the home’s electrical needs, while heating, cooling, and hot water are provided through a series of heat pumps.

Triple-glazed tinted windows offer views out while providing passive heating in the winter. Clad in charred wood siding, the house recedes into its wooded backdrop, particularly from the water, not seeking attention. From the interior, the large expanses of glass allow the architecture to take a background role to the beauty of the cove and site beyond.

Architect: Elliott Architects
Project Team: Correy Papadopoli, Matt Elliott, Sarah Elliott, Maggie Kirsch, Elise Schellhase 
General Contractor: MDB Design/Build
Structural Engineer: Albert Putnam Associates
Carpentry: Steve Stripto, Adam Fortin, Danny Dempsey
Landscape Designer: Edzui Sentkowski, Northeast Walls & Patios 
Solar Array Design+Installation: ReVision Energy
Photographer: Corey Papadopoli
Location: Kittery
Completed: 2024


Squid Cove

For decades, the clients rented a house in Acadia National Park to occasionally slip away for hiking, mountain biking, and sailing. In 2021 they purchased 15 acres on Mount Desert Island to facilitate longer and more frequent visits that would eventually transition to a permanent stay. The narrow property connects a sheltered cove on the east with an open bay to the west.

Setbacks from both shorelines and the parcel’s many wetlands limited buildable areas on the expansive parcel to just a few waterfront locations. With two coastlines to consider for home sites, the owners chose to embrace both. Coveside, a boathouse offers respite from mosquitoes on its screened porch and stores a small sailboat between daytrips. To the west, a new residence unfolds along the bay’s craggy edge. 

A stand of spruce shelters the building from the wind and waves, filtering 180-degree views through its trunks. The building mirrors this phenomenon and presents as a series of solids and voids, alternately opening to the environment and shielding more intimate spaces. Primary living areas cluster within two gabled masses bridged by a glassy connector. A continuous, clear ribbon of floor-to-ceiling windows and a 20-foot sliding door system wrap the lower level of the water-facing facade and defy the weight of the peaks above.

Each gabled form skews toward a unique view, staggering the interior’s open floor plan enough to create a sense of seclusion in rooms with no doors between them. Traveling through the home evokes exploration as one finds places to hide in plain sight or discovers new spaces around each corner. Reaching the respite of second-story sleeping accommodations requires journeying across a buoyant catwalk spanning the double-height central connector. Triple-glazed skylights bathe the elevated walkway and den below in southern sun.

Architect: Kaplan Thompson Architects
Builder: Peacock Builders
Structural Engineer: Albert Putnam Associates
Landscape Architect: Coplon Associates
Photographer: Irvin Serrano
Location: Mount Desert Island
Completed: 2024


Sylvan Hill 

From the outset, the homeowners envisioned a high-performance home rooted in Maine’s architectural vernacular, blending historic charm with modern sustainability. The design features steeply pitched roofs, dormers, cedar shingles, and white-trimmed windows, reinforced by a welcoming porch and barn-inspired garage—hallmarks of classic New England architecture. 

While grounded in tradition, the home is meticulously detailed to reflect modern craftsmanship and efficiency. Intricate millwork, refined trim, and historically inspired proportions elevate its aesthetic while maintaining warmth and familiarity. The open-concept living, dining, and kitchen areas seamlessly connect to outdoor spaces, ensuring both functionality and timeless livability. A first-floor primary suite supports aging in place, ensuring accessibility and adaptability for generational living.

Sustainability was seamlessly integrated without compromising the home’s traditional essence. A tightly sealed thermal envelope, wood fiber insulation, and sheep’s wool enhance efficiency while preserving the home’s natural materials palette. A rooftop solar array, energy recovery ventilation system, and ductless heat pumps further reinforce its low-carbon footprint. Cork flooring, hardwoods, and locally sourced stone maintain authenticity while prioritizing occupant health.

The landscape architecture continues this balance between historic character and ecological responsibility. Locally quarried granite is used for patios, walkways, and terraces, anchoring the home within its natural coastal setting. Native plantings and pollinator-friendly gardens not only enhance biodiversity but also provide a low-maintenance, seasonally rich landscape that evolves harmoniously over time. The design respects the site’s natural topography, ensuring a seamless integration between the built and natural environments while preserving the timeless charm of traditional Maine homesteads. 

Architect, Interior Designer, Landscape Architect + Builder: Knickerbocker Group
Landscape Installation, Site Work + Excavation:
Back Meadow Farm
Electrical: Woods Electric
HVAC + Plumbing: Yereance & Son Plumbing & Heating
Audiovisual: Home A/V Solutions
Building Supplies: Hammond Lumber Company
Countertops: Morningstar Stone & Tile
Furniture: The Studio by Knickerbocker Group
Solar Panels: ReVision Energy
Tile: Old Port Specialty Tile Co.
Windows: Marvin Windows (manufacturer),
Hammond Lumber Company (supplier)

Photographer: Jeff Roberts
Location: Midcoast Maine
Completed: 2024


Hidden Gem

The clients approached Leslie Benson Designs after they bought a small Cape across the street from their existing Victorian house. The goal was to downsize, but it turned out that the 1,200-square-foot house was a bit too small for their spatial and programmatic needs. This led the design to take the shape of a full gut renovation with a single-story addition. 

They asked for something “fun and funky.” The new 750-square-foot addition fulfills this with its boxy, asymmetrical, and wood-clad form. It is sited so that it’s barely visible from the street while containing a new main entry, mudroom, powder room, sitting room, and primary suite. The entry is housed under a flat roof connector to the existing house that now holds a reconfigured kitchen and living and dining rooms downstairs, with two bedrooms and a new full bath upstairs.

Heading toward the backyard, one can access the more private areas of the house, first passing through a high-ceilinged, sun-filled sitting room before entering the primary suite. Tall, sloped ceilings and large south-facing windows help to distinguish the experience of old and new.

A deck off the primary suite leads into a beautifully landscaped yard filled with raised-bed gardens, hardscape patios, and meandering wood-chipped paths lined with perennial plantings and fruit trees. The siting and design of the contemporary addition, paired with the historic-leaning renovation of the existing house, allow this project to keep its contextual, neighborhood appeal while still offering its inhabitants a bright, airy, and modern way of living.

Architect: Leslie Benson Designs
Builder: Cairn Building & Renovation
Interior Designer: Christina Rae Interiors & Homeowners
Structural Engineer: Structural Integrity Engineering
Landscape Designer: Catherine Hewitt
Hardscape Installation: Mike Mercier
Landscaping: Cashel O’Sullivan, Opus Fine Gardens
Photographer: Erin Little
Location: Portland
Completed: 2024


Dock Square Retreat

Designed for an artist and nurse, the retreat prioritizes spaces where natural materials, clean lines, and curated details foster family connection, creativity, and quiet reflection. Touching the property setbacks at three corners, the Kennebunk home maximizes a compact lot at the end of a dead end street, embracing both site constraints and budget with ingenuity.

Contemporary dormers punctuate the silhouette of the classic white farmhouse, directing views toward the protected forest at the rear of the property. Inside, exposed steel beams meet warm white oak finishes, creating a dialogue between structure and softness. Built-in niches, cabinets, and shelves provide curated spaces to display art books, paintings, sculptures, and collected objects. This creates a rhythm of personal moments woven throughout the home.

