Magazine

Blanche and Mimi is a Bona Fide Treasure Trove

Part of the fun of a general store is the element of surprise, of discovery: that “aha!” moment that comes from seeing many different objects rubbing shoulders with each other, soaps and sardines and salad tongs coexisting happily, sometimes on the same shelf. Blanche and Mimi founder Hilary Sinauer once ran a traditional general store, but for the past 17 years her talents at finding and displaying beautiful and useful objects have been put to use at her Portland shop.

Sinauer didn’t start out as a shopkeeper. She recalls, “I was living in Boston. I’d gone to cooking school at the Cambridge School of Culinary Arts, and I was working at Formaggio Kitchen,” the famed gourmet food store beloved by Julia Child. “It was the perfect spot for someone just out of cooking school. But then I suddenly had the opportunity to open a general store in very rural Harrisville, New Hampshire,” she says. “We used to go to northern Maine when I was little, and I loved the old-school general stores, and this place was looking for somebody to reboot it.”

“I had a little cafe and general store. It was hard. I worked at least 80 hours a week,” Sinauer continues. “People were excited about the new energy, but boy, was I tired.” When it came time to leave Harrisville, she recalls, “A friend of mine had read about Portland and told me, ‘I think you should live there.’ So I moved here and started working for a catering company. But in the back of my mind I was thinking, ‘I still want to do my own thing.’”

Her sister had owned an antique store for years, and that example, combined with her experience of the general store, inspired Sinauer to create Blanche and Mimi. “I liked the idea of having a mix of vintage and new. I wanted people to feel like they could dig and find a cool thing,” she says. It was a busy time in her personal life—“While I was thinking about it, I got pregnant with my son,” she says, laughing—but the pieces fell into place, in particular a cozy space on Middle Street in the Old Port.

A former restaurant, it looked out over Tommy’s Park and contributed to the culture of small, independent shops that revitalized the Old Port. Sinauer named her new venture after her grandmothers. She says, “Blanche was an amazing cook, very intuitive. She’d go to the garden, pick cucumbers, and make a great salad. She was also a great baker.” As for Mimi, “She was an interior decorator. She was the tactile one.” Channeling these two women, Sinauer filled her small space to the rafters with a blend of vintage and new items for the kitchen and the home. She sold everything from antique butter knives to the latest cool handbags. “We were on Middle Street a little over 15 years,” she recalls, but the once-cozy space grew tight. When large-scale renovation started on her building, she seized the opportunity to find a new spot on Commercial Street. “I was a bit scared at first because it was so much bigger. But the space is so beautiful—I love the beams and the windows,” she says. “It’s a gorgeous spot, with the boats right there.”

It’s also very much on the beaten path for visitors to the Old Port, which has taken some getting used to. “There’s a lot more foot traffic. I need more employees, for sure,” says Sinauer. “I’m very happy to have the tourists; they’re great. But I don’t want to lose sight of the fact that I opened the store as a local store—I also want my locals to like what we have. In this new space, I have been able to keep growing, buying what I want to buy, and keep it interesting for myself, my employees, and my customers.”

In this new iteration of Blanche and Mimi, the selection feels ample but never crowded. One section is devoted to textiles Sinauer created in collaboration with Tensira, a Paris-based design house founded by a Guinean and Scandinavian couple. “It can be hard to find unique products that other stores might not have. When they suggested we collaborate, it was very exciting,” says Sinauer. “I just love their vision, because there’s a real weight to the fabric. It’s all hand dyed with natural dyes. And the stripes are so vibrant.” The stripes—on pillow covers, bedrolls, and aprons—pop against their neutral, textured backgrounds. Piled nearby are hand-blocked voile quilts from India, and turning around, we find vintage oyster plates from France sitting next to Erin Flett napkins from Gorham.

