Interior design studio Daher Interior Design, led by mother-son duo Paula and Clayton, completed a gut renovation of the former Market Day building at 135 Port Road in Kennebunk’s Lower Village last year. To celebrate the studio’s expansion into Maine, along with the opening of its new retail outpost, Mélange, MH+D invited architects, designers, real estate agents, and builders to mix and mingle among the store’s regionally and globally sourced home accessories, lighting, bespoke upholstery, and artwork. Complimentary bites and beverages were provided by Experience Maine and Maine Events Co.
Guests mingle inside Mélange’s 3,000-squarefootretail and studio space in Kennebunk. Aurora Goodland andConnor Roemlein, president and managing director at Den Studio Paula and Clayton Daher, the mother-son pair behind Daher InteriorDesign. Bob and Molly Grosse; David Duncan Morris, director of the residential studio at Woodhull; Amanda Cleary, manager of sales and marketing at Woodhull Lukasz Szczerbinski; Clayton and Paula Daher; John and Olivia Daher ofKennebunkport’s Shoebox and Co. Ted Carter, president of Ted Carter Inspired Landscapes, and Steve Tucker, founderof Tucker and Tucker Associates Don Coburn, owner of Coburn Fine Homes, and Paula DaherKaren Bowe, MH+D director of partnerships and development; Heidi Kirn, MH+D designer; Becca Abramson, MH+D associate editor The exterior of Mélange; the building’s renovation was completed by Reidson Corporation and Adams and BeasleyAssociates, and the windows are by Marvin Design Gallery by Eldredge.
January, 2025 | By: Devin Finigan | Photography: Nicole Wolf
Vermont native Devin Finigan, the James Beard–nominated executive chef at Aragosta at Goose Cove, graciously reworked the seasonal restaurant’s stuffed lobster pasta recipe for MH+D readers cooking at home. Instead of filling the pasta (as pictured here on Aragosta’s spring menu), Finigan’s simplified version combines the buttery sauce and seasoned lobster mixture with cooked pasta (any shape works!) on the stovetop.
Makes 4 to 6 servings
INGREDIENTS
16 ounces dried pasta
For the gremolata 1 tablespoon minced garlic 1 tablespoon chopped fresh parsley 1 tablespoon lemon zest
For the lobster 1 pound cooked and diced Maine lobster meat 4 ounces mascarpone cheese 1 tablespoon lemon juice Zest of 1 lemon 1/4 cup chopped fresh parsley 1 teaspoon minced garlic Salt
For the beurre blanc 1/2 cup white wine 1 teaspoon diced shallot 2 tablespoons butter, cubed 2 tablespoons heavy cream Salt, to taste
INSTRUCTIONS
1. Cook the pasta according to package instructions in heavily salted water. Make sure to keep the pasta al dente, as it will be finished later in the pan. Set aside.
2. Make the gremolata. In a small bowl, combine garlic, parsley, and lemon zest and stir. Set aside.
3. In another bowl, combine the lobster meat, mascarpone, lemon juice, lemon zest, parsley, garlic, and salt to taste. Taste and adjust seasoning as necessary. Set aside.
4. Make the beurre blanc. Add white wine and diced shallot to a pan over medium-high heat. Reduce until roughly 2 tablespoons remain. Once reduced, add the cubed butter and stir until melted. Add the heavy cream. Continue to cook, stirring continuously, until sauce is fully emulsified and starting to thicken. Reduce until the sauce coats the back of a spoon.
5. Once the beurre blanc sauce is reduced, add the lobster mixture to the pan and stir well to combine. Add the cooked pasta and stir until fully incorporated. Adjust seasonings to taste. Serve in a bowl and top with the gremolata.
“Life-centered design asks us to consider all lifein our design solutions, expanding thetraditional constituents we solve for.”
MH+D ASKS ALBERS TO TELL US MORE.
Q. When were you first exposed to life-centered design, and what your initial reaction?
A. I am an account executive at Interface, a global leader in modular flooring; our company’s mission is Climate Take Back. In 2022 our director of design purpose, Chip DeGrace, made an internal presentation and showed us the headline from the UN Climate Change website, announcing Interface’s 2020 UN Climate Action Award. He had crossed out the word “transforming” and wrote in “designing.” He went on to explain that, while we work for a manufacturer, we are no less a design-driven company than the architectural and design community we work with directly. Our company mission was not created by chance or luck, but through direct actions and plans that were deliberately designed. We are designers, all of us, and there is power in design, especially in the face of climate change.
