As winter sets in and the days grow darker, I am reminded of the time in ancient Greece when caves symbolized the entrance to the classical underworld. A person entered the cave to seek wisdom in the darkness not the light. A place where the opposites meet and where there is room to confront and make meaning of our anxieties.
—Alison Hildreth, from “Wisdom in the Darkness,” Maine Arts Journal
During her artist talk at New Era Gallery in August, Alison “Wooly” Hildreth recalled herself as a young reader, mapping Kenneth Grahame’s children’s classic The Wind in the Willows. She would visualize the book’s setting through the characters’ visits to each other’s homes and travels together, and soon her mind held a unique, navigable map of their world. This recollection is a wonderful illumination of Hildreth’s art and process. Maps and the exercise of mapping invite abstraction; there are so many locations between any two points, and the interest of a map is those in-betweens. The infinite possibilities of the in-betweens are the realm of curiosity and wonder, and this is where Hildreth’s work lives and is in constant motion, always one work suggesting another, always seemingly asking, “What’s next?”
Alison Hildreth: 50 Years is a multivenue retrospective featuring the artist’s past and ongoing work, including new paintings and drawings made last summer. It has been and is being presented by New Era Gallery on Vinalhaven (summer 2023), CMCA, Portland Public Library Downtown and Speedwell Contemporary, which initiated the restrospective and also produced a documentary film and catalog to accompany it. “Alison Hildreth is not one to jump into the spotlight, but she’s more than earned this spotlight,” says Speedwell’s curator, Phoebe Cole. “She’s made a lifelong commitment to her art practice by continuing to produce wondrous works, and she is beloved in this community.”
Maps, celestial bodies, and flying creatures abound in these three connected but distinct opportunities to experience Hildreth’s work. There is also the artist’s recurring, hopeful message that visiting the “dark places of our nature” is an affirming human act from which we emerge enlightened. As the days advance toward the winter solstice, CMCA’s exhibition Darkness Visible presents recent mixed-media aerial landscapes on Gampi paper and new large-scale oil paintings on canvas depicting celestial worlds. Hildreth has described her “cartographies,” with their intricate mark-making, as narrating the migrations of humans and other earthly creatures, while her fascination with the earth’s uniqueness in the known universe continues to feed her expression of outer space. In her words from a 2022 interview, “We’re living in a miracle all the time.”
Portland Public Library Downtown is “reengaging visitors” with Hildreth’s “soaring” installation, The Feathered Hand, adds Rachael Harkness, the library’s gallery and special programs coordinator. The mobile, made in 2010 from glass, plastic puppets, lenses, metal wire, sand, insects, and carborundum (silicon carbide), is permanently installed in the library’s atrium and will be highlighted in a public event in November.
Hildreth studied art history and landscape architecture at Vassar College in the early 1950s and then landed in New York City to continue her studies at the Art Students League and the National Academy of Art. “What I really wanted to do was to do everything,” she said in a 2018 interview. “I wanted to know photography, printmaking, sculpture; I took everything I could.” In 1976 she earned a second degree at the Portland School of Art, where she also intersected with the Concept School of Visual Studies. This short-lived breakaway experiment influenced a generation of Maine artists, including Katherine Bradford, Noriko Sakanishi, Barbara Sullivan, Don Voisine, and many others.
Speedwell’s exhibition, documentary, and catalog span Hildreth’s earliest work through her most recent creations—the output of her beloved Bakery (Portland) and Vinalhaven studios—and reflect an artistic practice that is both rigorous and meditative. In one way or another, all the work is infused with Hildreth’s reading of geography, cartography, astronomy, environmental studies, history, philosophy, and literature, and her love of walking and daydreaming. She’s translating her experience of the world, and that ongoing translation—her expression—is as generous as it is sublime.
List of Venues
Center for Maine Contemporary Art, Rockland
Alison Hildreth: Darkness Visible
Exhibition of new paintings and drawings on view through January 7, 2024
Portland Public Library Downtown, Portland
Alison Hildreth: The Feathered Hand
Evening public event in November 2023 (contact library for details)
Speedwell Contemporary, Portland
Alison Hildreth: 50 Years
Retrospective exhibition on view through December 22
November, 2023 | Photography: Dave Clough Photography
MH+D is proud to have joined local organizations in sponsoring Maine Preservation’s Annual Gala at the newly rehabilitated Lemont Hall in Brunswick. Featuring live music by Marc Chillemi and the SoPo Trio, hors d’oeuvres by Black Label Catering Company, indulgent desserts by Dean’s Sweets, and a complimentary bar with beverages from National Distributors, Ice Pik Vodka, and Shipyard Brewing Company, the event offered an opportunity for guests to meet fellow supporters and browse a virtual auction of handmade goods and unique local experiences. Proceeds from the auction help Maine Preservation promote and preserve historic places, buildings, and neighborhoods in the state, thereby strengthening the cultural and economic vitality of Maine communities.
Michelle Sweet and Shannon GilmoreCale Pickford, president of Maine Preservation, and Tara Kelly, executive director of Maine PreservationJack Vreeland, Evan Schueckler, Sarah Hansen, Nancy MontgomeryAaron Turkel and Madison GouzieHannah Wade and Justin HironsFlowers provided by Mare Brook Farm decorate the tables.Mark Chillemi entertains guests at the galaKatherine Lermond and Michael CoyneCynthia Winne and Genie GannettMaine Preservation trustees Scott Stevens and Tobey ScottMerry FosselBecca Abramson, MH+D associate editor, and Karen Middleton, MH+D director of business and partnership development
“Our gala brought together a robust community of Mainers in support of our preservation efforts across the state. Guests bid on nearly 100 auction items, featuring art, apparel, handmade crafts, home goods, and one-of-a-kind experiences. The annual paddle raise garnered much-needed funds for our summer fellows program and preservation trades workforce development initiative. It was a spectacular celebration!”
