Long before the current owners arrived, these 200 acres overlooking Western Bay in Bar Harbor, Maine, served as philanthropist Brooke Astor’s private retreat.

2026 Ocean Home Awards · Modern Architecture: Over 7,000 Square Feet

SPAN Architecture received the 2026 Ocean Home Award for Modern Architecture: Over 7,000 Square Feet for this Bar Harbor, Maine project. Explore the complete list of this year’s winning homes, rooms, and landscapes.

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Astor dubbed the property August Moon, a reference to a Chinese festival that typically falls during the lunar calendar’s eighth month. Commissioned by Astor in 1964, architect Robert Patterson designed two principal structures—the Glass Teahouse and Pool Pavilion—as well as the surrounding landscape and gardens.

A monumental stone hearth anchors a tall cedar living and dining pavilion
A monumental stone hearth anchors the soaring living and dining pavilion. Handblown pendants hang against the exposed structure. Photograph by Rob Karosis.

When its new owners assumed stewardship of this historic waterfront estate, they selected New York City-based SPAN Architecture to spearhead the multilayered project that followed.

Led by founders Karen Marie Stonely and Peter Pelsinski, SPAN Architecture approached August Moon as both a preservation effort and contemporary expansion. The team restored the glass teahouse and pool pavilion using archival drawings discovered at the Mount Desert Island Historical Society, sourcing many of the same materials Patterson originally specified.

The cantilevered primary suite projects into the forest canopy
The cantilevered primary suite projects into the forest canopy above a path threading the restored landscape. Photograph by Rob Karosis.

Patterson, however, never designed a grand main residence—Astor intentionally kept the estate understated. So, in creating one for the new owners, the SPAN team began with thoughtful siting.

A stone-floored passage ends at a window wall framing the Maine woods
A stone-floored passage draws visitors in past a window wall framing the woods—one of many interiors with a corresponding outdoor experience. Photograph by Rob Karosis.

Instead of placing the house on the dramatic waterfront, as many owners would have, they located it several hundred feet inland in a naturally occurring saddle where two ridges converge. This allowed the architecture to become part of the land while leaving the shoreline largely untouched.

The team then tapped into Maine’s surprisingly rich legacy of modernism—one defined by clean lines, honest materials, and restrained forms that defer to, rather than dominate, the landscape.

Patinated green cabinetry sits beneath an exposed cedar ceiling
In the lower kitchen, patinated green cabinetry sits beneath an exposed cedar ceiling. Photograph by William Waldron.

The resulting home embraces that same philosophy with clean lines, a minimalist interior, and a silhouette composed of interlocking volumes that step naturally with the terrain. These include a wing with a kitchen, a soaring living and dining pavilion anchored by a monumental stone hearth, and a cantilevered primary suite that projects into the forest canopy.

Exposed cedar roof beams extend toward a wall of glass
The pavilion’s roof structure is left completely exposed, its beams running out toward a glass wall that opens onto the terrace and guest volume beyond. Photograph by Rob Karosis.

A fourth volume containing four guest bedrooms, game room, and service spaces is almost entirely concealed within the hillside beneath a planted green roof.

A niche in the stone chimney stores firewood beside a walnut stair
A niche cut into the stone chimney mass stores firewood beside the walnut stair. Photograph by William Waldron.

Materiality was equally site-driven. The architects limited the palette to locally sourced cedar, Douglas fir, and stone, while an insulated zinc-coated copper roof blends into Maine’s ever-changing skies. In the main living area, the roof structure is completely exposed. “You can see both the material itself and the connectors holding it together,” notes Pelsinski of this ode to craftsmanship.

Throughout the compound, expansive glass walls, skylights, and carefully positioned window walls frame the landscape from countless vantage points. Nearly every interior space has a corresponding outdoor experience, keeping the boundary between architecture and the natural world in a continual state of dissolution.

A circular opening in a Corten steel and stone Moon Gate frames the garden
A Corten steel Moon Gate, drawn from traditional Chinese garden architecture, acknowledges Brooke Astor’s fascination with Asian design. Photograph by Rob Karosis.

Under SPAN’s guidance, the property evolved with a new guest cottage, garage, restored gardens, and a Corten steel Moon Gate inspired by traditional Chinese garden architecture—a contemporary interpretation that acknowledges Brooke Astor’s fascination with Asian design.

The primary bedroom looks directly into the Maine forest
The cantilevered primary suite wakes up inside the tree line, its slatted headboard and gauzy curtains softening the forest just outside the glass. Photograph by Rob Karosis.

Custom furnishings, artwork by local artisans, historically inspired maps and botanical illustrations, and handcrafted lighting further reinforce the property’s connection to Mount Desert Island and its remarkable cultural legacy.

As a whole, August Moon is perhaps one of the clearest built examples of SPAN Architecture’s biolithic design philosophy because the project treats the house, landscape, ecology, and history as parts of a single living system rather than separate elements.

Robert Patterson’s restored 1964 Glass Teahouse glows among trees by the water
Robert Patterson’s 1964 Glass Teahouse, restored by SPAN using archival drawings found at the Mount Desert Island Historical Society, glows at the water’s edge. Photograph by Rob Karosis.

“At the end of the day, what distinguishes us and our approach to architecture is the concept of stewardship. We believe that you take care of what you care about,” asserts Stonely.

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