This discussion immediately spoke to me because design is my core passion. My degree and work experience before joining Interface was in interior design. This recharacterization of looking at everything as a design problem, and all of us as designers, made so much sense. Immediately, I understood the power of this concept—if we can rally the entire architectural community behind it.
Further on in the presentation, the idea of life-centered design (LCD) emerged. Simply put, LCD is a design philosophy that asks us to consider all life in our design solutions, expanding the traditional constituents for which we solve for. It evolved from the more traditional design theory of focusing on the human as the end benefactor of design solutions. Within LCD, there are a series of principles that help guide us to think outside our previous lens. At Interface, we have started to explore how six of these themes can be applied in a design approach: designing for all life equally, designing with nature, designing for connection, designing in collaboration, designing for good, and designing with the past and future in mind.
Q. Where could one start to incorporate LCD into their design approach?
A. It can be overwhelming at first to try to apply all life to design. It took me a minute to digest the concept. A less intimidating way that I think we can start is by asking everyone to think and act with the humbler “we” mindset—rather than “me.” We must remember that every project decision, even those that seem small and insignificant, has impacts up and down the supply chain. Start with the ones that feel bite-sized and work up to the more complex problems.
Photo: John Haskell / Haskell Photo Co.
Q. What principles and themes of LCD do you think resonate in Maine?
A. Mainers are passionate and proud of our natural beauty and undeveloped land. From the forests to the coast, we’re surrounded by ecosystems that are our duty to protect. We are perfectly poised to consider not just how the built environment will impact the human life it’s being designed for, but also how it can work with and not against the local ecosystem.
Simultaneously, we will see overlap with designing with the past and future in mind. I can’t help but think of my grandmother when I think of this theme. She was one of five born on a family farm in Mars Hill in Aroostook County. Dedication to their home, their deep family values, and their community was critical to the family’s survival. Decisions were based on need versus want: nothing was wasted, and quality and craftsmanship were immensely valuable. They found honor in the ability to pass items and skills through multiple generations. It was a humble and happy place, and I am now one of the many torchbearers in my family continuing this legacy and sharing these values with my children and future generations. I love to joke that my grandmother was the greatest environmentalist I never knew I knew. And apparently she could have taught us a thing a two about considering ALL LIFE as well. Who knew!
MH+D is proud to partner with acclaimed architectural photographer Trent Bell on his architecture, design, and photography podcast. To hear Bell’s conversation with Albers, please visit adppodcast.com.
January, 2025 | By: Danielle Devine | Photo courtesy of MoMA Design Store
Finnish architect Alvar Aalto (1898–1976) designed what is commonly referred to as the Savoy Vase in 1936. Aalto is known for using organic forms in his architecture, bentwood furniture designs, and glass.
The initial design for the vase was one of ten free-form object designs (ranging from a shallow dish to a tall vase) roughly sketched in crayon and pencil on colored paper by Aalto for a 1936 competition organized by Finland’s prominent glassworks, Karhula and Iittala. The purpose of the competition was to determine what would be showcased in the Swedish Pavilion inside the 1937 Paris World’s Fair. Fun fact: The vase was given the Swedish code name Eskimoerindens skinnbuxa (Eskimo woman’s leather pants) when it was entered in the competition. There are a couple of theories when it comes to Aalto’s inspiration for the piece. One is that the shape was inspired by Eskimo women’s pants (hence the code name); another is that the piece mimics the waves in Finland’s lake-rich landscape; conveniently, “aalto” in Finnish means “waves.”
The same year, Aalto and his wife, architect Aino Marsio Aalto, were commissioned to design custom furnishings and fixtures for a new luxury restaurant in Helsinki called the Savoy. The vase won first prize at the Paris exhibition and was also selected for the Savoy. Aalto created the initial prototypes by blowing glass through the center of an arrangement of wooden sticks stuck in the ground. The glass swelled only in some places, creating undulating shapes.
The vase’s production was not straightforward. Aalto tried to replicate his original by using thin sheets of steel to form the shape with the help of steel pegs, but the curves were too pointed. Wooden molds did the trick and were used up until 1954, when they were replaced with cast iron ones. The original height of the Savoy vase was 140 millimeters (5.5 inches), made in clear, brown, sky blue, sea green, and smoke glass. Today, the Iittala factory still produces the Savoy vase in various sizes along with other vases from the 1936 series. However, the designation “Aalto” is used for all of them, and they are distinguished only by their product number.
