Maine Home + Design

JANUARY // FEBRUARY 2022

17

BREATH OF FRESH AIR A POST-AND-BEAM HOME IN OGUNQUIT BRINGS MOUNTAIN HOUSE STYLE TO THE BEACH

INTERIOR DESIGN PROJECTS WE LOVE

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GRAY MATTER

WHY THE MOST POPULAR COLOR OF THE LAST DECADE ISN'T GOING ANYWHERE JANUARY // FEBRUARY 2022 | 163

S T R E B O R F F E J O T O H P

WINKELMAN ARCHITECTURE W I N K E L M A N / S O K O L / S H AW / L E H N E N

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C O NTENTS

JANUARY// FEBRUARY 2022 70 A Camp for All Seasons

An architect and designer husband-andwife team build a cottagey, cabin-y camp in Naples

by Katy Kelleher Photography by François Gagné

78 Family Retreat

Inspired by the historic architecture of New England, this contemporary family home on Prouts Neck proves that the devil’s in the details

by Katy Kelleher Photography by François Gagné

90 West by Northeast

Whitewashed walls, a fresh palette, and pretty prints turn a post-and-beam house into a coastal retreat

by Marni Elyse Katz Photography by Michael J. Lee

102 Inside Look

17 New and noteworthy Maine interior design projects

ON THE COVER:

78

Annsley Interiors used the cobalt blue range hood in this kitchen built by Chase Construction as a springboard for the design of this Ogunquit home.

West by Northeast, page 90.

Cover photography by Michael J. Lee

CONT ENT S

JANUARY// FEBRUARY 2022 32 DESIGN WIRE News designed for you

36 STYLE ROOM

A breezy guest room in Florida's upscale Windsor neighborhood

44 DESIGN THEORY

Angela Ballard on workplace balance

56 DESIGN LESSON Robert Indiana’s LOVE

58 LIVING COLOR Fade to Gray

62 SPACES

A dated kitchen in Falmouth gets a moody redesign

124 PROFILE

Allie Norman is the bubbly, sharp brain behind Portland’s Girl That Designs

130 SHOP TALK

Leandra Fremont-Smith contemplates pop-ups and cultivates showstopping window boxes at her downtown Yarmouth design studio

136 SHOWCASE

An ambitious new show from the Maine-raised, Brooklyn-based artist Lesley Dill explores the power of language, the one-sidedness of history, and the wildness inside each of us

130

EDITOR’S NOTE 25 STAFF INSIGHTS 28 CONTRIBUTORS 30 RESOURCES 140 REAL ESTATE 143 DRAWING BOARD 160

Maine’s award-winning design firm. architecture · renovations · interior design · home furnishings

New Construction Cumberland Foreside

172 Route One, Falmouth, Maine

Architecture & Interiors Banks Design Associates

207.781.5651

Mon–Fri 9–5, Sat 10–2

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WE LOVE MAINE.

Maine Home+Design highlights the work of Maine’s architects, builders, interior designers, artists, and craftspeople. We cover homes from the inside out, as well as the people who live in them and work on them, with high-quality writing and photography from our staff and team of regular contributors. We capture a range of styles from traditional to modern—and everything in between. In every issue, we uncover architectural masterpieces, home design inspiration, compelling artwork, profiles, retail shops, upcoming exhibitions, a portrait of a town, and the latest design trends and industry news. We cultivate a community of supporters and contributors who are doing the highest quality, most innovative work on homes in Maine today.

Photo © Erin Little

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Maine Home+Design is published nine times each year by Advocate Media USA. Editorial and subscription information: phone 207.772.3373 80 Exchange Street | Suite 200 | Portland | Maine | 04101

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Opinions expressed in articles or advertisements, unless otherwise noted, do not necessarily reflect the opinions of the publisher, staff, or advisory board. Every effort has been made to ensure that all information presented in this issue is accurate, and neither Maine Home+Design nor any of its staff is responsible for omissions or information that has been misrepresented to the magazine. Copyright © 2022, Advocate Media USA. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission, in writing, from the publisher. Printed in Canada. mainehomedesign.com

24 MAINEHOMEDESIGN.COM

E DI T O R ’ S NO TE PHOTO BY CHRISTINA WNEK

EDITOR | Danielle Devine CREATIVE DIRECTOR | Joel Kuschke ASSOCIATE EDITOR | Rachel Hurn EDITORIAL ASSISTANT | Hadley Gibson PRODUCTION MANAGER | Olivia Ryder COPYEDITOR | Leah Whalen PROOFREADER | Amy Chamberlain WRITERS |

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ADVOCATE MEDIA USA PUBLISHER / VP MEDIA OPS | Fred Fiander EDITOR-IN-CHIEF | Crystal Murray SENIOR DIRECTOR OF CREATIVE DESIGN + PRODUCTION | Shawn Dalton

Maine Home+Design is published nine times each year by Advocate Media USA. Editorial and subscription information: phone 207.772.3373 80 Exchange Street | Suite 200 | Portland | Maine | 04101 Opinions expressed in articles or advertisements, unless otherwise noted, do not necessarily reflect the opinions of the publisher, staff, or advisory board. Every effort has been made to ensure that all information presented in this issue is accurate, and neither Maine Home+Design nor any of its staff is responsible for omissions or information that has been misrepresented to the magazine. Copyright © 2022, Advocate Media USA. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission, in writing, from the publisher. Printed in Canada. mainehomedesign.com

E

very December our staff places bets on what the Pantone color will be for the upcoming year.

Pantone was founded in 1962 to create universal standards for shades of color across industries and continents, and its Pantone Color Institute scours the globe for months, noting developments in everything from clothing to coffee, before selecting the color that will be the dominant shade that year.

Usually, one of our team members will get fairly close. I was certain it would be forest green, another staff member was positive it would be mushroom beige.

The Institute surprised us all by creating a brand-new color: Pantone 17-3938 Very Peri, basically periwinkle. The shade falls under the blue color family but has violet-red undertones. “Very Peri displays a spritely, joyous attitude and dynamic presence that encourages courageous creativity and imaginative expression,” says Leatrice Eiseman, executive director of the Pantone Color Institute.

Color makes an impact. MH+D’s color of the issue, gray (Living Color, page 58), is not simply black and white; when mixed with the wrong undertones it can

easily shift from enchanting to institutional, or from classic to contemporary.

This is our Interior Design issue, and all of the designers included understand the power of color. The cobalt blue range hood on the cover, for example, dictated the color scheme for the rest of the home (West by Northeast, page 90).

Blue also happens to be the logo color of MH+D and our sister publication Maine magazine’s new parent company.

Our titles were purchased this month

by Advocate Printing and Publishing.

Advocate is not only the largest commercial printer in Atlantic Canada but also has more than 20 publications, most of which are regional titles like ours. Blue is indeed positive for us as a design publication, and the future is looking bright.

Danielle Devine Editor ddevine@mainehomedesign.com

JANUARY // FEBRUARY 2022 | 25

More 5 star reviews than any other remodeling contractor in Maine.

Voted top 50 remodelers nationally by Remodeling Magazine

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WE GIVE BACK. At State 23 Media our mission is to make a substantial and unique contribution to supporting Maine’s nonprofit community statewide, regionally, and at the town level. We believe that the work Maine’s nonprofit organizations do, individually and collectively, makes our lives better and Maine a better place to live. With limited budgets, Maine’s nonprofits need help boosting awareness of their specific causes and raising the funds they need. We have established long-term relationships with nonprofits and community-based organizations. We give to these organizations by providing, free of charge, services ranging from advertising to graphic design, brand development, marketing advice, online announcements, and social media engagement. We often include nonprofit organizations in our editorial coverage through feature articles and/or recaps of their events.

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Maine Home+Design is published nine times each year by Advocate Media USA. Editorial and subscription information: phone 207.772.3373 80 Exchange Street | Suite 200 | Portland | Maine | 04101 Opinions expressed in articles or advertisements, unless otherwise noted, do not necessarily reflect the opinions of the publisher, staff, or advisory board. Every effort has been made to ensure that all information presented in this issue is accurate, and neither Maine Home+Design nor any of its staff is responsible for omissions or information that has been misrepresented to the magazine. Copyright © 2022, Advocate Media USA. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission, in writing, from the publisher. Printed in Canada. mainehomedesign.com

JANUARY // FEBRUARY 2022 | 27

www.BradfordsRugGallery.com

297 Forest Avenue Portland, ME | p: 207.772.3843 Monday - Saturday 9am - 5pm | Just off I-295 Exit 6B

S TA FF INSIGH TS

“ What show or movie do you think has the most impressive set design?”

Mad Men has been lauded for its brutally accurate portrayal of what working in a ’60s ad agency was like, but not enough credit has been given to the set designers who provided the canvas for this impactful story. The office spaces of Matthew Weiner’s drama feature all of the period correct musthaves, from bar carts to shag area rugs, but what “sets” the design apart is the greater organization and layouts of the common areas that enable dynamic camera shots and flow of characters throughout the scene.

—Zach Muller, digital strategist

My father was born in Norwich, England, four days before Queen Elizabeth II’s coronation. (Whoops, revealed your age there, Dad.) As something of an Anglophile myself, I swooned over celebrated production designer Martin Childs’s sets for Netflix’s The Crown. From a slightly off-center clock signifying a home devoid of ostentation, to red dust kicked into the air at just the right moment to turn Surrey into Rhodesia, no detail was left unconsidered.

—Rachel Hurn, associate editor

I love the set design of Netflix’s new limited series, Halston. I have always admired the fashion designer and his Upper East Side home by Paul Rudolph. The set for the show includes the townhouse’s iconic free-floating staircase, sunken living room, and over $40,000 worth of Elsa Peretti objects loaned by Tiffany and Company. Peretti was not only one of Halston’s closest friends but also part of his creative squad.

—Danielle Devine, editor

It’s hard not to love the set of every Wes Anderson movie, but I particularly appreciate The Grand Budapest Hotel. From the concierge desk in the hotel lobby to Mendl’s Bakery (where Agatha works) to the streets of Zubrowka, the set is held together by a candy pastel color scheme that makes me feel weirdly nostalgic for a time and place that I never experienced. Plus, I love the additions of the funicular, the cable cars, and the high alpine bridges, because they give this make-believe place a thoroughly European vibe.

—Hadley Gibson, editorial assistant

I’m a big fan of Guillermo del Toro’s aesthetic. His films create an amazing, illustrative spectacle with their set design, but the best example of that has to be from one of his more recent productions, The Shape of Water. I love how he created a world that is both whimsical and cozy while feeling dreary and damp at the same time. Every little detail is considered—even the grungy, peeling wallpaper in Elsie’s apartment is artfully distressed to mimic Hokusai’s The Great Wave Off Kanagawa.

—Olivia Ryder, production manager

Netflix's The Queen's Gambit has no shortage of sumptuous design inspiration. The show has been praised for everything from costume design and makeup, to cinematography and music. However, the jewel in its crown is the set design. Whether it's the wallpaper in Beth Harmon's mid-century modern home in the Kentucky suburbs, or the extravagant hotel rooms in Paris and Las Vegas, the details make the viewer feel like they are side by side with Beth as she spirals toward chess stardom.

—Joel Kuschke, creative director

28 MAINEHOMEDESIGN.COM

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TREVOR WATSON, head of Eider Investments, joined the construction company in 2005 after years of traditional architecture experience in New York City and Boston. Eider taught Watson common construction practices—something not readily offered in architecture school— giving him the confidence of knowing how a finished product will align with expectations. Eider has grown into an exceptional and supportive team of designers, tradespeople, and maintainers who together exceed their clients’ ever-evolving requirements. Family Retreat, page 78

COLBY CHASE grew up in southern Maine and at the age of 12 started working summers alongside his father, Barry, and cousin, Eric, at Chase Construction. After going to college and pursuing a career in another industry, he found his way back to the family business. Chase Construction has been a full-service custom home builder focusing on quality and craftsmanship since 1985. West by Northeast, page 90

LOUISE HURLBUTT’s love of art and antiques, coupled with classic design training and extensive world travel, come together in her design work. A cofounder of Hurlbutt Designs, she has worked on residential and commercial projects throughout New England, Pennsylvania, Florida, London, and New York. Her projects have been featured in many wellknown publications, including Better Homes and Gardens, Country Living, Hamptons, Maine Home+Design, and Accent Magazine. Family Retreat, page 78

30 MAINEHOMEDESIGN.COM

JANICE BATTLE is a born New Englander who trained as a lawyer but found that art and design were her true passion. With much travel in her background, her love for collecting and design merged into a career in retail, antiques, and interior design. A mother of three and influenced by her architect husband, Battle understands the demands of the modern home and makes a point to incorporate beauty and design with practicality. A Camp for All Seasons, page 70

Writer and editor KATY KELLEHER lives in a small house in Buxton surrounded by trees, as well as her newly planted shade garden (heavy on the vinca, light on the mulch).

She’s currently working on a book of essays on beautiful objects, due out this year. A Camp for All Seasons, page 70; Family Retreat, page 78; Profile, page 124

FRANÇOIS GAGNÉ is a commercial photographer living in Maine. He takes pictures of all kinds of things, people, and places. He has a wife named Carole and two daughters named Zoe and Eve. There is a cat and a rabbit in the house, but they are not his. He’s been doing this for a pretty long time and still loves it.

A Camp for All Seasons, page 70; Family Retreat, page 78

JANUARY // FEBRUARY 2022 | 31

3.625”w x 2.167”h

DE S I GN W I RE

BY HADLEY GIBSON + RACHEL HURN

www.cranberryhilllighting.com 207-363-5178

1280 US Rout 1 Cape Neddick ME 03902

LAMPSHADES FOR EVERY SEASON

stultzbuilding.com • servicing southern maine

In an effort to make air travel more accessible, the industrial design studio PRIESTMANGOODE has unveiled the AIR 4 ALL, an airplane seating system that enables powered wheelchair users to remain in their own wheelchair during their flight.

Designed in a consortium with aircraft safety company SWS CERTIFICATION and campaign group FLYING DISABLED, the Air 4 All works similarly to the Isofix/LATCH systems for child safety seats in passenger cars, allowing commercial airlines to better accommodate the disabled community without reducing seat count—the airplane seat either folds up to make space for a wheelchair or it functions as a regular seat. Designed to be compatible with a wide range of airline seats and powered wheelchair types, both the airline seats and wheelchairs will still need to be equipped with the patented installation and attachment system. Wheelchair manufacturer SUNRISE MEDICAL is at work creating new, fit-to-fly powered wheelchairs as well as retrofitting old models.

With a nod to the beauty of the natural world, sustainable lighting brand GRAYPANTS is continuing its legacy of incorporating biomimicry into design with the PEBBLES COLLECTION, a series of asymmetrical lamps and pendants that emulate ocean-smoothed rocks found along the Seattle seashore. An extension of the SCRAPLIGHTS line, the Pebbles collection is sustainably produced from laser-cut, postconsumer corrugated cardboard. Each lamp is inscribed with the name of the beach and the geographic coordinates of the stone it was modeled after, and all models are available in natural, white, and blonde finishes.

32 MAINEHOMEDESIGN.COM

Two iconic brands are collaborating on a somewhat unexpected but no less hype-worthy product: the REEBOK X EAMES OFFICE CLUB C shoe collection celebrates the life and work of groundbreaking twentieth-century designers Charles and Ray Eames. The initial drop reimagines Reebok’s popular 1985 tennis shoe in all-white and all-black with “Eames” where the sportswear’s logo usually appears; an insole featuring a geometric print referencing the colors on the famous Eames House, also known as Case Study House No. 8, in Los Angeles; and a shoebox modeled after the same. The second collection—the RAY EAMES SIGNATURE PACK—will feature a reproduction of Ray’s 1939 painting Composition, along with the iconic Eames dot-pattern textile print from 1947.

