14 Editor’s Note
16 Publisher’s Note
24 visit • Walking the Walk
Architect John Margolis sees the
abiding principles of classical design as
the past, the present, and the future.
33 selections • Into the Garden
We assigned garden, event, and
interiors experts each a piece of iconic
outdoor furniture to create alfresco
dining scenarios for a fleeting New
42 kitchen • Blue on Blue
Disparate spaces become one with a
bold but uniform palette.
50 places • Maine Event
The gift of an art collection — and a
museum to house it — puts Colby
College on the cultural map.
56 design focus • Mary Day
Unique to Maine’s windjammer fleet,
this graceful schooner was the first
designed specifically for passengers.
64 antiques • Shopping Seaside
Stonington, Connecticut, is scenic,
quaint, and full of furnishings and
accessories from the last four centuries.
72 icon • At Water’s Edge
Architectural amphibians, the boathouse links land with lake, river, or sea.
78 local wares • Woven Affections
80 house guest • Designer Liz Caan
121 et al. • Summer Things to See and Do
126 advertiser index
128 take note • Richard Schultz Redux
on the cover Cabin at Sebago Lake.
Photo by Trent Bell. story, page 112.
BER TOIA’S JEWEL • We’re glad Harry Bertoia didn’t trade furniture design for sculpting before he created the Diamond Chair. The
Italy-born artist came to the United States at age 15 in 1930. In 1937, he went on to study at Eliel Saarinen’s Cranbrook Academy, where
he met Charles Eames, Eliel’s son, Eero, and Florence (nee Schust) Knoll, who later hired him at the eponymous furniture company she
and husband Hans Knoll owned. At Knoll, working with young protege Richard Schultz (Page 128), Bertoia designed the Diamond Chair
in 1952. One of the most recognizable pieces in the mid-century pantheon, the chair is an ingenious wave of welded latticework
suspended on a boxy frame of steel rods. Light and elegant, 60 years later, it is still in production and in demand.