Marquetry is an art form that uses diverse wood species to create designs on the wooden surface of objects, often furniture. Patterns, shapes, and other pictorial elements are cut from veneer sheets as thin as cardstock, using a scroll saw, chevalet (a hand- and foot-powered tool), knife, or laser, with the forethought and planning required to assemble complex and seam- less pictures from so many delicate pieces. The art of marquetry was likely born out of Italian Renaissance intarsia, a wood inlay art derived from Islamic intarsia, which may in turn have been a playful turn on Byzantine mosaic art. The exhibition Free Verse: Explorations in Contemporary Marquetry offers examples in splendid variety. Artists working in marquetry today might adorn a box, cabinet, tabletop, or even, with a fine disregard for tradition, a solid-body electric guitar. The Center for Furniture Craftmanship presents a rare opportunity to see contemporary marquetry art created by leading and pioneering practitioners from the United States, Canada, Europe, and Africa.
In his invitation to artists, Free Verse’s curator, wood artist, and luthier James Macdonald of Burnham wrote, “What compels us to concern ourselves with thin fragile slices of wood?” Macdonald intended the invitation as a provocation, asking the artists to push boundaries and break rules, to create new works, or to exhibit works representative of their unique take on marquetry. Of the 21 wood artists in FreeVerse, most have made a career in the artful assemblage of veneers, all share a compulsion to work in a niche medium demanding highly skilled craftsmanship, and all take their work to places outside the traditional playbook.
Marquetry does not want to be mistaken for painting. Or does it? Silas Kopf is a world-renowned marquetry artist who has a painter’s sensibility about where the light is in any given moment of his astounding trompe l’oeil creations. Kopf, who was Macdonald’s teacher, builds furniture pieces for his marquetry designs, rather than embellishing furniture with marquetry. Silas Kopf’s Gone Fishin’ cabinet shares the space with a cabinet by his daughter, Sasha Kopf, who learned the art form from her father. Backyard Birds is a playful nod to the marquetry tradition of trompe l’oeil cabinets, with the illusion of a door open to the cabinet’s interior, but her cabinet door opens inward to the outdoors, where a squirrel is about to outsmart a bird feeder. “There is a rightness about passing along a career when it’s also an expression of love,” Macdonald observes, acknowledging the commitment father and daughter made to spending time together in the East Hampton, Massachusetts, studio where they built their cabinets for the exhibition.
The inherent limitations of marquetry can be stifling or exhilarating, especially concerning color; natural veneers provide a palette of rich contrasts but are limited to the colors of wood species. In Lichen Cabinet, Shannon Bowser (Brooklyn, New York) works with multicolored dyed poplar veneers to create bold botanical elements. Others use dyed veneers sparingly or not at all, preferring to give voice to a subtler range of natural wood colors. Paula Garbarino’s (Somerville, Massachusetts) Weeping Cherry Blossom Cabinet depicts the weighty branch of a blossoming cherry tree in warm cherrywood veneers of different thicknesses and some light carving, giving the flowers a low-relief sculptural effect. At the same time, many wood species have inherent patterns, chatoyance, or defined grain lines that beg to be considered compositionally, decoratively, or narratively in the hands of a marquetry artist. In Spiral Fish Table, Paul Schürch (Santa Barbara, California) segments quilted maple in a circular pattern with a high-contrast border. The effect is the illusion of a very watery whirlpool, the drama heightened by a beautifully swirled fishing line about to catch a fish. “In addition to being a masterful depiction of a fish rising to the surface of active water, the table’s drawers for storage of sushi trays are an engineering marvel—a playful marriage of form and function,” says Macdonald.
In Bankers Box, Adrian Ferrazzutti (Guelph, Ontario, Canada) elevates an everyday object with Pop Art playfulness. The contrasting browns of his vintage-style file storage box, in pau ferro, rosewood, European sycamore, ebony, dyed poplar, and mahogany veneers, are color-matched to perfect likeness. Reimagined in marquetry, the humble box has an assertiveness and material elegance. It achieves a beautiful design in ways that the cardboard original never quite managed.
Free Verse: Explorations in Contemporary Marquetry will be on display from January 24 to April 2, 2025, in the Messler Gallery at the Center for Furniture Craftsmanship in Rockport.
Nature and creativity converge in the Pine Tree State to inspire innovative and beautifully crafted interior designs. In this annual roundup, we celebrate the most impeccably styled residential and commercial interiors in Maine, showcasing how local designers are pushing boundaries while honoring the region’s unique character.
RESIDENTIAL
Lakeside in Sebago
The design of this residence embodies a harmonious blend of timeless elegance and contemporary functionality to accommodate a growing British family. The heart of the home is the expansive kitchen, perfectly positioned to enjoy beautiful lake views. An intimate dining room/library offers a cozy retreat with a custom window seat that beckons for quiet moments. Natural materials and a soothing color palette were selected to echo the landscape, mixed with plush textures and warm brass accents to add a layer of sophistication.
The biggest design challenge in transforming the residence lay in reconfiguring the original layout, which featured a small kitchen tucked away at the back and a spacious dining room overlooking the lake. Reversing the two rooms required careful consideration of how to integrate modern functionality within the existing 1990s architecture. Balancing the need for a contemporary, family-friendly space with the desire to retain the home’s character posed additional hurdles, especially given the deep cherry finishes that clashed with the couple’s modern aesthetic. Achieving a cohesive design that would honor both the family’s heritage and contemporary living required thoughtful planning, innovative use of space, and strategic choices in materials and finishes.
“Integrating natural elements and a calming color palette that reflects the lake fosters a sense of harmony with the surroundings, while custom- built pieces and careful updates to the home’s architecture showcase the importance of blending modern aesthetics with existing character,” says Ariana Fischer.
Firm: Ariana Fischer Interior Design Interior Designer: Ariana Fischer Builder: Lakeside Construction Photographer: Liz Daly Location: Sebago Lake
Be Our Guest
Why count sheep when you can count lighthouses? From this oceanfront home overlooking the shipping channel in Cape Elizabeth, designed by Linda Banks of Banks Design Associates/Simply Home, overnight guests can view five lighthouses in just one evening.
Zoning constraints in the footprint of the new build dictated the overall size of the second-floor guest rooms. Banks, a 14th-generation New Englander, put her Yankee ingenuity to work and sketched a pair of wall-mounted nightstands to free up floor space around the bed. Milk glass wall scones and a porthole mirror enhance the friendly, timeless cottage vibe. English needlework pillows adorn the bed, and delicate cream-colored linen curtains are stamped with flying seagulls. Horizontal nickel gap anchors the tufted wooden headboard.
“I suggest to all of my clients that they spend a night in their own guest room to experience what their visitors will enjoy, making sure each space is properly appointed for a good night’s sleep and a welcome sunrise,” says Banks.
Firm: Banks Design Associates, LTD Architectural & Interior Designer: Linda Banks Builder: Christopher J. Ballard, Inc. Furniture: Simply Home Photographer: François Gagné Location: Cape Elizabeth
Seaside Retreat
Drawing inspiration from the homeowners’ love of the ocean, the vision for this project was a relaxed yet refined coastal aesthetic. The guesthouse is used by the clients’ friends and family, many of whom have young children, so the space must provide a welcoming environment for easy beach vacations.
The clients’ favorite color is blue, so Cara Fineman of DAG Design carried various hues throughout the home while incorporating soft greens in the primary bedroom and shades of pink and orange in the kids’ bedroom. Carefully selected art, including a John Vinton painting in the kitchen, introduces additional colors into the home. Furniture selections were made with an emphasis on durability and quality; most items were custom-made in the United States. Natural woods, rattan lighting, and white walls counterbalance the more playful elements of the residence.
Completing a project on Prouts Neck comes with an inherent challenge: there are heavy restrictions on building, installing, and receiving large deliveries from mid-June to mid-September. Since little work can be completed during the summer months, it’s essential to finalize all details well before June while allowing time to address any unexpected complications that may arise. “My design philosophy blends vibrant colors with the calming essence of coastal living,” says Fineman. “I like to balance bold shades with large swaths of neutral—in this case, white walls throughout the home.”
