What was the inspiration for the Longfellow Hotel’s design and aesthetic?
The Longfellow is named for Portland native Henry Wadsworth Longfellow, whose poems were inspired by the wild, untamed beauty of the New England coast. Much like the poet’s enduring words, the hotel reflects the location’s rugged charm and the extremes of the environment—from cold, blustery winters to sun-soaked summer months.
Archetype Architects was instrumental in the design of the hotel. The team led all massing and exterior detailing to ensure the hotel would complement the historic neighborhood while still having a notable street and sidewalk presence. We collaborated so that the overall flow of the interiors would be conducive to an inviting guest experience.
Our interior design marries the historic allure of the port city with a residential feel that nods to the West End neighborhood’s distinctive architecture and character. We aimed to create a residential and timeless experience for guests that also celebrates the contemporary design of the new construction. It is important that a hotel of this nature can endure and improve with age in the years to come.
How do the materials you selected enhance or influence the hotel’s spaces?
We wanted the hotel to feel approachable and effortless and chose materials to help reinforce this goal. Leathers, velvets, oak, marble, and granite speak to a sense of quality, while contemporary detailing, moulding profiles, and lighting fixtures evoke timelessness.
We established a sequence of spaces in this hotel that invite visitors in with handsome details and materials that encourage them to linger and indulge. In the guest rooms, for example, the design is restrained and balanced: wide-plank white oak floors are accented by monochromatically painted trim and crown and baseboard mouldings, while high-contrast doors with long, exaggerated handles and cased openings draw guests into the space. Furnishings skew toward the elegant, with a hand-hewn attention to detail, and thoughtful layers of accessories, textiles, and materials make the rooms ever inviting.
Located on the hotel’s top floor, Henry’s Study has a melange of vintage and contemporary furnishings. Darker natural wood floors are complemented by kilim flat-weave rugs, while a large chandelier, wall sconces, and task lights illuminate the space; two commissioned landscape paintings of the Cliff Walk in Prouts Neck by Portland-based artist Timothy Powers Wilson hang on the wall.
Why was it important for you to source interior elements from Maine makers?
We try to integrate local artists into our work to spark new conversations and honor the creativity in the area—this approach not only honors the rich history of the locations we work in but also supports the local community and opens a dialogue between these creators and hotel visitors.
Strategically placed artisan furniture by Maine-based designers imbues the hotel with craftsmanship and warmth, creating pockets of intimacy, privacy, and comfort. Commissioned tables and case goods by Kidwell Fabrications (Portland) and Bicyclette Furniture (Brunswick) are showcased in the bar and spa; shaker chairs by Windsor Chairmakers (Lincolnville) ground the communal table in the lobby; paintings by artist Timothy Powers Wilson (Portland) and photographic prints by Jonathan Levitt (Lincolnville) hang throughout the hotel; and custom ceramic table lamps by ANK Ceramics (Portland) are dotted throughout the spaces.
September, 2024 | By: Alan Hines | Photography: Liz Daly
September is the unofficial start of soup season, and there’s nothing more satisfying than a big bowl of stew, stock, or broth. “This cauliflower soup is one of my favorite recipes to make year-round,” explains Alan Hines, who formerly worked as executive chef at Trudy Bird’s Ølbar in North Yarmouth. “I love the marriage between the spices and the cauliflower, which adds another subtle layer of flavors to the rich dish.” As the weather begins to cool off in the Northeast, a cozy cup of cauliflower soup is the perfect reminder to slow things down.
Serves 6
INGREDIENTS
2 tablespoons neutral-tasting oil ½ cup diced Spanish or sweet onion 1 garlic clove, smashed 1 head of cauliflower, quartered 2 quarts whole milk (enough to cover the cauliflower) 2 tablespoons whole cloves, 1 teaspoon fennel seeds, and 1 bay leaf Salt and pepper, to taste
INSTRUCTIONS
1. Heat the oil in a small stockpot over medium heat and add the onion. Cook until translucent, about 5 minutes. Add the garlic and cook for an additional 2 minutes.
2. Add the quartered cauliflower and milk and bring the ingredients to a boil, then reduce the heat to medium or medium-high.
3. Place the whole cloves, fennel seeds, and bay leaf in a square of cheesecloth and tie tightly. Add the sachet to the pot, then cover with a lid.
4. Simmer until the cauliflower is fork-tender, 20 to 25 minutes.
5. Remove the sachet from the pot. Transfer the cauliflower into a blender, reserving the milk in the pot.
6. Puree the cauliflower, slowly adding the reserved milk, until the mixture reaches your desired consistency.
7. Puree on high until the soup is completely smooth, about 10 minutes. If desired, pass the soup through a fine-mesh strainer to remove any clumps.
8. Add salt and pepper to taste. Reheat to serve.
Optional: Garnish with mushrooms sauteed in brown butter and finish with a few drops of chive oil.
