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BOZEMAN 
beaumcnt 1975 
Submitbed to the School of Architecture aa partial fulfillment 
of the rsquirements for the decree of Bachelor of Architecture 
at Montana State University, Bczemn, Montana, June, 1975. 
Vinl c 
special thanks to: 
Dr. Ifan Payne, Professor, MSU School of Architecture 
Mr, Kenneth Clark, Director, Montana Educational Television, 
(KMPT) 
Mr. Thomas Jenkins, Chief Engineer, KMPT 
Without -whom this project would not have been possible. 
TABIE OF CONTENTS 
Introduction 
Thesis Statement ..... ,. . ,. . 1 
Public Television 
History* 2 
Explanation.,.. . 3-4 
Concept. 5-10 
Project 11-22 
Site 23-27 
Space Programming 28-52 
Additional Notes 53 
INTRODUCTION 
This thesis project resulted from two different stimuli. 
First, a philosophy about my design experiences that developed 
while in school, and second, an area of design (functiorialism) 
I felt I would benefit greatly from but of -which I had had limited 
experience. 
Throughout my five years at this school, I have repeatedly 
seen (and admittedly used) design elements that I feel were some­
what "cliched" in the architectural field. These "cliches" seemed 
to pop up indirectly extensively in magazines, books, photographs, 
etc., and I felt had great influence, again indirectly, upon the 
architectural student. This while not necessarily being bad or 
negative, oftentimes became rather redundant. I felt a need to 
attempt working in an area of more "functionalistic" design, where 
perhaps more thought could be given such design elements. By 
working with a "functional" approach (in a broad sense), I hoped 
to 3ee that the product could be good architecture, without "deadly" 
functionalism. The terra "functional" (in the broad sense I use it) 
should not only deal with the workings of a building, but also 
the people within...a humanistic functionalism. 
To deal with functionalism as I see it, I felt it would also 
be to my advantage to take on a project of which I had little 
knowledge. By talcing this approach, I hoped to keep preconceived 
ideas to a minimum, thus leaving less room for "cliches." 
i'ESIS STATEMENT: A DESIGN FOR A FACILITY WHICH 
DUSES A TECHNICAL PROCESS CAT FIRST RELATIVELY 
f N O W N  T O  T H E  D E S I G N E R )  A N D  I T S  W O R K I N G  E N -
RONMENT, DICTATES TO THE DESIGNER AN ADDED 
V1PHASIS UPON FUNCTIONALISM. CRAIG BEAUMONT 1975 
\ 
THESIS STATEMENT 
A design for a facility which houses a technical process 
(at. first relatively unknown to the designer) and its -working 
environment, dictates to the designer an added emphasis upon 
functionalism. 
The project chosen is a center for public broadcasting, housing 
a Public Broadcasting System (PBS) television outlet, and a Na­
tional Public Radio (NPR) Station (both of which I had little 
knowledge). The facility houses radio and television production, 
relaying and administration. 
The project was chosen in part because of the establishment 
of PBS (Educational Television) in Montana (particulaly Bozeman). 
Working with the staff at Montana Educational Television (KMPT), 
the project became a theoretical solution for a facility for KMPT 
in a very real sense. The staff allowed me a great deal of their 
time, and were instrumental in "educating" me in radio and tele­
vision and their workings. 
In a sense, the programming stage became a crash educational 
phase. In addition to the help from the KMPT staff, I visited 
several large telecommunication centers in the Seattle and 
Spokane areas, talked and corresponded with several architects 
experienced in the field of TV and radio facility design, and 
read everything I could find on the subject. (A limited amount of 
research material is readily available.) 