Across the shop, in a section that has more personal care items, there are toothpastes from Italy, soaps in the shape of antique cameos from the United Kingdom, and bath brushes from Japan. It’s an eclectic, global mix that reflects Sinauer’s balance between classics and novelty. “It is very exciting for me that I can spread my wings a bit here, you know, and not cram everything in. There was a point in which I really shouldn’t have been buying more lines, but to me, that’s what keeps it fun and exciting,” she explains. “There are also things that I’ve sold for years. I still love them. I have a lot of standbys now, but I also want to switch it up,” she continues. “We have return customers who come back once a year, and I really want it to feel like, ‘Oh, she didn’t have this last time!’ That’s kind of my goal: to have it feel different, but like home.”

Standing the Test of Time

Among the many treasures in Blanche and Mimi, Sinauer has a special place in her heart for the goods she carries that have long and often storied histories. “I love carrying items from companies that have been around for over a century,” she says. “They really prove my ‘test of time’ theory.” Here are just a few of the legacy brands that you’ll find in her shop.

  • The Weck company was founded in 1900 in Öflingen, Germany, by Johann Weck. His innovative design, featuring a glass lid and rubber gasket secured by clips, became instantly popular with home canners because it eliminated the metallic tang associated with other jar styles. Weck jars, with their gently curved sides and distinctive tops, can hold anything from flour to baby food—and make it look beautiful.
  • Already a successful restauranteur known for his sweets, Louis Sherry officially established his confectionery company in New York City in 1919 (with the advent of Prohibition, he thought he might see less business at his restaurant). The company he founded continues to manufacture premium chocolates and package them in their famous decorative tins, thus ensuring that the memory of the delicious gift will live on, adorning the dresser of the lucky recipient.
  • Like the Louis Sherry tins, the bottles from Bienaimé perfumes are objets d’art in their own right. The firm was founded in 1935 by Robert Bienaimé, who had worked at the famous French perfumier Houbigant in the early decades of the twentieth century. After his death in 1960, the brand lay dormant until being revived earlier in this century by Cécilia Mergui. The beautiful bottles and jars are meant to be refilled and reused.
  • With their distinctive patterned paper wrappers, Claus Porto soaps have been making bathroom vanities stylish since 1877. The company was founded in Porto, Portugal, and continues to use nineteenth-century techniques to produce their soaps. The result is a finely milled, durable bar with long-lasting fragrance: the perfect gift for your host or yourself.

STITCH: A Look at Maine’s Fashion & Craft Scene

STITCH, the Maine Crafts Association’s (MCA) annual fashion show fundraiser, was a lively celebration
of Maine’s fashion, design, and craft scene. Held at Maine Studio Works in Portland’s East Bayside neighborhood, the 2024 fashion-forward event was sponsored by MH+D, Hay Runner, Woodhull, Old Port Specialty Tile Company, A Gathering of Stitches, Bixby Chocolate, Austin Street Brewery, Cellar Door Winery, Bespoke Branded Fit, Jill McGowan, and Headlight Audio Visual. Six local designers saw their work on the runway: Deborah Freedman of the Fourth World, Rose Normann of Dippermouth Company, Busola Olagunju of Luxeby Dorcass, Sara Charles of Simka Sol, Sharon Chandler and Rachel Gloria Adams in a Marigold and Tachee collaboration, and Kelsey Parker of Garbedge Designs. A style market before and after the runway show featured apparel, jewelry, shoes, hats, and other accessories from Maine-based designers including Akakpo and Company, Alice Yardley, Sundew Sewing, and more. Proceeds from STITCH support MCA’s annual events and educational programming.

“STITCH celebrates the slow fashion scene in Maine by showcasing an incredibly talented and diverse group of designers each year. Our new partnership with Maine Studio Works enabled us to expand upon our vision for the event by extending our hours and offering more space for artists to take the floor and showcase their work. We’re grateful for our community of makers, supporters, and sponsors for making this celebratory evening a success.”

—Whitney Gill, executive director, Maine Crafts Association

Who Designed the Famous Banana Leaf Wallpaper?