Boston interior designer PAULA DAHER and her business partner and son CLAYTON DAHER—longtime summer residents of Maine—are opening a new retail store and interior design studio at 135 Port Road in Kennebunk. Paula, a New England Design Hall of Fame inductee, and Clayton, who provides interior architecture services, recently revived the neglected building (formerly the Market Day food store) with a total gut renovation. The mother/son team partnered with GREGORY LOMBARDI DESIGN to upgrade the shop and studio’s curb appeal. At the 3,000-square foot location, called MÉLANGE BY DAHER INTERIOR DESIGN, visitors will find a globally curated selection of furnishings and accessories from Paula’s trips to Morocco and France alongside regional craft from Maine artisans and makers. “The opening of Mélange signifies an exciting new chapter of expansion and connection to the southern Maine area, which my family and I have loved for many years,” says Clayton.
The TRADITIONAL ARTS NETWORK (TAN), a collaboration between MAYO STREET ARTS and CULTURAL RESOURCES, awarded nine traditional artists and organizations in Maine with micro-grants to overcome short-term financial challenges and lay the foundation for long-term goals. Made possible by assistance from the MAINE ARTS COMMISSION and the NATIONAL ENDOWMENT FOR THE ARTS, the network provides support and infrastructure for new artists and cultural organizations from diverse cultural groups, including Maine’s Rwandan, Burundi, Congolese, and Somali communities. The TAN also offers artist gatherings and a Traditional Arts Apprenticeship to support the education of a new generation of traditional artists who plan to preserve their community’s heritage. “This is the third year of the TAN Fund, and we’ve seen so many past awardees develop as community leaders and artists. This year, a majority of awardees were first-time applicants, which speaks to how much this program can be a springboard for people to take themselves to a higher level,” says Kemal Pohan, community outreach manager at Mayo Street Arts. Congratulations to the recipients of this year’s micro-grants: Anges Mukakalisa, Clarisse Karasira, Gloire Ilonde Eale Bolele, Firefly the Hybrid, Kifah Abdulla, Oga Suya, Orson Horchler, Veeva Banga, and Yuliia Derkach.
Photos: Jill Hoyle Photography
Interior design firm STUDIO EASTMAN, founded by ABIGAIL SHEA, is moving into a 1,200 square foot space in the historic building at 54 York Street in Portland’s Old Port, home to the newly opened WELDON HOTEL. Filled with natural light, painted brick, and white oak floors, the expanded studio will serve as the design firm’s office as well as the showroom for AATTIC, the firm’s drop-based collection of vintage furniture. Aattic’s highly curated bi-monthly drops include around 15 to 20 pieces sourced from collections of home goods around the world. Each drop of accessible, high-end antiques is paired with an in-person shopping event that allows customers to interact with items before purchasing. Drop IV occurs on September 7 at 10 a.m. in the studio and online at aatticvintage.com.
Photos: Courtesy of Vitra
Designers STEFANO PANTEROTTO and ALEXIS TOURRON of PANTER AND TOURRON developed the modular ANAGRAM SOFAwith Swiss family-owned furniture company VITRA to reflect new realities in design, including easy-to-transform interior spaces and lightweight, movable furnishings. Thanks to an assortment of modules and elements like backrests, side panels, and attachable tables, the Anagram sofa can evolve and adapt along with its owners and the space it inhabits. A simple click mechanism is used to position the furniture’s elements in countless configurations along a frame, and nothing in the furnishing is glued, laminated, or foamed. Filled with 100% recycled PET fibers and a recycled aluminum frame, the sofa is vegan, and its elements can be recycled when the product is no longer needed. “A sofa is an important character in the home and usually one of the largest objects. It’s very important that circularity is a key aspect of the design—only then can it stand the test of time,” says Panter and Tourron.
A 60-unit affordable housing project in Scarborough called JOCELYN PLACE opened its doors this summer to residents 55 and older. Managed by the SOUTH PORTLAND HOUSING AUTHORITY, Jocelyn Place includes nine project-based voucher units along with 51 units with rents ranging from $1,000 to $1,200 per month. Amenities include bundled utilities, on-site shared laundry facilities, communal fitness spaces, 24-hour emergency maintenance, and ample parking. The development, which earned passive house certification for its energy efficiency, is walking distance from Hannaford, the post office, banks, and municipal facilities. It is named after writer, botanist, and nobleman John Jocelyn, who arrived in Scarborough in 1663.
Photos: Courtesy of Ralph Lauren
Despite operating in the most rural state in the country, two Maine manufacturers were involved in the development of the TEAM USA RALPH LAUREN uniforms for the 2024 Olympic and Paralympic games in Paris. Lewiston-based shoe company RANCOURT assembled and manufactured the team’s Opening and Closing Ceremony unisex buck shoe, featuring chalk white suede with a woven “Team USA Official Outfitter” label and an American flag at the tongue. ROGUE INDUSTRIES in Standish assembled and manufactured the uniform’s double D-ring buckle Webb Belt, a leather-trimmed jacquard strap woven with “Team USA” and the same American flag graphic along with Ralph Lauren’s signature embossed pony. “Ralph Lauren has once again created designs that not only capture the essence of American style but also embody the spirit and pride of Team USA,” said Sarah Hirshland, U.S. Olympic and Paralympic Committee CEO. Every item in the uniform is proudly manufactured in the United States, and many pieces in the collection are available to purchase at RalphLauren.com and TeamUSAShop.com.
