COMMUNITY & IDENTITY 
AN ART CENTER FOR WHITEFISH , MONTANA 

PERMISSION TO COPY 
In presenting this thesis in partial fulf i l lment of the require­
ments for a Bachelor of Architecture degree at Montana State University, 
I  agree that the l ibrary shall make i t  freely available for inspection. 
I  further agree that permission for extensive copying of this thesis 
for scholarly purposes may be granted by my thesis advisor, or, in his 
absence, by the Director of Libraries. I t  is understood that any 
copying or publication of this thesis for f inancial gain shall not be 
al lowed without my permission. 
Si gnature 
COMMUNITY & IDENTITY 
An Art Center for Whitefish, Montana 
by 
BRET ALLAN DRAGER 
A professional paper submitted in partial 
fulfillment of the requirements for the degree 
of 
BACHELOR OF ARCHITECTURE 
MONTANA STATE UNIVERSITY 
Bozeman, Montana 
December, 1982 
Approved by: 
William S. Semple, Thesis Advisor 
Peter C. Kommers, Committee Member 
f7i 
T o  m y  w i f e ,  f r i e n d s  a n d  f a m i l y .  
TABLE OF CONTENTS 
Permission to Copy 
Thesis Title 
Dedication 
Preface 
History 
Town 
Site 
Development 
Intro 
Public Access 
Community Cohesion 
Art Awareness 
Public Identity 
Program 
Intro 
Program 
Analysis 
Intro 
Materials 
Climatic Data 
Site Data 
City 
Lakesi de 
Si te 
Organizational Elements 
Graphics 
Character -- Identity Analysis 
Graphics 
Footnotes 
Bib!iography 
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PREFACE 
This project is an exploration into community and identity, within 
the community I  grew up in. The project manifests i tself in the form of 
a community art center located in Whitefish, Montana. This is a very 
beautiful and unspoiled part of the world and i t  had a most profound 
influence on my l i fe. The wonder and richness of l i fe in a small town 
can be a rewarding experience from which to base future travels and 
experiences. 
Whitefish is a city of approximately 7,000 people located about 
13 miles north of Kali spell in Northwestern Montana. Today Whitefish is 
a fast growing community that relies on the tourist recreation trade as 
i ts main industry. The influx of tourists and part and full time 
residents has brought many changes to this once sleepy railroad community. 
All year long there is a steady flow of foreigners taking in the recrea­
tional opportunities the area has to offer. Constant grumblings are heard 
from the townspeople to the effect that they can't believe what's 
happening to their town. No longer can you walk down the street and 
recognize everyone who passes. 
The tourist trade brings prosperity to Whitefish and at the same 
time brings anger from the established residents. A loss of community 
cohesion has been brought about by the many changes. Subdivisions push 
the city l imits farther out each year, decentralizing the community. 
Everyone who comes to town wants their own l i t t le piece of paradise by 
the lake. 
The loss of community feeling runs deep today, but Whitefish has 
always prided itself in being self-sufficient. I f  a community facil i ty 
was needed, i t  was provided without outside help. Public institutions 
are a necessary part of small town l i fe and the cit izens have always 
recognized this. 
Art centers are becoming a reality in many small towns across 
Montana as well as in the larger cit ies. The precedent for an art 
center in a city the size of Whitefish has been set by such communities 
as Livingston, Lewistown, Libby, Sidney, Chester and Red Lodge. The 
larger communities of Kalispell, Miles City, Great Falls, Bil l ings, 
Missoula, Butte and Anaconda also have community art centers. The 
potential population from which an art center in Whitefish would be able 
to draw from is about 10-12,000 which is similar to Libby, Lewistown or 
Livingston, but wil l  also include the addition of several thousand 
tourists throughout the year. 
I  chose to explore the design of an art center because i t  is an 
institution which is in its infancy today, much l ike the community 
l ibrary was around the turn of the century, and has the potential to be 
just as important an institution in all towns as the library is today. 
The art center can be an important source of community pride and 
cohesiveness. A place where the arts can be promoted and appreciated 
by  a l l .  
". . . Here it sits, a seemingly ordinary small 
town admittedly sited in a pleasant locality with 
a nice mountain lake at its doorstep but otherwise 
undistinguished. . . . most of the people would 
rather l ive here than anywhere else in the world." 
-- Dick Adams 
Editor, Whitefish Pilot 
from "Stump Town to Ski Town" 
HISTORY 
TOWN 
White settlers arrived at Whitefish Lake in 1890, about 40 years 
later than most of Montana. Indian bands frequently came through the 
area before this time but did not stay long periods of t ime. The early 
settlers recognized the possibil i t ies for the area as a tourist mecca 
from the beginning. This proved to be an accurate premonition of things 
to come. 
The Flathead valley was often called in early promotional advances 
"A Second Red River Valley", referring to the Red River in Texas which 
has an abundance of water, vegetation and ferti le farm land. The valley 
is protected from the cold north winds by the Whitefish Range of the 
Rocky Mountains. The mountains that ring the valley trap warm clouds 
from the Pacific coast which drop precipitation. In the Flathead Valley 
one is struck by the dense forests of Pine, Fir, Tamarac, and Cedar 
interspersed with many acres of ferti le farmland. The Flathead Valley 
is the only portion of Montana with a l imitless water supply, provided 
by countless lakes, rivers and streams. Flathead Lake is the largest 
freshwater lake west of the Mississippi River at 35 miles long and 15 
miles wide at i ts widest point. 
The f irst settlement in the Whitefish area occurred at the south 
end of Whitefish Lake on both sides of the mouth of the Whitefish River. 
This community was called Ramsey, or sometimes Whitefish Lake settlement. 
Due to poor access to the area, growth of businesses was slow but soon 
al l of the typical amenities of a small Western town would be set up. 