SERVING THE SOUTHERN SEACOAST FOR 15 YEARS.

Named a national winner at the 2021 JAMES DYSON AWARDS, the OTO CHAIR was designed to give individuals with autism more autonomy while alleviating potential overload experienced from light, noise, and physical contact. Created by graduate designer ALEXIA AUDRAIN, who studied at L’ÉCOLE DE DESIGN NANTES ATLANTIQUE, the chair has cushioned walls and a footrest that inflate to emulate the cocooning sensation of a hug. While this type of deeppressure therapy typically requires another person’s help, a remote control enables the user of the chair to fine-tune pressure levels.

Envisioned to look like a design piece rather than a medical device, the Oto chair is housed in an attractive beechwood shell and is meant to make public and private spaces more inclusive of people with autism.

Designed with the intention of making the average airplane passenger’s experience more streamlined and enjoyable, PITTSBURGH INTERNATIONAL AIRPORT broke ground on the $1.4 billion TERMINAL MODERNIZATION PROJECT in October, the first new airport terminal to be built in America since the start of the pandemic.

With completion set for 2025, the 700,000-square-foot terminal will showcase next-generation technology and sustainability efforts such as rainwater harvesting, power from the airport’s microgrid of 10,000 solar panels and five natural gas generators, and AI-enabled technologies from CARNEGIE MELLON. Other features will include shorter walking distances from curb to plane, more efficient baggage delivery, clean air technology, outdoor terraces, art displays, and an abundance of greenery throughout.

JANUARY // FEBRUARY 2022 | 33

CUSTOM SHADES | BLINDS

SHUTTERS | DRAPERIES | VALANCES PILLOWS & CUSHIONS York, ME | 207.363.2009 swagsdecorating.com

DE S I GN W I RE Construction on a new outdoor recreation center in Orono is tentatively set to begin in summer of 2022, providing access to a network of trails and conservation lands from Bangor to Old Town. Located on the property of former fishing bait business Taylor Bait Farm, which was purchased in 2018 by the ORONO ECONOMIC DEVELOPMENT CORPORATION, the CARIBOU BOG TRAIL CENTER will renovate structures used by the bait operation to create a main building with cubbies and bathrooms as well as a smaller gear shed for tuning bikes and skis. Jointly run by the Orono Economic Development Corporation, the ORONO LAND TRUST, and the PENOBSCOT VALLEY SKI CLUB, the center will be open for hiking and biking in the summer and cross-country skiing in the winter.

251 us route 1 falmouth, me | dwellingsfalmouth.com

PRINCE CHARLES’s private estate has unveiled plans for a new “landscape-led” town in Faversham, Kent, some 48 miles from London. Created in collaboration with architect BEN PENTREATH and located on land owned by the DUCHY OF CORNWALL, a private estate founded in 1337 to fund projects associated with the Prince of Wales, SOUTH EAST FAVERSHAM aims to be a mixed-income community with 2,500 homes, treelined streets, a central green, and a local primary school as well as shops and other amenities located within walkable distances to encourage sustainable living. This is not the first time Prince Charles has built an experimental town. The Prince of Wales has long been a believer in New Urbanism, a movement that focuses on human-scale urban design (see this issue’s Style Room, page 36). Work is scheduled to begin on the town’s cricket ground and football pitches in 2023, with the rest of the development beginning in 2024 or 2025, subject to planning approval.

D a v i d M a te r o | A r c h i te c tu r e ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Bath, Maine davidmatero.com 207.389.4278

A 25-year-old restoration project may finally receive the necessary piece of funding to push it over the finish line.

THE ABYSSINIAN MEETING HOUSE, a church built in 1828 in Portland’s East End solely by the city’s Black community, could receive $1.7 million in federal funding from the U.S. Department of Housing and Urban Development to finish restoration. The finished building will include interior spaces for community events, exhibitions, and educational programming.

The nation’s third-oldest meetinghouse constructed by a Black congregation, the Abyssinian is listed on the National Register of Historic Places and recognized as a northern hub of the Underground Railroad and the anti-slavery movement. City officials sold the property to the restoration committee in 1998 for $250. For the first 20 years, JOHN JAMES was the chief architect on the restoration, and his plans, reports, surveys and drawings are now being used by project manager ERIC DUBE and architect JOHN TURKS. MH+D ■

Designing Buildings

■

Building Relationships 34 MAINEHOMEDESIGN.COM

KITCHEN COVE DESIGN STUDIO

S TY LE ROOM

BY RACHEL HURN | PHOTO BY JESSICA KLEWICKI GLYNN

House of Windsor

Y

ou may have heard of Windsor, the high-profile gated community of some 350 luxury homes located on a lush, oceanfront barrier island in Vero Beach, Florida. But unless you count among your crowd royalty and billionaires, you’ve probably never seen inside one of the exquisite abodes—until now. The new book Beachside: Windsor Architecture and Design (Vendome Press, 2021) by Hadley Keller takes us into this private, Anglo-Caribbean neighborhood to view not only its celebrated architecture and sublime landscaping but also the magnificently executed interiors.

Established in 1989 by the Canadian business and philanthropic couple W. Galen and Hilary M. Weston and planned by renowned architects Andrés Duany and Elizabeth Plater-Zyberk, Windsor was designed to embody the principles of walkability, architectural harmony, and access to public spaces associated with New Urbanism, a movement the Westons became interested in after the Prince of Wales introduced them to its founding father, Léon Krier.

“Despite the ‘New’ in its name,” writes James Reginato in the book’s introduction, “the ideology is rooted in classicism and traditional architecture along a European model.” The writer-at-large at Vanity Fair goes on to say that the range of styles found inside the homes might come as a surprise to some—“particularly those who assumed that Windsor’s strict code would carry over to what lies behind the walls. In fact, the architectural guidelines have challenged designers to find ways to break the mold inside.”

In this guest room conceived by A-list interior designer Amanda Lindroth—who grew up in Palm Beach in the 1970s and whose work focuses on breezy sophistication and vibrant layers of texture and color—the walls and ceiling are covered in an aqua-hued tropical print, leaving the rafters white for contrast, and the poppy-red of the window treatments and pagoda-style table lamp offsets the blue.

This editor may never get to sleep in the thoughtfully planned space, but here are nine objects that get me dreaming. MH+D

36 MAINEHOMEDESIGN.COM

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1. Four Light Lantern in Soft White with Gild by Visual Comfort Fogg Lighting // shop.fogglighting.com 2. Majorelle Velvet Fabric in Red Schumacher // fschumacher.com 3. Rory Coastal Beach Brown Woven Abaca Bed Kathy Kuo Home // kathykuohome.com 4. Antigua Blue Wallpaper Annie Selke // annieselke.com 5. Light Blue Custom Modern Three Drawer Light Blue Writing Desk 1st Dibs // 1stdibs.com 6. Jasmine Euro Sham in Coral Amanda Lindroth // amandalindroth.com 7. Island Estate Ceylon Side Chair Lexington Home Brands // lexington.com 8. Avalon Bench in Perennial Pinstripe in French Blue Serena & Lily // serenaandlily.com 9. Chang’e Lamps Pagoda Lamp Red Egg // redegg.com

JANUARY // FEBRUARY 2022 | 37

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Work-Life Balance

Interior Designer

Angela Ballard ON RESIMERC IAL DESIGN 44 MAINEHOMEDESIGN.COM

of Knickerbocker Group

“The workspace should feel like a home away from home where employees can be their best, most productive selves.”

MH+D ASKS BALLARD TO TELL US MORE.

Q.

Tell us about the “resimercial” approach you took in your design of Knickerbocker Group’s Portland offices at 82 Hanover Street.

A.

Resimercial is a design style that brings the coziness of home into an office environment. On this project, I didn’t want to be limited to commercial office furniture. I wanted to give our clients an up-close chance to see the furniture, lighting, and other design elements that we use in our residential projects. The right selections perform just as well in a commercial environment. We spec pieces that withstand salt water, pets, and red wine, so they can also hold up to a work meeting! We wanted the staff to feel at home: to be able to grab a cup of coffee from a beautiful, functional kitchen, catch up with a colleague in the lounge area, and feel the sun shining on their face as they sit at their desk. What we

didn’t want was a sterile office environment but to create a sense of ease in an organized environment that would foster focus and creativity.

Q. A.

What sparked your interest in resimercial design?

I worked in commercial interior design for ten years mostly designing office environments. I worked with several clients who were just beginning to explore the concept of resimercial design before it actually had a title. I did break rooms with colorful lounge furniture and bars for Bank of America and helped design tents for quiet focus time, “teacups” (based on the theme park ride) that would seat two to three people for a brief meeting, and airplane cubbies that were meant to be functional workspaces for Google. Transitioning into residential design allowed me to see a softer, more casual side of design.

JANUARY // FEBRUARY 2022 | 45

DE S I GN T HEO R Y |ANGE L A B AL LA RD

Q. A.

How is this approach particularly relevant now, as many navigate a return from remote work into in-person?

If employees are taking a call at home on their sofa, why shouldn’t they be able to do that in the office? We provided areas of comfort and different types of environments where employees can take a break from their desk or computer screen. Working in a space where we want to spend time increases employee satisfaction. Making the office a fun place to work has the added benefit of employees becoming more engaged.

Q.

What design elements are included in the office to accommodate work during the pandemic as well as remote or hybrid employees?

A.

We created a variety of spaces, from large sun-filled conference rooms where employees can spread out during a meeting to cozy corners where an employee can take a private call, and there are also touchdown areas for those who need to pop into the office just for the day—those who might usually work out of our Boothbay campus. The conference rooms are set up with large screens

46 MAINEHOMEDESIGN.COM

for video chats, there are touchless surfaces such as the soap dispensers, and desk heights are adjustable at the touch of a button, which is great for those who are desk sharing. There’s also a roof deck where employees can have a casual lunch meeting or take a movement break, or we can host an event—all outdoors, even though we’re in a city environment.

Q. A.

What are some elements that you would find in a resimercial workspace?

Durable but comfortable upholstery, soft lighting using incandescent bulbs, and a variety of materials and patterns that are reminiscent of those you might have at home. Different types of spaces that are available to all employees, places to meet with a large or small group but also areas to retreat to for focus time. Homey elements like a gallery wall of fun product photographs and images can reflect a company’s philosophies or highlight the employees. A variety of plants in different types of planters add interest and reflect the collection you might also have at home, as well as plenty of natural daylight, and well-organized spaces that inspire creativity.

Q. A.

How have you applied these design concepts at the COVE by Knickerbocker Group space?

Both of our two interior design studios, the one in Portland and in Boothbay, hold a different function than the office, but the concept of collaboration and motivating work environments still holds true. The studios were developed to be a blank slate to showcase our furnishings, accessories, cabinetry, and COVE Homes designs and interior packages and to also serve as our interior samples library. It’s

a multifunctional place for client and vendor meetings and internal collaboration zones. The furniture displays are meant to be used—I’ll often see employees sitting on the sofas, having a meeting there! Or recently, we had an author sign books at a game table. The spaces are designed to be flexible. For example, they’re in a neutral palette, and we designed layout tables that are intended to hold samples now, but could hold drawings or files in the future. The space can easily change out its function—whether it’s something short-term for an event or longer term, as the company’s needs shift over time. MH+D

MH+D IS PROUD TO PARTNER WITH ACCLAIMED ARCHITECTURAL PHOTOGRAPHER TRENT BELL ON HIS ARCHITECTURE, DESIGN, AND PHOTOGRAPHY PODCAST. TO HEAR BELL’S CONVERSATION WITH BALLARD, PLEASE VISIT TRENTBELL.COM/PODCAST

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DE S I GN LESSO N

BY DANIELLE DEVINE

ROBERT INDIANA’S LO VE

I

remember the first time I stumbled on my first LOVE. At the time I had already been living in New York City for a few months but for some reason had not passed the corner of 55th Street and 6th Avenue where the bright red sculpture stood. I was already familiar with the imagery from cards, posters, T-shirts, jewelry, and from just living life.

But I never knew much about the meaning behind it until I moved to Maine years later.

LOVE was created by American artist Robert Indiana in the 1960s and is one of the most recognizable artworks of the twentieth century. Art historian Susan Elizabeth Ryan revealed in her monograph on Indiana that the first version of his most famous work was completed “within complex circumstances” at the end of 1964. It was after Indiana ended his relationship with another famous artist, Ellsworth Kelly. Ryan explains, “It had a cruder four-letter word in place of “love,” in a similar composition with a tilted ‘U.’” Indiana never fully disclosed to the public why he made the G-rated version—the next year the Museum of Modern Art commissioned him to create it for their Christmas card. Indiana stacked the letters L and O over the letters V and E in bold serif typeface, slanting the O sideways, creating a line leading to the V, with green and blue spaces backing red lettering. In 1973 the design was issued as an eight-cent stamp by the

56 MAINEHOMEDESIGN.COM

United States Postal Service for Valentine’s Day. Over 330 million were printed. The first LOVE sculpture was a 12-foot-tall Corten steel version made in 1970 for the Indianapolis Museum of Art. Indiana is best known for creating hard-edged images, often with words and numbers that could be viewed as a roadmap of his life. The artist was greatly inspired by the written word and by poets like Gertrude Stein in the early days of his career.

Indiana has described the character of his work as “verbal-visual.”

Sadly, Indiana never felt he received the artistic recognition he truly deserved. Born Robert Clark in New Castle, Indiana, he changed his name after arriving in New York in the 1950s, determined to make a life as an artist. He soon grew sick of the New York City art scene and being referred to as a Pop artist when he considered himself an “American painter of signs.”

He left New York in 1978 feeling that LOVE had made him a “one-hit wonder” and moved to Vinalhaven off the coast of Rockland, Maine. Here in Maine he gained the reputation of being a recluse, refusing to speak with the press, or anyone else for that matter.

Even after Indiana’s death in 2018, LOVE brought a great deal of heartache. You can find plenty of reading material online about the lawsuits surrounding Indiana’s estate and the rights to his artwork. His estate was mired in costly legal battles until a settlement was finally reached in June 2021.

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L IVING COLOR

BY LAURA FENTON

This smoky hue has been trending for years for good reason: it’s a wildly versatile neutral

W

hen it comes to decor, gray is a complex color. Get it right, and it can create an enchanting environment. Get it wrong, and you’ve got a color that looks downright institutional. But designers say it’s worth the trouble to seek out the right gray.

“Gray is very calming, and it can be both classic and contemporary,” says interior designer Louise Hurlbutt, owner of Hurlbutt Designs in Kennebunk.

It’s also a natural choice for Maine; as Hurlbutt notes, “Gray is popular in Maine homes because it can be like a calm sea or the drifting clouds in the sky.” It is also the color of tree bark, beach stones, and weathered clapboard and shingle houses.

PHOTO: JAMIE SALOMON

Fade to Gray

Part of what makes gray complicated is that there are so many shades of this seemingly simple color: blue-grays, green-grays, cement grays, and more. The nuance lies in the undertone. “Try adding black to white paint and see what happens,” says Vanessa Helmick, the interior designer behind Fiore Home in Yarmouth. “You don’t get a beautiful gray. There’s always some sort of color in the base of a good gray.” For this month’s Living Color column, we did not limit our palette to a specific undertone of gray; instead, we kept the focus on grays that fall in the midtone range—neither the darkest grays that skew almost black nor the shades of white with just a hint of gray in them. Here’s how to weave them into your home.

Understand your undertones.

As Helmick points out, gray is never just black and white: There’s always a bit of color mixed into the hue. Known as undertones, these subtle colors within a gray will help you as you choose the right gray for your room. Even if you can’t discern a specific single color as the undertone, you should be able to ascertain if a gray skews warm or cool and then match it to the rest of your room.

Tread carefully with cool grays.