Each Savoy vase takes seven craftspeople over 30 hours to create, with 12 stages of production. Various glassmaking techniques are used; to finish, the piece is put in an annealing kiln, where the vessel slowly cools to eliminate any internal stress in its glass. The Savoy vase is part of the permanent collections of several museums, including the Metropolitan Museum of Art and the Victoria and Albert Museum.
Designer and artist Natalie Papier, founder of interior design company Home Ec. and star of the Magnolia Network show Artfully Designed, is unapologetic about her love for funky textiles, eccentric art, colorful wallpaper, and all things others might consider unconventional. Three years in the making, Papier’s first design book, Start with the Art (Voracious, 2024), features nearly 300 pages of delightful spaces and insightful tips for decorating on a budget with a focus on affordable art and how it can serve as the springboard to an incredible room. In the first chapter, titled “But Natalie, I don’t know anything about art…,” Papier divulges the undeniable truth: you don’t have to. “Choosing a piece of art comes down to one question,” she writes. “Does it move you?”
Perhaps because this column is called Style Room, we have yet to feature an entryway; the foyer of Papier’s Charlotte, North Carolina, home provided the perfect opportunity to do so. “To me, an entryway is the book cover to your home,” the designer told MH+D. “You’re setting the stage with your style right from the moment you open the front door.” Papier emphasizes that foyers are functional (with necessary items like a mirror, coatrack, and bench to put on your shoes) while simultaneously providing a chance for personality to shine through (in paint color, wallpaper, art, and lighting choices).
The biggest challenge Papier faced in designing her own foyer was its sheer size. “Because it’s so big, with such tall ceilings, I had to think about it in stages,” she explains. The lacquered credenza and mirror (both found on Facebook Marketplace) act as a focal point upon entry, while the credenza doubles as a storage container for the family. High ceilings called for a dramatic chandelier (read: floating art); this selection from Stray Dog Designs is a favorite of Papier’s thanks to its overall scale and handmade papier-mâché artistry. “The scale of the art [on the credenza] was also an important variable,” she notes, adding that leaning art in the arranged vignette—as opposed to framing art on the wall—means she can “swap new pieces in and out as the mood strikes.” Rethink your own entryway with these nine finds inspired by Papier’s playful approach.
BRAELYN BEADED VOTIVE VASE Addison West // theaddisonwest.com GUCCI HORSE BUST TABLE LAMP 1stDibs // 1stdibs.com CLARA COAT RACK Ligne Roset // ligne-roset.com LAMPLIGHT BY MAJA PAUMGARTEN (OIL ON PANEL, 12” x 16”) Artemis Gallery // artemisgalleryme.com AMELIE DRESSER MIRROR Arhaus // arhaus.com ARLO CHANDELIER Stray Dog Designs // straydogdesigns.com WOODBRIDGE BOZEMAN FRENCH NAVY BLUE OAK BUFFET Kathy Kuo Home // kathykuohome.com BENJAMIN MOORE HALE NAVY Johnson Paint // ringsend.com DAVINA CLASSIC WASHABLE RUG Rugs USA // rugsusa.com
January, 2025 | By: Marni Elyse Katz | Photography: Tamara Flanagan | Styling by Sean Williams
Adrienne and David Marcus’s kids, now ages 10 and 13, got quite the surprise after visiting David’s uncle and grandmother in Owl’s Head in August 2021. Rather than driving back down the coast to their home in Bedford, Massachusetts, the family headed west toward the White Mountains. The destination? South Bethel, where a concrete hole in the ground, a fabulous view, and the promise of a ski house awaited.
Earlier that year, spurred by the pandemic realization that childhood is fleeting, the couple purchased a densely wooded three-acre plot on which to build a second home. “We stayed in multiple ski towns in the Northeast over the years, and Sunday River was always special to us,” David says. “We decided to invest in family time and memories.”
After a few failed attempts at securing a place, David and their real estate agent drove up an unmarked dirt road and hiked through the woods to the summit of the plot in question. “I was sold the moment I turned around and saw the view to the White Mountains,” David says, noting that South Bethel properties are not typically known for capturing such stunning mountain views.