—Tara Kelly, executive director of Maine Preservation
November, 2023 | By: Dan Pelosi | Photography: Andrew Bui
This dish is a pretty simple mix of ingredients—you probably already have everything at home, besides the escarole. All together, they turn into a warm and comforting mix of delicious flavors that feel like home, family, and troubles melting away. The smell and taste couldn’t be more nostalgic for me. Somehow, whenever I go to Bimpy’s house, he always has a pot of escarole and beans on the stove. Bimpy recommends serving over a nice chunk of crusty bread with Parmesan, a drizzle of olive oil, and a shout of “Say goodbye to your mother-in-law!” meaning it’s so good it could kill someone with joy, and if it’s going to kill someone, it should definitely be your mother-in-law. He has a singular sense of humor—what can I say? When I cook it at home, it makes me think of my dear uncle Phil, who lived with Bimpy until he passed away unexpectedly a few years ago. This dish was Phil’s favorite, and when I miss him, which is often, I make this in his honor.
Serves 8
INGREDIENTS
Kosher salt
2 large heads escarole, roughly chopped
2 tablespoons extra-virgin olive oil, plus more for serving
6 garlic cloves, crushed
1 tablespoon fennel seeds
½ teaspoon red pepper flakes
½ teaspoon freshly ground black pepper
3 (15-ounce) cans cannellini beans
4 cups chicken broth
Crusty bread and freshly grated Parmesan cheese, for serving
INSTRUCTIONS
1. Bring a large Dutch oven filled with salted water to a boil. Add the escarole and cook until bright green and tender, 3 to 5 minutes. Reserve 2 cups of cooking water, then drain the escarole.
2. Wipe out the Dutch oven, then add the olive oil and heat it over medium-high heat. When the oil is shimmering, add the garlic, fennel seeds, pepper flakes, black pepper, and a pinch of salt. Cook, stirring frequently, until the garlic and fennel are fragrant, about 1 minute. Stir in the escarole and beans (including their liquid), then add the chicken broth. Give it a stir, then add as much reserved escarole water as you like (depending how soupy you want your dish).
3. Bring to a simmer and cook until the beans are warmed through, about 5 minutes. Taste for seasoning before serving with crusty bread and lots of Parmesan.
Excerpted from Let’s Eat: 101 Recipes to Fill Your Heart & Home by Dan Pelosi (Union Square & Co., 2023). Reprinted with permission from the publisher.
November, 2023 | By: Danielle Devine | Image courtesy of Georg Jensen
Danish architect and designer Arne Jacobsen is known for softening the ascetic modernist style with his industrial and furniture designs. In the late 1950s, he designed the SAS (Scandinavian Airlines System) Royal Hotel in Copenhagen. Jacobsen conceived the hotel as a gesamtkunstwerk, or total work of art. In addition to the architecture, he designed everything from the furniture throughout the hotel, to the cutlery in the dining room, to the doorknobs. Most of us are probably familiar with the chairs Jacobsen designed for the hotel: the Egg chair™, the Swan chair™, and the Drop chair™; all three embrace the comfort curved forms bring to the public. He wanted the cutlery to be in direct contrast to the stringent geometry of the rectilinear hotel, so Jacobsen partnered with manufacturer Georg Jensen to create what is still deemed a futuristically modern set of flatware.
Jacobsen believed that every element of a design project should be determined by its intended purpose and that form should follow function. When designing the hotel cutlery, he produced numerous models and prototypes to find the minimum amount of stainless steel needed for each knife, fork, and spoon to perform at an affordable price. During this time, silver was typically used for flatware appearing in luxury hotels like the SAS Royal. The AJ line consisted of five pieces of cutlery: a small and large fork, a small and large spoon, and a knife. The knife’s transition from handle to blade is only indicated in the contour, and the short tines of the fork make the AJ cutlery stand out. The large spoon from the collection is probably the most admired piece from the set. In 2012, the New York Times published an article about the merits of the AJ soup spoon: since all the pieces are asymmetrical, the handle connects to the top of the piece rather than the center. That means if the spoon slips in your hand, the soup falls away from you rather than toward you. The article’s author sought industrial designer Jasper Morrison to test the spoon. Morrison is not only a designer himself but a critic of other designers’ work and the author of A Book of Spoons. He had never used Jacobsen’s soup spoon before and was doubtful about its performance. “It looks like something that has been designed to look as if it is functionally superior rather than actually to work better,” he said. After using it, he admitted, “I am coming round … It really does work better than other soup spoons. It is a fine difference, but it has the ergonomic edge.”
The hotel manager hated Jacobsen’s cutlery, complaining that it upset the guests. Those three short tines on the forks apparently gave some guests problems when picking up smaller foods like peas. Eventually, the hotel replaced Jacobsen’s radically styled cutlery with a conventional set also manufactured by Georg Jensen. In 1957, the cutlery made its public debut at the Milan Triennial where it received extensive coverage. It has remained an internationally recognized design icon ever since.
Despite the hotel manager’s complaints, the set had its admirers back then, and it continues to be sold through Georg Jensen as well as on the secondary market. It can also be found in the permanent collections of the Museum of Modern Art, Indianapolis Museum of Art, and the Victoria and Albert Museum. Filmmaker Stanley Kubrick insisted on using the futuristic-looking cutlery as props on the spaceship in his 1968 sci-fi film 2001: A Space Odyssey.
Buffalo plaid or lumberjack check: whatever you call it, an oversized red and black gingham calls to mind cozy flannel shirts and warm wool blankets. But there’s so much more to this large-scale gingham than that one rustic note. Rendered in different color combinations, the buffalo check becomes a style chameleon. Used in a big way, it can feel edgy and punk, and sprinkled in small doses it can mingle with the most sophisticated surroundings.
Buffalo check is also the plaid of the moment: Whether you’re perusing a design boutique or the aisles of Target, oversized checks are almost sure to make an appearance, especially come fall. Los Angeles–based designer Heather Taylor, known for her checkered linens, is partially responsible for the buffalo check’s recent popularity. She says, “Gingham or checks are forever classic,” adding, “A check feels traditional but also fresh, and I never seem to get sick of it.”
Here’s how to use this oversized gingham in your home.
Start with accessories.
To avoid going too country cottage with the classic red and black checks, use the pattern in accessories like pillows or blankets so it doesn’t overwhelm the space, says Max Humphrey, an interior designer based in Portland, Oregon, and author of Lodge: An Indoorsy Tour of America’s National Parks.
Use restraint.
If you want to employ the classic buffalo check of red and black, you’ll need to avoid using too many other classic cabin motifs (antlers, log-style furniture, plaids) to prevent your home from looking like a hunting and fishing store. Balance a bold buffalo check with simple solids, neutral colors, and natural but not overly rustic furnishings.
Play with other prints.