It screams summer while instantly transporting you to a tropical locale, but there’s a great debate among design enthusiasts about who designed the famous banana leaf wallpaper. Was it Dorthey Draper or Don Loper? Don Loper is often mistakenly credited as the designer because of his use of the iconic paper in the Beverly Hills Hotel. Here are the facts.

In 1941, Lucile Chatain, the daughter of Clifton W. Stockwell, who started the wallpaper and textile company CW Stockwell, returned from a vacation in the South Pacific with her husband Remy Chatain. Lucile had studied architecture and interior design at Parsons, and she had a great eye. She approached her friend and neighbor, noted illustrator Albert Stockdale, to create a tropical print representing her experience in the jungle. The result was Martinique®, a handprinted large botanical pattern installed like a mural in the showroom. Around the same time, interior and Hollywood costume designer Don Loper was tasked by the Beverly Hills Hotel to help with its redesign. When Loper visited the CW Stockwell showroom and saw the bold banana leaf wallpaper, he knew it belonged in the hotel—it was a perfect complement to the iconic pink facade. It’s believed that there are about five miles of banana leaf wallpaper and fabric throughout the Beverly Hills Hotel.

The print’s fame continued to grow. In 1984, restaurateur Brian McNally used Martinique® in his new Manhattan hot spot, Indochine, frequented by celebrities like Andy Warhol, Jean-Michel Basquiat, and Madonna. It was also used in the beloved sitcom Golden Girls from the 1980s: party girl character Blanche Devereaux’s bedroom was covered in the Martinique® banana leaf print wallpaper, and she even had a matching bedspread. In 2019, after the youngest Chatain’s death, West Elm and Serena and Lily veteran Katy Polsby (who also happened to be a family friend of the Chatains) took over as CEO and owner of CW Stockwell. “Our iconic Martinique® pattern is singular and sought after because it has universal appeal for its boldness, its whimsy, and its transportive spirit,” Polsby told Veranda magazine in 2021. “It is also one of the world’s most imitated patterns, largely due to the fact that—until now—it has not been made widely accessible in its authentic form.”

There’s no denying that the pattern looks very similar to Brazilliance by Dorothy Draper. Many believe Martinque® is darker in color and has a bolder design, while Draper’s is lighter and preppier. The defining difference, though, is that Draper’s paper includes clusters of grapes instead of the bananas used in Martinique®.

Inside the Woodlawn House, a Former Inn on Little Cranberry Island

Of the almost 4,000 islands in Maine, just 300 were ultimately settled, and of those, 100 eventually became year-round communities, a number that has dwindled to just 15 today. “A place is always richer when families are being raised there,” says John Fondas, who knows something about island living. Born and raised in Spanish Wells in the Bahamas, he hadn’t connected with any place quite like it until he stepped onto Little Cranberry Island’s public dock more than two decades ago. “The lobster traps, the gardens, the lobstermen’s co-op, it all reminded me of home,” he says.

The Woodlawn Inn was in terrible shape, but its history—and history-making view—captivated Fondas and his partner, John Knott. From the front porch, one can see Bunker’s Ledge, where Frederic Church made Beacon Off Mount Desert Island, the painting that put Maine on the map as a tourist destination in the late 1800s. The inn’s 19 tiny bedrooms drew notable painters—Mary Cassatt among them—as well as the era’s rusticators, who made the trip from Boston, Philadelphia, and New York City. “We meticulously preserved the exterior and took only a few liberties with the interior architecture to make it more relaxed and open,” says Fondas of the gambrel-roofed Colonial Revival. Hints at the house’s former life are everywhere—the linoleum stair runner, the room numbers, the exit signs all remain.

