The Katahdin Woods and Waters National Monument in Maine, United States is not just a protected landscape; it is a dynamic chronicle of the land, its people and their enduring connection. Encompassing 87,563 acres of rivers, forests and mountains, the monument is part of the homeland of the Wabanaki Confederacy, which includes the Penobscot, Maliseet, Mi’kmaq and Passamaquoddy peoples. For over 11,000 years, these lands have been at the heart of their cultural, spiritual and ecological practices.

Established as a national monument in 2016, Katahdin Woods and Waters protects these lands while cultivating a dialogue about Indigenous stewardship. The Tekαkαpimək Contact Station, perched on Lookout Mountains, represents a milestone in this dialogue. Named after the Penobscot phrase meaning "as far as one can see”, pronounced ‘deh gah-gah bee mook' it is more than a building; it is a testament to collaboration, healing and the profound relationship between design and community.

The conception of the community architecture project began with a shared goal: to create a space that would honour the cultural and ecological legacy of the Wabanaki people. Recognising the importance of centring Indigenous perspectives, the Elliotsville Foundation initiated a partnership with the Wabanaki Advisory Board. Composed of representatives from the Four Nations, this board provided critical insights that shaped every element of the project.

From the outset, the project sought to move beyond conventional architectural approaches, which often reflect colonial narratives. Norway-based Canadian architect Todd Saunders from Saunders Architecture was tasked with designing the station. Early concepts were revised following feedback from the board, who emphasised the need for sustainable designs rooted in their worldview. This shift marked a turning point, ensuring that the final structure reflected the values, aesthetics and stories of the local tribes.

Saunders embraced this challenge, creating a building that embodies the fluidity of Indigenous design. Curved forms, inspired by natural elements and traditional motifs, are woven into the structure, fostering a sense of harmony with the land. Early in the process, a life-sized floor plan was marked out on-site to refine the design and renderings were used to explore materials, light and interactive elements. Without artificial lighting the area preserves its status as an International Dark Sky Sanctuary, safeguarding its environmental significance. The design avoids imposing itself on the environment; instead, it invites visitors to engage with their surroundings through thoughtful perspectives and pathways.

Tekαkαpimək’s design achieves a delicate balance between functionality and symbolism. Cantilevered over the slopes, the station offers sweeping views of Katahdin and the East Branch of the Penobscot River. These vantage points connect visitors to the sacred geography of the native homeland. Inside, the building’s layout is organised around the four cardinal directions and the interplay of natural elements like light, water and air, reflecting the deep spiritual significance of these orientations in their culture. Windows and open spaces frame the landscape, drawing natural light into the structure and emphasising the connection between interior and exterior. Thick walls, handmade timber columns and bird-safe glass enhance the building’s environmental harmony, reducing its impact while celebrating natural materials.

A central gathering space invites visitors to reflect on the land’s significance, while the south-facing wing captures sunlight to heat the building passively. The station’s deep walls, crafted with sustainably sourced Douglas fir, serve as both structural elements and displays for cultural art and artefacts. Every detail; down to the door handles carved with double-curve motifs echoes the collaboration and care that define the project.

The surrounding 23-acre site was designed to evolve naturally, mirroring the resilience of the forest ecosystems it inhabits. Led by landscape architects Reed Hilderbrand, the design embraces the existing terrain, with no imported plants or artificial landscaping. Instead, the site’s character emerges from the native seedbeds and organic soil preserved during construction.

A focal point of the site is the Gathering Circle, at the eastern lookout where carved granite benches encircle a double-curve motif that signifies unity and connection. This space allows visitors to experience the first light of the day, honouring the traditions of the region’s original stewards, often called "People of the Dawn". The design follows an east-west axis of the site, likened to a river journey, guiding visitors through spaces that blend with the surrounding environment. Forest paths unveil the station gradually, with interpretive signage providing cultural and ecological context through the use of Indigenous languages.

Mirroring the East Branch of the Penobscot River, which ties together communities across its watersheds, the landscape design creates a sense of continuity and connection throughout the site. As stated in the press release, John Grove, principal-in-charge at Reed Hilderbrand, explained, "This varied composition of connected spaces along the east-west line is simply detailed but expressive and could be imagined through the metaphor of a cascading river journey, with the Gathering Circle as a pool, block seats carved as if flowing with falls and rapids, stairs as places to portage, mounds as islands, paths as moving river and benches as banks.”