“Mix checks with other patterns like florals to keep things sophisticated and not too summer camp-y,” says Humphrey. When mixing buffalo checks with other patterns, Humphrey often sticks to a tight color palette, allowing him to mix four different patterns in a relatively small space while maintaining a cohesive look.
Use checks to create a cozy vibe.
“Gingham felt like the perfect pattern for the cabin because it’s inherently cozy,” says Taylor of her historic cabin rental in Idyllwild, California, dubbed the Heather Taylor Cabin. “I think we have checks in different colors and scales in every room in the house. It ties everything together.”
Try it on the walls.
If you want to go bolder, buffalo check in the form of a wallpaper is less expected than on a textile, says Humphrey, who included a buffalo check in his collection with Chasing Paper. This big-impact design move will instantly give a room full of neutral furnishings a big personality.
Go bigger.
The difference between a buffalo plaid and a gingham is the scale, and the bigger you go, the more modern it will feel. “The classic checkered pattern notes its retro and traditional past, but the oversized scale gives it a modern feel,” says Elizabeth Rees, cofounder of Chasing Paper, who commissioned Humphrey’s collection.
Tweak just one hue.
If you want to keep the classic cabin vibes of a buffalo check, try red and white or black and white. “When the check is used with white, it has a more Scandinavian look,” says Mia Jung, director of interiors at Kligerman Architecture and Design, who used a red and white check in a recent project. “I call it Swedish check,” she says.
Or switch up the whole color scheme.
Another tactic to keep large ginghams from looking too country is to pick checks in fresh colors, like the ones Taylor has created in her home collection. Think unexpected combinations, says Taylor: “Color and scale mixing are key to keeping it interesting.”
Rethink the fabric.
“Classic buffalo check is usually on flannel fabric,” notes Jung, but when a check is used on linen or cotton fabric, it has an entirely different look and feel, even if you stick to one of its iconic red or black palettes.
Try it underfoot.
For a fresh spin on the classic checkerboard floor, you can create the look of a buffalo check with square tiles. You’ll need tiles in white and a color plus a tint of the color midway between the two, like black, white, and gray, or blue, white, and pale blue. You could also achieve this effect with carpet tiles like those sold by FLOR.
Go monochromatic.
It may feel counterintuitive, but another way to make a check feel of-the-moment is to really lean into its color scheme. In her rental cabin, Taylor created color-themed rooms that feature all the trappings of a treacly cottage decor, yet they feel classic and incredibly modern simultaneously because they are decorated in a single color.
1850 The year that Woolrich began mass-producing buffalo check textiles
The Checkered History of Buffalo Plaid
The history of buffalo plaid dates back to ancient Scotland, but the origin of the name itself is muddled. The earliest depiction of a person wearing a tartan is a 1670 painting of Lord Mungo Murray, which shows the lord wearing a brown and red tartan kilt, and stockings in a red and black check that looks like a contemporary buffalo plaid.
By the eighteenth century, the simple red and black checks had become one of the official tartans of the MacGregor clan. In Scotland today the tartan is known as MacGregor Red and Black, Rob Roy MacGregor, or simply Rob Roy in honor of the noted Highland outlaw of the MacGregor clan whose reputation as a Scottish Robin Hood was exaggerated in Sir Walter Scott’s novel Rob Roy.
Some say that the phrase “buffalo plaid” appeared when a supposed member of the MacGregor clan emigrated to America. When Jock McCluskey landed in Montana, he is said to have bartered his clan’s tartan blankets with the local tribe, and somehow in that exchange rechristened the pattern “buffalo plaid.”
Another story says that in 1850, when Woolrich Woolen Mills began producing the red and black plaid, a textile designer at the company who kept a herd of buffalo named the pattern “buffalo check” after his livestock. Woolrich’s iconic buffalo check shirts have been synonymous with lumberjacks ever since folklore’s Paul Bunyan was depicted wearing one.
Neither tale of the name can be confirmed, but from the mid-nineteenth century onward, the pattern has been associated with the American frontier and a rustic, outdoorsy life.
November, 2023 | Photography: Jeff Roberts | As told to Becca Abramson
“The client wanted the spa experience to have a luxurious feel, so they requested that we visit Four Seasons spas around the world. Luckily, I had already worked on lighting design in some of them, so I didn’t have to do much research. I worked with Greg Day Lighting on this project to illuminate the spaces built by Knickerbocker Group with the architect of record Canal 5 Studio.
“We began by talking through the spaces and discussing locations where artwork might hang so we could consider the lighting in those locations. We tried to highlight certain walls to create focal elements that would draw you in. Knickerbocker’s interior design team worked with the client to punctuate the space with chandeliers and sconces that refract the light beautifully.
“Generally, lighting designers love to illuminate rooms with many layers of light. Matte surfaces that are light in color diffuse the light in a lovely, soft gradient, while textured surfaces add a dramatic layer of lighting. When you come across something with more reflection, like glass or a mirror, it becomes more challenging to conceal the light source. For this project, the clients selected an array of textures, surfaces, and accent objects, which helped make the lighting design more dynamic. Where the client chose textured tiles, we grazed them by installing narrow linear downlighting in a fashion that accentuates the texture in a defined way.
“This project was particularly exciting because there were so many different areas to create beautiful lighting details: we had cove lighting, linear grazers, vaulted ceiling uplighting, and integrated linear lighting at millwork and display shelves. We accented the vanities in the bathrooms by putting a narrow spotlight on each of the sink basins, which added an alluring punch of brightness to draw you in. On the lower level, there is a mesmerizing water feature wall, which we grazed to really showcase the movement of the water.”
—Maxime O’Rourke, principal lighting designer and founder of Prism Lighting Design
Architects: Patrick Costin & Timothy Hart, Canal 5 Studio Builder: Knickerbocker Group Interior Designers: Elena Duralde & Pascale Plüss-Zehm, Knickerbocker Group Interior Architects & Millwork Designers: Bob Francisco & Peter Nadeau, Knickerbocker Group Hardwood & Tile: Supplied and installed by Capozza Floor Covering Center & Old Port Specialty Tile Co. Lighting Design: Maxime O’Rourke, Prism Lighting Design; Greg Day, Greg Day Lighting Site Managers: Bill Plourd & Jay Moravitz, Knickerbocker Group
November, 2023 | By: Jorge S. Arango | Photography: Sean Hennessy
“We weren’t just building it for ourselves,” says Jerry (who prefers to use his first name) of this capacious modern house in Kittery Point that he owns with his wife, Connie. “This could go on for another hundred years.” Jerry is referring to the five generations of his family who have been summering on these shores since his paternal grandfather and a friend made the trek from Boston to rough it at a small, one-bedroom cottage a century ago.