And then they went to town. Or, rather, to sea. Like a pair of New England sea captains, they furnished the house with exotica [sic] that might have been brought back from excursions to the Far East. But Fondas and Knott, mindful that the best old vacation houses are those in which a motley mix of family cast-offs land, looked no further than their own cache; all of the furnishings came out of homes they had owned in the past. “It’s that grand recycling that makes these houses so idiosyncratic. They’re filled with bits and pieces of people’s lives,” says Fondas. For this pair, the principals of the textile company Quadrille, that includes miles of fabric and wallcoverings deployed with joyful abandon—just the way they like it. Which is why, when summer rolls around and the sheets come off the furniture, the shutters are opened, and the pipes come to life, Fondas is content to stay right here. “I don’t want to be dancing on some Mediterranean island. I want to smell the soil, listen to the loons, and share the view with our friends,” he says. The rewards of island living, he finds, far outweigh the inconveniences. “You actually appreciate your bottle of water, your screwdriver, and your ballpoint pen.”

Excerpted from The Maine House II by Maura McEvoy, Basha Burwell, and Kathleen Hackett (Vendome Press, 2024). Reprinted with permission from the publisher.

Lobster Noodle Salad with Sweet & Sour Sauce

Growing up in Cambodia, Chenda Cameroun ate this simple noodle dish with sweet and sour sauce. Today, Cameroun works in the quality assurance department at Luke’s Lobster’s production facility, ensuring that each piece of lobster that’s been steamed and hand-picked is in perfect condition to be shipped around the world. The Luke’s team asked Cameroun to show them how to make this weeknight noodle salad with lobster instead of the typical ground pork, and the resulting dish is perfect for a warm summer evening in Maine.

Serves 4

INGREDIENTS
4 cups cold water
2 cups sugar
1 cup fish sauce
1 cup vinegar
1/2 cup sweet chili sauce (optional)
1 carrot, shredded (optional)
1/2 cup peanuts, chopped (optional)
Chilies (optional)

INSTRUCTIONS
Combine the water, sugar, fish sauce, vinegar, and sweet chili sauce (if using) in a bowl and stir together. If desired, add shredded carrot, chopped peanuts, and chilies.

INGREDIENTS
1 pound lobster meat
1 package vermicelli noodles
Sweet and Sour Sauce (see above)
1 cucumber, sliced
2 cups chopped lettuce
Mint, for garnish

INSTRUCTIONS
1. To cook the noodles, place them in a bowl and cover with boiling water. Let soak for 3 to 5 minutes. Drain in a colander and refill the bowl with cold water. Return the drained noodles to the bowl and soak for 3 to 5 minutes to stop the cooking. Drain.
2. Place the noodles in a serving bowl and separate using a fork or your hands.
3. Pour the sweet and sour sauce over the noodles and add the lobster meat, cucumber, and lettuce. Toss, then garnish with mint.

MH+D and Moss Galleries at the Electric Greenhouse

MH+D partnered with Moss Galleries to host an exclusive group of design VIPs at nationally acclaimed artist Charlie Hewitt’s Electric Greenhouse in Portland. Guests enjoyed light bites and refreshments provided by Experience Maine Culinary while being among the first to see the debut collection of Hewitt’s one-of-a-kind carved ceramic wall sculptures. Inspired by biblical motifs, the colorful ceramic pieces feature a muted palette compared to the brightly lit neon signs Hewitt is known for. Stay tuned for a full feature on Hewitt’s unique gallery space in our upcoming September issue!

“Moss Galleries was honored to cosponsor this intimate event with MH+D showcasing Charlie Hewitt’s diverse art mediums to the designers and architectural community of Greater Portland. It was a lovely evening filled with insights into Charlie’s ceramics, sculptural pieces, and iconic marquee signs.”

—Elizabeth Moss, owner of Moss Galleries

Design Wire August 2024

Built in 1855 for carpenter Richard Evans, the Evans-Cummings House, known colloquially as the GINGERBREAD HOUSE, is a landmark Victorian-era residence in Norway, Maine. After undergoing historic preservation over the past several years, the home has reopened to the public with an art exhibition called If You Lived Here, You Would… Presented by DRIVE BY SPACE, the exhibition features work by artists Michelle Grabner, Valerie Hegarty, Alex Jovanovich, and Adam Payne. According to a press release, “If You Lived Here You Would… is a consideration of the home’s past that offers a glimpse into its potential future through a selection of sculptures, paintings, drawings, and mixed-media pieces—brought to western Maine for the very first time—by a group of internationally recognized and acclaimed artists.” The exhibition is on view through the remainder of the summer.