The couple worked closely with developers Rob Warren and Mark Ivanov, who are the co-owners of Northridge Group, to customize their home. The 3,400-square-foot mountain abode is one of 14 in the 40-acre subdivision. These homes are architecturally consistent, boasting a rustic contemporary style, but each is unique. “We’re always open to buyers putting their stamp on it,” Warren says. “We never do the same house twice.”
The couple handpicked the aged granite slabs that lead from the driveway to the home, which is clad in vertical board-and-batten siding painted in Benjamin Moore’s Dragon’s Breath, a deep, dark brown. “We all painted sample wood blocks on a tarp in our front yard to find the right color,” Adrienne says. A standing-seam metal roof accentuates the gable roof forms, black aluminum deck rails with steel cables add contemporary styling, and the stone-covered foundation ties to the stone steps and walls, connecting the dwelling to the site.
Jamie Keskin, who first worked with the couple when they built their Bedford home, detailed the interior with them. The concept? Moody ski chalet. “They wanted a funky, modern feel rather than a traditional Maine ski cabin,” the designer says. The resulting interiors are comfortable and inviting, with quirky touches that enhance an otherwise timeless aesthetic.
The covered front porch steps into a wood-lined mudroom with Prussian blue built-in cubbies resting on an eye-catching live-edge bench, playing off the rustic landscape. Opposite, a freestanding bentwood bench infuses midcentury modern sensibility—Keskin sprinkles midcentury silhouettes throughout—while a sepia-toned print of a vintage ski lift establishes a sense of place. “We didn’t want kitschy decor, but still wanted to acknowledge that it’s a ski house,” Adrienne says.
Beyond the parkas and ski boots, the home opens into a light-filled, 22-foot-high cathedral-ceilinged great room with dramatic views of Mount Washington Valley. Horizontal planks of knotty pine completely envelop the space, bestowing a woodsy warmth that channels the Montana lodge–like feel the owners were after. Again, the family got to work staining pieces of pine, this time in their Bedford basement, to find a tone that resembles white oak.
A sky-high, ironstone-clad chimney with a reclaimed beam mantel anchors the seating area, where a leather sectional sits atop a family-friendly rug with vintage appeal. A substantial oak coffee table that won’t suffer from propped-up feet services both a midcentury-style chaise perfect for curling up with a book by the window and a shaggy sheepskin lounge chair. A side table with funny hoofed feet is a quick hit of quiet whimsy.
The green kitchen brings the outdoors in with color. “We started out thinking about wood cabinetry but moved to a painted finish when we decided to go all the way with the wood walls,” Keskin says. Subway tile with dark gray grout runs to the ceiling on the perimeter, creating a timeless, no-fuss backdrop. Brass sconces and wood shelves add warmth around a window that frames the wooded view like a painting. Local weathered gran- ite countertops impart a pulled-from-the-outdoors vibe as well. “It mimics the look of soapstone but has a much easier upkeep,” David says.
Keskin went simple in the dining area, surrounding a reclaimed pine table with modern Windsor chairs with a wire-brushed black stain. “Black contrasts with the wood tone and connects to the black windows,” she says. Meanwhile, vintage paintings from a local antique store—a watercolor of sheep and an oil of a landscape in a carved frame—add the sense of age achieved with vintage rugs elsewhere. When the weather’s nice—the family visits year-round and spends two weeks here every August— there’s dining al fresco on the deck overlooking the views.
The team carried horizontal wood planking into the primary bedroom on the other side of the house to keep up the cozy factor. A midcentury-meets-Scandinavian spindle bed by Ethnicraft feels smooth and pared back against the rough boards, while the nightstands’ gray wood tone contrasts the bed’s whiter wood tone. “All the knots in the wallboards supply so many colors and tones to work with,” the designer says. “The nightstands grab a gray moment from the pine that also contrasts it.”
Keskin amps up the contrast in the primary bath, where color comes from hunter green Fireclay shower tiles. The mix of brass faucets, black metal shower doors, and basketweave floor tile show Keskin’s predilection for blending historical elegance, industrial flavor, and tradition, while the weathered granite atop the medium brown wood vanity brings the wooded landscape in. There’s an outdoor shower too, a surprise for Adrienne from David, who snuck it into the plan.