PUBLIC TELEVISION 
Brief History: 
1%9 - FCC considering advising channels for non-commercial 
educational television 
1951 - Educational TV channels established by FCC 
1952 - 242 station channels set up for exclusive use of 
educational television 
Ford Foundation created the Educational Television 
and Radio Center (later NET) 
1953 - The nation's first educational TV license issued to 
U of Texas, Houston (KUHT) 
1953-1961 - ever 6l educational licenses granted by FCC 
1962 - Congress passes the Educational Broadcasting Facilities 
Act of 1962, initially authorizing $32 million for use 
nationally over a five year period 
By 1966 - over 125 non-commeriial educational broadcasting sta­
tions on the air 
19b7 - Carnegie Commission on Educational Television reports, 
stimulating the Public Broadcasting Act of 196?, es­
tablishing 1.) $3# million for construction of facil­
ities across the country, and 2#) Establishing the 
Corporation for Public Broadcasting Service (CPB) 
1969 - CPB with elected television representatives create 
the Public Broadcasting Service (PBS) 
1973 - Three separate public television licensee groups merge 
to form a new, non-profit membership corporation 
retaining the name PBS^ N 
Explanation: 
Public or educational broadcasting should be interpreted in 
the broadest possible sense. It has been generally agreed to in­
clude: formal and informal education, community service, cultural 
affairs, a public forum, a training laboratory, recreational ser-
2 
vice and minority programming. Public broadcasting is much more 
than "television free of advertising," it is an alternative to 
commercial broadcasting. It reaches out to touch the "widest por­
tion of the nation's interest groups, regardless of size. Whether 
it bp an opera by local residents or a national production dealing 
with automobile safety, public broadcasting is there for the 
people. Participation is the name of the game, -whether watching, 
listening or acting. 
Public broadcasting receives it3 support from state and fed­
eral funding, grants from corporations and non-profit organiza­
tions, and from private contributions from the public in general. 
Figures by the A.C. Nielsen Company show the PBS evening programs 
3 
are viewed in 27 million (U0,7%) U.S. homes. 
In the 1973 Montana Legislature, a committee to study edu­
cational television was appointed. J5ontana, (one of two states 
without a PBS outlet) seemed assured" to be the 49th state to have 
PBS. However, the 1975 Legislature discontinued funding and as 
of this writing, PBS in the form of KMPT-1975 appears dead, with 
the only surviving hope being private sponsorship to make it eligi­
ble for HEW funding. Had 3tate funding continued, the project, 
as done in this thesis, would have been a possible reality in 
in approximately ten years. Having lost state funding, Montana 
will probably be lucky to have a facility of this size in the 
next fifteen years. 
Leaving the controversial political issues aside, it is im­
portant to reiterate at this point, a key principle in public 
broadcasting, PBS and NPR are for the people. They are supported 
by the people, watched and listened by the people and in most in­
stances, are accessible for participation (from volunteers to ex­
ecutives) by the people. Public broadcasting is making the most of 
our most powerful mediums. 
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I 
THE CONCEPT 
Through the study of required and de3ired in a broadcasting 
facility, I came to the conclusion (surprisingly early in my study), 
that 1 was working with a "building within a building." 
The building houses production facilities for television 
and radio (from sound studios to darkrooms to set construction 
areas), transmission equipment and administrative areas (offices, 
etc,,). This makes for a high degree of variation in physical, 
environmental and atmospheric needs. For instance, a television 
production studio has very critical sound and lighting require­
ments not found in any other part of the facility. Therefore, 
certain functions within the building are much more critical when 
natural and manmade environmental factors (affecting TV production 
studios) are accounted for. Some parts of the production areas 
therefore, become the "building within the building." 
Another point that was heavily considered....The people working 
within this center are very creative, highly skilled professionals. 
I have attempted therefore, to work at this project with an at­
titude of creating areas and spaces conducive to helping all em-~ 
ployees and volunteers to work at their optimum level. Admittedly, 
a very hard problem to work with or judge; I felt, nevertheless 
it fit into my definition of "functional", if it was to be re­
garded in the broadest sense of the 'word. 