Firm: DAG Design Interior Designer: Cara Fineman Architect: Mary McKee Design Builder: Jeff Bartlett, Ultra Homes Photographer: Sabrina Baloun Location: Prouts Neck
Maison Mer
The owners of Maison Mer wanted the amenities that a modern build has to offer without sacrificing character. They had bicycled extensively through France and were so charmed by the countryside there that they hoped to incorporate the feeling of southern France into their own home. Serendipitously, Sarah Duquette of Duquette and Company previously studied painting in the hills of a quaint village in Provence, and the memories of her time spent among its architecture and rich organic colors served as a source of inspiration for many of the design features in the home.
The residence evokes the feeling of a tranquil European retreat with warm, painted surfaces mixed with aged wood and patinated walls. The owners are enthusiastic art collectors, and walking through the home is akin to surveying a gallery of cherished memories told through brushstrokes. True to the oceanside estate’s farmland origins, the color palette of the house and large-format kitchen inspires thoughts of freshly baked scones on a lazy Sunday morning. The interplay of verdigris and greige provides a serene backdrop to highlight the beautiful warm tones of the architectural details, while dijon yellow adds a whimsical joie de vivre.
The biggest design challenge of the project was infusing a newly built home with an authentic “antique feel” without caricaturing European country living. Special consideration was given to creating warmth and coziness within the home’s tall ceilings and freshly painted walls. To do this, the walls and ceilings were hand-plastered and colored to create a faux patina. Hand-formed and glazed tiles, characterized by their irregularities and imperfections, were used for the custom stovetop backsplash.
Reclaimed wooden beams were added to the ceilings of both the kitchen and the living room to generate visual interest. Classic French reproduction chandeliers leverage the height of the ceilings while still evoking a sense of warmth. Custom built-ins incorporate archways inspired by the French countryside. Finally, hand-turned balusters were created for the staircase based on an inspiration photo the client took of a staircase she admired while journeying through France.
Firm: Duquette & Company Interior Designer: Sarah Duquette Photographer: Liz Daly Art Director: Kiersten Wilcox Stylist: Tamara Savage Clay Location: York
Playful Wells Residence
Interior designer Vanessa Helmick of Fiore Home was tasked with making each space in this contemporary Wells home beautiful and unique. The clients’ family has been visiting the area for three generations; they currently summer in the home with active twins while visiting cousins, aunts, and uncles who are year-round residents, so the home’s small rooms need to fit as many family members and guests as possible.
The residence’s fun, textural, modern design—developed during the pandemic when supply was short and lead times were long—places an emphasis on art and wallpaper that draws the eye, paired with family-friendly furnishings and finishes. The primary bedroom has a feature wall of patterned grasscloth paired with a neutral palette that weaves in sand and stone colors. A one-of-a-kind Moroccan rug, concrete lamps, and warm wood tones balance the peaceful sanctuary designed for busy parents. In the powder bath (the smallest Helmick has designed in her 19-year career), bold vinyl wallpaper from Phillip Jeffries stands up to water and turns the tiny space into a jewel box.
“We are committed to textural, modern spaces that are durable enough for real life,” says Helmick. “We love creating art-filled sanctuaries like this one.”
Firm: Fiore Interiors / Fiore Home Interior Designer: Vanessa Helmick Architect: KW Architects Builder: Richard Moody & Sons Construction Photographer: Sean Litchfield Location: Wells
Camden Renovation
Built in the 1830s, this existing brick Federal Cape was not a showpiece or an extravagant gem; rather, it was a simple home made for a family to live in. This was a touchpoint throughout the design: clad the spaces in honest materials that are at once respectful and fresh, while reworking the outdated, compartmentalized interior layout to create a comfortable and generous space for contemporary family living.
The library, a private space for introspection, is intentionally set apart from other areas within the house with a darker color palette. The deteriorated wood-burning fireplace and chimney was removed, and a new gas fireplace unit was installed in its place to reanimate and bring warmth back into the room. In contrast, the primary bathroom is a tranquil haven with a mixture of warm walnut wood, pale gray-green Fireclay tile, and subtle blush walls. The Room and Board vanity features a Carrara marble remnant from a local stone supplier and deVOL brass knobs and pulls which tie into the rest of the house.
“While our tasks as architects and designers include selecting finishes and organizing the myriad decisions that encompass the practical function of a home, we are, perhaps more importantly, working to evoke an atmosphere that is intangible, one that embodies the spirit of the home,” says architect and designer Helena Leclair.
Firm: Hay Runner Interior Designer & Project Architect: Helena Leclair Architecture Team: Jeffrey Leclair & Kate Swayze Project Manager: Matt Day Painting: Bay View Painting Stone & Tile: Morningstar Stone & Tile, Rockport Granite Photographer: Sarah Szwajkos Location: Camden
West End Kitchen
A longtime client tapped Heidi Lachapelle Interiors for a full redesign of this Portland home’s dining room and kitchen, first featured in MH+D’s 2018 Interior Design issue. A significant amount of structural work was necessary to open up the two spaces, including the removal of a chimney, the addition of a structural beam, and leveling the flooring for even limestone tiling.
“Our client deeply trusts our vision, and we understand her taste and preferences, so we were really able to push the design,” says designer Heidi Lachapelle. “The layout was a bit tricky, but we made every inch count.” Dark plum cabinetry by Block Brothers Custom Cabinets plays into the client’s love of color and pattern while decorative detailing, oil-rubbed bronze hardware, and paneled appliances add a sophisticated touch. Imperial Danby marble with light veining graces the countertops, the stunning island is an antique, and the window treatments and custom cushion are from Home Remedies.
Inspired by the charming aesthetics of a Nancy Meyers movie set, but with an understated spin, this project aimed to create a relaxing, light-filled home for a family of four with children in high school and college. The design strove to evoke a tranquil, pseudo-coastal vibe with an emphasis on warmth, familiarity, and cohesive spaces that invite comfort and connection. A palette of soft neutrals was used throughout, accented by refreshing blue and green tones and natural stone in the baths.
The home’s original layout featured a powder room directly off the commonly used side entry, which closed off the kitchen from the dining room, and a wall with cabinets separating the kitchen and living room. The flow of the space was disrupted, so a main design challenge was to connect all three spaces. This was achieved by moving the powder room to another area off the first floor and changing the full wall to a half wall in the living room.
“This project embodies the philosophy that a space should be both aesthetically pleasing and highly functional,” says interior designer Andrea DiBello. “The design merges charm with practicality, featuring durable, easy-to-clean materials that stand up to everyday wear and tear and cozy, inviting furnishings arranged to foster connection, allowing for both lively gatherings and quiet moments.”
Firm: Kevin Browne Architecture Interior Designer: Andrea DiBello Builder: Codere Construction Photographer: Jeff Roberts Location: Scarborough
Whimsical Yarmouth Home
Drawn to the generous acreage and prime location of their home, this client sought to update the interior to reflect their personal style and create a warm, welcoming space for their vibrant young family. To brighten the atmosphere, darker surfaces were replaced with lighter, more natural materials, while a color palette of soft greens and blues with white undertones is complemented by warm, natural white oak.
Throughout the home, lighting fixtures were updated to create a more casual ambiance, while playful wallpaper patterns, along with a budding art collection, infuse the space with personality. Much of the wallpaper features a delightful variety of animals— owls, birds, and sea creatures—paying homage to the wife, a veterinarian, and the family’s shared love of animals. To soften the original formality of the home, the fireplace surrounds were updated with natural cleft stones and wood mantels. The kitchen and butler’s pantry were revitalized with new countertops, lighting, hardware, and a built-in banquette. Inspired by a vintage newel, various details were reproduced, including the staircase design and new legs for the kitchen island.
As with any renovation, Knickerbocker’s design team worked to seamlessly blend the old with the new for a cohesive feel throughout the home. When designing for a young family, the selection of materials and their longevity are key considerations. Storage was also a top priority; built-ins were added throughout the home, and the oversized mudroom now features ample cubbies and drawers so that toys, games, and gear have designated spaces to be neatly tucked away. Ultimately, the home embodies a harmonious blend of chaos and love, its serene palette interspersed with whimsical touches.