That house has been revamped since, but Jerry remembers it as sleeping up to 14 people at times. Some 60 years ago, the family bought more land and put up another house. And 25 years ago Jerry and Connie purchased the parcel next to that and worked with Paul Bonacci and Lucy Schlaffer of ARQ Architects and with Chase Construction to erect a third home, this one a two-part structure connected by a breezeway, with public spaces in one building, sleeping quarters in the other.
When another lot became available a few years ago, its magnificent viewshed—across a marsh to the Isles of Shoals, Seapoint Beach, and Crescent Beach—proved irresistible. The couple purchased that property and once again contracted ARQ and Chase to build them yet another house.
“This parcel was even more dynamic than the rest of them,” recalls Bonacci. The lot presented challenges, however, mainly in the form of setbacks from the wetlands and the ocean. “We had a very small footprint on which we could build.”
Not an easy feat, especially considering their clients’ desires. “I wanted a showstopper,” Connie remembers telling Bonacci and Schlaffer, adding that, since they live most of the year in California, they lean toward a more contemporary aesthetic. “I didn’t want it to stand out as overtly modern, or to be the odd one on the block,” Connie says. But, adds Jerry, “We weren’t interested in building something colonial.”
“They really liked that we had this strong idea for the other house, of separate living and sleeping areas,” says Bonacci, “so we started with a more segmented plan. But, with Jerry’s suggestion, we explored a curved facade to exploit the views better.”
Jerry, an engineer by training, was deeply involved in every aspect of the design. The curved wall was the first of many ideas he offered but also the one that presented the greatest challenges for almost every member of the team. “All the steel I-beams had to be specially fabricated,” recalls builder Barry Chase of Chase Construction. “They act as headers and supports for the roof. It’s pretty unusual for a residential project to have a curve. And when you have so much glass and an open concept, you need that support.” Though the generous fenestration itself would not be curved, the framing for all those windows had to be specially engineered to the bend of the double-height wall.
The ramifications of this choice cannot be underestimated. It affected everything, from copper flashing that had to conform to the curve to custom boxes to conceal window shades that had to be built from scratch by the Webhannet Company, Chase’s woodshop. It also impacted the work of landscape designer Soren deNiord. “Working with the curved geometry of the house and the radial terrace took a lot of precision,” he says.
Aesthetically, observes Bonacci, “It’s not trying to be more modern or more traditional New England.” So, although the overall shape is rectilinear in a contemporary way, he explains, “It’s modest in some ways that make it typically New England—its detailing and massing—so the experience of nature and the place is what stands out. It also has a simple palette outside, of its stone foundation and hemlock siding, and inside, an abbreviated palette of maple and basswood, all with clear, light grains.”
But a traditional peaked roof would have made the structure feel massive, Bonacci explains. “The flat roof allowed us to have pretty tall heights on both floors inside.” This means, Schlaffer adds, “Every big room has a big view. It still creates a sense of awe, very welcoming and dramatic,” without being obvious from the approach. “The rectilinear massing on the front is subdued.” Further dissimulating size are specimen trees deNiord selected that will break up the tall facade when they top out at about 25 feet.
DeNiord also worked with ARQ to orient the building more directly toward the view. The previous structure on this land had been rotated about 30 degrees away from that panorama. Picking up on the exterior materials palette, deNiord designed retaining walls on the front of the house to contain native plantings and other walls at the entry, all reminiscent of the granite walls of area farms. Finally, he designed a “refined woodland garden, because the house emerges from an oak forest.” Blueberry sod, bunchberry, and hay-scented ferns surround the residence. On the ocean side, deNiord recently completed planting a pollinator meadow, and he installed outdoor illumination that creates “pools of light so they’re not looking out at only darkness through the glazing of the windows.”
Many of Jerry’s recommendations were implemented throughout the project. The firepit, for instance, was originally going to be sunk into the patio. But he realized that this would mean someone would inevitably have their back to the spectacular ocean views. Instead, a custom firepit now straddles the stairs leading from the terrace to the backyard, so that everyone can enjoy the cozy flames and the view beyond them.
Because they entertain not only themselves but also two daughters with spouses and children of their own, as well as extended family staying in the other houses, functionality was paramount. The kitchen thus accommodates both induction and gas ranges to cater to people’s different cooking preferences. Jerry asked that one of the two islands be on wheels, the better to meet the needs of various-sized groups. “It can turn 90 degrees to make it a ‘T’ or an ‘L’ shape,” says Jerry, “or the islands can be put next to each other to make one long counter.” He also worked with Chase on lots of custom-built furniture, such as bureaus with pull-out desk surfaces so folks can work from the house when necessary, multifunctional tables that can be pulled together for dining, and headboards throughout the four bedrooms.
Of course, where there are crowds of people, there is also noise. So another challenge for Chase was to build a ceiling of spaced basswood slats that would absorb sound. “Each piece had to be made and placed individually,” remembers Chase, and lighting recessed into the spacing.
It was a three-year undertaking, all of it aiming toward a single goal. “It’s a gathering place for a tight, multigenerational family where over 100 members with only a great-grandfather in common can come and get to know each other,” explains Jerry. That makes this house one that is not only physically generous but also large and long of vision. It’s easy to imagine it here a hundred years from now.
This project aimed to make the experience of this cottage feel as deeply rooted in the site as possible. Visitors approach the home from a winding dirt road edged with deciduous and coniferous trees to see gray-green horizontal siding boards that appear to change colors with the seasons. The structure’s trim and siding are painted all one color, and dark windows help the cottage blend into its wooded setting while its low-slung hipped roof hugs the ground.
From the entrance, the home’s layout is private, with minimal windows; the water side of the property contrasts with more glazing and a large, screened porch for optimal views to—and breezes from—the neighboring pond. This concept reflects the program with private quarters closest to the quiet entry and public, daytime areas nearest to the water. Both areas are connected by a wide hallway with a surprising view of the pond.