The f irst signs of community were seen in the form of hotels, a grocery 
store and post off ice, a saloon and pool hall and a few homes. These 
were all located close around the mouth of the river on the shores of 
the lake for easy access to the source of what drew them there. 
In 1901 the Great Northern Railroad decided to change i ts main route 
from Kali spell to an easier route that went through the Whitefish area. 
The creation of a division point to be located next to the lake meant 
instant growth and prosperity to the t iny community. The railroad located 
i ts operation about three-fourths of a mile from the existing settlement 
which prompted the enterprising members of the town to move closer to the 
railroad's operation to take advantage of the increased traff ic. 
The new townsite prospered and was off icially incorporated in 1903 
as the city of Whitefish. The town of Ramsey continued to function at 
the mouth of the lake for a few years unti l pressure from competit ion 
at the new townsite forced businesses to move or close down. So for 
a while there were two towns at Whitefish divided by the mainline of the 
railroad and i ts huge operation. The only access was across the several 
l ines of track. The existing viaduct was built in the 1930's, but unti l 
that time many public uti l i t ies had to be duplicated. Schools, churches, 
stores (grocery) and fire protection had to be set up on both sides of 
the tracks. These all disappeared on the north side in the 501s and 601s 
and are beginning to reappear today as most of the growth is occurring 
there. The north side has always been the less developed part of town 
and has maintained a separate identity, aggrevated by the split caused 
by the railroad. Even today residents refer to the area north of the 
tracks as "Lakeside" though the idea of a separate town was more a 
physical one than real or even implied by the residents. 
The Great Northern Railroad quickly became the reason for the town's 
existence and by 1910, 1,500 people called Whitefish home. By 1920, 
3,000 people lived inside the city limits. Most families were tied to 
the railroad but some were actively involved in logging, commercial 
enterprises or in the tourist business. The population was to hover 
around 3,000 until the 1970's when growth accelerated as people discovered 
the recreational attributes of the town. 
The railroad, now called Burlington Northern, plays a reduced and 
rapidly declining role in Whitefish today. The Burlington Northern is 
eliminating Whitefish as a division point and will use the town for 
changing crews and as an Amtrac stop only. The dismantling of an 
industry that created a town could be devestating, as we are seeing today 
in Anaconda with the Anaconda Smelter closing down. The town is destitute 
with all of its major work force out of work. This trickles down to the 
basic shopkeepers who now find no customers for their products. The town 
of Whitefish finds itself in a much bettern position than Anaconda 
because the railroad has been playing a much less significant role with 
the rapid growth of the tourist industry. Families that have been 
directly tied to the railroad will leave to find other work but they will 
be replaced as quickly as they leave by the new tourist oriented workforce. 
The changes will mean the community is not as diversified as it has been 
and more at the whim of the tourist industry. 
The tourist industry got its base with the creation of Big Mountain 
Ski Resort, which began in the 1930's as a community project. Today the 
Big Mountain is the largest ski resort in Montana. The ski runs overlook 
the town and dominate the Whitefish skyline as a constant reminder of its 
growing dependence on Big Mountain. Whitefish stages a Winter Carnival, 
now in its twenty-second year, that has grown to some national prominance 
and draws 20-30,000 people into the community during its run. The winter 
brings all the trappings of a true ski town to Whitefish. 
The summer recreation opportunities revolve around Whitefish Lake 
with boating, swimming and fishing. Two regattas are held each summer 
and attract national competition. Other recreation facilities include 
a 27-hole golf course and public tennis courts. 
In the 1950's the community dreamed of getting a Frank Lloyd Wright 
designed building. In 1959 that dream was realized with the completion 
of a medical clinic designed by Frank Lloyd Wright. The building was to 
become a bank in 1964 and now stands empty, as the bank has moved to new 
quarters. The move was prompted by the enormous task of trying to design 
an addition to the original building that would overpower it and do it 
an injustice. 
It appears Whitefish will survive the pullout of the railroad and 
the expansion of the tourist trades to prosper as one of Montana's more 
important destinations. A 1972 population study has predicted a popula­
tion of 23,950 by 1997 with only 30% being year round residents. More 
current studies, which I have seen but don't have access to, have given 
very similar predictions. So it is apparent that much growth will continue 
in the future. It is hard to say if the increased growth will have a good 
effect on the fabric of the town, but there is still something cantank­
erously independent about Whitefish people that will hold the community 
together A 
SITE 
The site which I  have chosen for my project is located on Whitefish 
Lake at the mouth of the Whitefish River. The site and the areas around 
i t  have a decidedly residential makeup today, but this was not always so. 
This area began as the f irst townsite of Whitefish as explained in the 
previous section. All the trappings of the community were located here, 
with both businesses and residences located along the shores of the lake 
and r iver. 
The only public access to the lake occurs adjacent to the site at 
the City Beach Park. This park is a 1,000 ft. long strip of land that 
has a beach, boatramp, docks, swimming, diving and picnicking. The rest 
of the lake has long been divided into single-family lots with no oppor­
tunity for public use. 
Many changes have come to this area of town over the years. When 
the commercial enterprises moved to the new townsite, in the early 1900's, 
a logging company moved in. They built a dam across the mouth of the 
river to regulate the lake level and raised i t  by eight feet. This dam 
was blown up by angry townspeople when the logging operation moved out 
of town. There was a bridge across the mouth for a short t ime also. 
This connected Woodland Avenue with the other side. There is no informa­
tion as to i ts demise. 
The f irst signs of the recreation industry occurred in 1906 in the 
form of a sight-seeing boat that operated from City Beach Park. This 
boat called the "Butte", took groups on a tour of the lake which stopped 
at the north end of the lake at Point of Pines Pavil l ion and culminated 
back at City Beach Park. This was to last only a few years, when private 
recreation pursuits took over. 