Firm: Knickerbocker Group Interior Designer: Leah Lippmann Design Team: Chloe Kregling & Scout Hartz Millwork: Tidewater Millwork Tile: Old Port Specialty Tile Co. Photographer: Jeff Roberts Location: Yarmouth
Westacre Cottage
Leandra Fremont-Smith approached this Mount Desert Island project with a sense of whimsy and a nod to the home’s historic charm and stunning location. The playful breakfast nook was inspired by the client’s favorite color, green. A custom hooked rug by Melina White in shades of green and blue is reminiscent of the view of Somes Sound outside. Performance fabrics were selected for the banquette, along with a fresh geometric fern print on the cornices. Antique yellow chairs and a garden-themed Visual Comfort lantern help the room feel young enough for the whole family to enjoy.
Casa by PC’s “Spring Pagoda” grasscloth wallpaper in seaglass dominates the walls of the petite powder room. Fremont-Smith considered painting the trim a bright color, but ultimately left the natural wood to make the wallpaper truly pop. A brass Ralph Lauren light fixture and gold bamboo mirror add dimension to the small space.
“I love using color in my designs,” explains Fremont-Smith. “In the powder room, color livens the small space while keeping with the traditional look of the house. In the breakfast nook, it plays into a design theme that will stand the test of time.”
Firm: Leandra Fremont-Smith Interiors Interior Designer: Leandra Fremont-Smith Photographer: Jeff Roberts Location: Northeast Harbor
Neutral Vibes
Most Morrison Design House projects are inspired by nature, but this one emphasized creating spaces that soften the rich architectural details of a Cumberland Foreside home. The client is not a big fan of color, so designers Jennifer Morrison and Olivia Eckles selected a palette of neutral hues and earthy tones from Portola Paints for a casually elegant aesthetic.
High ceilings and long rooms throughout the residence posed a challenge in the project’s scale. Soft drapery was chosen to tame the height and length of each space, while linen furnishings with clean lines balance out the elaborate casework and older detailing in the home. Textured rugs from Loloi and Nordic Knots pair with a vintage wood console and lighter wood accents to reinforce the tonal feel. The curated collection creates a thoughtful juxtaposition between the old and the new.
“We love spaces to feel approachable and lived in,” says Morrison. “While this project has a refined vibe to it, everything feels warm, cozy, and meant to be enjoyed.”
Firm: Morrison Design House Interior Designer: Jennifer Morrison Senior Interior Designer: Olivia Eckles Photographer: Sean Litchfield Location: Cumberland Foreside
Cliff’s Edge
The owners love to spend relaxing weekends at the beach surfing, playing music, and enjoying time with family, so Annie Talmage and Ainsley Luken of Saltwater Home aimed to create a laid-back space that felt comfortable for gatherings while maximizing the home’s peaceful view. The space gives a sophisticated, bohemian, worldly surf vibe. It welcomes all ages and is designed for maximum seating and comfort, with the flexibility to reconfigure the space based on party size.
Since Mother Nature provides the masterpiece at this property, Talmage and Luken worked to keep the color palette soft and neutral. Adding texture and unique textiles was vital for creating a dynamic look with simplicity. Bringing in African baskets and mudcloth, sisal, rattan, leather, carved wood, glass beads, stones, and other organic elements allowed the designers to set the stage for the sunrises and sunsets that light up the seascape outside. These materials were intentionally selected for quality, texture, tranquility, and playfulness to keep the aesthetic youthful. A painting by Maine artist Jill Matthews hangs in a guest bedroom, while commissioned shell art by Trudy Elliott graces another bedroom.
“We work collaboratively to learn about our clients, their lifestyles, and how they want to feel when in their home,” says Talmage. “Asking questions and listening helps us learn what each family member values. This project allowed us to incorporate the organic textures we love so much while providing a space that meets this family’s needs in every season. We did this with layers of quality products, handmade pieces, simplicity, and intention.”
Firm: Saltwater Home Interior Designer: Annie Talmage Design Associate: Ainsley Luken Styling: Kaylei McGaw Creative Photographer: Sean Litchfield Location: York
Princes Point Renovation
This home for a young family is simple and refined without sacrificing pattern and color. The natural surroundings of the coastal residence played a huge part in the inspiration for its interiors. The key to the design is balance: adults feel relaxed in the space, while children feel invigorated.
The original home, which has a lower ceiling throughout, is paired with a new living space that features high, vaulted ceilings. Selecting materials and fixtures that worked well in the lower ceiling areas of the home—and even helped to make it feel taller—was important. Specificity in the direction of different design aspects, like the grain of the white oak wall running vertically in the dining room or the vertical lines on the hood cover in the kitchen, helped to stretch the height of the spaces visually.
The color palette balances earthy neutrals (wood tones, creamy whites, darker and olive greens) with pops of fun blues and pinks. Patterns and detailed accents tie the palettes together. The living space features a loft, often used by the family’s children for fort building, that has a custom green railing and ladder and an acrylic blue swing that provides a burst of playful energy between the living and dining rooms. The textiles and wallpaper in the home act as art, providing interest and encouraging the eye to move throughout the space.
“I believe that a beautifully designed and decorated home can provide a sense of peace and joy to the people living there,” says designer Samantha S. Pappas. “This space was purposefully designed to reflect the fun nature of the family it houses while pulling the outside environment in.”
Firm: Samantha S. Pappas Designs Interior Designer: Samantha Pappas Architect: BRIBURN General Contractor: Plowman Builders Photographer: Courtney Elizabeth Location: Yarmouth
Riverview Ranch
Situated on a large lot that slopes toward the Royal River, this ranch-style home features a living area with panoramic views of the river, where the family enjoys fishing, paddling, and skating through the seasons. Sarah Fischer of Sarah and Sons Interiors looked to the mature landscape and riverfront surrounding the house for inspiration as she considered the color palette and materials as well as sight lines and general flow through the living spaces.
Originally built in the 1950s, the home had undergone several renovations over the years that left the kitchen in direct view of the front door and created structural limitations that made it difficult to relocate the room. After workshopping a remodel within its existing footprint, Fischer decided to swap the kitchen with the dining room. In this new and unconventional location at the front of the house, the initial challenge now posed an advantage: the new range was perfectly proportioned to replace a defunct fireplace without demolition of the brick chimney. Windows flanking the range and wrapping the corner provide views of mature pines and the Royal River, while the extended sink wall creates privacy from the adjacent front entry. Utility supply lines didn’t have to move significantly in the process, which kept down costs, and the client was delighted that the original kitchen could remain in place and available throughout construction.
In a nod to the lichen-covered trees just outside the window, a soft, dusty green graces the base cabinetry while rich walnut on the paneled refrigerator and furniture-style pantry cabinets connect to the vintage midcentury dining set inherited from the client’s grandmother. Warm brass hardware and fixtures balance the clean-lined cabinetry details, and touches of alabaster, linen, enamel, and creamy stone bring a softness to the space.
Firm: Sarah & Sons Interiors Interior Designer: Sarah Fischer Cabinetry: Maine Cabinet Company Photographer: Sarah Szwajkos Location: Yarmouth
Revamped Cape Elizabeth Home
Original architectural details like the coffered ceiling and custom millwork inspired a “cozy transitional” modern update to this Cape Elizabeth family home. Liz Kirby of Surf Road selected high-gloss paint, contemporary light fixtures, soft furnishings, woven textiles, and geometric-print wall coverings to create a warm, inviting aesthetic that suits the young family’s lifestyle.
The residence’s cherry red hardwood floors posed a challenge in the updated design: the owners did not want to take on the cost or headache associated with ripping out the floors, so Kirby worked around them. Wood tones were selected to complement the cherry without drawing attention to it; instead, unexpected colors and coverings on the walls draw the eye away from the floor.
The color palette is neutral but modern with pops of black and white geometric prints and more earthy tones like browns, blues, and greens. Kirby worked with the Willard Gallery in South Portland to select artwork for the home and ended up commissioning a piece from an artist specifically for the space. The marble coffee table and side tables feature dramatic veining that plays into the space’s earthy and modern vibes.
