visit carol de tine
the second floor living room (top) was enlarged
by removing an interior hallway. The French doors
replace what was once a hayloft door. The colorful
tables are De Tine’s own design, as is the mahogany
bookcase. The focal point of the room is a pastoral
portrait by Maine artist Bernard Karfiol. Sasha
(below), De Tine’s Maremma sheepdog, basks in
the sun beneath the kitchen window and the
nameboard of her master’s former fishing boat.
The table is from De Tine’s girlhood home in
Buffalo, New York.
tenants as a garage and then as a squash court.
Woodman, a commercial fisherman, had used
it as a workshop to store and repair his gear,
but when De Tine decided to start her own
architecture practice in 2001, she took over
“It was important to me to have a space that
says ‘I’m really working here’,” she says.
The dramatic transformation that De Tine
executed involved raising the carriage house
floor two feet, so that occupants could see out of
the high side windows of the studio space. She
created a vestibule by installing a glass-and-steel
curtain wall that gives the studio the theatrical
sense of a stage.
“In building my office in the carriage
house,” De Tine explains, “I wanted to show
how a modern element cannot just reflect the
scale and patterns of the original building, but
amplify them. The glass-and-steel wall enlarges
the entrance to the office and increases the nat-
ural light in the space.”
As though to formalize the separation
between her personal and professional lives,
there is no connection between the sunny yel-
low studio and the living space upstairs.
A blue door to the right of the studio
entrance leads to the loft space that is their
apartment, which De Tine made more open
and livable by removing an interior hallway and
painting the dark knotty pine a soft gray, enhancing the random-width tongue-and-groove walls.
The eclectic array of furnishings and art
personalize the board-and-brick space and its
massive exposed beams. The colorful Basin
Harbor Club Adirondack chairs in the vestibule are from De Tine’s years in Vermont. The
Orkney chairs made of driftwood and straw are
from her sojourn in Scotland. The ornate mirror in the living room once graced the mansion
next door. And the mahogany bookcase and sideboard as well as the marble-topped end tables are