The City Beach Park was set up in the early 1900's by purchasing 
some prime lakefront property from several early residents. At the time 
i t  was set up the town was concentrated south of the railroad and the 
north side was on the fringe of the community. The possibil i ty of this 
area being a central community focus has grown with the extension of the 
city l imits. The city beach is now located more centrally within the 
town. I t  could be speculated, quite accurately from the history of the 
early growth, that i f  the railroad had not come through the Whitefish 
area, the city beach area would have been the commercial core of the town 
and residences would have been located farther away from the lake. The 
net effect would be greater access physically and visually for the public 
than can be seen today. Major public buildings would have been located 
here such as the city hall, l ibrary, etc., along with the commercial 
operations. 
If the town had had more foresight early in its history this area 
would have taken on decidedly different characteristics than it has today. 
The location of my project has many historical precedents for locating 
here but the task would have been easier if a coherent plan had been 
thought about in the early years. 
"Eventually, all things merge into one and a river 
runs through it. The river was cut by the world's 
great flood and runs over the rocks from the 
basement of time. On some of the rocks are 
timeless raindrops. Under the rocks are the 
words and some of the words are theirs. I am 
haunted by waters." 
-- Norman Maclean 
A River Runs Through It 
DEVELOPMENT L fni Tirf K 
INTRO 
In my examination of the community of Whitefish I have uncovered 
several problems that should be explored to be able to grasp the effect 
the establishment of an art center can have on a community fabric and 
how it may be able to contribute to the betterment of the environment. 
The problems that must be addressed as I see them are: Inadequate 
public access to the lake; a loss of community cohesiveness due to 
population growth; community awareness of the arts; and the identity of 
public buildings within a community. This project will explore solutions 
to these problems and attempt to contribute to the betterment of community 
pride and cohesiveness. To accomplish these objectives we must first 
recognize that a strong public role in and commitment to the arts and 
amenities through planning is essential. Without the public's input in 
defining the programs, the whole act of participating in the arts is 
frustrated. 
The city of San Antonio completed its ambitious urban renewal project 
that centered around beautifying the river that runs through town. Any 
discussion of San Antonio's urban character has to begin with its river. 
It is literally the stage for the city's cultural, commercial and civic 
life. It is a gallery, a place for art and a place for performance. 
Whitefish could be in a similar position to ensure that the greatest 
public amenity, the lake, can be accessible to all people and contribute 
to the health and development of the community. 
PUBLIC ACCESS 
The City Beach Park has long been the only public access to Whitefish 
Lake. Anyone who doesn't own their own 75 ft. piece of lake frontage has 
to rely on the park for lake recreation. The facil it ies that are provided 
are good for the purpose they serve, such as swimming and boating, but the 
area has much more potential for serving a larger portion of the public 
than is now included. This investigation is for the creation of an Art 
Center in Whitefish, but the broader outlook should be to create a coherent 
plan for the cultural and educational growth of the community. 
I  propose that the city acquire some properties adjacent to the 
existing City Beach to be set aside for public use or public institutions. 
These areas are shown on a map on page 27 and are only for the purpose of 
examining a coherent plan for the city. The City Beach is the present 
focal point for all public recreation and is the logical spot for creation 
of a broader community focus. Public amenities would be diversified to 
allow more people to experience the lake. As indicated previously, the 
City Beach area has had a more public nature with the town centered here, 
but now is essentially residential. It is my contention that i t should 
return to the public realm to allow people to enjoy the lake on more 
diverse levels than is now allowed. 
The purpose of this project is not to dwell upon this overview, but 
to set a stage from which the creation of an art center at this site can 
have an important contribution to the community. The creation of parks 
for community activities has become one of the major focus' of community 
development today. In effect this plan would extend the community park 
into a community center with an identity from which the public can revolve 
around. The art center would be an impetus for the establishment of a few 
cultural and recreational facil it ies which can be identified even now. 
The community theatre is in need of a permanent home and could be located 
in such a community center. Presently a community pool is in the planning 
stages, a historical center could house Whitefish history and i f space for 
a new l ibrary is needed, i t would be built here. All of these facil it ies 
have an important community function and can also serve to enliven the 
tourist industry. 
COMMUNITY COHESION 
The influx of new residents and the explosion of the tourist trade 
has had the effect of decentralizing the once t ight community of Whitefish. 
The creation of a center of community activit ies should have the effect 
of recapturing some of the lost community feeling by providing a focus 
for cultural, educational and recreational activit ies. A reaffirmation 
of the pride and cohesiveness of the community should be the overall 
effect. 
The people of Whitefish have historically been very egocentric^ in 
their appraisal of the community's abil i ty to provide public facil i t ies. 
In the early 1900's the public's eye was on the need for a city l ibrary 
during the era of free public l ibrary buildings donated by Andrew Carnegie. 
Thirteen examples of Carnegie's benefaction can be found in Montana, 
including Bozeman, Kali spell (the Kali spell Carnegie Library is now the 
Hockaday Art Center), and Livingston.5 Whitefish cit izens wouldn't accept 
Andrew Carnegie's donation. A 1905 Whitefish Pilot article reported, 
"Because of i ts pride, Whitefish has not asked Carnegie to give i t  a 
l ibrary building." In 1908, the Pilot reported in an article t i t led 
"Why Not Have a Library?", that "1. the Townsite Company wil l  donate a 
lot; 2. Carnegie funds are available; and 3. just a l i t t le action is 
needed."6 The town was sti l l  not wil l ing to ask for Carnegie funds when 
they could provide the l ibrary for themselves. In 1916 cit izens voted to 
fund the Whitefish Public Library without outside help. I t  may appear 
that to turn down a donation such as Carnegie was making available is 
foolish, but the town was establishing a precedent for the town to follow 
in the future. I t  provided a focus for community cohesiveness by proving 
i t  can be accomplished without help outside the community. 