“This project represents the Surf Road design philosophy in that it is comfortable yet polished,” explains Kirby. “We tend to focus on family-friendly design, and this home is no exception. We love to give our clients designs that they can live in—where they can be proud of their space but not worried about its ‘preciousness.’”
Firm: Surf Road Interior Designer: Liz Kirby Artwork: Willard Gallery Flooring: Transit Flooring Photographer: Melissa Gabriel Location: Cape Elizabeth
Authentic Update
Spanish Colonial architecture is a rarity in Maine, and Tyler Karu of Tyler Karu Design and Interiors had the honor of working on this home, piece by piece, with the clients over the years. The most recent updates addressed the kitchen and powder room. The primary goal was to honor the home’s architecture and design with a complementary and enduring plan while creating an inviting space, accentuating and preserving the original details.
In the kitchen, Karu added clean cabinetry, terra-cotta floors, and handmade backsplash tile. Small details, such as an ogee edge on the countertops, custom trim tile pieces in the backsplash, and small flush mounts instead of recessed lighting keep the kitchen timeless.
Challenges stemmed from the limited size and space Karu had to work with. Starting from scratch with the layout, she focused on a functional work triangle and optimization of storage. The clients cook and entertain often, and the previous version of the kitchen was not conducive to either. The issue of crowding was solved by creating zones for specific usage, being thoughtful of clearances, and panelizing all appliances to prevent breaking up the elevations with material changes.
Firm: Tyler Karu Design & Interiors Interior Designer: Tyler Karu Builder: Woodbury Building Company Photographer: Erin Little Location: Portland
Commercial
Eartha Lobby & Magno Terra Cafe
Bowerbird Design Collective teamed up with Whipple Callender Architects and understood that Eartha, the world’s largest rotating globe, was everything; the lobby renovation and new cafe needed to complement and support her visually while functioning as a community space. Taking inspiration from modern museums, the design team sought to create a backdrop to Eartha that would be clean and crisp.
At the start of the project, the lobby was underutilized and tired. The biggest design challenge was having the existing floor epoxied: the new floor must withstand immense amounts of weight from machinery coming in to service the globe while being low maintenance, durable, and quick drying. Garmin, along with several other businesses, require access to the lobby, stairs, elevator, and bathrooms on the first floor, so detailed planning was necessary to determine where the metal transitions would fit to make sense with the architecture while allowing the flooring contractor to pour the floor in a strategic manner.
Eartha’s fresh and modern lobby features a color-blocked, three-story staircase with railings at each viewing level (the ground, the equator, and above). One soft seat- ing area features two Herman Miller Eames Compact Sofas in a fiery orange textile; two adjacent seating areas are arranged atop custom Angela Adams rugs. A custom metal safety awning fabricated locally by Bradbury Mountain Metalworks replaced a dated, striped fabric awning. Gorgeous plantings and pots were designed and provided by Plantwerks. With its slight Scandinavian aesthetic, the adjacent Magno Terra Cafe features a neutral palette consisting of blond woods, white shiny hand- forged tiles, light walls, and white speckled terrazzo quartz countertops. A woven feature wall hangs from acoustic panels above the wooden cantilevered bench, and a series of circular sconces reinforce the shape of the globe.
The inspiration for Bread and Friends’ brick-and-mortar space was the animated and fun brand itself. The ownership team brings an upbeat and collaborative spirit to the food, and Mey and Co. wanted the space to feel as friendly and creative as its owners.
The biggest design challenge was creating a layout that would allow the kitchen, pastry area, and wood-fired bread oven to all work efficiently while creating a comfortable front of the house that lets customers see and experience the action in the kitchen. The color palette is based on the space’s neutral, natural palette of whitewashed brick and light maple floors, contrasted with the bright bar-face tile, jewel-tone fabrics of the banquette, and paint accents. Shelby Drabman, a friend of the owners from California, provided the fiber art that hangs on the wall.
“We are always looking to create the visual and spatial manifestation of the brand we are working with. This means understanding the product as well as the people behind the product,” explains designer Carrie Dessertine. “We approach projects as a design challenge of weaving together the operational needs, the inherent nature of the existing space, and the personality and language of the brand.”
Firm: Mey & Co. Interior Designer: Carrie Dessertine Architect of Record: Leslie Benson Designs Photographer: Nicole Wolf Location: Portland
317 Main Community Music Center
Nonprofit performing arts organization 317 Main is committed to sustainability, so when it came time to update its Founders Hall, Paul Lewandowski of Paul Designs Project (PDP) suggested using cross-laminated timber to create a warm, eco-friendly, beautiful space. Positing the hall as an instrument of sound, PDP looked to the guitar as inspiration for the alternating pattern of acoustic panels that are a subtle nod to those on a fretboard.
Creating a state-of-the-art music center that matches the historic feel of the building was a challenge, as the original structure viewed from the street is an 1850s captain’s house with a historic cupola on top. Tripling the program to suit the nonprofit’s needs while maintaining the same presence from the street view, matching Yarmouth’s town vernacular, and complying with form-based zoning required creativity and a keen attention to detail. Each floor of the community music center features a different pop of color for wayfinding, while a muted external palette matches the downtown land- scape. The building exterior is historic, but as soon as one enters, the space is playful, adventurous, and ripe with inspiration for learning.
“We enjoy working on projects for clients that serve the community and affect people in a positive way,” says Lewandowski. “Nonprofits with modest budgets deserve great design. This type of project is rewarding on a personal level.”
Firm: Paul Designs Project Interior Designers: Paul Lewandowski & Ellie Bradeen Project Architect: Andrew Treworgy Photographer: Ben Gancsos Location: Yarmouth
Aroma Joe’s Headquarters
Aroma Joe’s core values of caring, passion, and commitment to excellence helped define the guiding principles of this project. Employee wellness, social cohesion, and a strong connection to the brand and mission played a significant role in the design. Unassigned workspaces promote flexibility and social connection among employees, breaking down the silos of a traditional work environment. An on-site coffeehouse, lounge areas, and an outdoor patio encourage employees to connect over their favorite Aroma Joe’s drinks and snacks while fostering connection and collaboration. In addition to the welcoming color scheme and furnishings from Red Thread, the curated Aroma Joe’s playlist played in each coffee shop location can be heard throughout community spaces.
Breathing new life into a dated, dark, drab office building that was originally designed to support a more traditional approach to work was an exciting challenge. With cost drivers in mind, much of the building’s infrastructure was maintained, utilizing existing plumbing locations for the kitchen and restrooms and repurposing perimeter private offices as meeting and huddle spaces. By incorporating interior glazing, the design spreads natural light to the interior of the building, improves visual connection through the space, and creates intuitive wayfinding. Strategically removing low, dropped ceilings in the entry and kitchen maximized volumes, making spaces feel brighter and more energizing.
The color palette weaves in brand identity by taking cues from the lush landscape of the Honduran coffee farms from which Aroma Joe’s proudly sources its beans. Biophilic-inspired blues and greens are interjected with coffee bean–inspired dark wood tones and leather. Linear wood features mimic the organic texture of burlap coffee sacks. Collaborative spaces take advantage of expansive volumes and flexible furniture to create bright, welcoming spaces to spark innovation and facilitate connection. Cozier, squeezed volumes, dark wood, and ergonomic work settings set the tone for spaces intended for quiet, individual work.
Firm: SMRT Architects & Engineers Interior Designer: Jeana Stewart Project Architect: Adam Yothers Flooring: Paul White Tile Millwork: W.S. Dennison Cabinets Photographer: Ryan Bent; Matthew Batista Location: Scarborough
There’s concern in architectural and design circles about the decline of the hand sketch. A drawing is not meant to replace a finished rendering or be a masterpiece but rather part of a designer’s creative process. “What has happened to our profession, and our art,” said renowned architect Michael Graves to the New York Times, “to cause the supposed end of our most powerful means of conceptualizing and representing architecture?” While Graves acknowledged the importance of computers for presenting data and creating detailed construction documents, he argued that an architect’s hands as creative tools should never become obsolete. Many iconic designs throughout history have begun as a simple sketch on a napkin, place mat, or scrap of paper, from Frank Lloyd Wright’s Fallingwater to the “I Love New York” logo drawn by Milton Glaser in red crayon on an envelope in the back of a taxi. With this spirit in mind, MH+D, Knickerbocker Group, and the Portland Society for Architecture invited Maine designers to join us at Novare Res Bier Café in Portland for a drink and a chance to create their own napkin sketches. Participants were given five prompts and some pens and napkins and asked to produce as many or as few sketches as they wished within the allotted time. Here are the results.