Hurlbutt loves a blue-tinted gray, but Helmick and Robertson say these cooler grays can be tricky. Helmick warns that some cool grays can “go purple fast,” and Robertson notes that a cool gray can read “institutional.”

Ultimately, it will come down to your specific room, the light it gets, and the feeling you wish to create.

58 MAINEHOMEDESIGN.COM

PHOTO: TRENT BELL

Don’t go too light.

Designer Hilary Robertson, author of the book Monochrome Home, says to avoid the palest grays, especially on the walls. “It just ends up looking like you haven’t bothered or you haven’t tried,” she says. If you’re considering a very pale gray or want a room to feel light and bright, opt for white instead.

Test drive gray in all lights.

If you’re thinking of making a big commitment to gray, say as a wall color, wallpaper, or upholstery fabric, get a sample to test it out in your space before you commit. Look at your gray material in all lights to assess its suitability. Even the pros can stumble with grays: Robertson confesses to getting her living room’s gray walls wrong the first time and having to repaint the whole room.

Avoid making gray the focal point.

Helmick says that when she works with gray she never uses it as the focal point of a room. Rather she says she thinks of it as “a jumping-off point and as a base for color.” Likewise, all the designers we spoke to warn that an all-gray room is hard to pull off. You need some color to make the room come to life!

Highlight colorful art with gray walls.

Because gray is such a strong base for color, gray walls are a wonderful choice for displaying art, says Helmick. She points to the Getty Museum in Los Angeles as an example. “They use a lot of deeper wall colors in gray tones, which is why the art looks so amazing.” Helmick says she loves the idea of classic, antique art on a deeper gray like Benjamin Moore’s Chelsea Gray. However, she cautions that blackand-white photography will get lost against a gray wall.

Be bold in your color pairings.

Gray can balance almost any bright, bold color. “The great thing about gray is you can pair colors that pop,” says Hurlbutt. “I love using coral, pinks, or blues with gray on the wall or furniture.”

PHOTO: ERIN LITTLE

Avoid factory-finish grays.

While there is a wonderful world of gray paints (see our Palette Picks on the next page) and textiles, Helmick cautions against much of the affordable gray cabinetry and furniture. “Use [factory-finish grays] sparingly,” she says. “A lot of affordable cabinet companies use bluegrays that just don’t age well.”

Go gray in an open plan.

Hurlbutt says she often opts for a soft gray in open-plan homes. “In so many houses now, the living room, dining room, and kitchen all run together, so we paint these rooms one color.” Grays tend to feel more modern than beige. In a recent project, Hurlbutt used Benjamin Moore’s Bunny Gray with white trim, which she describes as “a wonderful backdrop.”

Bathrooms are primed for gray.

Natural gray stone is a popular designer choice in bathrooms, including for Helmick and Hurlbutt. “I like designing classic bathrooms and I use a lot of Carrara marble tile,” says Hurlbutt, who notes that these soft grays go nicely with the crisp white of porcelain sinks and tubs.

Don’t forget texture.

Texture is key to any successful interior, but especially when working with a less colorful palette. “Layer texture and textiles,” advises Helmick, who also likes a gray stain that leaves the wood grain visible.

On the walls, Hurlbutt points to grasscloth, and Robertson loves plaster and limewash paints. “I love limewash’s lack of sheen and its rich texture,” says Robertson. “It’s everywhere in Europe.”

PHOTO: TRENT BELL

Vanessa Helmick of Fiore Home used Benjamin Moore’s Chelsea Grey on the fireplace wall in this room to make the art the focal point (opposite, top).

Fornasetti’s “Nuvolette” wallpaper for Cole and Sons envelops a powder room in the home of Stephen Peck, a designer who splits his time between Maine and Miami (opposite, bottom). To give this dining room a more formal look, Portland-based Heidi LaChapelle Interiors used a gray grasscloth wallpaper and white painted trim (this page, top). For this Cumberland kitchen, designer Caleb Johnson Studio opted for gray-stained white oak cabinetry, which was handcrafted in the Woodhull of Maine workshop (this page, bottom).

JANUARY // FEBRUARY JULY 2022 2021 | 59

L IVING COLOR

Gray Is Here to Stay

Grays have been trending in interiors for years, but the color is not going away any time soon. It was popularized in the early 2010s by both the media and retailers. Sue Wadden, the director of color marketing for Sherwin-Williams, recently referred to the decade-long trend as the “Chip and Joanna Gaines effect,” because of the couple’s penchant for the hue, and Restoration Hardware (now RH) is at least partly responsible for the gray-on-gray look. Direct-to-consumer bedding brands have spent years promoting gray bedding to the exclusion of almost any other color.

Writing in the Washington Post earlier this year, lifestyle expert Elizabeth Mahew pondered whether gray was on the way out. “Gray-haters (or grayters, as I like to call them) complain that the color is ubiquitous, and to some degree, they’re right,” she wrote, noting that design stores are indeed oversaturated with gray upholstery, bedding, and accessories. While many decorators and homeowners profess to want more color after the pandemic year, Mahew ultimately concludes that gray is a versatile neutral that won’t be disappearing from our homes.

The color experts also seem to believe that gray has staying power. Pantone chose “Ultimate Gray” as one of their two Colors of the Year in 2021. Paint manufacturer Benjamin Moore chose Metropolitan AF-690, a gray, as its Color of the Year in 2019 and then, in a surprising move, chose a gray again just three years later when they named October Mist, a sage-y gray, as their pick for 2022. For now, it seems the reign of gray will continue.

According to Merriam Webster, “gray”/“grey” is one of the most frequently queried spellings. Gray occurs more frequently in American English, while grey is preferred in British English.

Palette Picks Benjamin Moore Chelsea Gray

A mid-to-deep gray that looks sophisticated and goes with everything.

Clare Seize the Gray

A true neutral without obvious undertones, it works well with both warm and cool shades.

Benjamin Moore Sea Haze

PHOTO: JEFF ROBERTS

With just a hint of green in the undertone, this mid-toned neutral is muted, to be soothing and multifaceted.

Farrow & Ball Pavilion Gray

A classic mid-gray with blue undertones, this color harkens back to eighteenth-century Swedish interiors.

Sherwin-Williams Dorian Gray

A warm gray that would look great in historic homes.

For a contemporary powder room Louise Hurlbutt paired an organic stone sink with gray marble countertops and a highly textured grasscloth wallcovering.

60 MAINEHOMEDESIGN.COM

Color Curated We rounded up 9 gray goods for your abode.

Beachcomber Cotton Throw, $148 Serena & Lily // serenaandlily.com

Reeve Bench, $745 Interior Define // interiordefine.com

Allegro Channel Tufted Armchair, $769 CB2 // cb2.com

Flos Bellhop Lamp, $295 MoMA Design Store // store.moma.org

Adams Chaise Sectional Sofa, $1,799 Castlery // castlery.com

Al Fresco Wallpaper, $190 per roll She She // bysheshe.com

Elm Sink, $3,615 Kast Concrete Basins // kastconcretebasins .com

Station Alarm Clock, $135 Design Within Reach // dwr.com

Rainy Day Floral Garden Pillow, $115 Erin Flett // erinflett.com

JANUARY // FEBRUARY 2022 | 61

S PA CES AS TOLD TO RACHEL HURN | PHOTOGRAPHY BY HEIDI KIRN

COSMIC COOKE RY

A dated kitchen in Falmouth gets a moody redesign

I

“

got a call from the client at her husband’s suggestion. She had been trying to design her kitchen renovation on her own, and then realized all the sequencing that comes with kitchens. She’s done some other work around her house, but this was kind of next level. She’d already talked to a friend of hers who is an architect and who had done some schematic drawings of the space. She had also spoken to a couple of different cabinet producers who have in-house people who lay out cabinets. So she had some things to show me, but none of it felt like it was coming together for her. When I came in, it was easy to see that she was on the right track and we could start making decisions.

“Because this couple has so much space—a formal dining room, an informal breakfast nook, and then another eating space in front of the fireplace (not shown)—it was easy to say, ‘Your husband loves to make cocktails? Great, let’s make a cocktail area!’ We’ve also added a pantry area and three sinks: one for dirty dishes coming out of the formal dining room when they use it, one for filling pots right across from the stove, and then the cocktail sink. In some ways it’s easier when you have that much space, but on the other hand that’s what I think overwhelmed them, figuring out what to do with it.

“The client was inspired by the new ‘moody’ kitchen movement. You can really find precedents online for those darker colors, as well as in restaurants and bars. My advice on color choice is to sample, sample, sample. Get it in the space, let the light reflect on it, and you’ll get the sense of whether or not it’s the right thing.

“The scope of the project included new Jeld-Wen sliders from Pinnacle Window Solutions. You can imagine in the summer having people out on the deck—the second countertop is right in front of the sliders, so you can open them up and set your food there, transitioning from inside to outside really easily, keeping the bugs off the food, that kind of thing.

“We also worked with Katie Capozza at Old Port Specialty Tile and got the last of these beautiful tiles. We did the installation ourselves to make sure it was perfect. The custom cabinetry is by the People’s Kitchen, the countertops are by Devine Marble and Granite, and the custom metal rails (not shown) are by Cumberland Ironworks. The custom woodwork is by Saco Manufacturing and Woodworking, and the floor finishing is by Casco Bay Hardwood Flooring. All of the design and carpentry, including tile installation, was performed by us at Hay Runner.

“It’s a total win when clients are as aligned as these clients were. Out of the gate they had identified a reasonable budget, a feasible timeline, and a defined scope. The most predictable way to have a positive experience is to have a realistic timeline, scope, and budget, and an alignment between the decision makers.”

—Shannon Richards, founder of Hay Runner

MH+D

JANUARY // FEBRUARY 2022 | 63

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Memory care that feels like coming home.

Opening this summer, The Mooring at The Downs brings our standard-setting care philosophy to Scarborough. Thoughtfully situated in a beautiful neighborhood, our second Mooring home is staffed by dedicated care partners who’ll quickly earn their place as extended family — providing individualized care, exceptional support and continuing community engagement in a familiar environment that feels like home.

To learn more about The Mooring at The Downs, we encourage you to visit us online at TheMooringAtTheDowns.com — or to contact us for more information.

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A Camp for All Seasons

by Katy Kelleher // Photography by François Gagné

An architect and designer husband-and-wife team build a cottagey, cabin-y camp in Naples

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n order for a vacation home to qualify as a camp, it needs a few key components: water access, a fireplace, and sleeping space for the entire family.

A camp can be rustic and bare-bones, or it can be sophisticated and ornate—the thing that links the buildings isn’t the aesthetic but the purpose. Camps are for getting out of town, leaving the world behind, escaping into the wilderness. They tend to be very personal; they reflect the owners’ ingenuity, their hobbies, and their habits.

The Battles’ house on Long Lake in Naples doesn’t look, on first glance, like a traditional camp. It’s lofty and spacious, with cathedral ceilings and big glass windows.

But that makes sense once you meet its makers. John and Janice Battle worked hard to bring their Maine getaway into existence—he as the architect, she as the designer. These were the roles they played in their nine-to-five existence, so it wasn’t a stretch to apply their professional skills to their personal life. But the Battles had one thing that many of their clients did not: a budget.

John and Janice have a knack for landing high-end jobs.

“We’ve done a lot of houses that are very extravagant; some are even over-the-top luxurious,” John says. “Our house is a little different. I wouldn’t say it’s humble, but in comparison to some, it’s modest.” The size of the structure was restricted by zoning, and its position on the lot was, too. There was a little shelter by the shore that was grandfathered in, “just steps from the water,” Janice says. They gutted and renovated this space, transforming the old bunkhouse into a little one-bedroom cabin with a living room and bathroom.

But while the “love shack” (as they playfully call it) could easily house a couple, it wouldn’t have worked for the Battles and their three grown children, plus their social circle and extended family. John and Janice wanted to serve friends dinner al fresco, host family members for long summer weekends, and spend a few cold winter nights cozied up above the frozen lake. And so, during 2019 they came to Maine and lived in the love shack while working on their cottage-inspired, camp-adjacent, timber-heavy home.

Designed by architect John Battle for his family, this two-tone house in Naples (opposite) features a dip in the roofline that kept it from “getting too tall,” says John, even though “we wanted a fully usable second floor.” When John was a young man, he worked for the Appalachian Mountain Club clearing trails and servicing huts. His personal history informed the design, he says, “Mostly in our fondness for the humble beginnings of summer camps.” He adds, “You can see it in our love of natural wood finishes” (above).

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The final space is all of those things, and though the two-tone, gabled exterior is reminiscent of the quaint style, it’s not quite a cottage. Still, it’s a bit more than a camp (with five bedrooms and several dining spaces, it’s a bit bigger than most), and it’s definitely not a timber frame (despite what the big beams might tell you). Pulling traits from all those sources, John and Janice created a winterized vacation house that satisfies John’s desire for architectural authenticity and speaks to Janice’s admiration for all things beautiful. “Because of timing and cost, to do a true post-and-beam, that would not have worked for us,” explains John. “So we made a hybrid.” The shell of the primary house was built using conventional construction methods, but John designed a “wood-enriched center component” that could be inserted into the heart of the home. Using large planks treated with clear finishes in a canopy formation over the main living area, John mimicked some of the spacious-but-weighty qualities of a timberframe lodge at a fraction of the cost.

“It was really cool how it worked out,” says Eugene Jordan of Jordan Custom Carpentry in Lovell. In addition to serving as the general contractor, Jordan also cut all the interior posts personally “right in the living room,” he

says. “It was after the roof went on, so we were able to do true timber-frame joinery and work on the detailing from below rather than from above.” This gave them time to get the aesthetics right, and since the main purpose of adding these beams was to showcase the craftsmanship typical of Maine, it made sense to introduce multiple tones and grains. “I love working with mahogany to add contrast,” says Jordan. “Next to the Douglas fir, the mahogany pegs and splines really pop. With the roofline the way it is, and the detailing inside, I think it looks really authentic even though it’s a new build.” John adds, “The carpenters did a great job of using authentic detail conditions to give it a very articulate feel.”

According to John, a well-designed building is one that expresses its purpose. It tells you what to expect. The purpose of a camp is to be in the woods; this central room embraces guests with the raw, warm shades of maple, mahogany, pine, and fir. The purpose of the Battles’ camp is to be with family; this house invites everyone to gather together in one area, to sit by the fire and the windows, to be by the water.

In contrast to the central great room, the bedrooms are “relatively simple with standard proportions,” says

A cobalt kitchen adds a brilliant burst of color to the home (above). Janice, who handled all the interior decor, chose this shade after she selected the perfect blue rug for their living room. In the main space (opposite), a wood canopy featuring authentic postand-beam construction makes it appear as though you’re standing in a timber-frame structure. This was a clever way to introduce the aesthetics John loves at a lower price point.

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John. The upstairs bedrooms have vaulted ceilings, since John saw no need for attic space. But none of the five bedrooms—not even the owners’ suite—is particularly grand. “You really only go back to bedrooms to sleep,” he says. “When we’re up here, we’re often outdoors or on the water or celebrating with fun activities.” If they get a rainy day, the family tends to migrate out of their separate spaces and into the living room. To further unite the occupants, John designed an alcove in the glass wall overlooking the lake, for their stove. “Frequently, in many jobs, we have the view one way, and the fireplace is the other way. Here, there is a singular focus,” he says. For purposes of “cleanliness and convenience,” the Battles opted for a gas stove rather than a woodstove. “But we had to have a hearth,” John says.

“This works better for us.”