• . i 
The planning and implementation of an art center could focus commun­
i ty energies once again and bring about some of the old cohesiveness. 
The long range effect could be a stronger community with many more public 
amenities for the community to have pride in. 
ART AWARENESS 
Flathead County funds the Hockaday Center for the Arts, located in 
Kali spell, which provides a wide range of community arts programs in all 
creative f ields. As I  indicated before, Whitefish cit izens have always 
functioned in a very egocentric basis. I f  a service can't be provided 
by the town, but is offered in another town, i t  is usually ignored. 
Logically the programs offered by the Hockaday are put on in their 
facil i ty or in other facil i t ies in Kali spell and this causes a problem 
logistically for residents in Whitefish, Columbia Falls and other towns 
in the county. The Hockaday claims to be a county art center, but falls 
down in being able to adequately reach residents outside of Kalispell, 
though the effort is made. 
Having grown up in Whitefish and having been involved in the arts 
most of my l i fe there, I  was never exposed to anything the Hockaday had 
to offer. As far as I  was concerned the Hockaday was only an art gallery 
and not the educational institution i t  tries to be. I  entered several 
art contests in high school and even managed to win one, but none of those 
had any relation to the Hockaday. The programs are not far reaching enough 
i f  the Hockaday can't reach young people interested in the arts. I  was 
lucky that certain Whitefish clubs were interested and provided the vehicle 
for some community awareness of the arts. 
Concern for the arts should reach out into all f ields of creative 
endeavor such as dance, theatre, and the arts and crafts f ield. For the 
purpose of this project, only the arts and crafts wil l  be concentrated 
on. I t  would be the area that wil l  influence the most people to parti­
cipate. The long range focus should be the implementation of a facil i ty 
for dance and community theatre, but these wil l  not be included in this 
program. 
The town has had some f ledgling art centers spring up in the past, 
only to be short l ived. During the 1930's and 40's, the Works Progress 
Administration funded the teaching of arts and crafts in Whitefish.? 
The WPA sponsored Community Arts Program did much to help foster the 
growth of art education in many communities.8 The funds just ran out 
too soon for the art center to become a major part of the community 
identity. I t could be speculated that i f  the community had developed 
i ts own art programs at that t ime without WPA funds, there may be a 
strong program surviving today, much l ike the Whitefish Public Library. 
Whitefish has had a r ich heritage of artists l iving and working in 
the area. The creation of an art center in Whitefish wil l  allow those 
artists to promote awareness of the arts and to promote their own work. 
.  Prevail ing attitudes toward the arts are complex and often contradic­
tory. Although the arts are becoming increasingly popular, participation 
11 
in the arts as general experience, 
infrequent. Yet, one rarely finds 
group or an art class.9 
for most people, is sti l l  relatively 
a community which doesn't have an art 
PUBLIC IDENTITY 
The art center I  am proposing wil l  function as a public building, 
publicly funded and open to general public. Historically there is an 
identif iable image that a public building displays and this image is 
perceived differently than a residence or store is perceived. An investi­
gation of what makes a person identify with a building as public wil l  be 
an important aspect to consider when trying to design a new public build­
ing. Traditionally classical design probably wouldn't work well today, 
especially in a modern small town, but an abstraction of the essential 
elements could identify the building as public. 
The Hockaday Center for the Arts in Kali spell, as previously noted, 
has been established in a renovated Carnegie Library. Ms. Magee Ferguson, 
Director of the Center, indicated that the Montana Arts Council has found 
that a significant number of Carnegie Libraries across the country have 
been renovated into art centers. A plan for an art center in Bozeman's 
Carnegie Library was briefly entertained unti l the city decided to put 
off ices in i t . Just how many Carnegie Libraries have been turned into 
art centers is not available but the number is significant enough to 
warrant some examination of reasons why a l ibrary that has outgrown its 
usefulness could be the perfect stage for the creation of an art center. 
Also i t  may be important to determine why the Carnegie Library was a focal 
point of the community and what aspects wil l  help a new art center function 
in the same way. 
The art center today is enjoying i ts infancy much l ike the l ibrary 
was experiencing in the early 1900's when i t  became the center of public 
pride as a new important civic institution. Andrew Carnegie was the 
impetus for much of that early growth with his donations of l ibrary 
buildings to towns large and small al l around the country. The buildings 
numbered 2,509 and cost Carnegie $56 mil l ion to construct. Carnegie felt 
"the best gift which could be given to a community is a free l ibrary."^ 
Many of these l ibraries have outgrown their buildings and have been 
abandoned for new facil i t ies. This is occurring at a t ime when art centers 
are just becoming a new feature in many of the communities that also have 
Carnegie l ibraries. 
The layout of the small Carnegie l ibraries, by necessity, had a 
vestibule and entry hall that entered on a large, rectangular, high 
ceil inged, open room which housed the book stacks and reading room. Most 
Carnegie l ibraries are very similar in this respect as Carnegie demanded 
control over how the l ibrary was designed.^ This large room suits itself 
quite well for use as a gallery space by offering much wall space on the 
perimeter with windows located high enough to clear the original book 
shelves. 
The  common i n t e r io r  l ayou t  combined  wi th  ex te r io r s  o f  s imple  d ign i ­
f i ed  des ign  and  cons t ruc t ion  was  emphas ized ,  e f f ec t ive ly  e l imina t ing  
ponderous ,  o rna te  ex te r io r s .  Carneg ie  made  no  demands  on  the  ex te r io r  
o the r  than  to  no t  ove rdo  i t  and  sac r i f i ce  in t e r io r  space .^  Arch i t ec tu ra l  
des ign  f ea tu res  were  t o  fo l low accep ted  p rac t i ces  o f  t he  reg ion  the  bu i ld ­
ing  was  l oca ted  i n ,  bu t  t he  ma te r i a l s  were  t o  be  o f  b r i ck  o r  s tone .  By  
Carneg ie ' s  dec ree ,  "no  bu i ld ing  was  t o  be  o f  wood  f r ame ."  