Every element, from light and texture to proportion, was considered to reflect the owners’ creativity and deep love for Maine.

Architect: Mobile Studio Design
Builder: Building Concepts Maine
Cabinetry: All American Woodworks
Photographer: Peter Morneau
Location: Kennebunk
Completed: 2025


Elemental

Elemental is a modern prototype starter home for a young family of four, designed to balance sculptural clarity with ecological performance. Sited on a wooded lot in southern Maine, the L-shaped plan shields a partially sheltered private yard from the driveway while creating multiple points of entry and moments of transparency that connect the interior to the surrounding landscape.

A carved entry porch links the home to a garage and workshop, while a screened porch extends the kitchen outdoors. The structure’s dark, charred-wood siding echoes the verticality of surrounding trunks and contrasts with the bright, ash-lined interior. Large floor-to-ceiling openings are carefully placed to frame views, bring daylight deep into the plan, and produce a lanternlike effect after dark. 

Following passive house principles, Elemental is all-electric and designed for year-round comfort and efficiency. The building envelope features high levels of insulation, triple-pane glazing, and meticulous air sealing, paired with an energy recovery ventilation system that provides HEPA-filtered fresh air. The narrow form encourages cross-ventilation, while solar orientation supports passive heating in winter.

These strategies, combined with modest spans and a slab-on-grade foundation, create a cost-effective structure that achieves exceptional performance without sacrificing design quality. The flexible second floor provides adaptable “away space” for work, play, or fitness, allowing the home to evolve with the family’s needs. The siting, materials palette, and high-performance shell demonstrate how thoughtful design can meet budget and energy goals while enhancing a strong sense of place.  

Architect: OPAL Architecture
Project Team: Riley Pratt, design partner; Alexandra Pagán, project manager; Dan Rodefeld, designer
Builder: StoneWood Builders 
Structural Engineer: Thornton Tomasetti
Photographer: Trent Bell 
Location: Southern Maine
Completed: 2023


Shingle-Style Guest Cottage

Set on a picturesque ocean- and marsh-front site, this 990-square-foot guest cottage was designed as a versatile retreat for guests and a temporary home for the clients while their primary residence undergoes reconstruction. Tucked into the footprint of a former garage, the new cottage meets accessory dwelling unit size restrictions while maximizing spatial efficiency, coastal views, and architectural charm.

Designed for a pair of active, tennis-loving homeowners, the structure is conveniently located near the property’s tennis court and blends shingle-style elegance with functionality. A 16-foot panoramic bifold door opens the living space directly onto the patio, highlighting seamless indoor–outdoor living. Above, a private deck with a curved rail detail softens the massing and mirrors the eyebrow entry below. Exterior materials are rooted in regional tradition and context: white cedar shingles with a weathering stain and a red cedar shake roof allow the home to settle naturally into its coastal surroundings. Nautical motifs appear throughout, including a round captain’s window and a porthole detail on the first-floor bathroom door. Inside, a serene palette of soft blues and whites enhances the home’s breezy, maritime feel.

Though technically a one-bedroom residence, a sleeper sofa adds flexibility for additional guests. Careful planning allows the compact floor plan to feel open and livable, supporting a variety of uses without sacrificing comfort or character. The result is a charming, compact coastal cottage that balances personality and practicality, making it a perfect fit for the property and a meaningful addition to the homeowners’ evolving lifestyle.

Architect & Interior Designer: TMS Architects & Interiors 
Principal: Jason Bailey
Builder: Greenier Builders
Interior Designers: Margo Villandry, Weekender House; Christian Daw, Christian Daw Design
Photographer: James Reed
Location: Coastal Maine
Completed: 2023


Tree Tops

Tree Tops is a site-specific home designed to serve the needs of a professional couple and their extended families. The property has distant views of the coast and outer islands. The Whitten Architects team worked with the clients to design a multilevel home with privacy and outside living spaces in a developed subdivision.

The design features a lower level walk-out with gym and golf simulator area; entry-level front hall, mudroom, guest suite, and open-riser stair; second-level primary suite and shared home office; third-level guest suite; and fourth-level open-plan living, dining, and kitchen space with screened porch and view balcony. An exterior stair with porches provides private outside access to all levels.  

Architect: Whitten Architects
Project Team: Rob Whitten, principal; Roo Collins, project architect; Jesse Patkus, designer
Builder: Bowley Builders
Structural Engineer: Albert Putnam Associates
Cabinetry: Derek Preble
Landscape Designer: Callahan + LeBleu
Photographer: Trent Bell
Location: Kennebunkport
Completed: 2024


Big Water Camp

Situated along the shores of Sebago Lake, this three-bedroom waterfront home is thoughtfully designed to engage its pristine natural setting. Taking advantage of 400 feet of shoreline and a private beach, the home emphasizes a strong indoor–outdoor connection through expansive glazing, a shed roof oriented toward the water, and a fully retractable glass wall that opens the main living areas to a screened porch. The architecture blends a “soft modern” sensibility with midcentury influences, featuring dark-toned natural wood siding and a metal roof that allows the structure to recede into the surrounding landscape.

A large photovoltaic array on the shed roof supports the home’s net-zero energy goals. Interiors are warm and serene, defined by ash-clad walls and ceilings, white oak floors, and rough-sawn hemlock timbers, achieving a fine yet rustic aesthetic.

The open-plan kitchen, living, and dining areas are flooded with natural light and lake views, with a generous skylight positioned above the kitchen. The surrounding landscape, composed of native Maine plantings and a stone terrace, offers a seamless transition between built and natural environments. The primary suite includes a private patio and outdoor shower, while guest bedrooms on the upper level also enjoy uninterrupted lake views. 

Architect: Winkelman Architecture
Project Team: Will Winkelman, principal; Michael Ritchie, project architect 
Builder: R.P. Morrison Builders
Interior Designer: Morrison Design House
Structural Engineer: Albert Putnam Associates
Landscape Architect: Richardson & Associates 
Photographer: Sean Litchfield
Location: Raymond 
Completed: 2024


Willard Cube

A renovation and expansion in South Portland’s Willard Square brought new life and a bold contrast to a classic gambrel-style cottage. With two growing kids and both parents working from home, the original layout no longer met the family’s needs. From the outset, the homeowners were open to doing something different. Instead of mimicking the existing architecture, the new addition embraces a contemporary, cubist form clad in eastern white cedar.

With the clients’ appreciation for cooking and dining together, kitchen space was a priority. Fully reimagined and built by Woodhull, the kitchen features warm cherry cabinetry that’s both beautiful and unexpected, as well as a built-in bench for seating at the dining table. What was once a tight, outdated layout is now open and flowing, with space for the family to cook, eat, and connect without sacrificing the generous backyard they loved. Along with a new office to accommodate the couple working from home, a primary suite above allows more privacy for the entire family. 

Updates to the original house include new windows, fresh siding in a deep blue, and a thoughtful reconfiguration of the entryway to add storage and a powder room. Throughout, the focus was on texture and tone, subtle shifts in siding orientation, and deeply inset windows that create shadow lines that bring quiet richness to the exterior. From day one, the clients were open to something bold, and the result is a respectful contrast: a home that bridges old and new, practical and expressive, in a way that feels entirely its own.