Photo: Maine Audubon

BIRDSAFE MAINE, a partnership among MAINE AUDUBON, the UNIVERSITY OF SOUTHERN MAINE, and the PORTLAND SOCIETY FOR ARCHITECTURE, launched the inaugural BIRD SAFE AWARDS to recognize companies, educators, designers, architects, and other individuals in Maine doing their part to protect birds from accidental window strikes. L.L.BEAN, MEMIC, SADDLEBACK MOUNTAIN, and BIGELOW LABORATORY FOR OCEAN SCIENCES received awards for Corporate Excellence; YARMOUTH ELEMENTARY SCHOOL and Dr. Perlut at the UNIVERSITY OF NEW ENGLAND received awards for Educational Excellence; and representatives from SIMONS ARCHITECTS, ALISBERG PARKER, DAVIES TOEWS ARCHITECTURE, REDFERN PROPERTIES, JUNIPER DESIGN AND BUILD, and GOLOGIC were recognized for Excellence in the Design Community. “Our award winners are working on the cutting edge of green architecture, designing innovative solutions for a problem that kills as many as one billion birds in the United States each year. These winners were not required to act, but rather listened to the wishes of their employees, students, clients, and advocates. We’re grateful for their work and look forward to a brighter future for Maine’s birdlife,” says Nick Lund, advocacy and outreach manager at Maine Audubon.


The latest two-in-one appliance from FISHER AND PAYKEL is a major triumph for those who have high ceilings or prefer a streamlined, contemporary kitchen aesthetic: the 36-inch INDUCTION COOKTOP WITH INTEGRATED VENTILATION eliminates the need for a bulky range hood thanks to a nine- speed fan that removes odors, smoke, and steam. Previewed at the 2024 KITCHEN AND BATH INDUSTRY SHOW in Las Vegas, the sleek glass cooking surface, which uses induction technology to heat only the cookware and not the entire cooking surface, is more energy efficient than traditional gas and electric stovetops. Featuring precise touch-and-slide temperature controls and four different cooking zones, the elegant appliance is a game changer for the future of kitchen design.


GOVERNOR JANET MILLS signed an executive order this spring with the goal of increasing the number of women in Maine’s male-dominated construction industry. In the executive order, Mills outlines strategies for the recruitment, training, and retention of women in the construction workforce, including grant opportunities to incentivize hiring women, connecting construction businesses with women in apprenticeship and trade programs, collecting and sharing data from contractors and subcontractors in the state, and surveying organizations (including contractors, staffing agencies, and labor unions) to determine what barriers are preventing women from working in the industry. “Women are a crucial part of Maine’s workforce, and they should be welcomed and embraced in every sector of our economy, including those traditionally dominated by men, like the construction industry and the trades. This executive order will create pathways for more women to enter and succeed in these important jobs at a time when our state and the industry needs them most,” Mills said in a statement. Women currently make up about 15 percent of Maine’s construction workforce, which is slightly higher than the national average of 11 percent.


Photo: Laurent Kronental for Chatillon Architectes

In preparation for the 2024 SUMMER OLYMPICS in Paris, CHATILLON ARCHITECTES embarked on a multiyear restoration and renovation of the GRAND PALAIS DES CHAMPS-ÉLYSÉES, a dramatic Beaux Arts palace originally built for the 1900 World’s Fair. Referencing archival documents like the original building design by architects Henri Deglane, Albert Louvet, Albert Thomas, and Charles Girault, the team from Chatillon reconnected the building’s three main spaces, removed partition walls to reopen inaccessible spaces to the public, reinforced the nave’s ornate cantilevered balconies, and added modern-day technology throughout the building. Nearly 50 companies, more than 200 subcontractors, and around 900 site staff worked together on the project, which will undergo a brief pause as the building’s massive atrium hosts fencing and taekwondo competitions during the Olympics. The Grand Palais’s full rehabilitation is expected to be completed in 2025, at which point the building will host artwork from the CENTRE POMPIDOU as the modern art museum undergoes construction.