Tekαkαpimək serves as a vessel for sharing narratives. Its exhibits, co-created with Wabanaki artists and historians, weave together dialogues of resilience, creativity and interconnectedness. Jennifer Neptune, a Penobscot artist and exhibition writer, played a central role in crafting these narratives. Her work ensures that visitors experience the monument through a Penobscot perspective, deepening their understanding of its significance. The exhibits feature tactile and immersive elements, from a watershed floor map to a ceiling woven from copper by Indigenous artisans. These installations celebrate traditional crafts, such as basket weaving and birchbark etching, while introducing visitors to the cosmological and ecological knowledge of the Wabanaki people.

Highlights include the Atlantic salmon lifecycle exhibit, which combines life-like fabrications with storytelling and a depiction of the Penobscot River origin story, connecting visitors to the land’s mythological roots. The integration of art, history and design creates a space that is both educational and deeply personal.

The process of creating Tekαkαpimək also addressed the broader legacy of colonialism. Awareness training, led by experts in Indigenous intellectual property rights, ensured that all participants approached the project with respect and a willingness to learn. This training laid the foundation for innovative agreements protecting cultural knowledge, setting a precedent for future collaborations.

The concept of the "Invisible Monument", as described by Wabanaki Advisory Board member Natalie Dana-Lolar, highlights the unseen layers of transformation within the project. It acknowledges the emotional and cultural work of confronting painful histories while forging new relationships built on trust. This approach also reflects the philosophy of balance; creating spaces not just for physical engagement but for spiritual healing. The station in this sense is not merely a building but a process of decolonisation materialised in timber, stone and community. 

Tekαkαpimək is designed to grow as a space for dialogue, learning and collective learning. It invites communities to engage with stories and landscapes while fostering an understanding of the connections between culture and environment. By merging sustainability and Indigenous knowledge, the contact station sets a precedent for projects that prioritise inclusivity. Its influence will extend far beyond the region, offering lessons on how meaningful partnerships can create spaces that inspire change.

In the words of Jennifer Neptune: “I hope that all visitors come away with a deeper understanding, respect and relationship to these woods and waters and to the places they call home.” Tekαkαpimək challenges us to reconsider our relationship with public spaces. What does it mean for a building to embody respect? How can architecture honour both land and history without erasing or overshadowing the communities that have long stewarded them? For the Wabanaki, this is a continuation of their story; a reminder that the land remembers and so must we.

All Wabanaki Cultural Knowledge and Intellectual Property shared within this project is owned by the Wabanaki Nations.

Project Details

Wabanaki Advisory Board: Natalie Dana-Lolar, Passamaquoddy/Penobscot, John Dennis, Mi’kmaq, James Eric Francis, Sr., Penobscot, Nick Francis, Penobscot, Gabriel Frey, Passamaquoddy, Jennifer Gaenzle, for Mi’kmaq, Suzanne Greenlaw, Malisee, Newell Lewey, Passamaquoddy, Jennifer Neptune, Penobscot, Kendyl Reis, for Mi’kmaq, Richard Silliboy, Mi’kmaq, Donald Soctomah, Passamaquoddy, Chris Sockalexis, Penobscot, Isaac St. John, Maliseet, Susan Young, for Maliseet
Indigenous Intellectual and Cultural Property (ICIP) Consultant: Dr Jane Anderson, ENRICH (Equity for Indigenous Research and Innovation Co-ordinating Hub)
Design Architect – Norway: Todd Saunders and Saunders Architecture
Architect of Record – USA:  Alisberg Parker Architects
Structural Engineer: Atelier One
Surveyor, Civil Engineer and Structural Engineer of Record: Haley Ward, Inc
Landscape Architect: Reed Hilderbrand
Construction Management: Wright-Ryan
Environmental & Energy Consultant: Transsolar Inc
Interpretive Planning: Tūhura Communications
Exhibit Writer:  Jennifer Neptune, Penobscot
Documentarians: James Eric Francis, Sr., Penobscot; Nolan Altvater, Passamaquoddy
Specialty Photography: James Florio
Exhibits, Wayfinding & Signage Design: WeShouldDoItAll (WSDIA)
Exhibition Fabrication: Split Rock Studios
Signage Fabrication: DCL
Site Work and Road Construction: Emery Lee & Sons Inc.
Landscape Site Work: OBP Trailworks, LLC
Creative Program Management: Erin Hutton Projects
Project Management and Owner’s Representative: Stern Consulting International