"The Building Within a Building" 
The concept was approached in two manners; the exterior and 
the intorior. Sound studios for both radio and television 
(6) 
require a site that isn't overly noisy (See site section) first of 
all. After such a site is located, there will still be a con­
cern for externa], noise protection in the studios. The problem 
was dealt -with by buidling the less "noise-critical" areas around 
the noise sensitive areas. This literally makes a building within 
a building for acoustic purposes. The exterior offices, lounge, 
etc., act as a "sound-lock" for the studios. This, together with 
putting part of the production below grade, solves the problem of 
unwanted light transmission. Light is available for office and 
lounge areas, where it is more desireable, but is cut off before 
it reaches studio areas. This then appears to be the logical 
and most efficient means of protecting studio (light and sound) 
space. 
The interior approach puts the television studios at the center 
of the building, since most functions have a need for accessibility 
to the television studios (as well as radio studios, which work 
off the same access circulation routes.) The large area of the 
television studios and the use of concrete walls(for acoustic 
protection from external sources) make for a method of structuring 
the "outer" building from the concrete walls of the TV studios. 
The use of wood for the principle material for the "outer" 
building, and concrete for the "inner" building (together with 
its higher walls) accentuates the two building concept. An attempt 
to accentuate this even further is made by "cocking" the outer 
building at an angle to the studios. This makes for large open 
interior areas serving as flexible areas for secretaries and the 
large number of volunteers working within the center, for whom 
(7) 
individual officea become unfeasible. These flexible areas allow 
for a great deal of interaction among workers (employed and volun­
teers), important in a eonter such as this. 
While being less complex, the radio production area also 
demands a "building within a building." Due to acoustic and func­
tional requirements, in plan ti"ie "breaks into" the TV adminis­
trative area (which contrasts the studios by being "cocked"), 
and "complements" the studio area by following its general shape. 
Thus, while keeping within functional parameters, the radio area 
identifies within the building as having a different function, 
In a berime, the radio area begins to bo "a building within a buildi 
within a building." 
In concluding, with the taller freights of the studios, con­
trasting shapes and differing materials, the "building within a 
building" concept becomes evident both in interior workings and 
exterior visual experience. 
In attempting to work with an architectural solution affec­
ting people'3 work levels within the center, I chose to approach 
it through two directions: environmentally and more specifically, 
spacially. 
Spacially, the areas dropped in height from circulation areas 
(at fourteen feet) to personal offices (8 feet), with flexible/in­
teraction areas between these two areas. The rationale: 
Circulation Area-larger number of people are in this area at dif­
ferent times. The high space reflects the infcrmalness of the 
area. Also, functionally, higher space needed for moving of sets, 
equipment, etc. Large part3 of this are skylighted, so high space 
(8) 
effect is increased, and circulation marked by this. 
Flexible/Interaction Area Q.0-1/*. feet)-large numbers of people 
working in this area, and a great deal of activity. These area3 
are not so intimate, but begin to bo more so than circulation. 
The higher spaces eliminate claustrophobic effect with 3.arge 
numbers of people, and stresses flexibility. 
Personal Offices-These areas become much more intimate and private. 
The scale of the spaces reflect this. 
Summing up, the higher spaciality reflects less formal, "looser" 
atmosphere, and the lower spaces, a more intimate setting. 
* A note about the "flexible" areas. As mentioned earlier, 
these spaces offer an interaction area for the staff, as well as a 
work area for volunteers and secretaries. Each volunteer and 
secretary would have his/her desk and space for their own micro-
environment (where tackboard, partitions, etc. may be erected). 
The space would be loosely structured, and appear a3 the flexible 
space it is. 
Environmentally, I approached the facility in two ways: 
the use of natural light wherever possible, and the use of natural 
materials and elements. 
In an office situation, proximity to natural fcight is pre-
U 
ferred to any other convenience. With this in mind, I attempted 
to allwo natural light (with the use of skylights, windows and 
clerestory) in every area that will tolerate it (there are a large 
number of areas, i.e. master control, editing, studios, that re­
quire a high degree of exacting artificial light variation and 
(9) 
will not tolerate the use of ratural light), Most of these areas 
(tolerating natural light) are on the second level, including 
administrative areas, lounge/interaction, set construction, and 
circulation. Areas not tolerating natural light were programmed 
for lower level use. 