Photo: Darren Setlow
Women-owned handbag company ROUGH AND TUMBLE opened a new flagship store at 176 Middle Street in Portland’s Old Port. Located on the ground floor of the historic BOYD BLOCK, the 2,126-square-foot retail space will serve as a base for partnerships with other Maine makers, designers, and artists through the brand’s custom BE THE DESIGNER program that allows users to select their own leathers, textiles, and swatches to create a unique bag of their own. Using leathers sourced from France and Italy, Rough and Tumble’s understated utilitarian bags are created in Maine and sold nationally through a partnership with GARNET HILL and SUNDANCE CATALOG. “The culture of this state is rugged fearlessness and a deep sense of community connection,” says owner Natalie Durham. “My hope is that this extraordinary location serves as a beacon and source of profound inspiration for all Maine makers and creators. This space is a playground for that inner muse, and a truly unique shopping experience for every budding artist, serving as a testing ground for new designs and materials as they explore the depths of their talent and creativity.”
Damariscotta native KATE LEMOS MCHALE, who spent the past twenty years as a historic preservation specialist in New York City, has been named the new executive director of GREATER PORTLAND LANDMARKS. Founded in 1964, the nonprofit serves as the steward of the PORTLAND OBSERVATORY on Munjoy Hill and seeks to “build awareness, instill community pride, and encourage public participation” in the planning, preservation, and development of the city. McHale previously worked as a senior associate at BEYER BLINDER BELLE ARCHITECTS AND PLANNERS and as director of research for the NEW YORK CITY LANDMARKS PRESERVATION COMMISSION. “Preservation more and more is getting at how to tell those important stories and really acknowledge history honestly and inclusively. I think telling stories of communities through the buildings that we can appreciate today really helps root us all to this place,” McHale told the Portland Press Herald.
September, 2024 | By: Leah Whalen | Photography: Christina Wnek
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, 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.
Robert Sheckler, owner of Redmond Philbert Handwork; Shannon Richards, founder of Hay Runner; and LizzBrown, MCA program manager Crystal Murray, editor-in-chief and publisher of Advocate Media USA, and BeccaAbramson, MH+D associate editor Maria Kokenos models the Loretta dress by seamstress and textile designerRose Normann of Dippermouth Company. Simka Sol’s Oona tent dress features wide bell sleeves, hand-printeddetails, and shoulder pads. Heather Stilin, founder of Herself Clothing; Paul Correnty; and designer SharonChandler Local plants, flowers, and homemade extracts are used by Deborah Freedman of the Fourth World to hand-dye her textiles. The Fiona Top and wide-leg Fancy Pants in Tapestry by Sara Charles of Simka Sol Sadie Bliss, former executive director of MCA, walks the runway in a sparkling two-piece Luxeby Dorcass design. Amelia Oralu shines bright in a long-sleeved Luxeby Dorcass dress. Stephanie Sersich, Bonnie Bishoff, J.M. Syron, and Nicole Testa Sharon Chandler and Rachel Gloria Adams’s Marigold x Tachee colorful capsulecollection on the runway Hand-printed and plant-dyed pieces from Dippermouth Company A model debutsthe Wolf in Wolf’s Clothing collection by Kelsey Parker of Garbedge Designs. Becca Abramson, MH+D associateeditor; Crystal Murray, editor-in-chief and publisher of Advocate Media USA; Danielle Devine, MH+D editor; andKaren Bowe, MH+D director of business and partnership development
“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
August, 2024 | By: Danielle Devine | Image courtesy of CW Stockwell
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®.
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.
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
SWEET & SOUR SAUCE
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.
NOODLE SALAD
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 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!
Maine artists Katarina Weslien and Charlie HewittGoat cheese and beet skewers make the rounds.Louisa Donelson, artist and designer; Amanda Cleary, Woodhull; Shannon Richards, founder of Hay Runner; and Elizabeth Moss, owner of Moss GalleriesLauren Donovan, assistant director at Moss GalleriesLeandra Fremont-Smith, founder and principal designer at Leandra Fremont-Smith Interiors, and Danielle Devine, MH+D editorGuests enjoy small bites provided by Experience Maine Culinary.Jared Levin; Karen Bowe, MH+D director of business development and partnerships; and Jen Levin, owner of Chilton FurnitureHewitt’s work on display at the Electric Greenhouse.Charlie Hewitt explains the inspiration and process behind his newly unveiled ceramic wall sculptures.Attendees pose with Hewitt’s iconic “Hopeful” sign.
“Moss Galleries was honored to cosponsor this intimate eventwith MH+D showcasing Charlie Hewitt’s diverse art mediums tothe 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.”
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.
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.