Photo: Sally Ferrand

The historic steamship KATAHDIN, the star exhibit at the MOOSEHEAD MARINE MUSEUM in Greenville, is celebrating its 110th birthday this year. Affectionately known as Kate, the boat is undergoing significant preservation efforts led by the BOOTHBAY HARBOR SHIPYARD so that it may continue to share the steam boating and marine heritage of the Moosehead Lake Region with visitors. A multiyear fundraising campaign called KEEP KATE CRUISING set an initial goal of $2 million and received $500,000 in federal funds for restoration, including a new upper deck, fantail deck, and side decking. Kate, which still cruises the lake five days a week and hosts nearly 8,500 visitors each year, is listed on the NATIONAL REGISTER OF HISTORIC PLACES.


Lauren Goodman, the Montreal-based designer behind sculptural furniture firm STUDIO LAUREN GOODMAN, is known for transforming local waste into elevated, unique objects. Her latest series, called FRESH CATCH, showcases carefully deconstructed lobster traps salvaged from the coast of Maine that have been organically rearranged and welded back together to form upcycled chairs, shelves, and side tables. “Material exploration is one of the driving forces behind my practice,” Goodman says. “I’m interested in concepts like renewal and repair. I like seeing beyond the material in front of you to expand its potential.” Having spent summers in Maine with her family
since childhood, Goodman knew exactly where to look when she first considered working with a single waste stream. “Derelict traps and other fishing gear can be devastating for ocean life, and just getting them off the shores and out of marine ecosystems makes a positive impact. The lobster trap itself is such an iconic symbol for so many, especially in New England, and the opportunity to transform this otherwise unwelcome material into a functional piece of furniture is really invigorating,” she explains.


Photo: Pete Fitz of Buoy Media

Visitors to Portland’s BACK COVE TRAIL will spot some new animal friends this summer: a pair of 20-foot-tall egrets performing their distinctive mating dance. The bamboo sculpture called Dancing for Joy (By the Will of the People) is a temporary public art installation by internationally renowned artists Donna Dodson and Andy Moerlein of THE MYTH MAKERS. According to TEMPOART, the nonprofit organization that commissioned the sculpture, “The collaboration between Dodson and Moerlein [grew] out of a mutual love of the wild: Dodson takes inspiration from the mysterious nature of birds that spark her imagination, and Moerlein takes inspiration from events in the natural world that leave visual marks and strike a narrative chord in the artist. Although monumental in scale, their ephemeral bamboo sculptures are temporary in nature. Made from natural materials, they are site specific and respond to their local audience.” Dancing for Joy will be on display until 2026.

Mr. Tuna Finds Its Forever Home on Portland’s Middle Street

“Our lease in the Portland Public Market was coming to an end, and we knew we didn’t want to renew, so we had been looking for the perfect space for a while. We’ve wanted a restaurant on Middle Street for a long time— it feels like the restaurants here stay open forever—so when we saw the opportunity to join the neighborhood, we reached out right away to learn more and signed the lease not long after.

“Working with Woodhull on the buildout was an extremely smooth and professional process. Teaming up with contractors can be difficult, but working with their group was a breeze, and we’re thrilled with how everything turned out. The interior was designed by Mey and Company, which we’ve worked with previously at Bar Futo. We wanted to incorporate our updated branding by Family Brothers into the restaurant, so the new fonts and colors guided our design. Carrie Dessertine is so talented, and we love that she’s local and has a team of all women working with her. She helped us bring our vision to life: we wanted something light and bright, and she infused the space with pops of pink and purple that added a touch of femininity to balance the masculine Mr. Tuna name. It’s fun and colorful, and most importantly, it brings our personalities into the space.