While they made several budget-conscious choices during construction, John and Janice had worked on enough homes to know the importance of having a great “stair guy.” In a multilevel home, stairs matter. And if the grand “wood-forward” canopy room was to be the heart of the house, they’d need a suitably stately artery. That’s where Bob King came in. John first worked with the master stair builder and owner of King and Company on a project over 20 years ago. Recently, a stair John designed

and King built won an award from the Stairbuilders and Manufacturers Association. For John’s house, King constructed a slightly less ornate stair, but thanks to the mixture of woods (mahogany and maples), it still has “plenty of character,” says King. “A home like that, which had a lot of timbers and a lot of weight in the thickness of the floor, it made sense to keep the designs and shapes on the simpler side.” But instead of having straight lines, the stairway “flairs out and invites you in,” says King. John reveals that his favorite part of this feature is the newel. “I liked the idea of having a strong anchor,” he says. “I tend to be very animated in the way I move about a place. I use the newel post almost as a pivot—you grab on to it and swing yourself up the stairs as you’re zipping about.” Janice adds, “Everyone who walks up those stairs comments. They put their hand on the railing and feel it—it’s special.”

But not every element of the design needed to speak with such gravitas. Janice was in charge of choosing the color schemes, all the furnishings, and the finishes. “I go with my gut,” says the designer. “I do like things to be pretty.” In their Naples house, this translates to earth-tone floral drapes and duvets, subtly shimmering kitchen tiles, and a considered collection of antiques scattered throughout the rooms. “While I was working for other clients,

Janice loves florals. Each bedroom features a different floral pattern, all in soft, earthy hues (above).

(Opposite page, clockwise from top left) Built-ins maximize space for the couple and their family. A close-up of the traditional joinery on display in the living room. Janice sourced most of the furniture from antique shows throughout the eastern seaboard.

“We went ahead and said, let’s do some funky things with that ceiling so it isn’t just simple volume,” says John. “There’s no better place to experiment than my own house.”

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I would set aside certain fabric samples that I liked,” she explains. “The design happened slowly and organically.”

Early on, she pulled out a flatweave Swedish rug in a cheerful shade of blue. “I tripped over it when I was looking for rugs for a client. I knew right away, that’s what I want at the lake,” she says. This durable textile became the jumping-off point for the color scheme of the entire central space, which encompasses the sitting area, dining area, kitchen, and entryway. The kitchen got the brightest tones, with punchy blue cabinets and tiles from Discover Tile, but Janice toned down the hues a bit in the sitting area by bringing in a lot of neutrals. “I kept the sofa very simple,” she says. “But for the rattan chairs, I used a fabric that I really love—in our old house, I had a wallpaper made that was this fabric, the same thing. It’s really interesting without being too formal. It felt like the right fit here.”

Over the course of several years, Janice found the rest of the furniture for their lake house at various antique markets. On a trip down to Atlanta for a client, she picked up a set of dining room chairs (“they wouldn’t have worked for the client,” she says) that went nicely with a table she found at Cornish Trading Company in

New Hampshire. She was able to hire some of her favorite woodworkers from other jobs to create custom pieces for their new place, like the rustic live-edge coffee table that sits in the living room. “I’m really blessed to work with amazing craftspeople and artisans,” she says.

The couple also consider themselves quite fortunate that they managed to finish their lake house when they did. They were just winding up construction when the pandemic hit in March 2020. “Right about the time when everybody was starting to panic, we were just about done,” John remembers. With the five bedrooms and big living area, their three children were able to come stay, telecommuting to their jobs from the Maine woods (although John does admit that the Wi-Fi isn’t as strong as these urban-dwelling millennials had hoped). In truth, the Naples cabin wasn’t designed for long-term occupation by that many adults, but the Battles were grateful anyway. “It’s such a comfortable house,” says John.

“It’s warm and well made. We didn’t plan to live here during the winter, but we can. The fundamentals of it are terrific. It’s been an outstanding place to be. We’ve been so lucky.” MH+D

The dining room features a solid wood table from Cornish Trading Company, antique chairs, and a chandelier made from an old wire basket (above). Although the couple didn’t initially plan to live full-time in their Naples home (opposite), it ended up being a shelter from the storm during the pandemic. “It was just dumb luck,” says John of the project. “But we were finishing as COVID hit. All our kids were able to come home.”

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Family INSPIRED BY THE HISTORIC ARCHITECTURE OF NEW ENGLAND, THIS CONTEMPORARY FAMILY HOME ON PROUTS NECK PROVES THAT THE DEVIL’S IN THE DETAILS

Retreat

BY KATY KELLEHER // PHOTOGRAPHY BY FRANÇOIS GAGNÉ

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Scarborough Beach has played a large role in the Black family’s history. Their relationship with the sandy stretch of land dates back decades; Andrew Black’s grandparents stayed at the historic Atlantic House hotel for their honeymoon in 1930. Andrew spent 23 summers at the beach and returned with his wife, Sheila, the last night of their honeymoon. After a number of years renting in the area, the Toronto-based couple returned to Scarborough Beach and the coastal community of Prouts Neck and bought a house on one of the "lanes." Then, in 2019, a beachfront property came up for sale, and after considering sea-level impacts, minimum foundation elevations, and winterization, the Blacks decided to build a new house for their family.

Their goal was to craft a generational property where grandparents, parents, and kids could be together.

“We wanted to add to the shoreline and have our house fit in—not just with Prouts Neck’s history, but the history of Maine architecture,” Sheila says. “When we got married and brought up a family, we always dreamed of our kids and grandkids being able to enjoy the beautiful Maine coastline that we loved so much,” adds Andrew. The couple have four daughters who are based in different cities across the eastern seaboard. “Maine is our primary meeting spot for our family and extended family,” explains Sheila. “We built this home with that in mind.”

They chose to work with Eider Investments, a Scarborough-based design build firm that specializes in shorefront properties. “All our work is word-of-mouth,” says architectural designer

Trevor Watson of Eider Investments designed this gray shingled home (with over two miles of trim) on Prouts Neck around the ocean views (opening spread).

The design of the home was inspired by classic New England architecture—tweaked for modern family life (right).

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Trevor Watson, who has been adhering to Prouts Neck’s limited building schedule (construction is allowed only during the off-season) for over 20 years. The design Watson did for the Blacks was inspired by classic New England architecture. “It’s understated, with high-quality design—not flamboyant or flashy,” says Watson. The exterior of the home is covered with cedar shingles, which will weather to a soft silver hue, and is defined by a series of gables. The chimneys have stone veneer to give them an appropriately classic look. The house has many interesting architectural features. “I’m particularly proud of how the elliptical staircase turned out,” said Watson. “It was a very tricky design challenge.”

Being so close to the ocean, there were design factors that the Blacks needed to consider, but they were excited to work with Watson on this challenging project. “I’m probably partial, but I think these are some

of the nicest pieces of coastal property on the eastern seaboard,” Watson says. What was unique about this project was that it was built during COVID. “We spent many hours on the phone with the Blacks, given the travel restrictions that prevented them from seeing the ongoing progress of the build,” adds Watson. “Trevor and I shared a clear vision for the project, and Sheila and I really enjoyed working with him and the entire team at Eider. They take great pride in their work and always conduct themselves with the highest integrity,” says Andrew.

“From the beginning, the Blacks had a very clear direction they wanted to go,” Watson reflects. “I think their level of involvement is the reason why the project turned out as successfully as it did.” In addition to frequent check-ins with the homeowners, Watson was also able to confer and collaborate frequently with

Interior designer Louise Hurlbutt had worked with the Blacks before, so she knew their style. “The stairs are something we marvel over, and how Trevor was able to build them so beautifully,” says homeowner Sheila Black. “He had to convince us, but he did an extraordinary job” (opposite). White lanterns from Hudson Valley Lighting hang over the kitchen island (above). “We brought a little whimsy into the design through light fixtures,” says Hurlbutt.

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interior designer Louise Hurlbutt, who weighed in on some of the finer points of the construction. She suggested adding nickel-gap paneling to walls and worked with Watson to design the coffered ceiling of the great room, and she was instrumental in creating the dramatic curved staircase with its custom blue and white patterned carpet. “These things help give it the appearance of an old home,” says Hurlbutt, who had worked with the Blacks on their previous Maine home and knew their taste quite well. She also knew white walls would look lovely next to the imported antique wood floors, and she recognized how effectively the gambrel roofline would work in their favor when it came to the second-story bedrooms. “It would have made no sense to have a flat ceiling in

the bedrooms,” she says. “The architectural details, the mouldings, the ceiling line, the nickel gap—these things really add so much to a room.” She notes that, although there’s not a lot of space to hang art in this house, you don’t need it. The house speaks for itself.

Plus, there are the views. “People are like moths,” says Watson, “but instead of going toward lamps, they flock to the ocean views.” To take full advantage of the lot’s best feature, they oriented the house toward the water, shrunk the size of the bathrooms, eschewed hallways, and squeezed the front entryway underneath the stairwell. “We managed to bury the front door under the staircase, which gives a real ‘wow’ moment when people walk through it the first time, look over their shoulders, and see this incredi-

Andrew Black had the idea of creating a “progression on the rustication of the fireplace stonework,” explains Watson.

As you move through the house, the fireplaces get increasingly relaxed in appearance. “The most formal is in the living room (above), featuring the tightest stonework, the most consistent color, and the most formal mantel. Much of the visual interest upstairs comes from the architectural details, like the nickel-gap paneling and the crown molding (opposite).

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ble view,” Watson explains. “The front door, when it opens, has about a quarter inch of clearance.

It’s incredibly tight.” While the small bathrooms may have “pushed the limits” (in Watson’s words) in terms of size, they did manage to squeeze in en-suite bathrooms for all the bedrooms upstairs.

“Louise Hurlbutt’s spatial conceptualization and sense of proportion are brilliant,” says Sheila. “She mapped out the spaces to within an inch in every room, maximizing flow and multifunctional space.”

While Hurlbutt installed budget-conscious Dash and Albert rugs upstairs in the bedrooms, she went with a higher quality for the downstairs living room. This contemporary space is open-concept, flowing seamlessly from kitchen to dining area to living room to porch, separated only by hidden pocket doors. To add warmth and color to the living

room, Hurlbutt brought in a leather ottoman, raffia side tables, and, underfoot, authentic Belgianwoven sisal. “The royal cobalt and cornflower color palettes are a reflection of the New England coast,” says Hurlbutt.

The blue rugs, throw pillows, armchairs, and artwork all pay tribute to the shifting waters of the Atlantic, which can be spotted from almost anywhere in the house. In addition to the large windows (oriented with six muntins on top and one on the bottom to allow uninterrupted views and for nifty historical nod), Eider installed a series of NanaWall doors facing the ocean. These movable glass walls and folding doors allow the Blacks to open their home to the breeze. “I had never heard of NanaWall before,” says Andrew. “But I was very interested in them, and in figuring out how

“Every bedroom has ocean views plus an en-suite bath,” says Hurlbutt. “That’s a big deal in a summerhouse.” She particularly likes how the bunk room came out (above). “I love the coloring, the fun whale sheets, and that striped carpet,” she says. “It’s a very formal house, but there are some playful elements.” A view of the living room designed

by Hurlbutt (opposite). Eider installed a series of NanaWall doors facing the ocean.

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When we got married and brought up a family, we always dreamed of our kids and grandkids being able to enjoy the beautiful Maine coastline that we loved so much.”

they could work for a New England home, with the nor’easters.” Andrew talked it over with the team at Eider, and they decided to move ahead with the NanaWall doors, despite the fact that they didn’t come with screens. “We had worked with NanaWall before, but this time we decided to buy the parts and make our own accordion screen doors to match them,” says Watson. Now, the family is able to experience their first-floor great room as though it’s all one big indoor–outdoor space.

Since completing the build in 2020, the family has been able to gather regularly in their new beach house.

The Blacks are very grateful to the entire team that came together to build the house in nine short months.

The success of the project is easy for them to see.

Andrew puts his praise quite simply: “When our family comes to Prouts, we never want to leave. The house is filled with happiness.” MH+D

The owners’ suite features a custom-designed headboard and, above it, a painting that holds tremendous sentimental value for the couple (above). “We purchased it in Montreal the week after Andrew’s grandmother passed away,” says Sheila. “It reminded us of summers at the Atlantic House and of the beach.” Andrew is originally from Montreal and started going to Scarborough Beach in Maine when he was one year old. “My family went there for decades and for generations, actually,” he says. He calls this Prouts Neck home a family retreat.

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N O R W E S T by H E A S T

Whitewashed walls, a fresh palette, and pretty prints turn a post-and-beam house into a coastal retreat

BY MARNI ELYSE KATZ PHOTOGRAPHY BY MICHAEL J. LEE

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he Entoffs* always wanted a post-and-beam home. So when they discovered mold growing inside the 1960s prefab on the Maine property they acquired from a cousin, they decided to go for it. Never mind that the lot was in Ogunquit, just a block from the ocean: neither in the woods nor on a mountain. “We love big mountain house hotels,” Jane says of her outdoorsy family, who spends vacations hiking and fishing at national parks. “Sitting by the fire and doing puzzles at the end of the day is our happy place.” It made sense, then, to build a postand-beam house on the ocean.

Jane, husband Drew, and daughters Amelia (13) and Siena (10) live in Concord, Massachusetts, just an hour and 20 minutes from their new mountain-style beach house, where they drive up for weekends year-round.

“I used to visit [the original cottage] during

February break as a kid, so I never thought of it as just a summer place,” Jane explains. “We actually prefer it in the off-season.” Jane’s parents are frequent visitors, and the couple hosts friends often. Everyone reads, plays cards, and participates in lawn games, from badminton to kickball. “It’s where we disconnect from work and electronics,” Drew says.

Riverbend Timber Framing, a Michiganbased company that Drew learned about from a timber-frame home magazine, supplied the plans and erected the Douglas fir structure. Chase Construction took it from there. It was the company’s first post-and-beam endeavor, but project manager Colby Chase says they would definitely do another. Of course, these houses are not without challenges. For instance, attentiveness is key. “Wherever the post lands, it stays,” Chase says.

Annsley McAleer of Annsley Interiors, who worked with the family on their Concord

*The names in this story have been changed at the request of the homeowners.

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Hector Finch glass globe pendants keep the sight line clear to the cobalt blue range hood in the kitchen. Chase Construction’s woodworking division, the Webhannet Company, crafted all of the home’s millwork, including the kitchen cabinetry (opening spread).

Timber posts on stone veneer support a standing-seam metal roof over the front entry (above).

The team stained the home’s cedar shingle siding gray rather than letting it weather naturally.

The sky-high chimney (opposite) echoes the exterior masonry, while the fir mantelpiece echoes the timber-frame structure.

The landscape painting is by Louisiana artist Lisa Di Stefano.

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home, collaborated with the team from the start, and she brought in designer Sara Deane. For McAleer, the challenge was how to deal with all the wood. The solution? To create a whitewashed nickel-gap backdrop against which the Douglas fir elements could shine. “We wanted to showcase the timber without letting it take over,” McAleer says.

The treatment softens and lightens the interiors and lends a sense of place. “The wood frame has such a mountain feel; it’s what you picture on the side of Sugarloaf,” Chase explains. “We put a coastal spin on it to mesh with the Maine beach location.”

The decor helps marry the mountain architecture to the seaside site. The fresh color palette and the blend of geometric, organic, and bohemian patterns combined with well-made comfy furniture in traditional silhouettes, as well as vintage finds and a

smattering of seagrass, produce a lived-in look that feels perfectly at home on the Maine coast. It’s just what the family wanted.

“We love the happy, energetic colors and relaxed, homey feel,” Jane says.

A charming arch-top door crafted by Barry Chase, Colby’s father and the company head, leads into the whitewashed, woodplanked entry. Here, the wood structure and a stair rail with painted steel balusters provide architectural interest. The neutral space allows visitors a peaceful moment before looking beyond to the colorful, open living space. “We used greens and blues, which work in winter and summer,” McAleer says.