When  examin ing  the  Carneg ie  l i b ra r i e s  in  Ka l i s  pe l  1  o r  Bozeman ,  some  
images  beg in  t o  be  i den t i f i ed :  In i t i a l ly  these  images  can  be  seen  a s  
symmet ry ,  s imple  mass ing ,  compac t  p l an ,  d ign i f i ed ,  mass ive ,  s t rong-so l id ;  
ove ra l l  an  image  o f  pe rmanence  i s  p ro jec ted .  Al l  o f  t he  bu i ld ings  use  
some  s impl i f i ed  c l a s s i ca l  e l emen t s ,  such  a s  a  g rand  en t rance ,  ped imen t ,  
mold ings ,  and  co lumns .  These  e l emen t s  he lp  the  sma l l ,  t i gh t ly  des igned  
bu i ld ings  to  exude  t he  essence  o f  impor tance  bu t  access ib i l i t y .  The  
bu i ld ing  i s  immedia te ly  i den t i f i ed  as  an  impor tan t  cog  in  the  communi ty .  
I  f ee l  the  s impl i f i ed  abs t r ac t ion  o f  c l a s s i ca l  e l emen t s  t ha t  mos t  
Carneg ie  a rch i t ec t s  used  seems  t o  come  ve ry  c lose  to  the  es sence  o f  
H.H.  R icha rdson ' s  abs t r ac t ions  o f  the  Romanesque  des ign  l anguage .  He  
des igned  many  sma l l  bu i ld ings ,  inc lud ing  l i b ra r i e s ,  t ha t  exuded  many  o f  
the  images  d i scussed  above ;  such  a s  s imple  mass ing ,  so l id - s t rong ,  d ign i ­
f i ed ,  wi th  a  compac t  p l an .* 3  He took  i t  a  l i t t l e  fa r the r  than  the  Carne ­
g ie  l i b ra ry  des igns  by  no t  hav ing  the  con t ra in t s  o f  symmet ry  t ha t  Carneg ie  
imposed  on  h i s  l i b ra r i e s .  Arch i t ec t s  o f  t he  Carneg ie  l i b ra r i e s  were  f aced  
wi th  t he  prob lem o f  des ign ing  an  impor tan t  pub l i c  i den t i ty  fo r  the  l ib ra ry  
on  a  ve ry  t i gh t  budge t  t ha t  ave raged  $10-15 ,000 .14  Th i s  l ed  to  a  min imum 
o f  o rnament  and  new in t e rp re ta t ions  o f  c l a s s i ca l  des ign  de ta i l ing  to  
p ro jec t  t he  iden t i ty  o f  the  pub l i c  bu i ld ing .  
The  inves t iga t ion  o f  why  Carneg ie  l i b ra r i e s  f i t  so  we l l  i n to  the  
image  o f  a  pub l i c  bu i ld ing  he lps  t o  iden t i fy  some  impor tan t  e l emen t s  t ha t  
wi l l  b r ing  a  new pub l i c  i n s t i tu t ion ,  such  a s  an  a r t  cen te r ,  i n to  the  
pub l i c  focus .  Jus t  a s  the  new l i b ra r i e s  o f  the  ea r ly  1900 ' s  needed  t o  
be  i den t i f i ed  as  an  impor tan t ,  pe rmanen t  pub l i c  i n s t i tu t ion  dur ing  i t s  
fo rmat ive  yea r s ,  so  does  t he  a r t  cen te r  which  i s  in  i t s  in fancy  today .  
"A Program is a philosophy. I t is a strong 
declaration of creative intent, its strength 
resulting from an amalgam of ideas, people, 
spaces and activities." 
-- Joseph Golden 
Olympus on Main Street 
PROGRAM I 
INTRO 
The Hockaday Center for the Arts in Kali spell is the role model I  
have chosen to help develop a program for the art center in Whitefish. 
The Hockaday wil l  not be ignored as i f  i t  wasn't exist ing, which wil l  
inf luence the size and scope of the programs offered in Whitefish. The 
Hockaday curates many shows of national and regional importance through­
out the year. The sponsorship of theatre and music series is also an 
important aspect of their program.15 The art center in Whitefish wil l  
focus on the arts and crafts, or visual arts, aspects as i ts init ial 
plan, with the music and theatre programs left loosely on the fr inge 
for future consideration. 
The program wil l  include many of the programs the Hockaday has 
included but modif ied to f i t  into the smaller community of Whitefish. 
With this in mind, the program wil l  include gallery space, studio space, 
lecture room, and associated administrative space. 
Gallery space should include galleries for both permanent col lec­
tions and traveling or local shows. The support spaces for the galleries 
should include a shipping-receiving preparation area with storage. The 
character of the space should be well l i t ,  both natural and art i f icial, 
with ample display space that doesn't try to overpower the art. An 
outside gallery should be included for shows such as Art in the Park, 
which could be put on quite successful ly on site adjacent to the city 
beach. Visual promotion of art ist ic trends is featured. 
Studio space provides the other spectrum of the faci l i ty's use. 
The program should include educational space for painting-drawing and 
ceramic-sculpture. This space wil l  help promote the arts through hands-
on experience. The character of the space should be very active with 
ample north l ight and uti l i tarian surfaces that don't sacrif ice comfort. 
An art ist in residency wil l  give residents invaluable experience in how 
an art ist actually works. The resident art ist should be a rotating posi­
t ion that wil l  bring in varied forms of art. During the art ist 's stay 
emphasis could be placed on his part icular f ield of study for educational 
courses. 