“All the millwork was done by Patrick McDonald of Northern Pines, and we picked maple because it’s a light, natural wood that works well with the natural lighting in the space. It gives off a clean, organic, sustainable vibe that pairs nicely with the sustainable fish we source for our dishes, and the bar face tiles are the color of tuna. The space is much smaller than Bar Futo, so it’s a bit more intimate. The counter seats offer an interactive experience because the sushi bar is exposed. Guests sit right in front of the chefs and can have conversations with them, which is really fun. It’s like they’re in on the action.

“When we were in the Public Market, we couldn’t control the feeling of the space because we were operating alongside other businesses. Now we’re able to have full control over the aesthetic and bring our energy and vibe to the space. We’re so happy to be here, and it feels like the evolution of Mr. Tuna has finally come to fruition. All our hard work and everything we’ve done has led us to this moment—it really feels like it was meant to be.”

—Jordan Rubin and Marisa Lewiecki, co-owners of Mr. Tuna, Bar Futo, and Crispy Gai

This Bright Summer Sanctuary is the Perfect Place to Relax

American architect Gil Schafer III is known for his keen ability to mix the traditional with the new, despite, as he jokes, being “deeply allergic to the trendy.” In Home at Last: Enduring Design for the New American House (Rizzoli, 2024), the final installment of his trilogy on “living modern” in classical American homes, Schafer highlights a collection of residences that are designed to adapt, evolve, and endure. Schafer explains in the book’s introduction that he has become a better listener—to both his family and his clients—and has realized that “the most indispensable quality of an enduring home is that it is adaptive to the evolution of life—the house can shape-shift, if you will, depending upon a family’s needs.”

While he believes architecture should always endure, Schafer recognizes that decorative schemes are ever-changing. The glazed porch of this Long Island compound, which Schafer designed for a sociable couple, is just one of many entertainment spaces on the property, which also includes a pool pavilion, guesthouse, greenhouse, nightclub-style basement, spa, badminton court, and entertaining barn. Decorative stone tile and wicker chairs invite guests to relax in the brightly lit room, which features an antique stone mantel found for the owners by interior designer David Netto. Grasscloth shades and potted plants bring the outdoors in, while an abstract brushstroke painting above the fireplace adds a contemporary touch to the informal gathering space. Create your own summer sanctuary with these nine finds.

A Pier Foundation and Significant Slope Make This Peaks Island Residence Unique

A thorough study of views, sight lines, and spatial adjacencies provides this Peaks Island house with striking views of Casco Bay from nearly every space. The house prudently takes advantage of southern exposure and passive solar design concepts. The central staircase acts as a meeting point on the second floor, with floor-to-ceiling windows looking out to the water, a reading nook with views to the trees, and two north-facing skylights that fill the space with a warm, ethereal glow.

The architect creatively navigated multiple site restrictions to take advantage of a buildable area while maximizing natural light, views, and privacy. The site’s location within a flood zone propelled the architect to design a pier foundation with a light touch on the land. A significant slope from the north side of the house to the south side works with the structure rather than against it: the most active entry is on the northern side (only a couple of feet above the natural grade), which eases the transition to the house for all. The land slopes nine feet on the home’s southern side, and the team took full advantage of this by turning two areas under the house into covered outdoor spaces with magical water views.

An essential element of LR/ARC’s work is to fit within the neighborhood context. This can be seen in the gabled form, weathering cedar shingles, and horizontal board siding. The interior common space was carefully curated to create distinct yet connected spaces for the kitchen, dining room, and great room. The limited and natural material palette in both the interior and exterior provides a warm and calming environment.

Location: Peaks Island
Architect: LR/ARC
Builder: W.E. Bunton Construction
Interior Designer: Morrison Design House
Engineer: Trillium Engineering Group
Landscape Designer: Soren deNiord Design Studio
Construction Start: Winter 2022
Construction Complete: Winter 2024

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