Architect, Builder + Millwork: Woodhull
Project Team: David Duncan Morris, principal; Ali Ward, architectural designer; Dee Dee Germain and Ben Brown, builders; Scott Stuart, Thomas Strayhorn, Nicky Sontag and Jordan Gehman, millwork 
Structural Engineer: Structural Integrity Engineering
Photographer: Trent Bell
Location: South Portland
Completed: 2024

2025 ARCHITECTURE LISTING—COMMERCIAL 

Louis B. Goodall Memorial Library Addition/Renovation

Barba and Wheelock redesigned the Goodall Library, creating a new and inviting entry experience, adding much-needed meeting spaces in a rear addition, and undertaking a comprehensive interior renovation. The 1937 massing of the Louis B. Goodall Memorial Library is a Georgian Revival one-and-a-half-story, tripartite building. The structure’s brick facade, topped with a slate roof and a domed cupola, was designed by Sanford native William O. Armitage. A

substantial two-story addition was constructed in 1976, connecting to the rear elevation of the original massing with a one-story hyphen. This project includes the removal of the existing circa-1990 vestibule and reimagining the entry vestibule as a transparent filter for welcoming patrons, thus providing the library staff with full visibility of approaching visitors. The upward-curving cantilevered roof transforms the basic 1976 addition and creates a memorable, iconic entry to the beloved library.

A larger, two-story addition attaches to the rear of the 1976 addition, allowing additional meeting rooms, storage, staff work rooms, and a walk-up book drop directly to the staff room. The two-story addition incorporates modern, locally produced masonry materials; compatible colors will complement, but are distinguished from, the 1976 and 1937 brick masonry facades as products of their own time.

Architect: Barba + Wheelock Architecture
Builder: TPD Construction  
Photographer: Dave Clough
Location: Sanford
Completed: 2025


Lambs

Lambs was designed and built in tandem with Night Moves Bread, both moving into neighboring sides of a recently vacated auto mechanic’s shop. The space underwent a complete gut renovation to transform from a dingy and rundown industrial garage into a bright and airy bar. The bar now comprises two of the three original garage bays, whose openings have been infilled with a new full-light garage door and storefront system.

These bring in tons of light, and when the garage door is open, the cross-ventilation through the space makes it feel as if you’re sitting outside. Vaulted ceilings, with exposed original wood trusses provide height and openness, while a new alcove with built-in banquette seating offers a more intimate space. Situated along the back wall, the main bar looks out onto the tidal Fore River through two original pivoting steel-framed windows.

The materials palette is simple, consisting of wood paneling painted in shades of white and green, white drywall, refinished concrete floors, and the warm tones of wood at the trusses, bar top, and alcove. Bright oilcloth-clad tables and simple lighting create an approachable and comfortable atmosphere.

A new doorway was added to the back of the building to provide access to outdoor seating, situated on a sliver of land sandwiched between the building and the river. A second, back bar area provides window service for the outdoor area, where you can sit at picnic tables, soaking up the heat of the afternoon sun while taking in the beautiful views.

Architect: Leslie Benson Designs
Builders: Jimmy Rodney and Ross Spencer
Structural Engineer: Structural Integrity Engineering
Photographer: Myriam Babin
Location: South Portland
Completed: 2023


Rice Public Library

Completed in 1888, the Rice Public Library has long been a cherished community landmark, known for its welcoming presence and wide range of public programming. For decades, the library operated across two buildings on either side of Wentworth Street in downtown Kittery: the original Rice building and the Taylor annex, added in 1988 to expand the collection. Listed on the National Register of Historic Places in 1979, the original Rice building remains an architectural highlight of Kittery Foreside. 

In 2018 the town committed to restoring and expanding this historic structure, consolidating all collections under one roof and making the building fully accessible. Simons Architects, in collaboration with Lassel Architects, designed a 10,400-square-foot addition that provides staff and patrons with a flexible, open environment suited to both current needs and future growth.

The expansion introduces a large, subdividable community room and makerspace on the first floor, enabling more robust programming and extended access for after-hours films, lectures, and events. The leading entry floor houses most circulation functions and features a bright, inviting reading room with expansive windows overlooking downtown. On the second floor visitors can access the historic Almyra Roberts Reading Room, featuring dedicated spaces for children’s and young adult collections and activities.

This thoughtful blend of restoration and modern design ensures that the Rice Public Library continues to serve as both a cultural landmark and a vibrant hub for learning, creativity, and community engagement.

Architects: Simons Architects and Lassel Architects
Builder: Wright-Ryan Construction
Structural Engineer: Thornton Tomasetti
Mechanical Engineer: Ripcord Engineering
Photographer: Ryan Bent
Location: Kittery
Completed: 2023


Seavey Terraces 

An innovative infill housing project on a challenging brownfield site beside an old railroad siding, Seavey Terraces in downtown Westbrook is the first of three buildings in a diverse 184-unit, pedestrian-centric redevelopment. The design extends the existing city fabric, strengthens neighborhood connections, and creates a vibrant, human-scaled streetscape. The site plan accommodates a mixed demographic, with unit types for graduate students, workforce housing, subsidized rentals, and residents aged 55 and older. This inclusive model fosters a diverse, representative community that will contribute to Westbrook’s ongoing growth.

Developed through a joint effort between for-profit and not-for-profit developers and long-term property operators, the project advances the goals outlined in Westbrook’s Comprehensive Plan, Downtown Revitalization Study, and Downtown Streetscape Plan. The building features bright, daylit living spaces; a highly efficient, fully electrified heating and cooling system; high-performance windows; and panelized construction. The envelope incorporates continuous exterior insulation and locally sourced wood-cellulose cavity insulation, achieving an exceptional air-infiltration rate.

This initial 64-unit building, currently leased as graduate student housing, offers a mix of one- and two-bedroom units. Street-level residences have individual front porch entries, while upper-level units include balconies and lofted volumes. The articulated street-front presence provides a familiar scale of private entries, semi-public spaces, and a vibrant, complete street lined with shade trees and plantings.

Architect: Simons Architects 
Builder: Hebert Construction
Structural Engineer: Thornton Tomasetti
Mechanical Engineer: Design Day
Landscape Designer: Rasor Landscape Architecture 
Photographer: Ryan Bent
Location: Westbrook
Completed: 2025


East Coast Cannabis

East Coast Cannabis set out to reimagine what a dispensary could be—envisioning a boutique retail environment that would set a new standard in Maine’s competitive cannabis market. Their goal was to create a space that embodies their premium brand, Live the Adventure, and offer customers an immersive, memorable experience from the moment they arrive.

WINTER HOLBEN brought this vision to life through a fully integrated design approach—uniting brand strategy, architecture, interiors, and experiential graphics into one cohesive concept. The challenge was to transform part of a newly constructed industrial metal building into a flagship destination that feels as elevated and adventurous as the brand itself.