Beneath the hand-forged iron chandelier that hangs from the Douglas fir–lined, rotunda-like ceiling, the designers pulled together pieces that epitomize fine, rustic living with a breath of fresh air. A vintage

In the girls’ bedroom, a loft and a trundle bed provide extra space for sleepovers (opposite). For the shades, interior designer Annsley McAleer used linen from Ferran, designed by Cape Cod­–born creative Kathryn Ferran Kayajan.

A custom-crafted door opens into the entry hall with eight-inch-wide white oak floorboards, which run throughout the house (above, left).

Blue and green lights from the Urban Electric Company hint at the home’s color scheme. Sister Parish “Serendipity” wallpaper with handprinted stars graces the ceiling in the mudroom (above, right), making an otherwise utilitarian space special. Cleat-like hardware references the home’s coastal locale.

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faux-bamboo armchair with a caned panel back, a sturdy wingback chair, and a pair of bobbin lounge chairs with generous cushions join a Verellen sofa in front of the fireplace. The small-scale geometric rug is indoor/outdoor because, in an oftfrequented second home, a designer can never be too careful. “Sometimes the kids aren’t the messy ones,” McAleer laughs.

A curated mix of patterned pillows made from textiles by Christopher Farr, Peter Dunham, and Lisa Fine adorn the window seat that is tucked into an enormous bay.

“The global vibe correlates to this welltraveled family’s love for a good adventure,” McAleer says. Unsurprisingly, it’s the most popular spot in the house. “The girls read or

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play board games there for hours while the sun pours in,” Jane says. Sconces with emerald green glass shades stand out like jewels on the Douglas fir posts and tie into the row of green O and G Studio fan-back stools at the kitchen island across the room.

The team reconfigured the kitchen layout, replacing a peninsula that hemmed in the cooking space with a simple island with timber posts on either end. The cobalt blue range—a must-have for Jane and the starting point for the color scheme—pops against the clean white cabinetry and the highly textured subway tiles set with charcoal-colored grout.

An O and G dining table, stained a rich blue that lets its ash grain peek through,

(This spread, from left to right) Splattered ceramic lamps by Penny Morrison plus a buffet with handwoven seagrass doors create a textural moment with some color in the back of the dining room. McAleer collaborated with Colby Chase of Chase Construction on the design of the stair rail: “It was important that the balusters be a different material from the wood,” McAleer says. In the girls’ bathroom, artwork by Dorothy Shain hangs over a Waterworks tub painted in Benjamin Moore’s Antiguan Sky; McAleer specified board and batten for the walls instead of shiplap. Built-in bookcases run the entire length of the hall on the second floor.

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Incorporating older things softens a house and lends character.”

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anchors the adjacent dining area. “We visited the O and G Studio in Rhode Island; my husband was fascinated by their woodworking processes and attention to detail,” Jane says. “When Annsley suggested a blue dining table, we were like, ‘Yes!’” To break up the large expanse of blue, the designers surrounded the table with natural wood side chairs with hand-woven rush seats. Then they stationed curvy armchairs with sky blue bouclé and Moroccan-inspired, hand-printed linen upholstery at the ends. “The room is so large, it’s a blessing,” Jane says. “We can fit 14 at the table and another 5 at the island.”

Similar furniture and accessory styles in the bedrooms maintain continuity, though each room has a flavor of its own. In the first-floor guest room, where Jane’s parents sleep, pale lavender grasscloth-covered

walls imbue a mellow dreaminess that is countered by a faux-bamboo bed. Navy blue nightstands and a pendant light with a woven abaca shade tie it to the coast. The second-floor guest room, which is outfitted with navy blue beds, hand-blocked fabrics, and sconces with wicker shades, has a similar sensibility.

The primary bedroom sits behind a double pocket door hidden in the 35-footlong stretch of built-in bookshelves on the second-floor landing/library. The room’s grasscloth wallcovering is neutral and slightly striated, and the bobbin bed boasts an upholstered headboard and footboard.

Drapes with leafy vines soften the Douglas fir window frames, and a sitting area looks to the ocean. “You can listen to the waves,” Jane says. The en-suite bath, with its white-

(Opposite, clockwise from top left) For the dining area on the back patio, McAleer topped elegant saber-leg side chairs by Summit with custom cushions in a green pattern resembling grass. Large artisan-woven baskets from Choix inject softness against the fully tiled wall and herringbone-mosaic tiled floor of the first-floor guest bath. The primary bedroom, done in a medley of powder blues, includes a Kathryn Ireland Moroccan-weave, linen lumbar pillow, Lisa Fine Textiles lampshades, and drapery with leafy vines by Raoul Textiles.

The Pintura Studio ikat fabric used for the shades and the Alex Conroy thistlepattern linen used for the pillows were the starting points for the second-floor guest bedroom (above).

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washed nickel-gap walls, chunky soaking tub, and marble basket-weave tile floor, mixes elegance with country casual.

The girls’ bedroom is all sorts of fun.

To bring down the scale of the sky-high space and make it feel more intimate, McAleer commissioned Pauline Curtiss of Patina Designs to hand stencil the ceiling. The boho pattern plays off the John Robshaw fabrics sprinkled throughout the room. “We had no concept of what 19 feet high felt like!” Jane says. Once she did, she suggested building a loft. It’s only three feet wide, but twin mattresses and big pillows

make it the ultimate hideaway. “You’ll always find somebody up there,” Jane says.

The room Jane might like best, however, is the girls’ bath. The board-andbatten walls differentiate it from the rest of the house, as does the patterned floor tile and sky blue clawfoot tub. “Everyone is obsessed with those Peter Dunham concrete tiles,” McAleer confirms. Jane points to the powder room’s starburst ceiling paper as another high point. “Annsley is so very good; we love it all,” she says.

“Why would we even try to do anything ourselves?” MH+D

The Janus et Cie sofa on the screened bluestone patio is made from all-weather wicker (opposite). “It’s very comfy,” McAleer says. “You sink right into it.” The lounge chairs and coffee table are by Summit.

The backyard (above) is the perfect site for lawn games, which are a frequent pastime for the family. “We wanted a lawn that would be wide open and flat,” Jane says.

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INSIDE LOOK 17 New & Noteworthy Maine Interior Design Projects

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he goal for this home was to feel like an adventure. So that, when a person came into the space, they would get to see small glimpses of the owners’ lives through their pictures, books, and artwork. “I loosely used the concept of an old bookstore you may find tucked away down some alleyway in Paris to describe where I wanted to go with the design,” says Susie Coughlin.

Coughlin found herself working with two very different styles: a cozy, L.L. Bean vibe and a modern artists’ loft like you would see in downtown New York City. “It was definitely a challenge, but luckily everyone agreed to compromise and meet in the middle,” Coughlin says.

Using richer, moodier colors in unexpected ways gave

the feeling of being unique and artistic but also cozy and comfortable. The design relied on mixing modern lines with more traditional soft layering and art. Keeping the same moody color scheme throughout the house kept the whole look cohesive and using various styles of furniture allowed the space to remain exciting and fresh.

Coughlin’s unofficial tagline is “eclectic and modern design,” and this space hits both notes. There is no one particular theme running throughout the house, so in many ways every room offers something unique. The end result is a home that is warm and inviting, relaxed and unpretentious yet curated and polished, all at the same time.

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FARMSTEAD FIRM: ARIANA FISCHER INTERIOR DESIGN DESIGNER: ARIANA FISCHER P H OTO G R A P H E R : E R I N L I T T L E LO C AT I O N : B R U N SW I C K

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his nineteenth-century farmhouse is surrounded by actively farmed fields on a long country road.

The owners are a couple who went to college together in Maine and have a deep connection to and nostalgia for the region. They live in a modern flat in California during the year and have a ski house in Utah, but for this home they wanted the design to reflect the historical farmstead that it is. Fischer fully embraced classic country New England style with modern touches.

One of the biggest challenges was the sunken living room, which was narrow and long. The clients are a family of four with a revolving door of family, friends, and neighbors, so the main living area had to be able to accommodate a good number of people. Ariana Fischer had a built-in sofa made so that the whole space would be usable for seating. It gives a very loungey vibe with just a hint of modernism.

The clients wanted to use a black and white palette, but since those colors alone have the potential of feeling stark and cold, Fischer brought in natural warm tones in wood and heavily textured fabrics to soften it. The result?

Country with a bit of an edge. Almost all the artwork is contemporary photography with the exception of a few Spanish antiquities inherited from a parent. The varied art collection, while initially risking being over the top for a traditional Maine house, is integrated in a way that adds character and depth to spaces. “I love the challenge of pulling seemingly disparate aesthetics together and making it work, creating harmony,” says Fischer.

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erene and organic with modern minimalistic warmth” is how Sarah Duquette would describe the vibe of this Ogunquit cape, the interiors of which partner effortlessly with the outside views of the woods and pool area.

The main color palette was chosen based on the natural materials used in the decor—white oak, marble, rattan, leather, concrete—and contrasted with black and white.

When the designer first saw the home, it was dark and dated and felt claustrophobic. Her vision was to create sweeping sight lines across the spaces, making everything feel weightless. The walls, ceiling, and trim were painted in Benjamin Moore’s Super White, serving as a perfect backdrop to the many varied textures.

“Even on the darkest of days it feels light in the house,” Duquette says. The living room upholstery utilizes Crypton fabrics for heavy wear and tear. “The clients have teenage children and wanted to have a big open space that would invite more family time together, even if they were engaged in individual activities,” Duquette explains.

An inlaid clamshell coffee table in the small conversation area is a showstopper, and the floor-to-ceiling Thassos marble fireplace is flanked by floating white oak consoles and shelves.

When not in use, the family’s smart TV turns into a work of art on the wall.

Duquette believes that the best interior designers are conduits who take a client’s innermost wishes and create a space they both love and feel at home in. She was thrilled to give this client a beach house inspired by nature and texture but not pigeonholed into more traditional definitions of New England waterfront homes.

MODERN BEACH RENO F I R M : D U Q U E T T E & CO M PA N Y D E S I G N E R : SA R A H D U Q U E T T E A R C H I T E C T U R A L D E S I G N E R : LU CY G O R H A M P H OTO G R A P H E R : R O B K A R O S I S LO C AT I O N : O G U N Q U I T

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BRIDGE ROAD F I R M : H E I D I L AC H A P E L L E I N T E R I O R S D E S I G N E R : H E I D I L AC H A P E L L E C A B I N E T M A K E R S : N O R T H E WO O DWO R K I N G P H OTO G R A P H E R : E R I N L I T T L E LO C AT I O N : B I D D E FO R D P O O L

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he inspiration for this kitchen refresh was the serene oceanfront setting and the fun, creative couple Heidi Lachapelle was designing for. “This is a forever home, and we took great care in considering every detail,” Lachapelle says. The space feels both warm and modern, with everything in its place, also making it neat and tidy. Lachapelle didn’t want to detract from the view, so she selected soft and natural colors and textures that wouldn’t overwhelm the space but would still give it lots of personality.

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The kitchen is in a relatively small area, creating the task of fitting a lot of function without making it feel cluttered. This was accomplished by maximizing cabinetry space with an addition of a pantry a short walk away from the kitchen, as well as in the smart design of the coffee bar.

Appliances were concealed to avoid breaking up the sightlines too much.

The palette is based in neutrals: warm white, walnut, soapstone, and marble. The cabinet profile is a slim Shaker style—modern, yet traditional. Edge pulls add a modern element, as do stools custommade by local furniture designer Adam Rogers.

The result is a combination of smart design with careful material selections, making a kitchen that feels timeless and classic but still maintains a bit of an edge. “Our projects are always reflective of our clients,” says Lachapelle. “We like to see ourselves as the editors.”

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LAKEHOUSE RENOVATION FIRM: FIORE HOME D E S I G N E R : VA N E S SA H E L M I C K , JAC K I E A N D R E WS CO N T R AC TO R : DA N N Y F I S H E R O F F I S H E R C U STO M C A R P E N T RY P H OTO G R A P H E R : S E A N L I TC H F I E L D LO C AT I O N : R AY M O N D

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he clients wanted a classic blue and white color palette for this Sebago Lake house. Fiore Home created a calm and airy space using a water inspired palette grounded by earthy textural elements of white oak, walnut, rope, and grasscloth.

The biggest challenge was that the architecture of the home lacked 90 degree angles. Many of the rooms being renovated were hexagonal or octagonal shaped, but the firm wanted to keep moving walls to a minimum.

The fix? The same color palette was used throughout the house to bring cohesiveness and to soften all of the angles. The wood species used in flooring and furniture were all similar in color and texture.

The guest bathroom had seven walls, which the designers wrapped in a wave patterned wallpaper.

A custom vanity meant to look like a furniture piece

grounds the space and draws the attention away from the many corners. It is accented by matte brass cabinet hardware and nautical inspired sconces.

For the five-walled, four-windowed breakfast nook, a built-in bench was added to the room, creating a focal point and symmetry. The bench is covered in a textured blue Perennials outdoor fabric to hold up to both sunlight and guests who have been swimming in the lake. The abstract blues of the pillows add dimension, and the Ethnicraft white oak pedestal dining table complements the wide plank white oak floors.

All of the materials selected are extremely durable, sustainable, and hold up well to UV rays, entertaining, lake life, and dogs. Fiore Home's goal is to create beautiful spaces that are livable and acquire patina with time.

It’s a place to truly relax and not sweat the small stuff.

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SCARBOROUGH REFRESH F I R M : H U F FA R D H O U S E P H OTO G R A P H E R : M E R E D I T H P U R D U E LO C AT I O N : S C A R B O R O U G H

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his first-floor renovation came from the clients’ love of sports and entertaining, with their main goal being to repurpose their underutilized formal living room into a bar and home entertainment space. Developing the connection between the bar and open-concept kitchen and dining area was probably the biggest design challenge. The team at Huffard House widened the doorway between the bar and kitchen/dining room creating two spaces that easily flow while also maintaining enough separation. A beautiful walnut-wrapped beam was installed to accent the newly widened opening and visually separate these two spaces.

Walnut was also selected for the bar countertop and floating shelves. The hardwood floors throughout the first floor were refinished by Casco Bay Hardwood Flooring in a rich brown. The walls in the three adjoining spaces were painted with Farrow and Ball’s Shadow White, which is quite warm.

With the new open living space, it became a priority to update the kitchen finishes. Being conscious of cost, Huffard achieved a fresh look by painting the existing kitchen cabinetry in a neutral color, SherwinWilliams’s Egret White, and updating the island color in Farrow and Ball’s Stiffkey Blue to match the bar peninsula. The previously dark granite countertops were replaced with white quartz, cabinetry hardware was changed out for a matte-black finish, pendant lighting was added, and a Clé Tile hexagon backsplash was installed behind a new farmhouse-style sink. The result is a bright, cohesive, and welcoming first-floor living space where the clients can happily entertain friends and family at home.

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he architecture of this West End home is traditional and detailed. Honey Collins worked with her clients to create designs for each room that honored the past but also incorporated modern elements and colors to give the spaces an updated feel. With the use of a strong color palette and various textures, each room became warm and inviting, which felt like the biggest challenge in this design. Many of the rooms in the home, which were large with beautiful moldings, felt cold, in need of personality and purpose.

The house had such a large entryway that Collins decided to create a few different areas within to give the room warmth. The antique center table anchors the space, and Collins then created a small corner sitting area with a beautiful antique chair. The Oushak rug adds color and movement. Collins and the clients visited artist Laurie Fisher’s space in Portland and found the perfect modern piece to place above the antique chest.

The Honey Collins philosphy is to have rooms with touches of old and new—antiques combined with modern pieces. Collins sourced many of these pieces from Atlanta, where she is from. The client, also being from the South, appreciated the use of antiques combined with modern elements. “This project perfectly illustrates what I love best,” Collins says. “Taking a well-loved, family-centered place and incorporating new materials and updated designs, while never losing sight of the history of the treasured antiques.”