A major interior element is the warm stone fireplace. The dropped soffits and ceiling in the dining area and at the window seat create a canopy connected to the exterior eaves, drawing visitors’ eyes to the outdoors. The entry door’s sidelight gives a sneak peek through the house without shouting “lakeside property,” continuing the elements of simplicity and coziness found throughout the rest of the cottage’s design.
Architect: Stephen Blatt Architects Builder: Great Falls Construction Interior Designer: Morrison Design House Structural Engineer: Intelligent Design Engineering Photographer: Heidi Kirn Location: Denmark Completed: 2022
Studio 84
Years after completing a net-zero home along Harpswell’s coast, the clients requested a new accessory structure. The multipurpose space would not be quite a barn or studio, nor a boathouse, a guesthouse, or greenhouse. Instead, it would be all those things and more, adaptable to every practical and whimsical use the owners might subject it to. The structure packs plenty of party—and purpose—into the site’s oceanside pines and tight shoreline setbacks. Body, mind, and spirit are nurtured here with a woodshop, fully equipped ceramics studio, game room, and steam room.
An open, double-height area on the ground level can be accessed by oversized barn doors to accommodate boat storage. More often, however, the space serves as a venue for Ping-Pong tournaments, traveling bands, and lively dance parties. Beats drop from a second-story DJ booth overlooking the room while spectators revel from the cable-railed gallery wrapping the upper level. On quieter days, the indoor balcony functions as a sunny library with built-in bookshelves and cozy seating. Flexible sleeping quarters encourage friends and family to stay a while longer and rest after the last song plays.
The “party barn” creates a dialogue with the site’s existing residence using a shared materials palette and complementary roofline. Its unique program called for a volume with two intersecting shed roofs that extend beyond the building’s primary mass to create a screened porch on the water-facing elevation and a boat canopy along the driveway. The canopy’s braces gradually fan outward to hug the property’s setback, allowing the roof overhang to taper outward at the driveway and clip back toward the building at its opposite end. Exposed hemlock timber framing and pine interiors finish the space with playful geometries and lend a warm, rustic feel to the contemporary form.
Architect: Kaplan Thompson Architects Builder: Benjamin & Company Structural Engineer: L & L Structural Engineering Services Photographer: Irvin Serrano Location: Harpswell Completed: 2021
Bethel Point
Surrounded by water on three sides, the existing 1960s home on this property was near the end of its life. During the design process, it was determined that the structure needed to be removed in order to build a new home that would better capture the breathtaking views while accommodating the performance standards that are expected with modern living.
The entry is inviting, with a deep covered porch and low-pitched rooflines around the first floor to help nestle the home into the site. Natural materials that match the other structures on the property were used, including stained Douglas fir and cedar. The larger-scale windows compared to others on the property offer a more contemporary look.
The first floor is composed of an open kitchen, living space, and dining area with a focus on the views; two guest suites, a butler’s pantry, and the family room round out the first-floor layout. A large stone fireplace acts as an anchor to one corner of the home, where the windows abut the stone of the fireplace on each side. The second floor is predominantly a primary suite, which includes a comfortable primary bedroom, bath, and sitting area.
This new home, placed over the existing home’s footprint, brought much-needed life to this gorgeous site on the water adjacent to Quahog Bay Conservancy. The design, complete with an outdoor stone patio and fireplace, takes full advantage of the sweeping views around the bay.
Architect: Kevin Browne Architecture Builder: TJ’s Fine Woodworking Interior Designer: LKW Design Associates Structural Engineer: Albert Putnam Associates Landscape Designer: Soren deNiord Design Studio Photographer: Jeff Roberts Location: Coastal Maine Completed: 2021
House on a Bay
The conceptual design for this project was born of a desire to reconcile and make evident different levels that exist naturally on the site. The public programmatic elements were placed on the ground while the private components of the building were elevated, disengaging the earth below and engendering a sense of privacy. One end of the cantilevered bar was placed against the edge of a stone escarpment and rotated toward the easterly horizon of the Atlantic. The public spaces housed in the lower bar are grounded through the bar’s materiality, further dividing the building into discrete sections. The distinction between the two volumes is heightened by the weightlessness of the floating mass above, supported by steel posts that echo the scale and imperfection of surrounding spruce trees.
Inhabitants and visitors are led toward a protected entry by concrete walls and large-scale pavers. The opening becomes a visual and physical connection through the building’s otherwise solid mass. The interiors are balanced with natural light and ethereality. In the kitchen, space is defined by an array of light fixtures hung asymmetrically over a collection of cabinetry boxes. Cantilevered stair treads delicately suspended from the massive concrete wall, in concert with a glass guard, reinforce the structure’s resistance to gravity. Above, the roof peels back, expanding the sense of space, exchanging the sea for a newfound consciousness of the sky. Ever-changing patterns of shadow enhance the intersection of the two rotated geometries as the house becomes a receptacle for light.
Architect: Elliott Architects Interior Designer: Urban Dwellings Structural Engineer: Thornton Tomasetti Civil Engineer: Gartley & Dorsky Engineering & Surveying Mechanical Engineer: Integrated Energy Systems Envelope Consultant: Building Envelope Solutions General Contractor: Warren Construction Group Landscape Architect: Michael Boucher Landscape Architecture Lighting Designer: Peter Knuppel Lighting Design Photographer: Paul Warchol Location: Southport Completed: 2021
New Light
After their children embarked on their college journeys, the homeowners began envisioning the next chapter of their lives. How could they explore new horizons while maintaining the comforting embrace of a family home? Their search led them to Cape Elizabeth, a picturesque town nestled along the ocean where sprawling farmlands meet the rugged Maine coastline. Just beyond, Portland provides urban amenities.
During their initial visit to the waterfront property, the owners stepped inside and were instantly captivated by the vivid blues and greens of the ocean visible through the windows. The dramatic rock formations, almost resembling sculptures, added to the allure. They knew the location felt right, and they knew they could transform the home into the family gathering place they had imagined. Strategic interventions and design choices reimagined every facet of the home, culminating in modern aesthetics, unobstructed views, and innate sophistication.