The resulting space seamlessly blends rugged Maine character with refined contemporary design. Distinctive brand elements shape the customer journey, from the dramatic red, mountain-shaped canopy over the retail bar to custom fixtures and millwork that reference the state’s natural landscapes. Environmental graphics and carefully curated materials carry the brand’s story throughout the store, while strategic lighting, spatial flow, and sight lines create a sense of discovery and connection.

Opening in Eliot in 2025, the flagship store quickly drew attention as an award-winning retail destination. More than just a store, it serves as a physical expression of East Coast Cannabis’s identity, welcoming customers into a world where high-quality products, local pride, and design excellence converge.

Architect: Winter Holben
Fixtures: Orion Red
Signage/Graphics: Sundance Sign
Photographer: 16 Hoops
Location: Eliot
Completed: 2025

When You Wish Upon a Star: A Dream Becomes Olde School Fiber & Craft


Cubbies hold yarn and other craft supplies at Olde School Fiber & Craft. “When I first came up with my ideas for the interior, I told people that it would be a bunch of vintage found pieces mixed with Ikea, and I think it really works,” says Heady. The sage green custom-built counter divides the shop area from the classroom and gathering space in the rear.

Many of us have wished on falling stars, but how many of those wishes actually came true? Nichole Heady, owner of Olde School Fiber & Craft, looked up at the sky one cold December night as she mulled over leasing an empty historic storefront in Gorham and starting a business there. “I was driving by here at 10 o’clock at night because I was crazy and went Christmas shopping at Home Goods late.

Then, when I was going through this light, right by this building, I saw a shooting star,” she recounts, tearing up a bit at the memory. “So I wished out loud, ‘If this is supposed to happen, make it happen.’ After that, things just kept falling into place. I felt like the universe was pushing me to do this.”

Now the former empty storefront is a cozy and welcoming shop, Olde School Fiber & Craft, that fulfills all the dreams Heady was cherishing on that cold winter’s night. “As soon as I walked in the front door, I could picture what I wanted to do with everything. I saw back here being a classroom, I saw a long vintage cash counter, I saw a light space that allowed the color of all the product to show,” she says. “Most importantly, I pictured it full of people making.” 

Making has always been a central part of Heady’s life. “I’ve been a maker almost my entire life. That was inspired a lot by my grandmothers, whose photos I keep up here in the store. They played a big role in my life as far as making goes,” recalls Heady. “Also hugely influential were Girl Scouts and 4-H. They were both really well-run organizations where I grew up in central Maine, in the Norridgewock–Skowhegan area.

For example, we went to somebody’s house in fourth grade and learned how to knit. Another woman took us in for six consecutive weeks on her sun porch. She had six sewing machines set up for us. We got to pick our own garment pattern out as well as our fabric. She worked with each of us to sew our own garments, and then at the Grange Hall, we had a fashion show with music and everything. It was one of the best experiences ever!” Heady continued making when she married and moved to Tennessee, starting an online paper crafting business with two other women. 

But when her husband’s work offered them a chance to return to Maine, they jumped at it. “I’m actually fifth-generation Gorham—I didn’t live here through elementary and high school, but my family is still here and being back is fantastic,” she says. “Recently my youngest was graduating high school, and I was thinking about doing something more fulfilling, maybe starting my own business again.” The empty building, once home to Gorham’s 5- and 10-cent store, kept drawing her back.

And then she wished on that fateful shooting star. “Everything just started happening really fast right after Christmas, and on Valentine’s Day, we signed the lease on this place. It was the freakiest, scariest, most exciting day of my life, because this place was a disaster,” she says, shaking her head and laughing. With a hard opening deadline of mid-May, she and her husband threw themselves into the project. “We were here pulling 12-, 14-hour days every day.  

God bless my husband, because he was so amazing. I tell everybody that these walls truly hold his love for me,” she says with obvious affection. “He’s a hobbyist woodworker. All this finish work is a hundred percent him. He built a giant crafting table to spec. He painstakingly installed the butcher block countertops, and he polished and sanded six times to get the nice vintage sheen to them. He built the cash counter from scratch based on a very blurry Pinterest photo that I found. He never said no! He always figured out how to do everything on a very tight budget.”

Meanwhile, Heady began stocking the new shelves her husband had installed. “It was very important to me that this store feel very approachable. I wanted everybody to feel very welcome, no matter what kind of budget they had to spend on supplies. I wanted to have a diverse price range so that we could accommodate everybody,” she says. Like many other makers, she was hit hard by the news that Jo-Ann Fabrics was closing. “They had some mainstays that suddenly no one was going to be able to buy locally anymore.

We’re now building up a selection of those basics so that if people figure out, ‘Oh, I’m doing this project, and I need pinking shears,’ they can come here and get those.” Another important change she made in response to Jo-Ann Fabrics’ announcement: she decided to carry even more embroidery floss. “One of the biggest shifts we made is that we carry all 500 colors of DMC six-strand embroidery floss. We are, as far as I know, the only people in Maine who have that. We have people who drive in from out of state to shop our custom-built wall. Of course, my husband built it. I went to him, and I said, ‘I want a wall with 500 little pegs.’ He was like, ‘You’re crazy, but okay,’” recalls Heady.

The wall of embroidery floss, its silky colors gleaming in the light from the enormous windows, is strategically placed to draw folks into the shop. “I purposely put that wall facing one of the large windows where people get stopped at the stoplight every day. Even before we opened, before anybody knew what we were doing, everybody was talking about it in town,” says Heady. “I wanted people to be able to tell from the outside that we’re a serious craft store.

We want to carry what the community needs.” Her patrons range in age from the very young (children coming in with allowance money to buy 25-cent buttons for friendship bracelets) to college kids from nearby USM and St. Joseph’s College (both of which have thriving fiber arts clubs), to retirees returning to the cross-stitching or knitting they put down years ago.

The entire community has responded enthusiastically, Heady reports. “Fiber crafts seem to be already embedded in this town. The people who have already done all these things are so excited to meet their neighbors, who they didn’t realize were doing these crafts too. To provide them with a space where they’re rediscovering each other or learning new things—to get to be a part of that is very exciting to me.”

If people aren’t already skilled crafters, she’s happy to guide them to the extensive class listings or urge them to come to the community stitching circle she hosts twice a week.  “We have a daytime slot on Tuesdays and an evening slot on Thursdays, and each lasts for two hours. People are invited to just come in, no reservations required. They can come for the whole two hours or just part of it, and bring their latest projects.

It has been amazing to see all the different types of people coming,” says Heady. She continues, “One night we had a full table on a Thursday night. There was a woman that had a little tabletop spinning wheel, and she was spinning. There were two people hand quilting. There was somebody doing cross-stitch, there were two crocheters, there was a knitter, and they were all around this table together. They were all working on their projects, and they were laughing, and people were asking others about their crafts.

I was taken back to that first time when I came to tour the space and pictured this area as a classroom. It was like a dream come true moment to see it being used in that way.” That shooting star really did its work.