A presentation-lecture room can provide a faci l i ty to promote ski l ls 
that art ists who sel l  their work need to survive in the business world. 
Seminars could be held in record-keeping, tax obligations, marketing, 
dealing with galleries, and insurance needs. This faci l i ty would also 
function as a sl ide-lecture room for the regular educational program. 
Administration should be f i l led with a ful l-t ime administrative 
head- and an assistant. Off ices for each with lounge and conference 
support should be provided with an information-sales desk located in the 
lobby. ic 
A program devised from this investigation of the Hockaday follows 
with an elaboration on the required spaces necessary to provide a quality 
facil i ty. 
PROGRAM 
GALLERY 
1 .  
2 .  
3 .  
4 .  
5 .  
6 .  
STUDIO 
1 .  
2 .  
3 .  
4 .  
5 .  
6 .  
Permanen t  co l l ec t i on  - -  1 ,000  sq .  f t .  
Majo r  exh ib i t i on  - -  1 ,000  sq .  f t .  
Ex te r io r  exh ib i t i on  - -  a s  needed  
S to rage  room - -  200-300  sq .  f t .  
P repa ra t i on / r ece iv ing  - -  600  sq .  f t .  
Commen t s  a .  mechan ica l  ven t i l a t i on  
b .  na tu ra l  f i l t e r ed  l i gh t  - -  ga l l e r i e s  
c .  t r ack  l i gh t ing  
d .  i ncandescen t  l i gh t ing  
Ce ramic / scu lp tu re  - -  1 ,000  sq .  f t .  
Pa in t i ng /d rawing  - -  1 ,000  sq .  f t .  
Dark room - -  150  sq .  f t .  
S to rage  room - -  100  sq .  f t .  
Ju ry  room - •  
Commen t s  a .  
b .  
c .  
d .  
e .  
100  sq .  f t .  
mechan ica l  ven t i l a t i on  
na tu ra l  l i gh t  
i ncandescen t  l i gh t  
s to r age  cab ine t s  
s e rv i cab l e  f l oo r ing  
ADMINISTRATIVE 
1 .  D i r ec to r ' s  o f f i ce  - -  150  sq .  f t .  
2 .  Ass i s t an t  D i r ec to r ' s  o f f i ce  - -  150  sq  
3 .  Mechan ica l / j an i t o r i a l  - -  300  sq .  f t .  
4 .  To i l e t  rooms  - -  200  sq .  f t .  
5 .  Commen t s  a .  na tu ra l  l i gh t  
b .  i ncandescen t  l i gh t  
f t .  
SOCIAL 
Communi ty  p r e sen t a t i on  room - -  800  sq .  f t .  
En t ry  ha l1 / i n fo rma t ion  desk  - -  1 ,000  sq .  f t .  
Pav i l l i on  - -  a s  needed  
K i t chene t t e  - -  100  sq .  f t .  
Commen t s  a .  na tu ra l  l i gh t  
b .  i ncandescen t  l i gh t  
c .  f i r ep l ace  i n  en t ry  ha l l  w i th  s ea t i ng  
d .  pub l i c  amen i t i e s  
e .  p l an t s  t o  l i ven  space  
"Ar t ,  a l l  a r t  the  cha rac te r i s t i c  tha t  i t  
un i t e s  peop le .  Every  a r t  causes  those  whom 
the  a r t i s t ' s  f ee l ing  i s  t r ansmi t t ed ,  to  
un i t e  in  sou l  wi th  the  a r t i s t  and  a l so  wi th  
a l l  who  r ece ive  the  same  impress ion . "  
- -  Leo  To l s toy  
ANALYSIS 
INTRO 
Generally I  feel my particular design process is one of an intuitive 
nature as opposed to functional. As an intuitive designer, I  usually 
begin with the rough planning criteria, then define the nature, feel 
and identity of the spaces required within the project. With this in 
mind I  begin conceiving the actual physical ramifications of the design. 
By the time I  have analyzed the program, the design has already 
begun to take shape in my mind as to the functional arrangements, overall 
image and identity. The functional details come from the actual prepara­
tion of the design. The spaces then fall into their proper place as 
adjacencies are recognized. The spaces are not set concretely before 
design and are allowed to grow through the creative process, leaving the 
formative stages less cluttered. The process, though not foolproof, is 
one that works ideally for me. 
The analysis that follows includes the necessary examination of site 
conditions, to find out how the facility will f it in with the site. The 
next step is to define the elements from which the building design will 
be derived. In essence a stage will be set that will define the identity 
of the building. The process assures the building will have a character 
that can be identified with its function. The pitfall of the kind of 
design where mechanical and functional process is divorced from character, 
is to create in the end buildings that all look alike: hospitals that 
look l ike factories, churches that look like hospitals, etc. 
MATERIALS 
The local materials are wood, stone, brick and metal. The materials 
I  feel are appropriate for this project are determined from the surrounding 
site features and town vernacular. 
As Whitefish is in the center of the timber industry, the logical 
choice of material is wood as a veneer and as a structural material. The 
major portion of buildings in Whitefish employ wood in some form, mostly 
in housing. The businesses downtown have been changing their exteriors 
into the local "ski town wood style", from the previous "ski" town Swiss 
chalet style. I  don't know which style can be considered less desirable 
but both employ wood as an exterior siding. Wood is in the majority of 
vernacular styles so i t  should be considered for this project. 
Stone is another material that should be used for this project. 
This is derived from the adjacent City Beach Park where two stone retaining 
walls sculpt the land into more usable slopes. The opportunity to bring a 
consistancy to my site as a continuation of the City Beach public space 
is afforded by the inclusion of stone into the building and landscape. 
Brick is used in many stores downtown and in the Central school, but 
for the most part i t  is not a major material in Whitefish. Though i t  is 
a very practical material for creating a public building, other materials 
should be examined f irst. Brick could be useful in flooring materials. 