PROMPTS
Each guest was asked to create one or more drawings based on the following prompts.
A downtown train station for Portland
A structure based on your favorite board game
A children’s play fort/treehouse in Deering Oaks Park
An adaptive new use for an old space (mill, shopping mall, box store)
A reimagined Adirondack chair
CHRIS DELANO Principal/Owner DELANO ARCHITECTURE
“I am fascinated by the relationships of people and the fabric of places. These sketches address the collective effect that relationships have on a composition. They are visual studies: lines become an object, each object joins other objects to create movement, a point of view, and a place. A story emerges.”
RACHEL CONLY Owner/Design Director JUNIPER DESIGN + BUILD
“For me, the best seat in the house is always at the edge of the sea. The Adirondack prompt inspired a chair shaped from earth that is designed to provide a contemplative, front-row view of the tides and ocean life with easy access for full immersion or soaking one’s feet.”
DANIELLE FOISY Architect JUNIPER DESIGN + BUILD
“The treehouse is made up of interconnected pods, designed to foster imagination in nature through playful exploration or as a refuge in the trees.”
HENRI JP BIZINDAVYI Designer JUNIPER DESIGN + BUILD
“Envisioning the future of downtown Portland’s train station is like sketching a bridge through time, where the echoes of the past meet the wisdom of nature, guiding us toward a sustainable tomorrow. The goal is to create a space where the elegance of historical architecture seamlessly merges with organic forms inspired by our intricate ecosystem.”
CHRISTOPHER DUDLEY Lead Carpenter JUNIPER DESIGN + BUILD
“I drew a reimagined box store, turning a Home Depot into an apartment complex with indoor/outdoor community spaces. It was a fun evening of sketching and seeing what other creative people came up with from the prompts given.”
RICHARD LO Senior Architectural Staff KAPLAN THOMPSON ARCHITECTS
“My last sketch of the evening, the ‘Peacorondack,’ was no doubt helped along by excellent company and beverages. A slightly showy upgrade for a familiar and iconic vacation chair, it is best displayed prominently in small groups scattered at the edge of sloping lawn facing a lake, river, or the Atlantic Ocean.”
“We get so accustomed to drawing from observation or designing what’s ‘typical’—it was so enjoyable to stretch our creativity with playful prompts and places we are all fond of here in Maine!”
“Although seemingly impractical, the ‘S’mores Chair’ is a comfortable yet supportive chair throughout the day, and then as you settle in for the evening and light a fire, you can enjoy your seat as it melts into a treat!”
KATIE BRADDOCK LA ROSE Architect KAPLAN THOMPSON ARCHITECTS
“The Adirondack chair is all about sinking back, relaxing, and taking in the surrounding views; this reimagination favors togetherness as well. The ‘Adirondack in the Round’ allows for few or many to gather, as if around a fire, for conversation and company. The semicircle pieces can be rearranged into a landscape of their own.”
ERIC WITTMAN Senior Project Designer, Architecture KNICKERBOCKER GROUP
“Imagine turning the shell of a familiar national brand into a vertical farm. The structure and layout would make it an easy transition, and existing loading docks would be a plus. Naming the farm ‘Garden Encapsulated Towers’ or simply ‘Grow Eats Tall’ would allow you to ‘adaptively reuse’ half of the existing sign.”
STEVEN MANSFIELD Senior Associate Landscape Architect MATTHEW CUNNINGHAM LANDSCAPE DESIGN
“It was a great evening to be with some of Portland’s best designers and contribute to conversations that came up from wildly different sketch prompts. It’s always fun to step back, let loose, and draw the first thing that comes to mind.”
KARL ALAMO Designer MATTHEW CUNNINGHAM LANDSCAPE DESIGN
“The Maine landscape is lush, rugged, and hosts a way of life inimitable and seldom rivaled. For a transportation center, I envision simple uses of steel that celebrate the early industry of rural Maine life, nestled into a landscape abundant with locally native plants and stone—a welcome home, and a reminder to return soon.”
ERIK MILLES Principal CHARRON | REFLEX LIGHTING
“I loved seeing the creativity and hand drawing skills of everyone involved. Drink and Sketch holds a special place in my heart because it brings us back to the very essence of architecture and design: putting pencil to paper, letting the mind explore, and sharing it with others to enjoy.”
RUSS TYSON Principal WHITTEN ARCHITECTS
“Introducing a light rail train station to the peninsula would make it a breeze to hop off the train and dive right into Portland’s downtown neighborhoods. It would spark more foot traffic and energy in the charming Old Port while keeping the car chaos to a minimum.”
GEORGE WORKMAN Senior Landscape Architect SMRT ARCHITECTS & ENGINEERS
“While the world changes and moves away from analog so quickly, and freehand drawing threatens to go the way of cursive, it’s truly a pleasure to enjoy the company of colleagues and friends while drawing freehand. It feels like a vignette of the old days.”
SOREN DENIORD Owner/Principal SOREN DENIORD DESIGN STUDIO
“Drink and Sketch was a fun ‘after-work’ gathering and a chance to connect outside of shared projects. The prompts were imaginative, and I enjoyed hearing and seeing different people’s interpretations.”
KARI GALLOW-WRIGHT Landscape Designer TED CARTER INSPIRED LANDSCAPES
“There is something wonderful about reimagining a board game as a livable space. I began by studying the pieces and elements of particular games before things took on a more concrete form. I particularly enjoyed drafting a Monopoly walkway with a focus on material, shape, and color.”
TED CARTER President TED CARTER INSPIRED LANDSCAPES
“As my mind wandered during the sketching event, my inner child came out to play, and I found myself daydreaming about various country settings. I went off script. The natural world has so many hills and valleys filled with mystery and intrigue, both timeless and limitless.”
ALEX HABA Designer WHITTEN ARCHITECTS
“I heard that Casco Bay Lines is expanding…underwater railroad from the Eastern Prom to Brunswick.”
TORI GITTO Designer WHITTEN ARCHITECTS
“Throughout the game of dominoes, lines extend and join into lengthy shapes of legible connection. Structures share a similar language by using compatibility to build and join together what would otherwise appear to be dissimilar or incompatible. Warning: Carelessness may result in a chain reaction of fallen dominoes and failed structure!”
“A sketch is a seed. Drink and Sketch is my favorite event that encourages casual cross-pollination of creative minds.”
CHRISTIAN A. PRASCH Architectural Designer WINKELMAN ARCHITECTURE
“I had fun with the space station Chutes and Ladders scene. I enjoy changing the scale of an object in an attempt to make something new, and this game provides easy fodder for such an exercise.”
DAVID DUNCAN MORRIS Partner WOODHULL
“One fun thing on top of another!”
PATRICK BOOTHE Director, Commercial Studio WOODHULL
“I often take my 2½-year-old to Deering Oaks playground, where I imagine one of the majestic oaks soaring to 300 feet. After a lightning strike, it miraculously stands tall, transformed into an observation deck with a near-perfect, code-compliant spiral staircase leading to the top. Oh, and it has a zip line, of course.”
JOHN MUCCIARONE Senior Project Manager ZEROENERGY DESIGN
“Treehouse: an elevated, urban escape in nature that is simple, playful, and imaginative for the inner child in all of us.”
DUSTIN TISDALE Residential Studio Project Manager WOODHULL
“Napkin sketches are the idea droplets that fill the cup of a complete design. Sometimes a little drips out to make room for better ideas…I’m still waiting.”
RICK NELSON Practice Leader, Architecture KNICKERBOCKER GROUP
“The world is in Trouble. It’s best to stay above it.”
GREG NORTON Senior Project Designer KNICKERBOCKER GROUP
“An infrastructure that allows a Portland worker to park out of town and take a trolley to work, relieving Portland of vehicular congestion. One big train station, or series of unique neighborhood stations—anything to create more public transit options as Portland continues to grow.”