Kicking It Olde School Style

  • Whether you’re a seasoned maker or just a dabbler in the fiber arts, it’s hard not to feel inspired when you walk around Olde School Fiber & Craft; the possibilities for new projects seem endless, but here are a few we noted on a recent visit.
  • Intrigued by weaving? Heady says, “We feature a lot of weaving products from Flax and Twine. Their kits are so good: they have step by step photo instructions in the box, and then there’s a link to a video too, so you can’t go wrong.”
  • If you’d like to crochet, a machine-washable blanket for a new baby, Heady has a good selection of Hue and Me yarn from Lion Brand Yarn that crochets up into a soft yet durable fabric, in a great range of colors.
  • Seasonal stitching more your jam? You’ll find embroidery kits for beautiful future heirloom ornaments from Matryoshka Doll Shop, as well as the floss and fabric to design and create your own. 8b272aSeasonal stitching more your jam? You’ll find embroidery kits for beautiful future heirloom ornaments from Matryoshka Doll Shop, as well as the floss and fabric to design and create your own. 
  • Knitters rejoice! Heady carries hard-to-find Knitting for Olive yarns from Denmark, as well as a full palette of Jamieson and Smith of Shetland yarns for all your sweater needs.
  • Looking for something quick and easy but with great payoff? Try weaving potholders on a loom! Heady has kits and refill loops from Harrisville Designs of New Hampshire in gorgeous colors that will complement any kitchen.
red yarn ball

Sunday Night Soup Troupe Artist Collective, Compathy (Sunday Night Soup Troupe), 24 x 30 inches, mixed media acrylic painting, 2025.

Healing with Art: Unspoken Resilience at the University of New England Art Gallery

Sunday Night Soup Troupe Artist Collective, Compathy (Sunday Night Soup Troupe), 24 x 30 inches, mixed media acrylic painting, 2025.
Sunday Night Soup Troupe Artist Collective, Compathy (Sunday Night Soup Troupe), 24 x 30 inches, mixed media acrylic painting, 2025.

In the introduction to his four-and-a-half-minute black and white video, A Poem for Maine (2023), the Deaf artist and poet Ian Sanborn expresses in ASL a sentiment about art that illuminates a communicative power not tied to language specifically. Captioning in English reads, “We are aware of the recent tragic shooting event in Maine… Myself as a poet, knowing that creating a poem will not improve, resolve, recover from the tragic event 100%, but the purpose of the poem is to show respect, support, care, and love.”

Sanborn proceeds to set a vibrant wilderness scene, full of growth and movement—a moose and a bear, and other thriving wildlife. ASL phrasing is punctuated by brief fades to black, and then there is a gunshot. The moose stops, the bear stops, an eagle lands and closes its wings, fish swim to deeper waters, four leaves fall from a vibrant tree and die on the ground. Then the moose, bear, eagle, and fish all rebound with a fierce exuberance, and Sanborn spells the names of the four Deaf men who were murdered in the Lewiston shooting.

The video is presented as part of Unspoken Resilience: Healing from the Lewiston Shooting Two Years In, an exhibition of new works in painting, fiber, video, ceramics and mixed media by artists who are members of the Deaf community in Maine and nationally, along with works by hearing artists who are ASL interpreters and photographs of Lewiston by hearing artist Michael Kolster. The group exhibition at the University of New England Art Gallery is the powerful and trusting vision of co-curators Michelle Ames, a Deaf artist and advocate for the Deaf community, and Meryl Troop, a hearing artist and ASL interpreter. “The shooting and lockdown shook our world,” says Ames, who is also exhibiting her own work for the first time. “Our community will be showing our grief and our resiliency.”

The Lewiston mass shooting on October 25, 2023, claimed 18 lives and wounded 13. The Deaf community lost Billy Brackett, Bryan MacFarlane, Joshua Seal, and Steve Vozzella; two other Deaf persons were wounded, and many more members of the Deaf community witnessed the massacre. Joshua Seal was an ASL interpreter known for his high-visibility work with Governor Janet Mills and Dr. Nirav Shah during the COVID pandemic.

Trauma is an inadequate word for the impact on the community; at the scene, and throughout the widespread lockdown and aftermath at area hospitals, there were no in-person ASL interpreters, and when interpreters were finally provided at press conferences, the media focused in on the speakers and cut the interpreters out of the frame—effectively shutting out people who were grieving and terrified from a collective experience of communication around one of the deadliest shootings in U.S. history.

For many deaf people, especially those born deaf, the Deaf community is the world, unto itself and apart, because it is among other Deaf people that Sign is acquired, and its communicative powers and expressive potential are realized. Ames and Troop, together with the gallery’s director Hilary Irons, conceived of the exhibition in the weeks after the shooting. “The Deaf community was kept out of communications about the shooting, compounding an already-stressful lack of adequate accommodations and services in their daily lives,” says Irons. “Communication is two ways,” adds Troop. “Agency is the message of this exhibition.”

Unspoken Resilience offered an opportunity for artists with a wide range of exhibition experience to share artworks about a subject that is still steeped in grief and anger, in a unique health sciences setting. “UNE Art Gallery exhibitions directly overlap with academics at the university, allowing visual art to inform the sciences, and the sciences to cast the light of their own curiosity back on art,” Irons shares. Maryland-based Deaf artist Toby Silver’s quilt, Maine Mended, references kintsugi, the Japanese art of mending, in a way that often beautifully centers or makes visible the object’s history of being damaged.

Miia Zellner, a Deaf art teacher who teaches healing arts to their students, all hearing, in Lewiston, presents We Rise (2023), a piece which was created in less than four days for, One Lewiston Community Vigil at St. Peter’s Basilica on October 29, 2023. Michelle Ames’s mixed media work, Unwrapping, is, in the artist’s words, “about vulnerability—revealing emotions that have been tucked away. Art gives me a way to bring those hidden layers into the light. It’s a quiet process, like piecing myself back together, one layer at a time.” Ames credits a wonderful teacher, Charles Wright, at Portland Regional Vocational High School (now PATHS), with opening the door for her as an artist.

The exhibition includes 16 large-format color photographs by Michael Kolster. Kolster has been wandering a 20-block radius of downtown Lewiston with his camera over the past four years, returning to the same spots, always seeing something new, and lovingly documenting the extraordinary in the everyday. “In a photograph, I’m offering a glimpse of what might be a very momentary order in the chaos of life,” he says. “Everything is fleeting, I think it’s so important to stop and look around and let the moment fill you with wonder. I find a lot of hope in that.”  MHD 

Unspoken Resilience: Healing from the Lewiston Shooting Two Years In opened September 25, 2025, and will be on view at the University of New England Art Gallery on the Portland campus through February 7, 2026.

Saccarappa Park Illustration

A River Runs Through It: Westbrook’s Saccarappa Park Redevelopment by Simons Architects

Saccarappa Park Illustration

Simons Architects is proud to partner with the City of Westbrook on the redevelopment of Saccarappa Park at the corner of Main and Bridge Streets. Located in downtown Westbrook, adjacent to Saccarappa Falls on the Presumpscot River, the park site has been of regional significance since precolonial times. Over the years, it has supported generations of industrial uses and is now in need of brownfield remediation.

Having most recently used it as a temporary parking lot, the City of Westbrook plans to redevelop the site as a public park and continuation of the River Walk. The park is envisioned to include multifunctional outdoor spaces, designed to support community gatherings, events, concerts, and daily use by residents.