Metals may be appropriate in the structural sense, but wil l  make 
perfect sense as an ornamental material. There are many examples of 
metal used for gates, rail ings and fences. As a material often used by 
craftsmen, i t  can be an appropriate material to use in this project. 
The combinations of these materials into a harmonious whole wil l  be 
the responsibil i ty of the designer. 
CLIMATIC DATA 
Whitefish's climate is typical of Montana's overall cl imatic charac­
teristics. Ordinarily, the town experiences the following ranges of 
temperature and precipitation. 
Average annual precipitation 
Average annual snowfall 
Average maximum temperature 
Average minimum temperature 
Average growing season 
Average humidity 
The wind generally flows out of the northwest and comes directly 
down the lake increasing the wind chil l  factor at certain times of the 
years. In the winter, storms generally back up from the east. But 
normally wind is not a big factor in Whitefish due to the protection of 
the mountains the town is nestled against. 
-- 12.32 inches per year 
— 50.00 inches per year 
— 52.60 degrees F. 
-- 30.00 degrees F. 
-- 120 days 
-- 73% 
of: 
Average wind speed — 7 miles per hour 
Whitefish is at the 48° North Latitude which produces solar angles 
azm. June 21 -- 128° 
azm. March 21 -- 90° 
azm. Sept. 21 -- 90° 
azm. Dec. 21 -- 52° 
alt. at noon -- 65° 
alt. at noon -- 42° 
alt. at noon -- 42° 
alt. at noon -- 18° 
Degree days -- 85.55 
I t needs to be noted here that the site is heavily wooded, which wil l  
prevent optimum use of the sun for heating. The trees are pretty evenly 
divided between cottonwood and birch with a few pine distributed through­
out, but the large number of trees to the south wil l  tend to cut off the 
low angle sun in the winter. Summer sun wil l  be quite effectively shaded 
by these same trees. As more facil i t ies are added around the site, the 
number of trees wil l  l ikely decline and allow more sun into the site. 
Therefore proper orientation to the sun should be considered, but i t  
won't become a major concern in the design other than the logical and 
necessary aspects of solar design and l ight. 
The uses of the l ight available at the site are defined below with 
aesthetic considerations. 
North — cold, view of sunless sky, view of lake and 
mountains, precious, even l ight, ideal for exhibits 
and studios. 
East - cool, morning warm-up, warms away the night, brings 
new optimism of the day, view of City Beach. 
South -- warmth, l ight useful for heating in winter, overhangs 
needed for shading, not good l ight for l ighting 
exhibits unless f i l tered. 
West -- hot, debil i tat ing afternoon rays, produces evening 
sunsets, view of r iver, lake and mountain. 
The optimum orientation coming from this analysis of l ight is in the 
south-easterly direction. This produces a morning warm-up, day heat, 
and cuts out afternoon hot rays. The north l ight is st i l l  available for 
studios and galleries. 
SITE DATA 
The proposed site is located on the shores of Whitefish Lake at 
the mouth of the Whitefish River. This site is generally known as 
O r c h a r d  P o i n t .  A  m a p  s h o w i n g  i t s  l o c a t i o n  i s  o n  p a g e  2 3 .  
The elevation of the lake is at 2,995 feet above sea level and the 
level of the lake generally f luctuates by 4 or 5 feet in the spring. 
The highest point on the site is at 18 feet above lake level. The slope 
of the ground plane is generally an easy slope with a drop off near the 
lake shore. 
Al l  ut i l i t ies are available at the site with water, electricity, gas 
and sewer al l  directly on the site in the street r ight-of-way. Electri­
city is currently above ground and should be considered to be buried in 
the future and for this project. 
The east side of the site is heavily wooded with pine, cottonwood 
and birch trees with heavy undergrowth. The west side of the site is 
more sparsely wooded with pine, cottonwood and birch trees and grass 
lawns associated with the existing houses. The shoreline is devoid of 
trees or bushes with a sandy beach of varying width that is dotted with 
many large boulders. 
The adjacent environment is dominated by the City Beach Park directly 
east of the site. I ts major elements include a change house, a restroom 
building, two picnic pavil l ions and a sandy beach. The site is also 
dominated by two massive stone retaining walls that run the length of the 
site and help sculpt the land into more usable areas for the beach and 
picnic areas. A snack bar is located in the parking lot directly south 
of the beach and is open during the summer only. 
Whitefish's building codes are those prescribed in the United 
Building Code. The zoning for my site is Resort Residential. A special 
use permit al lows some public buildings after a review of the faci l i ty. 
Ideally a re-zoning should occur to make the general master proposal work. 
The fol lowing graphic information, pages 23 thru 30 ,  examines 
existing condit ions and data in the town. The data begins at the city 
level, examines the "lakeside" area, and concludes with the actual site 
condit ions. This al lows a layering of information which coincides with 
the development of the project as a whole. 
2 
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CITY OVERVIEW 
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TRAFFIC / BOUNDARIES 24 
WHITEFISH, MT NORTH 
COMPLETION OF DUALISM 25 
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SUN/WIND/VIEWS 30 
ORGANIZATIONAL ELEMENTS 
The fol lowing graphic information, pages 32 thru 34 ,  attempts to 
set forth the basic organizational principles that wil l  inf luence the 
development of the architectural spaces. These principle elements have 
been derived from my feelings associated with the existing site config­
uration and elements existing adjacent to the site. 
The common axial characterist ics of al l  of the drawings is related 
specif ical ly to the configuration of the site, f low of the land and the 
solar axis. The existence of the two long stone retaining walls in 
the adjacent City Beach Park have also greatly influenced the decision 
to base al l  spatial organizations on a long axial plan. A short explan­
ation is included with each organizational principle shown. 