VAUGHN STREET F I R M : H O N E Y CO L L I N S I N T E R I O R S D E S I G N E R : H O N E Y CO L L I N S B U I L D E R : W R I G H T- RYA N P H OTO G R A P H E R : SA R A H W I N C H E ST E R LO C AT I O N : P O R T L A N D

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HOUSE ON THE SHIPPING CHANNEL F I R M : B A N K S D E S I G N AS S O C I AT E S /S I M P LY H O M E D E S I G N E R : L I N DA A . B A N K S P R OJ E C T M A N AG E R : DAV I D L E B L A N C P H OTO G R A P H E R : F R A N ÇO I S G AG N É LO C AT I O N : C A P E E L I Z A B E T H

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esigning this home from the ground up, Linda Banks’s team based the entire palette on the soft gray floors, which were inspired by the faded gray glacial ledge on which the house is perched. The home is drenched in light, with a partially open plan and bold interior architecture. This was intended to be the ultimate couple’s retreat and the ideal weekend getaway for the clients, who also like to host family and friends.

Banks wanted a welcoming but strong “classic American” vibe, somewhere between New England country and semiformal. The soft, inviting fabrics and furnishings are decidedly uncluttered. The allowable footprint for the new build, due to lot size and its proximity to the shoreline, required a vertical, three-story floor plan. Keeping the spaces open to each other and creating a practical layout without hallways was the biggest challenge.

A few favorite pieces are the limestone fireplace Banks sourced from Jamb in London, a weathered gray custom coffee table from Italy, and the David Witbeck fisherman painting above the fireplace. The kitchen is a combination of symmetry, honest textures, and practicality.

Banks says the home is a perfect representation of her team’s design philosophy: “Include beautifully appointed and exceptionally well-resolved interior architecture, strive for symmetry, incorporate as much natural light as possible, display art, and make sure the furniture is comfortable, tidy, and not too big,” she says. “But most importantly, it should look like I was never there when I am gone.” For Banks, this means no two projects look the same, ever.

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HARBORSIDE SHINGLE F I R M : L E A N D R A F R E M O N T- S M I T H I N T E R I O R S D E S I G N E R : L E A N D R A F R E M O N T- S M I T H BUILDER: KNICKERBOCKER GROUP A R C H I T E C T : S U SA N L . M E N D L E S O N P H OTO G R A P H E R : J E F F R O B E R TS LO C AT I O N : B O OT H B AY H A R B O R

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he spectacular view of Boothbay Harbor was the biggest design inspiration for this project. The team aimed to create a sophisticated and harmonious interior that would comply with the clients’ needs, from entertaining to relaxing, while emphasizing the home’s stunning view of the harbor. To accomplish this, a cohesive blend of neutral hues with the occasional pop of color were chosen to add excitement and interest.

This harborside retreat is elegant yet projects a sense of comfort and calmness. The designers aimed to make the kitchen sophisticated, using a palette of white and grays combined with the metallic tones of polished nickel found in the cabinet hardware and light fixtures. The bold, dark walnut floors ground the room, while playful splashes of color can be found in the fabric on the back of the bar stools, which coordinate with the lacquered wet bar and playful powder room wallpaper.

The biggest challenge was that the home is situated on a very narrow lot, and the clients wanted an unobstructed view of the water. To do this, an open floor plan was created for a calming flow throughout the home, keeping the view of the water as the main focal point. The kitchen features crisp white cabinetry along a marble backsplash, leading the way to an understated but elegant glass dining tabletop with marble pedestals.

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HISTORY IN THE REMAKING F I R M : E N C L AV E I N T E R I O R S D E S I G N E R : M A R I A N N E L E S KO P H OTO G R A P H E R : F R A N ÇO I S G AG N É LO C AT I O N : P O R T L A N D

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esigner Marianne Lesko wanted to keep the integrity of this historic home on Munjoy Hill but update it for modern living. The living room has 12-foot-high ceilings and full-height windows, along with traditional marble mantels for the original coal stoves as well as ornate plaster ceiling mouldings. Lesko wanted to take advantage of these traditional elements and combine them with a more modern sensibility by using current furniture, objects, and artworks.

This was clearly a space where the mixing of antique and modern would make a spectacular effect. By retaining the traditional elements of the room and keeping an open, uncluttered space with a careful selection of modern and recent vintage pieces, the designer was able to create a warm and comfortable feel even though the space seems very grand, striking a careful balance of the opulent with the casual, and the antique with the modern.

The two biggest challenges Lesko faced were choosing the color of the room and resolving the imbalance of the windows.

With such a large space, the color needed to be subtle but also highlight the room mouldings, furniture, and artworks.

In addition, the southern wall of the room had beautiful floorto-ceiling windows, while the northern wall had no windows at all. This created a disturbing lopsidedness to the room. The solution was to design and build custom bookcases that mimic the size, shape, and mouldings of the original windows on the opposite wall. They were created by local furniture maker Gabe Keith Sutton in Biddeford.

Throughout the house traditional paint colors by Farrow and Ball were used. The living room (shown here) was painted in Brassica, a dark lavender with gray tones. This had the effect of bringing out the original plaster mouldings. The centerpiece of the room is a Swedish-designed sofa, the Bob sofa from Blå Station, covered in a jewel-tone green cotton velvet fabric that complements the room’s traditional elements. The artworks are by a mixture of local and European artists, including Rachel Gloria Adams from Portland and Jean-Philippe Pernot from Paris.

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BACK COVE DUTCH COLONIAL FIRM: TYLER KARU DESIGN AND INTERIORS DESIGNER: TYLER KARU P H OTO G R A P H E R : E R I N L I T T L E LO C AT I O N : P O R T L A N D

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he original 1930s architecture, the owner’s collections, and the urban waterfront setting inspired the overall design of this Dutch Colonial. The plan was to create a clean space and allow light and nature to easily flow into the interior plan. It was important to maintain the charm and qualities of the original house while also updating the systems and functions of the home to today’s standards.

The furnishings were eclectic: antiques, custom pieces, and collected items mixed with more sleek modern selections. Just the right balance was struck by creating a clean palette that allows the art and furnishings to speak for themselves. Each room is designed to showcase specific pieces. The majority of the house is a timeless, clean, warm white that acts as a blank canvas. The office and the guest room are dark and moody, which is what the furnishings and art dictated. The homeowner’s mother was a renowned portrait artist, and Tyler Karu made sure that her work was strategically and thoughtfully displayed. The design of the home is personal to the client, reflecting her history and individual style.

This space is a direct reflection of the firm’s design philosophy, using antiques and heirlooms to inform the design direction. This ensures that the project is personal, allowing the client to curate and cultivate collections of art and furnishings over many years.

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NEUTRAL PLAYGROUND FIRM: MORRISON DESIGN HOUSE DESIGNER: JENNIFER MORRISON P H OTO G R A P H E R : E R I N L I T T L E LO C AT I O N : FA L M O U T H

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ennifer Morrison used Maine’s shoulder seasons as the inspiration for these rooms. “While the weather here is often unpredictable between fall and winter,” Morrison says, “the coloring is particularly beautiful.” The color palette she chose is primarily cream tones with the occasional contrast from art and furnishings. Dark hardwood floors set off ivory rugs, furnishings, and window coverings.

Morrison’s team chose a photography print from Heidi Kirn to hang over the bed and a number of botanical prints to hang in the living room, a dramatic choice when set against the alabaster white of the walls, but one that brings a sense of modernism to the rooms. The drapery in both the living room and the bedroom was custom-made in Belgian linen.

The client has two small children, a dog, and a cat but prefers light-colored materials, meaning everything had to be kid- and pet-friendly. “She wanted everything to be neutral but low maintenance, which can be a challenge,” Morrison says. “Thankfully, performance fabrics have come a very long way.”

Morrison Design House strives for simple, natural, and timeless interiors, and these spaces capture all three of those philosophies. The rooms are cozy but grown up, with nothing feeling overly fussy and comfort being paramount.

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esigner Samantha Pappas gathered inspiration for both the kitchen and bathroom of this Freeport home from vintage items the homeowners already owned.

The midcentury modern table and chairs as well as the vintage radio set the tone for the entire design. This, combined with the beautiful natural surroundings of the property, influenced the colors, textures, and patterns throughout the space.

One of the more challenging aspects of this redesign was opening up the kitchen without changing the layout or footprint. The space needed to be more inviting, with room to easily entertain and a graceful flow and functionality for the client.

All the color and art in the space pulls from nature. Pappas wanted a neutral color palette but with deep hues, like the accent tile in the kitchen, and the dark charcoal floors in the bathroom. Since the homeowners owned some great vintage pieces, Pappas re-covered the dining room chairs with a fun Fayce Textiles linen in a pattern reminiscent of waves and a hue that pairs perfectly with the kitchen’s tile. The countertops are a honed quartzite that provides beautiful color and texture to the kitchen without being overwhelming.

The overall design is calming and creates an atmosphere where the owners can relax and rejuvenate. It is a modern and clean space that has become a peaceful oasis to gather and make memories.

HERON POND RENOVATION F I R M : SA M A N T H A S . PA P PAS D E S I G N D E S I G N E R : SA M A N T H A PA P PAS P H OTO G R A P H E R : CO U R T N E Y E L I Z A B E T H LO C AT I O N : F R E E P O R T

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DOWNTOWN PORTLAND ESCAPE F I R M : R O B I N DAV I S I N T E R I O R S D E S I G N E R : R O B I N DAV I S P H OTO G R A P H E R : M AT T CO N G D O N LO C AT I O N : P O R T L A N D

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he inspiration for this condo update came from the clients’ fantastic collection of art from Maine’s William Manning, along with their previously stored midcentury modern furniture. They own a traditional year-round home in Cape Elizabeth and had been renting out their downtown Portland property for about ten years. Since heading to Florida for the winter wasn’t an option during the early months of the pandemic, they thought they’d escape to the downtown condo for the winter in order to be less isolated. But its very dated interior needed some cosmetic changes.

A blank canvas was created to allow the furniture and artwork to take center stage. Walls that were once a dingy yellow were painted Decorator’s White by Benjamin Moore.

Wallpaper in modern patterns punched up the powder room and dining room. Davis also added walnut slated panels in the entryway, leaving the finish natural, and updated the fireplace panels in a painted charcoal to add some dimension to these once overlooked spaces. Fun and modern ceiling fixtures and table lamps were also added throughout.

A big challenge was to hide a television in the living room.

Davis was able to source a modern slat custom cabinet with power-up lifts from an Amish company in Ohio. Finished in a beautiful walnut, one would never know it holds a TV, allowing the clients to keep their art on full display while making it possible to catch a movie on Netflix.

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amilies have been coming to Boothbay Harbor’s Spruce Point Inn, year after year, for decades. Knickerbocker Group wanted to embrace the inn’s authentic, enduring appeal while giving it a face-lift for today. The firm was inspired by the 1892 inn’s coastal charm and sense of history—it was once a private fishing and hunting lodge, and notable summer guests have included a U.S. vice president and senator—as well as the inn’s incredible location: it’s poised among 57 acres of pine forest and on the Boothbay Harbor coastline.

The inn has classic coastal New England summertime style balanced with charm, elegance, and a sense of whimsy. It was important to honor the past while refreshing the spaces for today. Furniture and other pieces of decorative art original to the inn were given a second life with either a fresh coat of paint, new upholstery, or updated elements, like changing the shades on table lamps. These objects were paired with vintage pieces discovered at local antique shops and flea markets, and new pieces were sourced that would still feel intrinsic to the inn’s history. Taking inspiration from the inn’s name and its wooded location, touches of deep spruce green were added throughout, from the custom decorative latticework in an entryway to the contrast welting on the cushioned wicker chairs in the lobby.

Jewel box moments were incorporated in areas like the ladies’ room, updated with a Carrara marble countertop, a custom silk taffeta vanity skirt, and lobster wallpaper. The men’s room, which features toile foxhound wallpaper—a nod to the inn’s past as a hunting lodge. Vintage nautical flags were framed and hung above guest beds, and newer pieces, such as navy blue leather swivel bar chairs, feel as though they’ve always been there. Rounding out the eclectic mix are leather director’s chairs, brass travel trunks that serve as side tables, and a custom brass picture rail that showcases a mix of art pieces, from a print by local artist Brad Betts to a vintage painting of a sea captain.

THE SPRUCE POINT INN FIRM: KNICKERBOCKER GROUP INTERIOR DESIGN: KNICKERBOCKER GROUP D E S I G N T E A M : B O B F R A N C I S CO, S CO U T H A R TZ , C H LO E K R E G L I N G P H OTO G R A P H E R : DA R R E N S E T LOW ST Y L I N G : PAT T Y B O O N E LO C AT I O N : B O OT H B AY H A R B O R

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owerbird was initially inspired by the architecture as well as the raw structural elements that architect Kevin Browne used for the exterior of the building, and the designers wanted to bring that feeling through to the interior. Keeping the ceilings exposed seemed like the natural choice from the beginning, and the designers also chose polished concrete floors and black metal architectural glass wall systems by DIRTT. The interior is modern, creating a more refined industrial office space. Pulling from modern Scandinavian influences, Bowerbird paired light woods, such as exposed Baltic birch plywood, with details like modern industrial and contemporary lighting fixtures. The space is minimalistic with clean lines, yet warm and inviting. Special consideration was given to sight lines so that, no matter where one is situated in the space, one’s eyes are met with visual interest. Since the space was open and all on one floor, the designers used several elements to divide it up; examples include an open bookcase, felted panels, carpets, and a partially suspended ceiling.

The color palette was largely inspired by the Interface carpet product called Video Spectrum. It has layers of color on color, creating depth and texture. It was exactly what was needed to offset the industrial neutral palette of blacks, grays, and off-whites. The accent color, Bermuda Blue (a deeply saturated jewel tone), creates a stunning backdrop to the main workstation layouts and conference room.

A custom-made 7- by 7-foot steel base table became the center of the resource library, a place to gather, restore, and study. For this special piece, the designers worked with Huston and Company of Kennebunkport. The graphics in the library include a series of interworking cogwheels, referencing Scorebuilders’ own ingenuity; Scorebuilders was the first commercial building at the Downs development, so the client was excited to include the Downs logo next to their own within the cog mural.

SCOREBUILDERS F I R M : B OW E R B I R D D E S I G N CO L L E C T I V E D E S I G N E R : M E L A N I E S C A M M A N , L AU R A ZO U L A M I S P H OTO G R A P H E R : L AU R E N H OT T E N G E R LO C AT I O N : S C A R B O R O U G H

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he Claremont is one of Maine’s most historic hotels.

The six-acre shorefront property has provided a classic summer refuge to visitors seeking a quiet coastal respite since 1884. “The property has seen generations of guests and celebrations, so much of the inspiration for the design is in sustaining that nostalgic, bygone era that guests have enjoyed for years on the property,” says Laura Keeler Pierce, founder and principal designer of Keeler and Company.

“Old iconic images were referenced of people dressed for any and all occasions, enjoying the mundane in style,” reveals Krista Stokes, lead designer and art director at the Claremont. It was all about taking the moments and elevating them with small details.

“The gardens, the woods, the harbor, the smells, the mountains, the local people, all of it is magic,” says Stokes. The goal of the designers was to make the guests feel inspired, lighthearted, transported, sentimental, and nostalgic.

The biggest challenge in designing the Claremont was also its greatest opportunity. The Claremont is an iconic Mount Desert Island hotel and has been home to moments of significance for so many. Ensuring that the hotel remained true to its roots—a grand dame on the edge of Somes Sound—while being enhanced with the amenities that today’s travelers require took a special balance. Consideration was taken to retain and enhance architectural details in the public spaces, such as coffered ceilings, custom millwork, and sophisticated paneling, the kind of consideration given to the summer cottages found throughout the island.