TREVOR WATSON Design Studio Leader, Architecture KNICKERBOCKER GROUP
“Being open to different view is a skillset which affords us many opportunities in life—what is more powerful than the physical manifestation of this concept? A treehouse in a park, elevated, built into the branches and leaves. A child’s first experience with a space to call their own.”
TYLER DOHERTY Revit Specialist and BIM Manager KNICKERBOCKER GROUP
“Imagine the possibilities if we innovate the millions of square feet of shopping malls in this country to become rooftop gardens and pastures. They would feed local communities, reduce the risk of food deserts, and bring people a sense of pride in what would otherwise be a desolate expanse of concrete and asphalt.”
LEAH LIPPMANN Design Studio Leader, Interiors KNICKERBOCKER GROUP
“I chose Commercial Street as the location for a grand train station that brings the heritage of trains back into the city. The steel structure acts as a bridge between the past and present while sleek new trains make the trip into the city quick and easy.”
October, 2024 | By: Jorge S. Arango | Photography: Jeff Roberts
Joan Lasky Saba and Mark Saba, Pittsburgh natives who raised their family in Connecticut, began renting homes in Maine for stretches of time when their son decided to attend Bowdoin College. But the state’s many charms soon lured them in, convincing them to settle here permanently. “I found this 800-square-foot, two-bedroom cottage on the internet,” Joan recalls. “The price was slashed, and I wondered why.”
Curious, she flew up to Maine and drove to West Bath. From the moment she entered the 4.3-acre property abutting Winnegance Bay, she recalls, “I felt it was something magical.” She was so moved, adds Mark, “When the realtor told the owner Joan had gotten teary-eyed, the owner said, ‘I want them to have it.’”
The house itself, however, was not going to be sufficient to accommodate their retirement plans. Mark had been a medical illustrator and graphic designer for Yale University, but he wanted to pursue his love of painting, poetry, and fiction writing full-time, which required a studio. Joan, though still a partner at an architectural firm specializing in hospitals and academic medical centers, was also a painter in search of her own studio space. “I knew there was no way I’d have the time to design a home,” she says. So she hired David Matero Architecture, whose work she had found in design magazines.
Matero and Eric Smith of Oceanside Builders quickly realized a few possible reasons the property’s price had been reduced. “It was on a steep slope,” explains Matero. “There was about a 50- or 60-foot drop to the house, then another 30-foot drop to the water.” Additionally, there were building restrictions associated with waterfront setbacks and septic systems. “There was not a lot of buildable land.”
Furthermore, adds Smith, “We knew we were going to hit rock at some point, and we did, but only on one part of the house and not the other. I wasn’t going to build one half of the house on fill and the other on ledge.” After consultations with an engineer, Smith solved the issue by hammering back the ledge and bringing in “proper backfill so that the house would be evenly distributed on the base.”
As for the paucity of buildable land, Matero designed a contemporary crescent-shaped structure. “The landscape really formed this house,” he observes. “The crescent opens up corners on the water-facing side of the house but embraces the topography in the front. The hillside goes way up on the right, so the tall part of the house relates well to its height.” His clients also didn’t want their home to stand out like a sore thumb from the water, so Matero “broke up the massing,” which turned out to have an added advantage: the collection of small roofs drain water more effectively than one big roof would have. That water now streams down through a valley created by the varying rooflines and cascades dramatically like a waterfall outside the main living space. However, Smith explains, to help prevent pooling and foundation-damaging backwash, “We created a dry riverbed look over a storm drain that carries it away from the building.”
Inside, the multiple rooflines create a dynamic play of pine-clad angles overhead but also slope toward the view, training the focus on the waterfront. To ensure a contemporary sensibility that is nevertheless informed by the locality’s sense of place, “We kept rusticity to a minimum without ignoring the surroundings,” says Matero. For instance, Douglas fir paneling enveloping the primary bedroom is a nod to camp style, as is the stone fireplace, except here the stone is cut into blocks rather than left natural, thus telegraphing a cleaner profile. The warmth of wood and its relation to the forested site continues onto the floors, which are oak throughout.
As an architect with a substantial understanding of design, Joan proved an ideal collaborator with Jeanne Handy of Jeanne Handy Designs on interior finishes and furnishings. “We talked about bringing the outside in with the palette and details like wallpaper and hardware,” remembers Handy. “But the idea for me is always to be less obvious—not to look like the outdoors, but to evoke the feeling the outdoors brings, the serenity the site already has.” The point was to “create ‘aaah’ moments where your shoulders drop a little.”
Says Handy, “It’s always fun for me to work with clients who are artistic. It facilitates a group process rather than having me dictate a style. The Sabas have an excellent eye and are open to things that are different.” They were also quick studies, apparently. “Jeanne and I selected all the light fixtures in 90 minutes,” notes Joan.
Green (primarily Sherwin-Williams Sea Salt in a matte finish) and blue were obvious choices for the color palette, but they are also subtle and susceptible to changes in light throughout the day. Wallpapers bring in elements of surprising pattern and color, such as stylized stripes on the wall behind a bed in a guest room, and the midnight blue paper with a gold pattern of the cosmos in a hidden reading nook tucked behind the fireplace.
The reading nook, one of several unusual features of the home, was Joan’s idea and is sure to be a highly coveted sleeping accommodation for grandchildren. Another of Joan’s unique, innovative details is a 38-by 38-inch “puzzle drawer” that pulls out of the kitchen island. Rather than have a jigsaw puzzle occupying a surface when no one is working on it, she explains, “you can just drop it into the drawer.”
Other elements that differentiate the house from a standard shingle-clad camp are architectural. Matero swathed the entry volume’s exterior with dark bronze corrugated metal. “We didn’t have to use metal,” he admits, but doing so “highlights the entrance and the staircase just inside.” There’s a considerable amount of shadow play activated by the rooflines, but also by brise-soleils, screen panels that protrude horizontally from the tops of windows, breaking up the sunlight both on the exterior and inside the house as it filters through them.
One of Joan’s favorite novelties is a clerestory window in her studio set into the wall within a chamfered edge. “I called David and said, ‘Wait a minute. This reminds me of the windows in Ronchamp’”—better known as Chapelle Notre-Dame du Haut, Le Corbusier’s famous structure in Ronchamp in northeast France. Indeed, her hunch about this architectural reference was accurate, he assured her.
Outside, Jorgensen Landscaping created mulched paths and stone steps to convey the Sabas, their family, and guests through the woods and down to the water, all bordered by native plantings that simply bring a bit more order to the wildness of the site.
As Handy mentioned, the cumulative result of architecture, interiors, and landscaping leans heavily into the serenity that the outdoors brings. For homeowners preoccupied with creative endeavors, this turns out to be quite generative. “We love the silence here,” says Mark, noting that they hid the television out of sight purposely, which helps them concentrate on their respective art forms. “Growing up in Pittsburgh,” he explains, “I was really familiar with Frank Lloyd Wright’s Fallingwater. This is not that, of course, but I like the feeling of being so tied to nature. The site is conducive to that.”
Pamela Moulton and Roy Fox, TANGLE, 2023. Steel, salvaged ropes, and nets, paint, 14” x 10”. Commissioned for the University of Maine System and the citizens of Maine under the Maine Percent for Art Act. (Photo: Zach Boyce)
THE UNIVERSITY OF SOUTHERN MAINE ART GALLERY recently acquired TANGLE, a sculpture by artists PAMELA MOULTON and ROY FOX. Located on the school’s Portland campus, the artwork depicts a whimsical five-legged creature constructed of industry-discarded “ghost gear,” including steel, rope, and net salvaged from the Gulf of Maine. Funded by the MAINE PERCENT FOR ART program administered by the MAINE ARTS COMMISSION, the 14-foot-tall sculpture speaks to the history of net fishing in the state, a tradition the Wabanaki people have continuously practiced for 12,000 years. Moulton is a multidisciplinary artist known for her playful, large-scale installations built entirely from salvaged nets and ropes; Fox has worked as an artist and designer in both Los Angeles and Maine.