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CHARACTER - IDENTITY 
What makes two or more buildings of the same function or purpose 
appear to be what they are? I f  a building type emerges from the sea of 
average architecture and asserts i tself with a strong personality, we 
say that i t  has character. This quality can be most dif f icult to define 
and can be seen as twofold. 
The definit ion of character could be the group character of a 
building type: such a building could not be tagged as anything else but 
a school, a hospital, or a church. But at t imes a thing buil t  asserts 
i tself above any l imitation of a group building type. Not only does i t  
fulf i l l  i ts program completely and carry throughout i ts design unity and 
material, but i t  hugs to the site l ike a l ive animal and gives the 
impression that i t  has been there since the beginning of t ime. 
The accompanying i l lustrations on pages 36 thru 37 tr ies to 
graphically identify the f irst of the above premises. The drawings 
start with a blank wall -- superimposing building elements that identify 
a group of buildings' character. The outcome is as I  see i t ,  an aff ir­
mation that the group character of public buildings that have a civic 
function tend to have classical element as their main identif iable 
features. Jhe drawings are specif ic in drawing out their elements from 
small western town design. Towns in other regions or parts of the world 
may have altered perceptions of the identit ies of these same building 
types, but the public buildings would carry very much the same elements 
as are shown. 
The i l lustrations on pages 38 thru 40 attempt to define the second 
premise above. I t  is a conceptualization of a site derived growth of the 
building type. An exploration into what features can help the building 
appear that i t  has been there "since the beginning of t ime". 
The character of this project would ideally be able to identify the 
art center in as strong a visual image as the elements of a church. 
These elements of a church have been around for many centuries with 
those elements being refined constantly. The art center is in i ts 
beginning stages and probably doesn't have those strong refined elements 
that wil l  set i t  off by i tself. This character can be i l lustrated with 
the example of the public l ibrary; i t  can be defined quite readily as 
a public building but i t  doesn't have the strong identif iable image, at 
least on the exterior, that a church has. In al l  the art center wil l  
have strong elements that are unique to i ts function. My f irst goal is 
to see that i t  has an identif iable image of a public building. The 
second goal wil l  be to see that the building is a part of i ts site. 
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FOOTNOTES 
1. Schafer, Betty and Mable Engelter, Stump Town to Ski Town, the story 
of Whitefish, Montana, The Whitefish Library Association, Inc., 
Whitefish, Montana, 1973, note: al l  historical data within this 
section has been taken from this one source and is footnoted under 
this one reference for clarity. 
2. Ibid. 
3. American Council for the Arts, The Arts and City Planning, edited 
by Robert Porter, ACA Publications, New York, NY, 1980, pp. 107-112. 
4. Schafer, op. cit . ,  pp. 108-109. 
5. A Manual of the Public Benefactions of Andrew Carnegie, compiled 
and edited by the Carnegie Endowment for International Peace, The 
Rumford Press, Washington, D.C., 1919, p. 175. 
6. Schafer, op. cit . ,  pp. 131-133. 
7. Ibid, p. 127. 
8. Barkan, Manuel, A Foundation for Art Education, The Ronald Press 
Company, New York, NY, 1955, pp. 74-77. 
9. Ibid, p. 109. 
10. Bobinski, George S., Carnegie Libraries, American Library Associa­
t ion, Chicago, IL, 1969, p. 102. 
11. Ibid, pp. 97-98. 
12. Ibid. 
13. VanResselaer, Marianna Griswold, Henry Hobson Richardson and His 
Works, Dover Publications, 1969, p. 87-89. 
14. Bobinski, op. cit . ,  pp. 97-98. 
15. Personal interview with Magee Ferguson, Director of the Hockaday 
Center for the Arts, Kali spell,  MT, March 20, 1982. 
16. Gri l lo, Paul Jacques, Form, Function and Design, Dover Publications, 
Inc., New York, NY, 1969, p. 37. 
BIBLIOGRAPHY 
A Manual of the Public Benefactions of Andrew Carnegie, compiled and 
edited by the Carnegie Endowment for International Peace, The 
Rumford Press, Washington, D.C., 1919. 
American Council for the Arts, The Arts and City Planning, edited by 
Robert Porter, ACA Publications, New York, NY, 1980. 
Barkan, Manuel, A Foundation for Art Education, The Ronald Press Co., 
New York, NY, 1955. 
Bobinski, George S., Carnegie Libraries, American Library Association, 
Chicago, IL, 1969. 
Ching, Francis D.K., Architecture: Form, Space and Order, Van Nostrand 
Reinhold Company, New York, NY, 1979. 
Ferguson, Magee, personal interview, Director of the Hockaday Center 
for the Arts, Kali spell,  MT, March 20, 1982. 
Golden, Joseph, Olympus on Mainstreet, Syracuse University Press, 
Syracuse, NY, 1979. 
Gri l lo, Paul Jacques, Form, Function and Design, Dover Publications, Inc., 
New York, NY, 1960. 
Harrison, Raymond 0., The Technical Requirements of Small Museums, 
Technical Paper No. 1 by the Canadian Museums Association, 1962. 
Maclean, Norman, A River Runs Through I t ,  and other stories, The Univer­
sity of Chicago Press, Chicago, IL, 1976. 
Schafer, Betty and Mable Engelter, Stump Town to Ski Town, the story of 
Whitefish, Montana, The Whitefish Library Association, Inc., 
Whitefish, Montana, 1973. 
VanResselaer, Marianna Griswold, Henry Hobson Richardson and His Works, 
Dover Publications, 1969. 
Zelermyer, Rebecca, Gallery Management, Syracuse University Press, 
Syracuse, NY, 1976. 

I 
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stks 720°6NM76D784 UNIVERSITY LIBRARIES 
&^entity : an art center for 
3 1762 00168190 5