And the designers leaned on decorative elements to pull out that nostalgia and charm, whether with iconic wallcoverings from Sister Parish or mixtures of textiles by William Morris and Pierre Frey, creating a layered, collected experience. The majority of the new artwork is by David Allen and Claire Cushman. All of this is enhanced with furnishings, art, books, and ornaments that were original to the hotel.

The color palette was inspired by the hotel’s surroundings: the edge of the ocean and Acadia’s iconic mountains. Guests can find greens, blues, and pops of cherry throughout the main building, while the oceanside spaces have a more nautical flair, and the wooded cabins are mossy and intimate in their color palettes.

After an extensive transformation guided by a strong commitment to excellence, attention to detail, and passion for creating unforgettable hospitality experiences, this coastal Maine classic has been reborn with a modernized twist.

THE CLAREMONT F I R M : K E E L E R A N D CO M PA N Y A N D K R I STA STO K E S D E S I G N E R : L AU R A P I E R C E A N D K R I STA STO K E S P H OTO G R A P H E R : D O U G L AS M E R R I A M LO C AT I O N : S O U T H W E ST H A R B O R

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PROF ILE |ALL I E NO R M AN

Allie Norman is the bubbly, sharp brain behind Portland's Girl That Designs

by Katy Kelleher // Photography by Christina Wnek

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A

Allie Norman just wanted to design a beer label. The designer had moved to Portland—a mecca for craft brew enthusiasts—after spending time working and traveling abroad.

Although she had studied graphic design in college and had been working as an art director for an agency, she didn’t feel satisfied in her freelance career. “I wanted to find my niche, and to change the kind of jobs I was getting,” she remembers. “So I started designing labels for myself. I started making the kind of work I wanted to see.”

Four years ago, Norman designed around 60 labels for her own education and amusement. It took a little time, but this hard work has paid off handsomely. Her company, Girl That Designs, has created graphics for over a dozen brews, plus she’s done work for cannabis companies, specialty food retailers, and even a few farms. “I had always enjoyed the beer scene, especially how everything is LOCAL, in all caps.

I liked the community. I liked how stoked everyone was to promote each other,” she explains. “Now, I pretty much only work with restaurants, breweries, and other local businesses in that realm.”

Norman is, in local parlance, “from away.” Like me, she’s a Massachusetts transplant who happened upon Maine. Her sister and sister’s partner were living here, and they had just welcomed their first child. So Norman decided to move in with them and give the Pine Tree State a go while helping

P RO F I LE | A LLI E N OR MAN

out with baby Ezra. “I’m marrying a Mainer next month,” she says (and one she met through the brewery scene to boot).

“I can’t imagine ever leaving.” She fell in love with Portland’s small-town vibe, but also with the big-city level of talent in its creatives. “Having lived in other places, I’ve never felt that there was such a large amount of inclusion,” she says.

“Portland’s unique.”

Norman explains that the past few years have been a bit “magical” and “like a fairytale.” It could sound saccharine coming from someone else, but Norman seems genuinely upbeat. Giddy, even. She’s built a career she loves, she’s about to get married, and she’s managed to turn the lemons of the past two years into lemonade through sheer force of will. At the beginning of the pandemic, she admits to panicking. “It was just months into my freelance career, and clients were emailing me saying, ‘Stop work immediately, we can’t pay you,’” she says. A month passed. Norman continued to panic privately. Then commissions started rolling in. Restaurants were looking to redesign their takeout menus (not to mention signs reminding visitors to mask up). Breweries were rebranding. Everyone was pivoting. And during those dark hours, Norman’s whimsical, nostalgia-infused style probably felt warm and comforting. “I also saw a lot of people trying to find their happiness,” she says. “People were grabbing on to their dreams.” In the process, they were helping buoy hers.

After moving to Maine in her late 20s, designer Allie Norman began building a career based on her passions: typography, beer, food, and community (opening spread).

Norman’s style is bright, whimsical, yet often quite sophisticated (opposite). She pulls inspiration from European design and typography and has even been known to comb government archives for visual information.

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P ROF I LE | A LLI E N OR MAN

That’s the thing about buying and working local: it can act like a net, fishing everyone out of the deep end. “Two years ago, I was doing some cold emailing, telling people, ‘I love your business, maybe we can work together?’”

Norman says. “Now it’s word-of-mouth, and I’m booked up through the year.” During this time, her artistic style has shifted a little. “It’s cleaner,” she says. “It’s becoming more sophisticated.” She’s found herself delving deeper into the history of design, color, architecture, and symbolism, seeking to understand why something appeals to her and how it will transmit a similar message to others. “I’ve been thinking more critically about why each element is there,” she says. “Where does a specific style come from?”

Scrolling back through her portfolio, it’s easy to identify certain themes. There’s funky, psychedelic, ’70s-tinged nostalgia. There are quirky bursts of folklore, like a series of cans she designed for Belleflower Brewery based on a hex sign that hangs above a founder’s ancestral farm.

There are the “campy, farm vibes” of her recent designs for Gorham’s Orchard Ridge Farm. In the early stages of

the design process, she likes to trawl through the Library of Congress to grab type, colors, and images that might align with her client’s business. “I get inspiration everywhere, honestly,” she says. “Even from stickers in a public bathroom, or walking down the street and seeing some old type.”

Norman is a “pretty prolific artist,” she says. Every day, she tries to set aside some time to do work purely for herself. This is where she plays around with new color schemes and riff s on familiar themes. In October 2021, for example, she sat down to create a series of graphics based on famous haunted houses from movies, including the Victorian featured in Practical Magic and the bungalow from Hocus Pocus. The graphics are streamlined and sharp, but somehow just as charming as the rest of Norman’s designs. She’s a bit of a workaholic, but that’s not so bad when your work involves visiting places like Cheese Louise and Belleflower Brewery on a near daily basis. “I love to go and sit and have a beer out of a can I designed,” she admits. “I mean, how cool is that?” MH+D

(Opposite, clockwise from top left) During the pandemic, Norman saw an uptick in business; the hospitality industry was suffering, but it was also shifting to accommodate a new reality. A self-starter, Norman began designing beer labels without any particular job in mind, but jobs, like for Belleflower Brewing, soon came to her. She has worked on product design for several local Portland eateries, like Cheese Louise in the Old Port. The ’70s psychedelic influence can be seen in much of Norman’s color selection.

Norman recently designed the graphics for the Portland Board, a new mobile charcuterie van (above).

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S H O P T A LK | LE A N DRA DE SI GN

L

eandra Fremont-Smith needed a change of scenery. For years, she had loved running her successful design business from the barn attached to the back of her home in Yarmouth.

As she recalls, “I could have my kids get off the bus and be right there. I could do a load of laundry.” But it had finally become “almost too comfy and perfect,” she says. “I said to myself, ‘If I see one more FedEx truck come down here, I don't know what I'm going to do!’ It was a soft nudge.” After a year in which so many of us worked from home offices, the scenario is probably familiar; what might not be as typical is the ease with which Fremont-Smith found an ideal new location that brims with possibilities, and it was just down the road.

Fremont-Smith grew up in Essex, Massachusetts, a town renowned for its many antique shops. She feels her design training really started in childhood, as she spent hours exploring these treasure troves alongside her parents, who are specialists in Colonial and French antiques. She even helped her parents as they renovated historic buildings in Boston’s financial district. After graduating from Harvard University and spending time at the American University of Paris and the Boston Architectural Center, she turned her passion for interior design into a thriving business with clients up and down the East Coast.

Finding a new home for the design business came about serendipitously. “I have a friend who owns this adorable store called Gingham, which is at the other end of town,” Fremont-Smith recalls.

It turned out that the storefront next door to Gingham was for rent. “It had been vacant for a couple of months, so I called that morning and got a tour the next day.” She and her husband went to see the space, and both were immediately thrilled.

“My husband said, ‘This is perfect.’ And I was like, wow, because normally he says, ‘Let's think about it,’” she remembers. The decision was easy, as were negotiations: “They gave me the key right there. I have the nicest landlords ever.”

Lovely Little Surprises

by Leah Whalen Photography by Christina Wnek

Leandra Fremont-Smith contemplates pop-ups and cultivates showstopping window boxes at her downtown Yarmouth design studio

Leandra Fremont-Smith, seen here cuddling Bosley the black pug, wanted a change in venue for her thriving design studio, Leandra Fremont-Smith Interiors. She was lucky enough to find the perfect spot in one of Yarmouth’s oldest and most storied buildings.

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This “perfect” new space has pride of place in Yarmouth’s Lower Village, in the building that until 2015 was the home of Goff’s Hardware, a local institution. Built in 1875, the aging structure presented a few challenges when setting up the design studio. “It’s a really old building and we did our best. Everything’s a little bit shimmed on either side. But we love it so much,” says FremontSmith. Given her childhood immersion in antiques and old buildings, she understands and appreciates the patina of an older space. The original floors, polished smooth by generations of feet, might put off another tenant, but Fremont-Smith adores them: “It’s a kind of French-looking herringbone floor that looked already worn. And I love it.”

She continues, “It was really easy to move in. I thought it would be overwhelming, but it wasn’t.”

With the change in venue for the business came new opportunities for connection. Called Leandra Design, the space serves primarily as the studio for her design business, Leandra Fremont-Smith Interiors. Here she and her team can brainstorm, meet with clients, and spread out their samples of fabric and finishes. As a design studio, it’s by appointment only; Fremont-Smith emphasizes that they’re not open for casual browsing in a conventional way at the moment. But she is definitely dreaming of future possibilities for the space. She has long admired the creative spirit of artists and artisans in Maine, as well as the local emphasis on small-scale production: “We have so many creative minds here, and everyone does it on a small scale instead of a big, overly materialized way,” she says. She sees retail opportunities arising from the connec-

Samples of fabric and wallpaper arranged neatly in baskets and bins provide instant inspiration (above, left). Bathed in the warm glow from the front window, the fall window box displays highlight gourds, mums, and ornamental kale (above, right). Phillipe Starck’s iconic Louis Ghost chairs coexist perfectly with worn nineteenth-century floors (opposite).

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S H O P T A LK | LE A N DRA DE SI GN

“

We have so many creative minds here, and everyone does it on a small scale instead of a big, overly materialized way.”

tions she already has in the community. “I’ve always been interested in jewelry design, and I love fashion.

I have a lot of friends in the industry. I’ll end up doing pop-up shops,” she muses. “I’m excited to do that.

We just need to be a little bit further through COVID and then get that up and running. Everyone needs to stay tuned.”

In the meantime, those traveling along Yarmouth’s Main Street can spend some time enjoying the clever, seasonally themed window boxes that Fremont-Smith

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and her team, with help from the Constant Gardener, have installed outside their front windows. FremontSmith explains, “We just want people to be really happy and bubbly when they drive by and just feel inspired—they don’t need to feel that they have to come in and buy a couch or anything like that.” She sees the window boxes as an important aspect of being part of a community, brightening her neighbors’ days. As she says, “We like to do it because it’s so fun.”

Stay tuned for more fun in this reimagined space.

S H O P T A LK | LE A N DRA DE SI GN

Thinking Outside the (Window) Box “I’m really into window boxes. I haven’t been able to do a ton with the storefront design, but the boxes are fun.

When people go by, it’s like Willy Wonka and his chocolate factory, but kind of high on fabrics and wallpapers and bright patterns,” Fremont-Smith jokes. Her company’s Instagram feed is an excellent inspiration for sprucing up boring window boxes; here are some tips we gleaned.

• D on’t forget to add visual interest at all levels. This fall’s boxes featured groups of tiny pumpkins suspended by green twine that cascaded over the sides of the boxes, balancing out the larger gourds and magenta mums nestled above.

• Too early for real blooms? Use paper or fabric scraps to make some colorful flowers, then go ahead and stick them into the frozen window box soil: they’ll brighten up the dull hues of a late winter’s day. Bonus points if they echo design elements on the inside of the window!

• Love the light you have: there are shade plants that will almost glow in low light, especially if you paint your window boxes a deep gray like Fremont-Smith did. (For more on the power of gray, see this issue’s Living Color, page 58.) Foliage and brightly colored begonias can brighten up any dark corner.

• E xperienced gardeners know this, but budding green thumbs, take note: change up your annuals frequently to reflect the changes in season. Pansies can take center stage in spring, but by Labor Day last year, the window boxes at Leandra Fremont-Smith Interiors were bursting with the bright pinks of late summer. MH+D Layering pottery, wallpaper, fabric, and wood, a design takes shape (opposite). The large windows let in lots of daylight in all seasons and all weather (this page, top). Bosley perches atop a settee to welcome visitors (this page, bottom).

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Wilderness LIGHT SIZZLES AROUND ME An ambitious new show from the Maine-raised, Brooklyn-based artist explores the power of language, the one-sidedness of history, and the wildness inside each of us

SHOWCASE

BY RACHEL HURN

L

esley Dill, a mixed-media artist whose works are in the collection of over 50 museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York, has just completed a new monumental exhibition a decade in the making. Wilderness, Light Sizzles around Me travels to Bates College Museum of Art after its debut this summer at the Figge Art Museum in Davenport, Iowa.

Dill, who was raised in Falmouth, Maine, and graduated from Waynflete School in Portland, continues to be influenced by New England’s past, to which she is deeply connected by ancestral roots dating back to early-seventeenth-century colonial America. As the 71-year-old artist told the New York Times in April 2020, when she was still very much buried in the hundreds of yards of fabric that would come to form the pieces in this show, “My theme is the theme

of the original European-American settlers and their almost Biblical sense of wilderness as a fear of the unknown. It was a place of the devil, where dangers—whether from Native Americans, wild animals, or starvation—lay to be conquered, to be controlled.”

Inspired by the poetry and prose of early American social activists, religious crusaders, and Native American leaders, Dill has created larger-than-life sewn-cloth figures and embellished them with words and symbols drawn from each person’s writings and experiences. Figures of the abolitionists John Brown and Sojourner Truth, the Shakers’ founder Mother Ann Lee, and the Sauk leader Black Hawk, among others, suspend from the ceiling and are surrounded by hand-painted, two-dimensional banners that further flesh out their stories.

Dan Mills, the director of the Bates College Museum of Art and the lead curator for the Bates show, describes Dill as “giving voice to people who weren't necessarily given a lot of

voice in our history in terms of our historical texts.” He goes on to describe Anne Hutchinson, who lived from 1591 to 1643 and was the Puritan wife and mother of 15 children.

Hutchinson became an outspoken and charismatic speaker on her personal religious beliefs.

She had visions and began preaching from her home, which, as Mills describes, was taken as insolent behavior by the religious structures and the male leaders at the time. “She was put on trial and banished from her community. She was known as the American Jezebel—which is really declaring devilry—because she spoke her words from her spiritual experiences to those who wished to hear it.”

Dill gives voice to Hutchinson and others, with works that explore the power of language, the one-sidedness of history, and the wildness inside each of us.

Lesley Dill: Wilderness, Light Sizzles around Me will be on view from January 21 to March 19. MH+D

Omnipotence Enough (Emily Dickinson), 2017, oil paint on fabric, wooden yoke, shoe lasts, 103¼” x 42½” x 5”.

The Wilderness Tattoo (Hester Prynne), 2017, fabric, thread, Cinefoil with gold leaf, ink on wooden base, 86” x 55” x 55”.

Sister Gertrude Morgan, 2021, acrylic paint, hand-cut paper, thread on cotton fabric, satin, plastic sheeting, wooden yoke, shoe lasts, 100” x 42” x 6”.

Revelator (Sojourner Truth), 2021, oil paint, thread on fabric, wooden yoke, shoe lasts, 103½” x 37” x 3”.

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SHOWCASE

BY RACHEL HURN

Dred Scott, 2021, acrylic paint on cotton fabric 100” x 60”.