Despite limited square footage on the second floor from pushing up the great room ceiling, there are two guest bedrooms, which like the primary bedroom feature a wall of wood; each has an upholstered headboard, and they share a bath. There was a bit of a snafu surrounding the bath: the floor tiles were installed in a contemporary geometric pattern as opposed to the preferred plaid one. “Adrienne and David painfully ripped it out, bought more, and we had it rein- stalled properly,” Keskin says. “In the end, it was worth it.”
Woodsy wallpapers were the starting point for the kids’ bunk room and the double twin bedroom on the lower level. Pendleton blankets and a lighthearted snowy ski print that Adrienne found on Etsy layer color atop the tree-patterned papers. A major Etsy enthusiast, Adrienne scoured the site for a vintage map of Bethel for the downstairs seating area too, while the vintage snowshoes hail from an antique shop in Vermont.
The open hangout space is wrapped in the same horizontal pine planks as the great room, although the vibe is more loungey night- club than mountain lodge lobby. A built-in wet bar with a live-edge wood top lines one side of the room while a low-slung sectional invites lolling around, preferably after a soak in the hot tub on the patio. Like the firepit, the hot tub was a must.
Between the home’s “come in and chill” atmosphere, its ample guest accommodations, and the area’s plethora of outdoor activities, the entire family is enchanted. “We made a deal with the kids,” Adrienne says. “As long as they don’t complain about coming up here, then we won’t rent it.”
January, 2025 | By: Katy Kelleher | Photography: Jeff Roberts
Although every person has a slightly different idea of the perfect camp, there’s one thing camps all share, one aspect that sets each apart from the standard building, one element that makes it a camp, not a house: the land matters most. This might not be true for a summer home or most year-round residences, but when it comes to a camp, the land is first.
In this case, “the land” refers to over 350 wooded acres and over half a mile of shorefront on the side of a pond in north-central Maine. The homeowners acquired the lot in 2020 with the intention of preserving its natural peace and quiet. “The parcel was on the market for development in a subdivision,” says one homeowner. “They had already put in the infrastructure for the road and 14 or 15 little parcels to be developed on this little pond.” But the Maine-based couple didn’t want to see that happen (nor did the neighbors). “It was unbelievably attractive to us for many reasons, but one of them is because we fly-fish,” the homeowner reveals. “And this property was on a pond that is stocked by the state with brook trout. And there are no motorized boats allowed, and no ice fishing. It was ideal. It was very quiet.”
Of course, it was also empty, which meant the couple had some work to do if they wanted to retire in the woods. The first step was to assemble a team of craftspeople. Fortunately, they had previous experience with several highly regarded firms, including Wright-Ryan Construction and e4 Interior Design. Kevin Browne of Kevin Browne Architecture and Todd Richardson of Richardson and Associates rounded out the roster of local talent. “On the intake form, one of the things that stuck out to me is that they wanted to enjoy the process,” says Emily Ennis Mattei of e4 Interior Design. “From my perspective, we did. The flow and the cadence of the project were awesome, from the design-build team to the clients. If I could write a manifesto about the perfect client, they would be the model. They were fabulous.”
Browne describes the resulting structure as being “cabin-like.” He says, “They didn’t want a big grand place out in the woods, so what we created is almost like a series of connected small camps.” The couple also wanted to be able to age in place, so Browne designed a house that would be primarily one story (except for a bunkhouse, located over the garage). Their issue with having a long, low building was that it might feel too dominated” by the necessary transitional spaces. “We wanted to add some interest. We had a hallway running along the back of the series of spaces, and we put a little kink in it so that it wouldn’t be all one long line,” explains Browne. “We laugh about the angles,” the homeowner says now. “That little angle in the hallway, how much did it cost? But we just love it.”
The slightly skewed camp also created a challenge for the builders when it came to the roofline. “That was the hardest part: the busy roofline,” says builder Jeff Heseltine. “It was especially complicated where the angles came together by the entranceway and above the bunk room upstairs.” In order to achieve the connected camp look—plus the cathedral ceiling that distinguishes the living area—the builders had to reinforce the interior with steel beams. “The living room ceiling was challenging to draw but also very challenging for the builder,” says Browne. “It introduced structural problems.” Fortunately, the black steel rods feel harmonious with the overall color palette of the house, defined as it is by neutral tones, blues, greens, and the occasional grounding iron black. “The homeowners didn’t want anything shiny,” says Mattei. “So all the metal finishes have a beautiful patina to them. The finish on the walls, floors, even the tile—a lot went into making it beautiful.”