The waterfront residence underwent a metamorphosis into a modern home that takes full advantage of the dramatic oceanfront setting. Ocean views were expanded and framed while showcasing local materials like natural wood and stone. Space was optimized, incorporating a guest suite and enhancing the home’s flow. The transformation was remarkable: dark wood paneling and a secluded kitchen gave way to sun-soaked spaces, exuding a profound sense of tranquility. The home’s aesthetic was streamlined and refined, thoughtfully curating a harmonious blend of consistent hues and materials. This paved the way for a polished and unified elegance that reverberates throughout the home’s interior and exterior. The blue and silver tones of the ocean were brought into the home and are reflected in the furnishings, rugs, and light fixtures.
Architect & Builder: Woodhull Interior Designer: Molly Quesada Interiors Structural Engineer: Trillium Engineering Group Millwork Construction & Installation: McIntosh & Company Landscape Designer: Soren deNiord Design Studio Photographer: Trent Bell Location: Cape Elizabeth Completed: 2023
The Narrows
This site-specific design, nestled along the banks of one of Maine’s abundant tidal rivers, respects its unique 600-foot shoreland building setback. Positioning the home even farther back meant preserving the best attributes of the site—the rolling fields and woodlands down to the river—without crowding them. Local, natural, and reclaimed materials create a high-performance, low-maintenance home rooted in the local vernacular architecture.
Interior rooms are linked to outdoor living through well-framed views, a stone terrace, and a generous screened porch. The site’s fields are cut for hay twice a year, and this intentional tending creates a lush and dynamic foreground. The views of the river are embraced by the surrounding coastal woodlands and form a picturesque middle ground that leads the eye toward the serene background beyond.
The house has a subtle presence on the site, particularly from the driveway approach. The profiles of the bedroom suites and barn are derived from the simple utilitarian shapes of regional coastal structures. By dropping the central connector and keeping the structure to one story, the visual impact of the home is minimized while giving direct access to grade from the open-plan living space. Daylight from high windows above ample storage space in the north helps balance direct sunlight from tall glass doors facing the river to the south.
Architect: Whitten Architects Builder & Cabinetry: Hewes & Company Interior Designer: Belhaakon Structural Engineer: Albert Putnam Associates Landscape Designer: Emma Kelly Landscape Landscape Installation: Atlantic Landscape Construction Photographer: Trent Bell Location: Downeast Maine Completed: 2022
Coastal Connection
A multigenerational extended family living all over the country was looking to replace their outgrown camp with a residence that would foster a relaxed atmosphere where they could spend quality time together. Designed to be a turn-key retreat where everyone can come and go, the home feels comfortable whether it is accommodating 2 or 20 family members.
Located on a meandering archipelago, the residence runs east–west to maximize views of the sheltered cove to the north. A glassy hallway breaks the barrier between land and sea with sliding doors that frame the water view upon arrival. The dark-stained cedar exterior recedes into the landscape, creating an unexpected contrast to the warm Douglas fir interior. The communal living area is anchored by a sculptural double-sided fireplace with distinct yet open spaces around it, allowing the family to gather in smaller groups while remaining visually connected.
The building’s shed roofs rise to the north, with expansive windows opening to the ocean view and providing diffuse daylight. Triple-hung windows in the four-season porch blend indoor and outdoor spaces, allowing the sea breeze to cool the house in the summer. The bright fir ceiling and exposed structure create a jewel-like beacon in the evenings to guide the seafaring home. A seasonal bunkhouse nestles into the hillside and stands separate from the main residence. The living space on the second level provides overflow sleeping quarters and a deck with elevated water views to the north and east.
Simply furnished bedroom suites in the main house and the separate bunkhouse grant moments of privacy for family and friends of all ages and mobility levels. A variety of gathering spaces throughout the property encourage unique experiences and connectedness with each other as well as the environment.
Architect & Interior Designer: Winkelman Architecture Builder: BK Burgess Structural Engineer: Albert Putnam Associates Interior Millwork: Hewes & Company Landscape Designer: Richardson and Associates Masonry: Freshwater Stone Photographer: Jeff Roberts Location: Blue Hill Peninsula Completed: 2022
River Bend Residence
Located on the bend of a river in southern Maine, this modern new home was designed with efficiency, performance, and aesthetics in mind. The home sits over an existing full foundation with additions to the south, east, and west. Solar orientation, views of the river, relationship, and accessibility to exterior spaces were all important design considerations.
The home has three bedrooms, two and a half bathrooms, a den, and an office with open-concept kitchen, dining, and living areas. The first floor was designed for entertaining and easy circulation. A feature stair at the center of the home connects the second-floor bedrooms and third-floor treehouse/flex space that looks toward the river. The multifunctional third-floor space has windows that mimic those on the fortified towers found on islands off the coast of southern Maine. It is filled with natural daylight and provides a quiet space for working, reading, yoga, or simply relaxing.
Solar panels were installed during construction to provide the energy needed to build the home, allowing net-zero energy consumption during construction. After completion, the solar panels now provide enough electricity to offset the energy demands for the home and all its systems. Dense-packed cellulose insulates the wood-framed walls and roofs, further minimizing the home’s carbon footprint. Triple-glazed windows were installed along with high-performance mechanical systems that provide heating, cooling, and ventilation to maximize efficiency and comfort.
The homeowners of a dark, outdated tract house originally intended to renovate their kitchen, but the home’s waterside location inspired brainstorming about much wider possibilities. In addition to the kitchen, the primary bedroom was too cramped to accommodate the clients’ wishes for more space and light, and the entire house suffered from being closed in and cut off from its stunning site. An ambitious plan was devised to move the primary bedroom suite to an underutilized and much larger space in the house, providing a more generous layout and access to better views while opening the entire living area to the outdoors by adding expansive glass sliders and a more usable deck.
The clients had a robust sense of aesthetic adventure, so along with the significant changes to layout and energy efficiency, the interior was renovated with contemporary finishes and details, including a dramatic stairway lit by LED wand lights set into the walls. The front exterior of the house was updated with modern materials as well.
Significantly reducing the building’s carbon footprint was a major focus, which included a comprehensive air-sealing program, upgraded windows with energy-saving triple-pane replacements, additional insulation, and improved air quality management. In addition, rainscreen siding was added to enhance longevity. As a result, this home will remain comfortable, beautiful, and energy efficient for years to come.