Black Hawk, 2021, hand-cut paper, acrylic paint on cotton fabric, 100” x 60”.

John Brown: Meteor of the War, 2017, oil paint, acrylic paint, hand-cut paper, thread on fabric-backed paper, 62” x 84”.

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Written by Her Own Hand (Mary Rowlandson), 2017, oil paint, thread, paper on Tyvek-backed fabric, 82½” x 59½”.

Jonathan Edwards: Purity, 2018, fabric, thread, balsa wood, ink, 14” x 9” x 2”.

PHOTO: JEFF ROBERTS

DESIGN | BUILD

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Creating a colorful life.

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Interior Designer: Hurlbutt Designs Louise Hurlbutt hurlbuttdesigns.com Structural Engineer: L&L Structural Engineering Services Joe Leasure ll-eng.com Appliances: Ferguson ferguson.com Artist, Artworks & Gallery Info: Frank Lipari flipari.com Bath & Kitchen Designer: Eider Investments Marc Pellerin eiderinc.com Bathroom Fixtures: Ferguson ferguson.com House of Rohl houseofrohl.com Kohler us.kohler.com

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Waterworks waterworks.com Landscape Design & Masonry: Eider Investments Trevor Watson eiderinc.com Landscape Installation: Gnome Landscape, Design, Masonry & Maintenance gnomelandscapes.com Lighting: Hudson Valley Lighting hudsonvalleylighting.hvlgroup .com

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Mary Bumiller

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RE A L ESTATE

878 Shore Road Cape Elizabeth

Legacy Properties Sotheby’s International Realty $5,500,000 Lois Lengyel 207.780.8900 legacysir.com

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13 Sandlake Dr, Raymond - Sebago Lake $1,725,000 - Listing Agent

40 Papoose Island, Raymond - Sebago Lake - SOLD $3,500,000 - Represented the Buyer

47 Ladyslipper, Raymond - Little Sebago Lake - PENDING $2,400,000 - Representing the Buyer As a year-round lake resident, the Lakes Region is my backyard. If you are looking to buy or sell a lake property, I would love to help you navigate your way. As the only Legacy Properties Sotheby’s International Realty Realtor who lives on one of these special llakes, akes, I understand the idiosyncrasies about lake life and can answer all your questions, even those you didn’t think about.

SANDRA WENDLAND 207.233.7788 swendland@legacysir.com exploremainehomes.com

Connect with LegacySIR:

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Alexa Oestreicher 207.329.9307 | alexa@legacysir.com

196 Ocean House Road, Cape Elizabeth

Gorgeous historic home on a large 1.4-acre lot, conveniently located in the center of town near shopping, trails and award winning schools. Extensive period details throughout: ornate millwork, high ceilings, 3 fireplaces and more! Offered at $1,250,000

BET S Y COUG H L AN

I love working with buyers and sellers from around the globe and pride myself in quality work. I look forward to opening new doors together, showing you the best of this gorgeous state, and to finding YOUR perfect home!

207.229.3661 bcoughlan@legacysir.com

58 L A N G S F O RD RO A D , K E N N E B U N K PO R T 2 CH R I S T O PH E R R OA D K E N N E BUNK This 4-bedroom home is in walking distance to four beaches: Mother’s Beach, Parson’s Beach, Gooches Beach and Middle Beach. Features include a hot-tub on the sunporch, spacious backyard with deck and firepit, hardwood and bamboo floors throughout, custom blinds and more.

This oceanfront 3-bedroom home overlooks Cape Porpoise harbor and Goat Island lighthouse, with gorgeous views from every room. Features include a wrap-around porch, a dock and mooring, and a great rental history.

Virtual Tour: lpsir.com/58langsford Offered at $2,550,000

Virtual Tour: lpsir.com/2christopher Offered at $629,000 Offices in Kennebunk, Portland, Brunswick, Damariscotta, Camden and Northeast Harbor Maine’s leading luxury and lifestyle property company serving Maine coastal communities from York County to Hancock County as well as Seacoast New Hampshire.

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Elise Kiely 207.838.1050 | elise@elisekiely.com

Nothing compares.

4 MISTY LANE CAPE ELIZABETH Wonderful home perched on an elevated lot in sought after Broad Cove neighborhood. Optional association membership provides access to several beaches and water frontage. Plenty of indoor and outdoor living spaces and a flexible floor plan where everyone can have their space to work, play and study. Spacious kitchen with baker’s area and a warm hearth with built-in pizza oven opens to living space which could be informal dining or a cozy soft seating living area. The main living room offers hardwood flooring and a pellet stove insert in the fireplace. A separate dining area and a cozy den with fireplace complete the first floor. Spacious primary bedroom allows for an additional home office space and enjoys a double vanity bath with walk in shower and separate soaking tub. The finished lower level offers additional living and/or work space. Close to everything that makes Cape Elizabeth so desirable, this home is ready to enjoy. Offered at $995,000

Here’s to a happy and healthy

2022

Contact me when buying or selling in Downeast, Maine L AU R A FA R R 207.348.1200 lfarr@legacysir.com

Offices in Kennebunk, Portland, Brunswick, Damariscotta, Camden and Northeast Harbor Maine’s leading luxury and lifestyle property company serving Maine coastal communities from York County to Hancock County as well as Seacoast New Hampshire.

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Meet some of our local specialists.

Emily Burritt Windham Office 207.892,3377

Anna Charlotte Bath Office 207.443.3388

Poe Cilley Bath Office 207.798.9874

Tim Fortin Hallowell Office 207.441.0320

Experience isn’t expensive, it’s priceless.

Next time you need a seasoned industry expert, give us a call.

Our family is here for yours.

Tyson Soule Bath Office 207.831.4326

Meghan Murphy Brunswick Office 207.798.2267

Dennis Cloutier Rockland Office 207.844.4668

Larry Barnes Boothbay Harbor Office 207.837.3363

Tiffany Look Waldoboro Office 207.832.1139

Independently owned and operated.

Nancy Carleton Bath Office 207.751.7693

TAKE JOY IN THE JOURNEY

hen you appreciate the real importance of your work, he to your clients, their families, and your community... when you aim a lot higher than the bottom line, you can build a better type of business.

We’ve become a trusted leader in Maine coastal real estate because our team of local agents share this vision.

Bath Boothbay Harbor Brunswick

And we share strong ties to this place and a passion

Hallowell

for its beauty and culture.

Rockland

We’d love to show you around.

Waldoboro Windham

Timeless Values for a Changing World

Call or text 888-699-8877

RaveisME.com

18 Cottage Lane CAPE ELIZABETH, MAINE | $5,995,000

Exclusively Marketed by The David Banks Team 207-773-2345 | DavidBanksTeam.com

51 Meeting House Farms Road | Yarmouth, Maine 1 4 + / - AC R E S | WAT E R F R O NTAG E | B U ILT BY NICOLA HOM E S | $ 7, 9 0 0, 0 00

Exclusively Marketed by The David Banks Team 207-773-2345 | DavidBanksTeam.com

The Best Properties

Mill Pond House Somesville | $5,750,000 | 2.6± Acres Scott McFarland | smcfarland@landvest.com | 207-276-3840 Story Litchfield | slitchfield@landvest.com| 207-276-3840

The Best Team

Ranger Road Bristol | $4,475,000 | 29.94± Acres Joseph Sortwell | jsortwell@landvest.com| 207-706-6294

The Best Results

“Mousetrap” on Mouse Island Southport | $1,350,000 | 16± Acres John Saint-Amour | jsaint-amour@landvest.com | 207-776-5563

We’ve traveled the back roads, we’ve navigated the waters and we know Maine.

Celebrating over 50 years of knowledge, service and results.

HQ: Ten Post Office Square | Suite 1125 South | Boston, MA 02109 | www.landvest.com Maine: 23 Main Street, Camden • 207-236-3543 | 125 Main Street, Northeast Harbor • 207-276-3840 | 36 Danforth Street, Portland • 207-774-8518 #6431

Windover Farm

WINDOVER FARM ESTATE, ROME, MAINE Just over the Belgrade Village border in Rome sits the Windover Farm Estate. The home is situated on over 39 acres of private established woods, manicured lawns, sprawling pastures and perennial gardens! The equestrian fencing along the estates entrance would be a well suited beginning for your horses to graze and play. The home is a custom built pine board and beam with barn board wood flooring. Views of Great Pond.

Offered at $1,499,000

Farm to Table STARKS, MAINE

ORGANIC FARM TO TABLE. That is the concept in mind when the current owners renovated and outfitted this 1916 Grange Hall that borders the Harakeil Farm. The grange building is ready to host a farm to table restaurant, bakery, brick oven pizzeria or event hall. The farm offers 50+ acres of rich soil, 1800’ of river frontage and a beautiful Victorian home.

Offered at $1,250,000

Local Knowledge.

Exceptional Service.

2 2 1 M a i n S t re e t | B e l g ra d e L a ke s , M a i n e 0 4 9 1 8 | ( 2 07 ) 4 9 5 - 3 70 0 | b e l g r a d e l a ke p o i n t .c o m

The Zemrak Fontaine Team: Your Key to Home Sweet Home

MAUREEN ZEMRAK & EDIE FONTAINE are extremely knowledgeable agents with nearly 35 combined years of experience under their belts. In addition to being REALTORS® that you can trust, Maureen and Edie are owners of Locations Real Estate Group. Above all, they pride themselves in their approach to business. Customer service is their top priority, which includes impeccable communication and skill in the industry.

Longtime residents of Falmouth, Maureen and Edie are deeply invested in supporting and being active members of their town and its surrounding area. If you are looking to buy or sell in Falmouth or the Greater Portland area, call the agents who know and love these beautiful communities the most.

Call Maureen and Edie.

You can reach the Zemrak Fontaine Team by emailing ZemrakFontaineTeam@gmail.com or by calling (207) 272-2202.

LOCATION

IS EVERYTHING! We are a community of agents who fundamentally believe client care is paramount.

190 US Route One, Falmouth, Maine (207) 805-1811 | LocationsInMaine.com Info@LocationsInMaine.com

Our mission at Locations Real Estate Group is to listen carefully, communicate clearly, and to execute competently.

We cannot guarantee your experience with anyone but ourselves.

NEW LISTING RANGELEY

$1,800,000 Tranquil setting at a

dead end road in Rangeley, abutting Saddleback property and boasting mountain views. This 7 bedroom, 6 bath home has walls filled with memories!

Great opportunity to have a bed & breakfast or conference house.

Purchase | Refinance | Construction | Reverse Mark Violette | Broker/Owner M.Violette@MaineMtgs.com 207–730–1495 MaineMortgageSolutions.com

114 Holmes Rd, Scarborough, ME 04074 NMLS #1634914 | MaineMtgs NMLS #1885405

Thank you for a wonderful 2021.

Wishing you and yours the happiest of holiday seasons.

Cheers, Mary

trade up. pare down. move on.

Your real estate source for the Rangeley Region RANGELEY PLT

RANGELEY - THE LODGES

RANGELEY

Very Well Maintained 3BR, 1.5BA Home in Quiet Location and Lots of Privacy. Comfortable Floor Plan, Sun Filled Living Spaces.

Fully Year-Round w/Ample Storage and Multiple Outbuildings. Great Home, Great Location! $349,000

KING OF THE HILL VIEWS! RARE Opportunity to Own a Building Lot in the Lodges.

Underground Power, Public Water/Sewer.

Minutes to Town, Saddleback and 4-Season Activities. Plus ATV/Snowmobile Friendly. $229,000

Very Private Building Parcel in Desirable Manor Woods Subdivision. Gently Sloping 3 Acre Lot Has Rough Driveway In, Potential Rangeley Lake Views. Super Location Handy to Town Amenities, Saddleback, ATV/Snowmobile Friendly. $97,500

RANGELEY

PHILLIPS

SANDY RIVER PLT

Million Dollar Views From This Hillside Lot in Desirable Rangeley West Subdivision!

1.8 Acre Parcel w/Direct Snowmobile Trail Access, Minutes to Oquossoc Amenities.

Abutting Lot Also Available For Purchase. $114,900 for each

Super Opportunity To Live and Work in the Western Mountains of Maine! Well Established Auto Repair Garage with High Visibility Setting and Easy Access to Route 4.

Handy to Rangeley, Farmington, Kingfield. $699,000

Well Wooded 2+ Acre Parcel Offers Potential Views of Beaver Mt Lake! Several Possible Building Sites To Choose From. Located Directly Across the Street From Deeded Lake Access w/Small Boat Launch. $85,000

CARYN DREYFUSS | BROKER caryndreyfuss@morton-furbish.com

207 - 233 - 8275

2478 Main Street P.O. Box 1209 Rangeley, Maine 04970 www.realestateinrangeley.com

FEATURED LISTINGS IN THE MIDCOAST

Classic New England Boothbay, Maine 3 beds | 3 baths

$619,000 McKown Point

Enjoy Boothbay all year long in this immaculate home on a nicely landscaped 1.8 acre lot.

The warmth of pine floors, wainscoting, and the custom kitchen make the home inviting & cozy.

Ideal for entertaining, with an open floor plan, large deck, covered porch, & sun room. Possible one-floor living plus a full daylight basement.

Boothbay Harbor, Maine 8,000+ sq. ft. | 6+ bedrooms

$995,000 Sheepscot River

This water view and access building is located in a very desirable neighborhood. Situated on .71+/- acres with year-round town water and sewer, and deeded waterfront access on Boothbay Harbor. The building offers a blank canvas to design a large home with 6 or more bedrooms and plenty of living space.

Boothbay, Maine 4 beds | 2.5 baths

$1,950,000

The setting for this Yankee Barn offers privacy with 4.96 acres with 480’ of waterfront, a large level lawn, deepwater dock, sunsets, & plenty of boating activity. The year-round home features a first-floor primary suite, open living/dining area with a fireplace, propane stove, large windows, & doors to the home’s waterfront decks.

TindalandCallahan.com | 32 Oak Street, Boothbay Harbor | 207-633-6711 | LuxuryRealEstate.com

DRAWING BO AR D

HIGHER ED

H

arriman is currently working with Portland Public Schools on four renovation projects that are part of the “Building for our Future” (BFOF) program. BFOF is an initiative to renovate four of Portland’s oldest elementary schools: Lyseth Elementary School, Longfellow Elementary School, Presumpscot Elementary School, and Reiche Elementary School. Targeted improvements will address twentyfirst-century learning values, safety and security, and greater equity in Portland’s schools.

The design process took place as the pandemic took hold. To ensure an open, interactive, and inclusive process with the school and neighborhood, the architects used virtual technologies to facilitate meetings. These tools allowed them to engage with the project’s diverse group of contributors by creating multiple virtual “rooms” in which sessions were held in a range of languages. This level of communication was essential both to ensure they were responding to the needs of stakeholders and to help keep the broader community informed as the project planning progressed.

The Presumpscot School project illustrated here includes a new addition that adds much-needed cafeteria and classroom spaces. Transformative renovations also include a sweeping new entry canopy that provides a welcoming and uplifting point of entry. MH+D

160 MAINEHOMEDESIGN.COM

Location: Portland Architect: Harriman Design Team: Mark D. Lee, AIA, LEED AP and Lisa D. Sawin, AIA, LEED AP Builder: Great Falls Construction Construction Start: July 2021 Construction Completion: August 2022

Crown Select by

A whole new line of custom built inset cabinetry with the impeccable Crown Point fit and finish.

Handcrafted in New Hampshire and available direct, nationwide

Beautifully designed and engineered to be budget friendly

www.crownselect.com 603 • 542 • 3399

Available only from Crown Point Cabinetry

| custom builders of finely crafted homes and commercial properties | 207.536.0235 | SYLVAINSEVIGNY.COM

f 162 MAINEHOMEDESIGN.COM

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