A good portion of the home’s elegance comes from the use of white oak paneling, which lines every room (save the birch-ply bunk room). “To have no drywall, and to use oak, that was a goal of the clients’,” says Browne. While the exterior is clad in Cambia, a thermally modified product made from poplar, the interior’s hardwood presented more problems. “White oak is not an easy wood to work with,” says Heseltine. “It’s very hard, and very grainy. You can’t get it in long lengths, so you have to use a lot of short pieces.” The homeowners chose character-grade white oak, because they wanted it to have knots and irregularities. “That made it even more of a challenge,” Heseltine says. “You have to really think about where you are cutting. You don’t want to cut through a knot and have it explode.”
However, the team at Wright-Ryan genuinely enjoyed the high-focus task of working with these materials. “We’re most proud of the white oak finishes and how they all came together,” says Heseltine. “It’s a great spot, on gorgeous land. There is a nice flow to the house; it came out really sharp.” The homeowner adds, “We had to wait for a lot of the material because of the pandemic. But just like in fly-fishing, our patience paid off.”
For Mattei, the best word to describe the elevated cabin is “thoughtful.” All the components were deliberately selected and painstakingly executed, yet none appear overly precious. This was by design. Similar to the little “crick” in the hallway and the knotty oak boards, the furnishings and finishes Mattei selected are marked by their slight imperfections. “After we made the bigger decisions as a team, we were able to dig into the details of using textiles and other elements to give each room its character,” she says. “We wanted everything to have a relaxed elegance, like the tumbled edges of the slate in the laundry room. It looks like something you might find in nature in Maine.”
Similarly, the bathrooms feature irregular tiles by Fireclay Tile (in a deep, hand-glazed green tone) and Artistic Tile (a neutral-hued “Broken Joint” mosaic). “We did the same thing with the metal,” Mattei continues. “Every piece of metal, from the cabinet hardware to the railing, all have live finishes. As they get touched and exposed to air, they will age with the house.” Mattei even worked with the homeowners to choose the doorbell plate. “All of the things you see in that house, they’re all intentional.” But the house doesn’t just look good; it’s also highly functional. There are no curbs on the showers and no interruptions to the flooring, which means as the homeowners age in place, they won’t have to worry about navigating trip-prone surfaces or hard-to-open doors. Mattei worked closely with the clients to determine how they wanted to use the storage space, particularly in the kitchen and the mudroom. “We identified every drawer and cabinet, as to what would go there. [The homeowner] has a pretty awesome collection of linen napkins, so there’s a drawer we designed specifically for them. There’s a pop-up stand for the KitchenAid mixer, since those are so gosh-darn heavy,” Mattei says. And when you come back from skiing or snowshoeing, it’s easy to stash your bigger outdoor gear in the ski room (located off the garage) and the smaller stuff in the mudroom. In addition to the extra-large boot dryer, there are drawers for gloves and hats. “Then, once you get out of your smelly ski clothes, you walk into the living area where there’s a fire going,” says Mattei, “and it’s like you’re still outside. There’s very little between you and nature.”
For the clients, this was a dream come true. “I’ve been involved in nature conservation for years,” the homeowner reveals. “I have a love and deep appreciation for habitat biodiversity. And I know how important it is to support the local economy.” With this camp, not only did the “stars align,” as the homeowner puts it, but so did the intentions. “Everyone on the team was so amazing, just great craftspeople,” gushes the homeowner. “It’s a very, very special place.”
January, 2025 | By: Leah Whalen | Photography: Christina Wnek
Perched at the western edge of the busy part of Commercial Street, the multicolored volumes of a historic factory are a familiar sight to anyone who travels over the Casco Bay Bridge between Portland and South Portland. The building was once home to the Portland Star Match Company, where women worked in the packing room packaging matches into boxes and wrap- ping them for shipping. The tenants are more varied today (a nonprofit, a law firm, a cosmetic spa), but anchoring them at one end of the building is a generous and unusual space: Home Remedies, an interiors showroom that also houses a full-service home decor workroom for custom upholstery. It’s the brainchild of Rachel Ambrose, a lifelong fabric and interior decor enthusiast. “My concept from the very beginning was that I wanted to have a fabric store that also showed what you can do with fabrics,” she explains. “I wanted to have a workroom, on-site, making things, and have people be able to see that, because I think the transformations that happen with reupholstery are so inspiring. I wanted to be like an open kitchen in a restaurant.”