Designer & Builder: Juniper Design + Build Cellulose Insulation: North East Spray Decorative Metalwork: Cumberland Iron Works Drywall: Daniel Caron Drywall Electrical Installation: William Flynn Electrical Flooring Installation: A-Z Wood Flooring Heat Pumps & Radiators: Mac Air Pro Interior Glass & Shower Doors: Hour Glass Company Lutron Shades & Audiovisual: Tucker & Tucker Associates Plumbing Installation: JW Mantsch Plumbing Tile Installation: Ben Herbert Tile Photographer: Rachel Sieben Location: Scarborough Completed: 2022
The Swallow
Looking for a modern design with a throwback to classic New England style, these clients wanted a healthy, durable, efficient, and beautiful home for their retirement in Maine. Based on “Pretty Good House” methods, this low-carbon, fully electric home is dedicated to healthy indoor air quality and a light environmental touch. Filled with daylight and character, it takes advantage of natural materials and waste reduction, eliminating the need for the usual on-site dumpster during construction.
The low-energy, high-performance home has triple-pane windows, cellulose insulation, natural cedar shakes, and a fresh-air ventilation system. Facing south, it takes advantage of natural daylighting all year long, and solar energy production is right on-site. The residence is airtight and low carbon by design: a natural, energy-efficient, healthy home created with both people and planet in mind.
Architect: Mottram Architecture Builder: Tamarack Builders Structural Engineer: Trillium Engineering Group Landscape Architect: Asa Peats Landscape Design Solar Installer: TeelGreen Energy Photographer: Sarah Szwajkos Location: Camden Completed: 2022
Otisfield Guesthouse
Clad in corrugated metal and stained cedar clapboards, this project was designed to materially match the neighboring buildings on the property, which together make up an artistic compound that has been organically emerging since the 1980s. However, its form departs from the other buildings, creating something decidedly more modern. Two intersecting rectangles, one single-height and one double-height, combine to create distinct public and private realms within the small house. At their intersection, a loft space ties the two volumes together, cantilevering out and providing an unexpected visual connection. High ceilings and bright, crisp interiors make the rooms feel spacious and airy. Windows are oriented for privacy from the road and a neighboring property while providing views of the surrounding woods.
There’s a lot of volume and space hiding under the intersecting shed roofs of this small yet functional guesthouse. With a footprint of just 560 square feet, this project includes one bedroom, one bath, a mudroom, an open kitchen/living/dining area, a bright and cozy loft space, and a laundry room. Paired with a large screened porch so its inhabitants can enjoy the fresh air sans mosquitoes, it’s a perfect getaway spot.
Architect: Leslie Benson Designs Builder: Seth Gallant Construction Support & Interior Design: Scott Berk & Diana Arcadipone (clients) Structural Engineer: Structural Integrity Consulting Engineers Metalwork: Western Maine Steel Photographer: Myriam Babin Location: Otisfield Completed: 2022
COMMERCIAL
The Rangeley Hideaway
Driven by a personal commitment to the region and a desire to address an unmet need, the client envisioned a commercial hybrid for coffee service, coworking, and community space. The design and construction process was characterized by open communication among the architecture, construction, and interior teams and the client, guided by a positive mindset established early in the process.
Descending Route 4, the Hideaway greets visitors into Rangeley’s commercial downtown, offering fast Wi-Fi, a variety of clean, minimalist workspaces (indoors and out), and a warm respite for cafe visitors. The location was driven by the goal of alignment and connection to Main Street and the beauty of the natural world surrounding the project site, where Haley Pond and Rangeley Lake meet. The building’s interior plan is an open but cozy space with protected and inviting nooks. Punched windows are large and limited in number, carefully placed for light and connection. Roof windows provide light from sculptural scoops above, and interior features include custom cafe millwork, a rear spiral stair leading to individual work desks, and a custom wall of shelving with a hidden bookcase door to the owner’s personal office.
The form of the building is compact and direct, driven by a combination of two offset scissor trusses and a partial mezzanine, giving variety and complexity to the interior. The thermal envelope is designed with continuous exterior insulation, from underslab to walls to roof, and careful flashing and details for a minimal overhang at the roof edge. The client and team prioritized expressed materials throughout the project, from the polished concrete slab (over radiant floors) to reverse-board-and-batten and shou sugi ban exterior cedar to walnut and marble interior furnishings.
Architect & Builder: Barrett Made Interior Designer: Chloe Kregling Structural Engineer: Trillium Engineering Group Civil Engineer: S.W. Cole Engineering Millwork: KCMF Photographer: Erin Little Location: Rangeley Completed: 2022
Boothbay Region YMCA
The project’s core mission was to align the YMCA with the evolving demands of its community and varied user demographics. This vision materialized through a strategic blend of market research, community needs assessments, and insights from the Boothbay Region YMCA’s strategic planning process. Using these findings, the design team was able to create a reimagined space that boasts expanded wellness facilities, a state-of-the-art educational kitchen, vibrant community rooms, a versatile multipurpose studio, upgraded restrooms, and a new welcome center.
Operational continuity was a paramount challenge as the project unfolded, with intricate planning required to maintain utility connections amid ongoing construction. A central theme of the design journey was the creation of a new, inviting entrance and plaza. The exterior transformation features a spacious entry canopy and an atrium with transom windows, ingeniously built upon the existing infrastructure. Inside, the main entrance leads to an expansive lobby with an elegant linear wood ceiling and striking curved welcome desk accentuated by a word wall backdrop.
The lobby connects to a lounge area in the southern wing, offering comfortable seating, a member-centric kitchenette, and a direct link to the field house’s track. Large storefront windows reconfigured the exterior wall, welcoming abundant natural light into the lounge. The use of acoustic ceiling clouds balances sound absorption and diffusion of daylight, maintaining an open, airy atmosphere. The project’s lower level witnessed a transformation of previously segregated fitness spaces into a cohesive, open-concept design. Exposed-structure ceilings, direct and indirect linear lighting, resilient flooring, and an improved equipment layout strengthen functionality and aesthetics.
Sustainability played a crucial role in the project’s vision. New rooftop mechanical units and a large solar array on the field house structure were integrated to boost efficiency and reduce energy demands. This ambitious project seamlessly marries architectural ingenuity with community-centric design, embodying a harmonious balance between preserving history and embracing the future. Its thoughtful approach ensures that the Boothbay Region YMCA will continue to serve as a vital hub for the community for years to come.