The WESTBROOK PLANNING BOARD unanimously approved a proposal to build Maine’s first center for Asian American and Pacific Islander (AAPI) residents, a community that comprises more than 26,000 people across the state. Sitting on 30 acres of land owned by WATT SAMAKI, a nonprofit Cambodian Buddhist temple, the center will include a large event hall, instructional and conference spaces, and offices that will house a variety of AAPI organizations and provide access to services, including immigration support, workforce development, English language classes, and small business incubation. The campus will include a new worship center, a traditional Khmer temple, extensive gardens, statuary, and walking trails. KHMER MAINE, another nonprofit serving the state’s Cambodian community, is raising funds for the $5 million project. Construction is expected to begin next summer by local firms, including ACORN ENGINEERING and WINTON SCOTT ARCHITECTS. “In keeping with Buddhist traditions of honoring and connecting to the natural world, the building includes sustainable elements such as a green planted roof system and a solar array on the event hall roof,” explains STEPHEN WEATHERHEAD, principal at Winton Scott. The office and classroom spaces will feature light shelves to direct natural light deeper into the building, thus lessening the reliance on artificial lighting. High-efficiency electrical and mechanical systems, reduced-water-flow plumbing fixtures, and high-thermal-performance window and wall systems will reduce energy needs for the building.
Photos: courtesy of Nike
NIKE’s new “TOGETHER WE RISE” campaign is flipping the script on the company’s traditional SWOOSH logo. To celebrate the rise of women’s sports, the third kits for men’s and women’s teams in European and Latin American football clubs feature a double swoosh pointing upward, a 90-degree pivot from its usual positioning. According to Nike, this limited-time graphic communicates the “acceleration” of the game and supports the brand’s belief that “women and girls are on the leading edge of change, redefining the parameters of sport and how it serves the next generation.”
BETH ISRAEL CONGREGATION in Waterville recently underwent an extensive renovation that included updates to the building’s accessibility, HVAC system, audiovisual services, and security led by construction manager SHERIDAN CONSTRUCTION. The building’s refresh also included the construction of a mikvah, a Jewish ritual bath used for celebrations and healing. Designed by BECHTEL FRANK ERICKSON (BFE) ARCHITECTS, the mikvah is one of only three in the state and is supported by the JEWISH COMMUNITY ALLIANCE OF SOUTHERN MAINE. It consists of an entry room, a changing room, a bathroom, and a mosaic-tiled pool filled with more than one ton of water melted from solid ice sourced from a spring-fed pond on a congregant’s property. “The mikvah is a place of communal support with connection through engagement of the users and professional practitioners. The project at Beth Israel began with listening to the stories told by congregants, which provided us with the necessary vision, inspiration, and relevance of the mikvah for the greater Waterville community,” says Gerard Frank, principal at BFE Architects.
Photo: courtesy of JAX
Biomedical research institute JACKSON LABORATORY (JAX) launched a $750,000 fundraising campaign to renovate HIGHSEAS, the 112-year-old Bar Harbor mansion that has housed the organization’s alumni, researchers, and students over the past 70 years. Built in 1912 from locally quarried granite and bricks shipped from Pennsylvania, the estate is consistently maintained but requires updates to the roof, wood trim, and windows that have withstood wear and tear from Mount Desert’s salty ocean air. Renovations to the building, which features two floors of residential space and a third-floor classroom, will reflect its historic character with modern materials. “JAX’s HighSeas is emblematic of the legacy of our highly successful summer student program as well as a significant and iconic former summer estate. We are excited to be reinvesting in the facility to serve as a home based for the next generation of JAX learners, fellows, and scientists,” says Charlie Wray, vice president of education at JAX. The facility will remain in use while exterior renovations are performed.
Built more than 80 years ago, the INDIAN CELLAR TEA HOUSE in Hollis was facing demolition when SACO RIVER THEATRE began a fundraising campaign to relocate the structure to its site in Buxton. The subject of Margaret Hammel Shea’s book Tavern in the Town, published in 1948, the tea house has served as a store, a restaurant, and a canoe rental facility. In its new location, it will undergo renovations to become a scene shop for the theater with prop and costume storage. Spring 2025 construction on the SALMON FALLS BRIDGE, which connects Hollis to Buxton, adds to the urgency of the structure’s relocation.
Photos: courtesy of the Kraft Heinz Company
Ever wondered what it’s like to sit in JELL-O? Thanks to the new JELLY COLLECTION, a line of inflatable Y2K-inspired furniture in the shape (and colors) of iconic Jell-O molds, you can finally find out. Designed to build on the rise of jelly-inspired home decor and beauty trends along with the resurgence of nostalgic inflatable furniture, each Jelly Collection chair features smooth, rounded curves that create an inviting and comfortable seat along with a built-in cup holder that perfectly fits a Ready-to-Eat Jell-O Gelatin snack cup. “With the Jelly Collection, we’re not just celebrating our rich history; we’re bringing it to life for today’s families. By blending our heritage with a modern twist, we’re inviting consumers to embrace the playful spirit that has made Jell-O a beloved favorite for generations,” says Tyler Parker, brand manager of desserts at Kraft Heinz.
I’ve been coveting a piece by the design duo Cee and She for the past three years. Each piece is crafted by two women artists in their Westbrook studio. These stoneware candleholders are both elegant and whimsical. The flower petals are made individually by the artists’ hands; each is unique, never to be replicated.
Ever since we covered Maine Surfers Union in last July’s Shop Talk, I’ve been dying to get my hands on one of the Ocean Clocks the store imports from France. I’d love to know if Back Cove is looking luscious or marshy before I head over.
I like this Orange and Gold Honeycomb Charcuterie Board, which is made in Scarborough, because it makes for a great centerpiece and is also a piece of art that I could see hanging on a wall.
—Karen Bowe, director of business & partnership development PFWOODTURNING.COM
My friend Michelle Rose contacted me to photograph her new line of products in gorgeous packaging. Handmade in Maine, Minka Apothecary was inspired by Michelle’s personal journey to heal her case of eczema.
I long for the day I see a beautiful fireplace in my house, cozying up with a good book and my cats while letting the heat get me through the cold winter months. Stûv designs minimalist woodstoves that you can find locally at Embers Stoves and Fireplaces.
I bought my first Alice Yardley handbag at STITCH last spring. I selected a sweet summer color block bag that went everywhere with me and was often asked, “Where did you get your bag?” Spoiler alert: If my sister in Nova Scotia is reading this issue of MH+D, there will be an Alice Yardley original under your Christmas tree this year—and I just might have gifted myself an envelope clutch as a finishing touch for my holiday outfits.
From planes and saws to chisels and spokeshaves, Warren-based Lie-Nielsen Toolworks crafts some of the finest heirloom-quality hand tools for furniture making that money can buy.
—Shawn Dalton, senior director, creative design & production LIE-NIELSEN.COM
There’s nothing I love more than a soft blanket to cozy up in as the months get cooler. Made of luxurious 100 percent cotton, Blanche and Mimi’s Hand Printed Throw Quilt wraps you in the warmth of the holidays. These charming quilts are the perfect blend of elegance and coziness, serving as functional decor through the holiday season and into spring!
October, 2024 | By: Matt Ginn | Photography courtesy of Prentice Hospitality
”The concept for this dish is based on one of my favorite French brasserie dishes, a crispy duck leg confit served with a red wine and mustard glaze alongside a crispy chicory salad,” explains chef Matt Ginn, culinary director at Prentice Hospitality. At the Good Table in Cape Elizabeth, Ginn replaced Maine salt cod fritters with this duck variety, offering a similar flavor profile with an elevated twist. “We think of duck as a winter protein, often paired with roasted figs or stone fruit on the holiday table,” he says. “Duck is also sustainable, with a much better footprint than other meats, and it’s more accessible than people think. Plenty of markets in and around Portland offer it, such as Rosemont.” Try this recipe for a fun and approachable way to elevate the holiday table this season.