Because much of the work within this center is done under 
"artificial'5 conditions (lighting, sound, production), and the use 
of concrete for the central (and very massive) area, I felt the 
need for the use of natural materials wherever possible. The 
building surrounding the concrete studies is a wood frame building 
(with lower level being below grade five feet, and "birmed up" 
with earth for five feet). The structure is basically wood (ex­
posed). In addition, there are a large number of planted areas 
(formal and non-formal). These natural elements are used as hu­
manizing elements and for environmental quality. They are intended 
to ease a person out of the artificial world of the studios, and 
into the fceal, less intense atmosphere of the rest of the center. 
Conceptually, I have attempted to keep within the theme of 
functionalism and yet humanize the spaces within the center to a 
point where they will begin to motivate the user of the facility 
to his maximum performance level. To sum up this second portion 
of the concept, I have attempted to bring to the activity, a scale 
suitable for that activity (keeping within functional parameters) 
with the uso of environment, spaciality, material and environmen­
tal quality controls. 
THE PROJECT 
The Center an a Ba.3c 
The Center for Public Broadcasting proposed within this the­
sis would be a base for all Public Broadcast facilities in the 
stste. The first transmitter site would bo on XL Heights in Butte, 
Montana, with an eventual second transmitter in Billings, Montana, 
Sometime in the future, stations would probably operate out of 
Missoula and Billings (with the Bozeman facility remaining the 
base). Various National Public Radio outlets station would pro­
bably also arise, probably in larger urban areas and universi­
ties and colleges (outlets exist now in Missoula, Bozeman, Helena, 
Butte and Billings). These would also base at the center in 
Bozeman, 
At the present time, PBS service is only available to Mont-
anans by cable television service from surrounding states. At 
the writing of this text, there are at least three productions 
about Montana and its people, by out-of-state PBS licensees, in 
the working stages. With the advent of a Montana Center for 
Public Broadcasting, productions in Montana would be handled by 
Montana PBS. These productions would be classified into two 
broad categories: 
1.) "In-House" productions - These productions would be 
made in the studios of the center (two TV production studios and 
two radio studios, with room allocated for one more). Produc­
tions might include, for example, local theatrical groups and 
singing groups, agricultural education programs, and local political 
roundtables. 
2.) Remote-unit productions - These productions would bo 
filmed "on the spot" with the aid of a remote unit vehicle, housing 
the necessary production equipment to get the live action on fi3m. 
Productions might include news reports, human interest program­
ming and documentaries. 
In addition to local productions, regular programming 
brought through national PBS programming (such as "Sesame Street" 
and "Electric Company") is aired throughout the day and evening, 
keeping what would probably be an 18-hour broadcasting day, seven 
days a week (perhaps 24-hour for radio.) 
All the programming therefore is dependent upon the produc­
tion and administrative facilities of both the radio and tele­
vision master control (which keeps the picture on the air) will 
be in operation for a minimunrof 18 hours of scheduled time. Ob­
viously, the functions in the amount of time involved make for a 
rather complex yet exciting atmosphere. 
The functioning center: 
In dealing with the functional make-up of the facility, I 
first broke down the radio and television functions. Though simi­
lar in some respects, they have little in conmon when high degrees 
of tolerability are confronted. For example, the sound require­
ments for a television studio, while quite critical, are somewhat 
less critical for a radio studio. Therefor, I will work with the 
two different categories. 
-LATIONSHIPS 
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The television area breaks down into three different, yet 
interlocking areas: film department, production, and administra­
tion. 
Film Department; The film department -works very close3.y with 
the production people, A11 darkroom work is obviously done in 
this area. Editing (in conjunction with producer/directors, pro­
duction manager and continuity director) is done in this area. 
All initial review of filmed material will usually be done in 
thi3 area. The department is headed by the film director, and 
relies heavily upon volunteer help. In addition to darkroom and 
editing responsibilities, the film department is responsible for 
cataloging and filing all video-tape, slides and other filmed 
material in the film and tape library. Therefore, it works 
closely with the people in master control. 