Light-filled, open, and transparent, this vibrant workplace renovation cultivates a culture of collaboration and innovation for a New England–based nonprofit biomedical institution. The original work environment was dark and maze-like, with little access to natural lighting, which hindered employee collaboration and did not support the company’s workplace culture. A dynamic new design, answering the need for “a workplace of the future,” reimagines the office environment and prioritizes well-being, cross-functional employee engagement, and connection to the site’s natural surroundings. Collaborative zones along the perimeter, casual seating areas, and a centralized, open cafe give employees options for focused work and enhance connectivity across the organization. An internal bank of offices creates a separation in the space and buffers the noise of traditional open offices. Large windows capture expansive mountain views and harvest natural daylighting. Low workstation panels and translucent dividers help bring natural daylight deep into the floor plan. Employee well-being is enhanced with specification of low-VOC materials and finishes. Mechanical improvements and new air-handling systems create a healthier indoor environment.
To integrate with the building’s natural setting, particular attention was paid to color and natural elements throughout the new spaces. Vibrant green, orange, and blues, complemented by fuchsia accents on exposed columns and cross-bracing, are incorporated via furnishings, flooring, and architectural elements, helping stimulate creativity and collegiality. Arktura panels separating work and gathering spaces along the office perimeter playfully let in light while creating a sense of enclosure. Wooden ceiling “clouds” throughout the space add an additional natural element and reinforce the connection to the outdoors. This revitalized office is now a vital element of Jackson Laboratory’s recruiting process.
Architect, Interior Designer & Engineer: Harriman Contractor: Landry French Construction Carpet: Milliken Color Fields Furniture: Creative Office Resources; MillerKnoll Photographer: Siri Blanchette Location: Bar Harbor Completed: 2023
Aceto Balsamico Tradizionale di Modena, Affinato | $90
After spending 12 years in wooden barrels in a Modena, Italy villa, this artisanal balsamic vinegar is packaged in a beautiful gift box with a numbered and dated bottle, a special glass cork, recipe, and descriptive booklet. Enjoy it on cheese, berries, steak, caprese, and everything else!
Oysters should be opened in style. This unique buffalo leather “glove” protects your hand while you deftly shuck your oysters with the specially designed knife. Over time, the liquor from the oysters will add a special patina to the leather. Packaged in an elegant black gift box, it‘s the perfect gift for the seafood connoisseur on your list.
Available at Maine Street Design Company 160 Front Street, Bath, ME 04530
Discover the culinary delights of our great state of Maine with the Cook Maine 9-Jar SKORDO Set! From the beloved Maple Salmon Rub to signature collaborations with Evo and The Honey Paw, this amazing set gives food fanatics the chance to explore countless flavors with each carefully hand-mixed spice blend made in Brunswick, Maine.
Available on SKORDO.com or in the SKORDO Portland shop.
Flanagan Farm
Supper Club Tickets | $175
For an experiential gift, look no further than the Supper Club at Flanagan Farm, located just outside of Portland. Each night of this magical winter-only series features a different chef from Maine’s vibrant restaurant community. The evenings begin with a fireside cocktail and bite at the farm’s petite skating rink and continue with a memorable multi-course dinner and wine in one of Maine’s most elegant barns.
On 9/11, the world stopped. On 9/12, their stories moved us all. This stirring and inspiring musical takes you into the heart of the remarkable true story of the small town in Newfoundland that opened their homes to 7,000 stranded travelers on 9/11. During that fateful week, cultures clashed and nerves ran high—but uneasiness turned into trust, music soared into the night, and gratitude grew into enduring friendships. Celebrate the best of humankind and the best in all of us at Come From Away.
Tickets available Online: portlandovations.org Phone: 207-842-0800 In person: 20 Myrtle Street in Portland
Fuzzy Maine Sweater is the perfect scent for cool nights. A warm blend of cinnamon, sugar, nutmeg & vanilla will warm the senses. Makes a great Maine Made gift for the lover of all things Maine.
Locally made gift basket; includes potato chips, chocolate-covered blueberries, maple sugar candy, whoopie pie, popcorn & hot sauce. Enjoy all the delights Maine has to offer.
November, 2023 | By: Becca Abramson | Photography: Roger Davies
Clients and projects that push me to see differently are also the ones that teach me the most,” explains Sara Story in The Art of Home (Rizzoli, 2023), referring to this Austin Hills ranch house whose owner requested “a super groovy vibe.” The project—transforming a natural, organic space into a moody, 1970s-inspired dwelling—was exactly the kind of challenge Story desired. Leaning on a rich color palette of aubergine, amber, ochre, marigold, and terra cotta paired with wavy patterns and modular forms, the New York–based interior designer created a funky, dynamic atmosphere that seamlessly flows through each room of the central Texas residence.
The hillside home’s party room, pictured here, is a psychedelic space (dubbed the “opium den”) that opens to the outdoor pool area. An ideal spot for entertaining, the room features a custom wall mural with retro swoops and chain-link motifs by Caroline Lizarraga, a decorative artist who also designed and painted a mural in the homeowner’s primary bedroom. A vintage Willy Rizzo dry bar with a suede and chrome facade sits under an arched opening on the back wall, beckoning guests to pour themselves a drink or become bartenders for the night. Reupholstered vintage club chairs and a custom ochre sectional offer plenty of seating, while an eglomise mirror (also by Lizarraga) reflects the room’s warm pendant lighting. Colorful blown glass tables by Greek artist Yiannis Ghikas add whimsy to the space, which Story completes with a muted geometric patterned rug, neutral drapes, and a pair of low-profile barstools. Tap into your inner Lenny Kravitz and create the retro den of your dreams with these nine finds.
Excerpted from The Art of Home by Sara Story (Rizzoli, 2023). Reprinted with permission from the publisher.
FRESNO RETRO WALLPAPER Bobbi Beck // bobbibeck.com ECLIPSE PENDANT BY ATELIER GEORGE1stDibs // 1stdibs.com SODA TABLEMiniforms // miniforms.com EUROPEAN LINEN CURTAIN Quince // quince.com GRAFFITI PILLOW BY MOSS HOME Burke Decor // burkedecor.com CLAUDIA RUG BY ESSENTIAL HOME Chairish // chairish.com ITALIAN RETRO GOBLETS Food52 // food52.com HOLT ARMLESS U-SOFA SECTIONALJoybird // joybird.com CONNUBIA RILEY ADJUSTABLE STOOL 2Modern // 2modern.com