Home has always been a resonant subject for Ambrose. “When I was growing up, my dad was a corporate guy, so we moved a lot. The only place that was constant in my life was our summer cottage in Friendship, Maine. My mother’s family has been summering there for six generations,” she recalls. “When I graduated college and they asked for my hometown, I wrote Friend- ship, because that felt the most like home to me.” After college she moved to San Francisco, but after a few years there, she was ready to try living in Maine year-round.
Upon relocating, she discovered that there were some aspects of living in a bigger city that she missed. “Portland is such a great town, but in those days, it had no good home fabric store. I knew that I wasn’t alone in missing that, because in these other stores where I worked, people were saying, ‘I need home decor fabric,’ which is 54 inches wide. I knew I wasn’t the only one driving to Boston for it. So I wrote up a business plan,” she says. “But it was 2009! I don’t know if you remember 2009, but it wasn’t necessarily an auspicious time to start something new. I had lost my job doing something else because the company collapsed in the wake of the financial crisis, though, so there was nowhere to go but up.”
One silver lining of the economic downturn: there was plenty of property available. “And they weren’t asking too much for it,” recalls Ambrose. “I found this space. The landlord is J. B. Brown, and they own the best buildings in the city, if you ask me. I was the first retailer in 40 years in the building. I like to consider myself kind of the anchor of the neighborhood.” She and her fellow tenants have even given their area a name. “We’ve named the neighborhood Bridgeside. Isn’t it good? I’d really like that to catch on,” she says with a laugh.
Her place in Bridgeside wasn’t always as large as it is today. “For the first nine years, we were just on this side,” she says, gesturing at the showroom. “All the workrooms and sewing areas that you see over on the other side of the wall were here. In the fall of 2019, we doubled the space, just in time for everything to slow down with lock- down. But once we got back up, I thought, ‘Okay, now we have got to make this space our own,’ and business picked up quickly.”
The expanded retail area (now 8,000 square feet) has room for multiple vignettes, a lavish display of Dash and Albert rug samples, and plenty of unusual vintage finds. On the other side of the whitewashed brick wall lies the workroom, where a cornucopia of fabrics is on display. “I’ve got great relationships with the mills that make all this designer fabric. They can offer it to me at a good price point because of how much I’ve bought now over the years. I’m committed to the fabrics that I know I’m going to sell here in Maine,” explains Ambrose as she walks through the atelier. At the back of the enormous room, stitchers are working quietly,” “with great focus, on custom reupholstery projects, transforming dated Victorian love seats or 1980s armchairs into fresh and exciting furnishings.
It’s the combination of the steady whirring of the industrial sewing machines, the gentle murmur of indie music, and the friendly staff chatting with retail customers that truly sets the mood at Home Remedies. “We do custom stuff, but it’s also a retail store, so really anybody can come in,” says Ambrose. “We’re friendly, we’re regular folk, and we like helping you. Because if you like it here in the store, then you’re probably one of us.”
The Ideal Remedy
While the folks in the atelier at Home Remedies work their magic on custom projects, a wide variety of offerings also awaits walk-in customers in the retail areas of the space. “We’ve already funneled it down to the stuff that we think you’re going to like,” says Ambrose. Here are some selections from our recent visit.
It’s a given that a home store will have a good selection of glossy interior design books, and Home Remedies has plenty of them, as well as an excellent collection of cookbooks. They also keep a selection of Maine-related fiction front and center to entice out-of-towners to pick up a novel they might not have otherwise encountered.
The display beds are especially lush with textures and layers—think Indian block-print throw pillows with rustic linen bedspreads over silky Coyuchi sheet sets. A wall of open shelves holds many more soft bedroom furnishings.
While you wander around the showroom, keep an eye open for the ever-changing selection of quirky vintage pieces that Ambrose and her staff curate. I was captivated by a set of blue and gold Japanese lusterware myself, but there is bound to be something (vintage brass candlesticks, majolica wall vases, antique matchboxes) for everyone.
All down the wall of the workroom, Ambrose and her staff have hung a series of textile samples in groups of three. She explains that it helps clients envision color groupings for custom upholstery, but it’s inspirational for anyone who loves color or pattern or texture—or all three! Browse with both your eyes and your hands for the full experience.
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