The combined design team of Simons Architects, Acorn Engineering, and Credere Associates has recently completed a community engagement and schematic design phase to establish a vision for the redevelopment of this important site. The park project will be funded largely through brownfield remediation grants; it builds upon the success of the recent dam removal project to further contribute to the health of the river while adding to the vitality of Westbrook’s downtown.

This sketch also illustrates another exciting collaboration between Simons Architects and Lever Architecture. The adjacent urban infill building, a proposed 110-unit, mixed-use waterfront housing project visible beyond the park, is nearing completion of design and will further extend the River Walk, providing additional waterfront public space.

36th Annual Friends of Acadia Benefit: Celebrating Community and Conservation

Attendees enjoy cocktail hour during the 36th Annual Friends of Acadia Benefit.
Attendees enjoy cocktail hour during the 36th Annual Friends of Acadia Benefit.

Over the summer, Friends of Acadia hosted a celebratory evening at the picturesque Gate House Farm in Northeast Harbor. The night began with cocktails, hors d’oeuvres, and a silent auction under the tent, followed by dinner and a spirited live auction led by Christie’s Steve Zick. Guest paddles raised heartfelt support during the paddle raise, dedicated this year to restoring the historic Carroll Homestead, marking its 200th anniversary and underscoring its importance as a living window into Acadia’s past. The festivities concluded on a high note with dancing to music by DJ June and the Hudson Horns.  MH+D 

This year’s benefit was truly remarkable, with new changes embraced by everyone, from our record ticket sales to the amazing turnout of young people. It was a joy to see so many supporters, old and new, come together to ensure Acadia National Park’s future. We are grateful for the continued generosity and enthusiasm from everyone who made this event a success.

—Jen Byer, special events manager, Friends of Acadia

The homeowners of this Cape Elizabeth cottage were looking for something inspired by the American Craftsman style of the 20th century, hence the flared detailing on the columns and second-story roof. The white-dipped cedar shingles contrast with the soft black trim—another nod to Maine’s earlier design eras.

Art & Craft: A Women-Led Team Builds a Craftsman Home in Cape Elizabeth

Kathleen Luke had been living in her Cape Elizabeth home for 30 years, and though she knew it was a “nightmare of a fixer-upper,” she wasn’t ready to give up on the old girl. That is, until she met the team at Juniper Design and Build. “I’ll never forget the day,” she says, “We were talking and I said, ‘How will we do all of this with the old house?’ and Heather [Thompson] said, in such a soft and beautiful way, ‘Well, Kathleen, we’ll have to tear it down.’” Luke’s partner, Deb Donelson, remembers the moment well too: “I pretty much knew it had to be a teardown, but at first it wasn’t an option for Kathleen, so we had to let the experts follow what they knew. Their sensitivity was so appreciated.” 

Ultimately, it was a blessing in disguise. The couple had a list of goals they wanted to achieve with their would-be remodel, and as sometimes happens, a new build was the simplest solution. The early-twentieth-century cottage had water and ant damage—it wouldn’t have been possible to transform that structure into an airtight and eco-friendly live–work space (much less one with an elevator). “Right when we met, we knew this would be a good fit,” says lead designer Rachel Conly of working with the couple. “But it also became clear that a renovation wouldn’t meet their goals of creating a forever home.” Instead, they decided to build new, creating a Craftsman-inspired cottage that sits perched above a wooded section of Cape Elizabeth. 

Though it might have seemed limiting at first, the unusually shaped lot helped guide Conly, as did the strict setbacks. The resulting floor plan is L-shaped and highly efficient, packing a big punch in a little space. And the sense of expansiveness begins before you even set foot inside the front door. “Through paths of circulation, we were able to create the effect of more depth and space on this site than there actually is,” explains Conly. “It has a kind of dreamlike approach, where you’re passing through vegetation that shapes your approach to the space. And then immediately, when you open the front door, you see through to the backyard, where there’s a beautiful exposed ledge, ferns, and a water feature.” 

It was important to everyone that the home feel connected to the cottage that came before, the land below its foundations, and the magical surroundings of southern Maine, as well as to the favored architectural movements of its owners. “As a woodworker herself, Deb has a great appreciation for woodworking and craftsmanship,” says Conly. Adds project manager and carpenter Mary Henson, “The exterior is really where you see the Craftsman details come to life.” From the flared columns on the porch to the pergola-style awning over the garage door, the subtle detailing is designed to evoke the early-twentieth-century Arts and Crafts architectural movement, as is the dramatic color scheme. Dipped cedar shingles with a white semi-transparent finish contrast with black trim, but, as Henson says, “It’s not stark. It’s a soft, creamy off-white paired with a muted black.” The curves, she admits, were “a bit challenging” to build, but this made it a treat for her team. “It took a lot of skill.”

The Craftsman-style references continue inside, often rendered in sleek mahogany, which juxtaposes neatly with the rift and quarter-sawn white oak flooring and the airy white walls. The mantel over the living room fireplace, the railings on the staircase, and the seating on top of the built-in benches—all these accents are “really important,” says interior designer Tina DiGiampietro of TLDesign Studio. “The mahogany brings in the warmth and texture you get with Craftsman style, but without the weight.” To add a sense of gravitas, DiGiampietro chose iron finishings, like the minimalist cabinet pulls and the simple, shell-like pendant lamps that hang over the island. “We used Hubbardton Forge fixtures in the kitchen and dining. They have an organic nature to them, and you can see through them to the space outside,” DiGiampietro says. “Even with the hard surfaces, we’re cultivating a relationship with the outdoors.” She selected gracefully uneven tile from Pratt and Larson in Oregon for the backsplash and the living room fireplace surround, and to add interest to the kitchen, she devised a thinned-out blue tone to use on the cabinetry.

“They really wanted something where they could see the wood, but they also wanted color,” she says. “We achieved this through a couple of different approaches. Blues and greens were the colors they were drawn to the most, and we used them in soft ways. They’re not bold and overpowering, but they add some beautiful dimension to the space.” Conly’s open floor plan and floor-to-ceiling back windows ensure that the effect isn’t lost on visitors; from the moment they enter, they’re greeted with both nature-inspired design and the glorious thing itself. “One of the major elements of the lot is that we’re on a dead end. There’s a whole extension of land that is just wooded,” Luke says. “The design of the house captures that in such a way that it feels like we just inherited a bunch of new land. We’re closer to the woods; our gardens transition toward that. It just feels seamless.” 

Although the second story features the couple’s bedrooms and offices, it doesn’t feel closed off, thanks in part to the liberal use of pocket doors that conveniently appear and disappear when needed. The mezzanine quickly became one of the homeowners’ favorite spaces. “I think it’s just spectacular,” says Luke. “One side has the sunset, and one has the sunrise. It’s a bridge between the two sectors of the house, and that was just a delightful addition to the design.” Like the first floor, the upstairs features wide doorways and flooring unbroken by ridges or steps. “A lot of thought was put into aging in place,” says Henson. “The elevator was a unique challenge. I did a lot of the trim in the elevator. Putting in baseboards isn’t that interesting, but doing it in an elevator was a refresher to be sure.” Luke and Donelson wanted this to be their “forever home,” a place where they could settle in for the long haul. To ensure the couple’s comfort in decades to come, Conly planned spaces that would be easily transformable. Not only could the woodshop one day become a bedroom suite, but the upstairs can easily be split into two apartments, should they ever require a live-in caregiver. “We have handicapped family members, so we wanted them to be able to come stay with us. Even though it’s not something Kathleen and I need now, we wanted to have it,” explains Donelson. 