It is important to note that though the television section of 
the facility is rigidly divided into three distinct areas by de­
finition, all three area3 function together as one large unit. 
Without the active interaction of the three into one, the center 
cannot operate effectively. 
Productjon: While in a sense concerning most all of the peo­
ple within the center, the production area is centered around 
several specific functions. The three mo3t important functions 
being the production studios, master control, and to a somewhat 
lesser degree, scene construction, storage and graphics. The 
production studios of course are where "in-houso" programming 
originates. Crucial lirik3 (though not always direct), are master 
control ('Where programming is taped or sent out over the "wires"; 
the "guts" of the programming origination), control rooms (one 
for each studio, making necessary video and audio adjustments for 
an acceptable program), remote unit (a control booth on wheels) 
and set construction and storage (where necessary sets and flats 
originate). The people involved include producer/directors, sound 
people, camera men, actors, singers, etc. The production studio 
gives the center a reason for being. Without production facilities, 
the building would be a simple relay station. 
Master control, as mentioned earlier, is the heart of pro­
gramming. Housed within this area are video-tape recorders, 
(for taping shows for future playback), telecine machines (for 
broadcasting slide material, motion picture and other films be­
sides video-tape) and the central switching console (where the 
final picture is sent out over the "line',')# This room is manned 
for the entire time the facility is on the air. Functions related 
are the remote unit, screening, transmitters, engineering, etc. 
(see sheet (5) Personnel involved include production manager, 
program director, continuity director, producer/directors, various 
technicians to run equipment, etc. 
Set construction and storage is self explanatory. It does 
work closely with the graphics department, which in turn works 
with the production manager, continuity director, producer/dir­
ectors and writers. 
Administration: The main administrative people are the 
General Manager and Assistant General Manager, -who oversee the 
operation of the entire center, Director of Development, who 
raises money and is the finance person of the center, and the Pub­
lic Relations Director. Working between this and the production 
areas, are the Production Manager, Program Director and Continuity 
Director, These people hold seird-administrative posts. The Ad­
ministrative area, as expectcd, is composed of mainly offices, 
with areas for secretaries and volunteer workers (who are usually 
numerous in a facility such as this. In addition, a conference 
and screening area is necessary in this area. (Please note break­
down of areas as to acoustic, lighting, equipment requirements, 
etc.) listed later in the text. 
SHIPS 
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Radio: 
The radio breakdown is somewhat, the same as the television 
breakdown. It is broken down into areas of administration and pro­
duction (a film department obviously not needed). 
Administrative: The radio administration resembles that of 
the television only somewhat simplified. The station manager is the 
chief administrator (of the radio department). He works in a 
capacity equal to that of say the director of development men­
tioned in the TV administration section of this text. He is work­
ing under the General Manager of the Center. Working in an ad­
ministrative/production sense are the radio program director, 
production manager and announcers/remote team. The chief engineer 
is also working "between" these two areas. Again, these admin­
istrative areas are ccmpsed of offices, with additional "flexible" 
space for volunteer workers. The radio administration shares the 
conference/screening area with their counterparts in television. 
Production:. The control rooms (2) and their respective stu­
dios are the major areas of consideration. The individual control 
room actually serves two functions, making it a "mini-master 
control." It of course is the control for productions being staged 
in either the music or the interview studio. The producer/'direc-
tor involved controls the proper audio functions. When not pro­
ducing programming, the control room i3 used for playing music, 
special programming or controlling program audio requirements for 
productions originating in other places. The equipment involved 
is a main audio console, cartridge arid tape recorders, and record 
turntables. 
The sound studios are basically open, flexible, acoustically-
treated spaces used for producing local programming. A music 
studio and interview studio are provided (with the main difference 
being in size). While taping of productions may be occurring in 
one studio and control room, the other control room may be used 
bor live broadcasting. In addition to the control rooms and stu­
dios, a space is provided for screening and listening of new ma­
terial. Together with a large open storage space, this listening 
room will seve as a future 3tudio/control room combination serving 
future expansion. 