Makes 20 to 30 fritters (5 or 6 servings)
INGREDIENTS
For the confit 4 duck legs About 70 grams salt Pinch of sugar Neutral oil or animal fat
For the fritter dough 400 grams prepared confit 200 grams cooked and mashed potato 20 grams all-purpose flour 20 grams whole-grain mustard 1 shallot, minced 15 grams chopped chives 10 grams chopped parsley 5 grams salt
For breading and frying Flour Egg wash (beaten egg plus about 1 tablespoon of water) Breadcrumbs High-heat oil
INSTRUCTIONS
1. Lightly salt the duck legs and add a pinch of sugar. Let sit in the refrigerator to cure overnight. In the morning, rinse the salt away and dry off the legs thoroughly.
2. Once the duck is cured, it is slowly cooked in fat (a technique known as confit). At the restaurant, the duck legs are cooked in a blend of olive oil and duck fat with a bit of garlic and thyme. At home, it’s easiest to use any neutral oil or animal fat. Place the legs in an oven-safe pan, cover with warmed fat, and bake at 250°F for 2½ hours. Let cool completely.
3. Pick the cooled meat from the bone and place into a mixing bowl with the remainder of the fritter dough ingredients. Stir to combine, then roll into balls about the size of a half-dollar.
4. Using the three-phase breading method, dredge each ball in flour, moisten it in egg wash, then coat it in breadcrumbs.
5. Heat the frying oil in a pan. Fry the breaded fritters at 340°F until they are golden brown. Serve with a chicory salad and red wine vinaigrette.
October, 2024 | By: Danielle Devine | Photography courtesy of the Strong National Museum of Play
If there’s a doll that embodies the 1980s, it’s the Cabbage Patch Kid. The first iteration of the famous dimpled dolls was conceived in the ‘70s by an American folk artist from Kentucky named Martha Nelson Thomas. Thomas, who graduated from art school in Louisville, began making 16-inch-tall soft sculpture dolls with hand-stitched facial features and yarn for hair. She considered them expressions of herself and called them her Doll Babies. Each baby came with its own packet, which included adoption papers, a letter from Martha, and a list of the baby’s likes and dislikes. Xavier Roberts purchased the dolls from Thomas to offer at his gift store in Georgia and sold them for a huge profit. Thomas was uncomfortable with the high price of the dolls and spoke to Roberts about lowering it.
In response to Thomas’s concerns, Roberts began to make the successful cloth dolls himself, cutting out Thomas. He called his dolls Little People, but they looked exactly like Thomas’s dolls, with adoption papers and all. Roberts soon met with Roger Schlaifer, an Atlanta designer and licensing agent, and changed the name to Cabbage Patch Kids to avoid confusion with FisherPrice’s Little People toy line. Schlaifler then brokered a deal with the toy company Coleco Industries, designed the Cabbage Patch Kids logo, and, along with his wife, Susanne Nance, created the magical origin story of the Cabbage Patch Kids, which was printed on each doll’s box.
It’s fitting that it was another woman who altered the design to create the Cabbage Patch Kid we know today. Judith F. Albert was a designer at Coleco Industries in the 1980s who created a vinyl recast (with a signature sweet smell) of the formerly cloth doll head. Albert also designed a computerized program to ensure that each doll was unique, with varied eye colors, facial features, and clothes.
In 1983, the new Cabbage Patch Kids were introduced to great fanfare at the International Toy Fair in New York City, and soon, they were coveted by every child in the U.S. That holiday season, there were riots in stores across the country because there were not enough dolls to meet consumer demand. In 1985, Cabbage Patch Kids sales totaled $600 million. Schlaifer estimates that the final tally of five years of sales was around $4 billion.
Thomas, the original creator, did file a lawsuit in 1979 that was settled out of court in 1985 for an undisclosed sum. Thomas reported that the settlement was enough to allow her kids to attend college. Maybe for our next lesson we’ll talk about when karma came for the Cabbage Patch Kids empire, when the baseball card company Topps ripped them off to imagine their far less cuddly Garbage Pail Kids.
October, 2024 | By: Becca Abramson | Photography: Ben Hoffmann
Designers Rodman Primack and Rudy Weissenberg, cofounders of Mexico City–based AGO Projects, live the nomadic lifestyles of celebrated creatives, bouncing from New York City to Guatemala to London to work on new projects and attend to their thriving business. In the new book Love How You Live (Monacelli, 2024), the pair open the doors to six homes they’ve designed for themselves across the globe, along with seven residences they’ve curated for others.
Despite running a successful design firm and art gallery based in Mexico City and New York, Primack claims he has no special authority to dictate what’s beautiful; rather, he aims to lead others to their own language for living with the following instructions: “Nurture what you love and share that with others. Seek out the beauty in authenticity and minimize your investment in trying to emulate the supposed ‘good taste’ of others. Embrace flexibility and chance, the unresolved and unexpected. These principles work in decorating,” he writes, “because they work in life.”
When outfitting the interior of this sprawling U-shaped home for themselves in Guatemala City, Primack and Weissenberg made the most of the “traditional local know-how” that they believe is too often overlooked in locations rich with culture and craft. To avoid importing wherever possible, the couple sourced wool textiles from looms in the Mayan highlands; used wood from family sawmills; employed a local metalsmith to make window casings, benches, and shelving; and commissioned artist and architect Dario Escobar to design tiles to decorate the home. Hand-me-down furniture and kitchenware from Weissenberg’s grandmother are found throughout the space, often paired with Guatemalan crafts from local artisans. As writer Ana Karina Zatarain notes in the book’s foreword, Primack and Weissenberg’s homes “reflect an intense fondness for objects, with every room densely populated by art, furniture, textiles, ceramics, glassware, patterned wallpaper, variegated tiles, and countless curios coexisting in eclectic juxtaposition.” Follow the couple’s lead and learn to love how you live with these nine finds.
VEJIGANTE MASK Art by Mercedes // etsy.com/shop/artbymrcds MAUVIEL COPPER TRIPLY 7-PIECE COOKWARE SET Williams Sonoma // williams-sonoma.com THAMES PENDANT LIGHT Den Studio // denstudioshop.com MERCER LARGE CANISTER Crate & Barrel // crateandbarrel.com 19th CENTURY SPANISHCONSOLE TABLE Pamono by Chairish // pamono.com POMELO 4×4 TILE Zia Tile // ziatile.com DESIGNER SERIES WALL MOUNT RANGE HOOD ZLine Kitchen & Bath // zlinekitchen.com ABODE COUNTER STOOL WITH STEEL SEAT IN REDIndustry West // industrywest.com NO. 898 MOROCCAN RUG Kantara // kantararugs.com
October, 2024 | Photography: Andy Gagne | As told to Becca Abramson
“Saddleback was looking to expand dining options on the mountain, and our inspiration was a picnic table in the woods where the ski instructors used to hang out. It was their secret spot with a hidden aspect to it, which is how the building came to have a humble, rustic look. We looked at old Swedish ski buildings and the technique of coating locally sourced wood siding with a natural pine tar finish. The black exterior in the snowy landscape is then contrasted by the warm colorful interior of the building. When you approach the structure, it appears small, and you enter through thick doors that make the portal more intimate. Inside, it opens to a large dining space with a panoramic view. There’s an industrial aesthetic with the nest of exposed steel overhead which is offset by the use of a cozy color palette.
“The structure is three-sided, with one side featuring floor-to-ceiling glass toward the big view. Bird safety was something we were talking about from the beginning because of the building’s location in the middle of the rare Bicknell’s thrush’s habitat. Working closely with Maine Audobon throughout the project, we designed a simple and low-cost screen to be installed in front of the windows that can be put up in the spring and taken down in the winter when the birds have left the area. The removable screens allow for adaptability and testing but also provide an opportunity to educate visitors about bird safety. Plus, we thought it could be fun to make it an annual spring ritual when the bird screens are added.
“The top of the building features a living green roof with hay-scented ferns and low-bush blueberries; the idea is to recreate the natural alpine meadow above the building, as if the ground had been lifted up for the building to be tucked into. Instead of a poured concrete foundation, the entire structure is built on posts that minimize disruption of the watershed.
“It’s nice to hear that people are surprised when they walk into the building. The vision was a collaboration, and we tried to create something that feels truly different— something you can’t find at any other ski mountain in New England and beyond.”