“My hope is to die in the bedroom,” says Luke. “Putting this much money in the house, we didn’t want to have to sell it and move in order to roll around in our wheelchairs. All these things are in place for future possibilities.” It seems a bit humorously grim, but there’s real hope in that statement. Even the front door, with its stained-glass panels and heavy solid wood, was made to last. “It feels like walking into a temple,” Luke says. “There’s so much about this house that feels sacred to us.”

Design, Art, and Innovation: Maine’s Creative Highlights This Fall

Photo: Danielle Devine

This past July, guests gathered for a design conversation with SISTER PARISH DESIGN, preceded by refreshments at the Grotto on KNICKERBOCKER GROUP’s Boothbay campus. Guests enjoyed Apple’s iced tea, a family recipe from Apple Parish Bartlett, Sister’s daughter and an artist. The intimate midday event featured Susan Crater, CEO of Sister Parish Design and granddaughter of the legendary designer, alongside Jackson McCard, head of sales. The conversation centered on the brand’s enduring commitment to authenticity, comfort, and connection. Sister Parish Design’s philosophy emphasizes the importance of creating spaces that are lived in and loved, rather than designed to impress. Sister Parish designed homes up and down the Maine coast, including her own.

THE HAUNTED: CONTEMPORARY PHOTOGRAPHY CONJURED IN NEW ENGLAND is a new limited-
edition art book from SPEEDWELL, edited by Jocelyn Lee and designed by Emily Sheffer. Blending contemporary photography by 22 New England artists with poetry spanning two centuries, The Haunted explores the region’s uncanny beauty and complex creative history. Accompanying exhibitions will open at MOSS GALLERIES in Falmouth and LIGHT MANUFACTURING in Portland, with a launch event at the PORTLAND MUSEUM OF ART on October 30. Featuring work by artists including Cig Harvey and Shoshannah White alongside poems by Emily Dickinson, Robert Frost, and more, this 162-page hardcover invites viewers to see New England’s haunted past—and present—through a poetic new lens.

Rendering: David Matero Architecture

MAINE GOLF recently broke ground on a $3 million nonprofit golf learning center at the former Freeport Country Club, aiming to expand access to juniors and families. Named in honor of two‑time Maine Women’s Amateur champion ALEXA RE RANCOURT, the center features a Toptracer-equipped driving range, a revamped nine-hole short course, and a junior‑friendly clubhouse with a pro shop, snack bar, indoor classrooms, and simulators for year-round play. The facility will host FIRST TEE and other junior programs aligned with Maine Golf’s mission to make the game more accessible to young Mainers. Architect DAVID MATERO, COVER THE TEES, and construction manager ZACHAU CONSTRUCTION partnered on the design and build of the facility, which is expected to open in 2027.

Photo: Alyson Peabody

This fall, a collaboration between TEMPOART and PORTLAND TRAILS, called CREATIVE PATHS, continues its four-part series exploring the link among art, community, and the natural world. On October 5, join printmaker Jordan Kendall Parks for Drawing Nature, a sketching session amid the autumn beauty of Evergreen Woods (pencils and sketchbooks will be provided). Then, on November 7, dig into Kelp and Our Community, a hands-on gardening and art event with Cultivating Community, a local food justice organization. Both programs are inspired by TEMPOart’s latest installation, Winged Kelp by Gillian Christy, a sculpture outside Portland’s City Hall that “highlights the essential role seaweed plays in maintaining a healthy ecosystem while evoking our deep connection to ocean life.” Events are ticketed on a sliding scale to ensure accessibility for all. Sign up at trails.org.

A two-week intensive at the UNIVERSITY OF SOUTHERN MAINE’s Portland campus called THE COMPLETE CITY: SPATIAL DESIGN introduced students to the fundamentals of design in the built environment. Codirected by Gretchen Rabinkin, executive director of the BOSTON SOCIETY OF LANDSCAPE ARCHITECTS, and Addy Smith-Reiman, former executive director of the PORTLAND SOCIETY FOR ARCHITECTURE, the course immersed students in studio culture and firm visits as they learned to observe, analyze, and create in context. This year’s studio included high school sophomores through college and post-college students.

A final design project with presentations and critiques rounded
out the intensive, which was taught by architects, landscape architects, and urban designers from the area including Paige Lyons (Aceto Kimball Landscape Architecture—AKLA), Trevor Watson (Knickerbocker Group), Soren deNiord (Soren deNiord Design Studio), Dustin Tisdale (Woodhull), Riley Noble (BSC Group / Cornell), Grace Tisdale (Kaplan Thompson Architects), Emily Segal (Syracuse University), and Joanna Shaw (Winkelman Architecture). 

Students visited the offices of Acorn Engineering, SMRT, Kaplan Thompson, and Woodhull; they also paid a site visit to the Kiwanis Community Pool hosted by Portland’s parks and recreation department with Simons Architects and AKLA. 

Jurors for the final critique included Jessie Carroll (Jessie Carroll Architect), Jeff Pelletier (michael boucher landscape architecture), Eric Wittman (Knickerbocker Group), Alexis Del Vecchio (Acorn Engineering), Steve Thompson (Tetra Tech), Amelie Cadieux (Maglin Site Furniture), Ben Winschel (CHA Architecture/ ACE Maine), John Souther (USM), and Danielle Devine (MH+D).

Photo: Billy Black

Midcoast boatbuilder ROCKPORT MARINE is wrapping up construction on a 95-foot sailing yacht called PROJECT OUZEL, conceived by LANGAN DESIGN PARTNERS with interior design by MARK WHITELEY DESIGN. The boat’s hull is constructed with thin strips of cold-molded Douglas fir, western red cedar, and epoxy resin, reinforced in the midsection with carbon fiber for strength and lightness. In late 2023 Ouzel made boating news when its hull was flipped outdoors at Rockport Marine to allow the installation of interiors and systems to proceed. Made for long-range cruising, the yacht’s design combines a classic above-water look with a modern underbody. According to Mainebiz, the project team included structural engineers, technical experts, mechanical, electrical, mast, and rigging specialists.

99 Capisic Street, photo courtesy of Portland Landmarks

GREATER PORTLAND LANDMARKS, the city’s nonprofit advocate for historic preservation, is presenting awards this month to ten honorees that represent “the best of adaptive reuse, contextual new construction, storytelling, placemaking, and individual contributions to preservation policy, restoration trades, and stewardship of historic properties.” The joint 60th Birthday Bash and Preservation Awards will be held at the Mariner’s Church on October 28 and will honor both the 2023 and 2025 winners, including the Fifth Maine Museum on Peaks Island (window restoration), Portland’s Thompson Block (adaptive reuse), Woodhull’s new headquarters at the Safford House (adaptive reuse), Vana Carmona’s home (a Greek Revival–style house on Capisic Street), and others.