A record/tape library and news room also work in very closely 
to the control rooms for easy access to news and additional sound 
material. An engineering shop and a miscellaneous storage space 
"round-out" the production end of the radio facility. 
Again, while these functions can be defined separately as 
two divisions, they must interact as one for smooth, efficient 
production. 
THE SITE 
Two main criteria were involved in choosing the site for 
this facility. One, the site had to be in a rather quiet area, 
and two, the site had to be readily accessible to the public. 
The site chosen on North 20th Avenue fulfilled the first 
requirement rather easily. It is on the boundary of a B-2 com­
mercial district, bordering a park and residential area. Com­
mercial neighbors cause no extreme noise problems. Only slight 
traffic noise problems from Main Street exist and are solved by 
the internal workings of the facility. 
The site, in meeting the second requirement, is of easy 
access for public participation. Being only a block off Main 
Street, readily visible, and -within easy reach from the interstate 
highway makes the Center totally accessible to both in-town and 
out-of-town visitors. SEE SITE SHEETS 
Another requirement for siting of the Center, was the prox­
imity to the KBMN transmitting tower. (The television and FM 
radio signal would be "shot" from this tower.) The biggest re­
quirement is that nothing breaks the path of the signal from 
the facility to the tower. No problem exists at the present time. 
As noted on the site sheets following, wind, sun and drainage 
cause no major problems on the site. The water table in this area 
i3 rather erratic. However, after conferring with the surrounding 
neighbors, Mr. Bill Grabow, Architect of two of the neigbors buildings, 
and the city engineer, it was concluded that in the immediate area, 
no problem exists. The foundation material is a gravel base, 
(23) 
causing no problems. The gas, v,1ater and electricity run up North 
20th Avenue. No storm sewer exists on North 20th at this time. 
Storni drainage -would be to a ditch, immediately east of the site. 
(2U) 
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FOOTNOTES 
1 
PBS Factsheet, PBS, (June, 1974), p# 2* 
2 Capital Constuction Project. KOTS, University of Wash­
ington, (August, 1974), pp. 8-10. 
^ PBS Factsheet, PBS, (June, 1974), p. 4 
^ Kenneth Johnson, "Office Environment People Prefer(ALA. 
Journal), (February, 1970), p. 57* 
BIBLIOGRAPHY 
Burris, Meyer. Harold & Goodfriend, Lewis S. Anountics for the 
Architect. New York: Reinhold Publishing Corp., 1957. 
Doolie, Leslie L. Environmental Acoustics. New York: McGraw-
Hill Book Co., 1972. 
Etkin, Harry A. AM/FM Broadcast Station Planning Guide. Tab 
Books, 1970. 
Finnegan, Patrick S. Planning the Local UHF-TV Station. New 
York: Ilayden Book Co,, 1965. 
Harris, Cyril M. & Knudsen, Vern 0. Acoustical Designing in Ar­
chitecture. New York: John Wiley & Sons, 1950* 
Johnson, Kenneth. "Office Environment People Prefer." AIA 
Journal, February 1970. 
Lang, Jon; Burnette, Charles; Moleski, Walter, & Vachon, David. 
Desipninr Tor Human Eehavior. Pennsylvania: Doublen, Hut­
chinson & R03S, Inc., 1974. 
Ryeder, Sharon. "Process Planning". Progressive Architecture, 
August, 1972. 
Small, Eric. "How an Architect Takes the Trouble Out of Station 
Building". Broadcast Management/Engineering, September, 
1974. 
Teplitzky, Allan M. "Planning Broadcast Station Acoustics," 
Broadcast Management/Engineering, August, 1968. 
Winckler, Carlton. "Planning the Industrial Television Studio." 
Educational & Industrial Television, November, 1974. 
Capital Construction Project, University of 
Washington, KCTS, August, 1974. 
IE5 Lighting Handbook, Illuminating Engineering 
Society, 1947. 
Public Broadcasting Service Factsheet, PBS, 
June, 1974. 
.................. "Search for Status in Station Design," 
Broadcasting, May, 1969. 

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