Hearty Harvest Soup

Hearty Harvest Soup: A Cozy Fall Recipe with Garden Flavor

Hearty Harvest Soup with sausage, beans, squash, and garden vegetables.

Inspired by a pepper-pot soup, a “three sisters” soup, and our own harvest vegetables plus a spaghetti squash from a friend’s garden, this turned out saucy and flavorful. Any kind of leftover cooked squash will do, but it’s a nice way to use spaghetti squash with cooked strands too short or soft to twirl. Depending on the sweetness of your veggies and the spiciness of your sausage, doctor the soup to your liking, balancing sweet and savory with a touch of acidity.

Serves 4

INGREDIENTS

  • 1 to 2 tablespoons olive oil
  • 1 to 2 sweet Italian sausages (or 1 strip bacon)
  • 1 small onion, chopped
  • 2 small leeks, including tender tops, sliced (optional)
  • 1 small to medium bell pepper
  • 1 large garlic clove, minced
  • 1¼ cups shell beans plus ½ cup cooking liquid
  • ¼ to ½ cup chopped 
    plum tomatoes
  • ½ teaspoon red wine vinegar
  • ½ cup tomato juice
  • Small dash of Worcester-
    shire sauce
  • 1 small bay leaf
  • 2½ cups chicken or pork stock
  • 1 cup roasted spaghetti  squash, chopped
  • ¼ to ½ teaspoon light brown 
    sugar or maple syrup
  • Freshly ground black pepper
  • Cayenne or dried chile to taste 

INSTRUCTIONS

  1. Heat 1 tablespoon oil in a heavy-bottomed pot or Dutch oven. Remove the casing from the sausages (or slice the bacon into ½-inch pieces). Over medium heat, brown the sausage meat, dropping small knobs evenly around the pan (or fry the bacon pieces); cook until no longer pink, then remove from the pot and set aside. Sauté the onion and leek bulbs (if using), adding a little more oil, then add the bell pepper, garlic, and leek tops and cook covered, over low heat, until tender.
  2. Bring 2 cups of water to a boil in a small pot and cook the shell beans until tender but not breaking apart. Drain, reserving about ½ cup of cooking liquid.
  3. Add the sausage back to the pot along with the chopped tomatoes, red wine vinegar, beans, and their cooking liquid. Add the tomato juice, Worcestershire sauce, bay leaf, and stock. Chop the cooked spaghetti squash into strands about 1-inch long and add them to the soup. Add the sugar (or maple syrup) and pepper to taste. 
  4. Bring the soup up to heat and simmer, covered, 20 to 30 minutes, until the flavors marry and the squash and beans soften enough to slightly thicken the soup.

Recipes for a happy heart

Combine in a skillet two
complementary ingredients.
Bring up to heat, then
sprinkle with warm spice;
omit bitter herbs, sour grapes.
Cook together, stirring faithfully,
until tender, then simmer
gently as the flavors marry.

Of nature’s bounty
Pick when the time is ripe,
then trim, peel, and soak
in beautiful water
till light and translucent.
Drain on a warm towel
and bake until golden.
Savor al fresco.

Gather your garden plenty
Wash and dice, then place
in a lucky pot
with broth and healing herbs.
Cook over a spirit flame
till softened into a comforting stew.
Invite friends, family, neighbors
and share with a glad heart.

Recipe, poem, and illustration excerpted from Culinary Landscapes: A World of Delicious Discoveries in a Maine Mapmaker’s Kitchen by Jane Crosen.

PMA Summer Party 2025: A La Dolce Vita Night in Portland

Networking with PMA Trustee Edwin Cahill while celebrating la dolce vita.

In August, the Portland Museum of Art welcomed members of the Director’s Circle and Contemporaries to an unforgettable Italian themed soirée in the David E. Shaw and Family Sculpture Park in celebration of Painting Energy: The Alex Katz Foundation Collection. Guests sipped Aperol spritzes by Via Vecchia, enjoyed piping hot pizza from Cargo, savored gourmet bites from Black Tie Catering and Events, and indulged in Gelato Fiasco—all under the summer sky alongside fellow art lovers.

The Summer Party was such a joyful way to recognize the incredible support our members give the PMA. We gathered with friends, enjoyed beautiful opera, shared amazing local Italian-inspired food, and experienced the magic of La Dolce Vita on a classic Maine summer night. Creative collaborations always make these evenings unforgettable.

—Ashleigh McKown, head of philanthropy, Portland Museum of Art

Stair Master: Maine Stair Company Elevates Craft and Design

Photo by Jeff Roberts

For George Reiche, founder of Maine Stair Company, building staircases is more than just a trade—it’s a calling. “Stairs really are a combination of math, beauty, and functionality,” he explains. “And when they’re done right, they’re timeless.”

Reiche’s path to stairbuilding began with two woodworking grandfathers, a father who built homes, and a curiosity for craft that eventually led him to study studio art at Wheaton College. “I focused on metal, wood, and glass, but by the end, I wanted to go deep in one medium. I picked wood,” he says. Self-taught beyond the basics, he gravitated toward fine woodworking, drawn to the precision and patience it demands.

His exposure to staircases continued while working in finish carpentry for a general contractor restoring historic homes. He eventually found himself deep in a YouTube rabbit hole that introduced him to Jed Dixon, a legendary New England stairbuilder. “My wife asked me what I wanted for my birthday, and I told her I wanted to meet Jed,” Reiche laughs. “She made it happen. And Jed basically said, ‘Yeah, you can build your life around this.’ That really stuck with me.”

Reiche officially launched Maine Stair Company three years ago, and today he runs the business out of Portland with a small, skilled team. Though he’s based in Maine, he’s completed projects in Boston and California and is considering upcoming jobs in New Hampshire, New York, and Connecticut. From sweeping curved staircases to sculptural handrails, each design is engineered with a blend of intuition, calculation, and dedication to quality. “There are building codes, sure, but we try to go way beyond the minimum. We want our work to last hundreds of years,” Reiche says.

At the 2025 Stairbuilders and Manufacturers Association Conference, Maine Stair Company took home three awards: Best Curved Stair, People’s Choice, and Best Straight Stair for a project in South Bristol. That staircase, part of a project built by Knickerbocker Group (A Traditional Take, page 60) marked a turning point in Reiche’s journey. The architect, Glenn Keyes, was based in the Carolinas, and the two were connected through another stair friend Reiche met on Instagram. “It was my first really big project, and I tackled most of it solo,” Reiche recalls. “Most of the parts were made in-house, by hand, which is pretty unique in this business.”

Instagram, it turns out, has played a surprisingly central role in Maine Stair Company’s growth. “There’s this whole underground stair community,” Reiche says. “Once I started posting, these stair freaks came out of the woodwork, sharing tips and cheering each other on. It’s really become the center of our life.”

That community-minded ethos extends to every client interaction. A recent favorite project of Reiche’s involved working with Sten Havumaki of Biddeford’s Oak and Laurel Workshop to install a sculptural handrail for an 86-year-old woman to go up three steps in her home. “She loved shells and Thomas Moser furniture, so we blended both ideas,” he says. “When we finished up, she said to us, ‘Are all your customers this happy? This is beyond anything I could have imagined.’ That’s the kind of impact I want to make.”

Maine Home + Design

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