The Built Environment Image Guide 

FOR THE NATIONAL FORESTS AND GRASSLANDS 
uilt Environment Image Guide 

FOR THE 

NATIONAL 

FORESTS AND 

GRASSLANDS
nvironment Image 

REST SERVICE PHILOSOPHY... 

ment, as used in this guide, refers to the administrative and recreation buildings, landscape structures, 

structures on roads and trails, and signs installed or operated by the U.S. Department of Agriculture 

ervice, its cooperators, and permittees. 

the built environment constructed on national forest lands and grasslands, or those used for 

rposes 

wns, and cities, shall—to the extent practicable—incorporate the principles of sustainability, 

e within the natural and cultural landscape, and provide optimal service to our customers 

 

will: 

nned, and designed with respect for the natural systems in which they reside.

ntegrate their natural, cultural, and experiential context.

 elements, including appropriate signs, that reinforce a national agency identity.

ciency of energy and materials consumption in construction and operation.

er examples to interpret conservation of natural resources and sustainable development.

ments for people to enjoy and gain increased appreciation for the natural environment,

mployees work productively, experiencing the connection to the resources they manage.

SDA Forest Service built environment will strengthen and reinforce the image of the agency 

al conservation leader. 
de 

uide can be read in different ways, depending on how, and by whom it will be applied. 

 in selecting the sections most applicable to their needs. 

Page Content Purpose Primary Audiences 

ent 

1 Establishes the Intent of

the guide, why it is needed, 

and describes common applications. Outlines major elements of a positive image 

To motivate those involved in facility management to 

utilize the guide 

Everyone involved in 

authorizing, planning, designing, operating, and maintaining facilities 

 Built Environment 

9 An overview of influences on 

and traditions of Forest 

Service facility design from early park design through the CCC era to present-day environmental considerations 

To enhance understanding of 

the origins of Forest Service 

design traditions and 

appreciation for contributions 

of design to agency image 

Project sponsors (Forest Service line officers, 

permittees, and partners) 

and designers (engineers, 

landscape architects, and 

architects) 

nses to Context 

19 Explanations of the primary 

components of context that 

drive design—ecological, cultural, and economic—and 

an overview of the design process 

To ensure thorough consideration of the primary components in the sitespecific design of facilities 

Project designers, both 

internal and external 

elines for 

31 Regional Architectural Character 

Types that incorporate the 

components of context are illustrated for a range of 

facility types and settings 

To provide graphic examples of the regional character types to be incorporated in 

all built environment designs 

Everyone involved in 

authorizing, planning, 

designing, operating, and maintaining facilities 

racter 

 Process 

231 The sequence of planning, design, 

operations, maintenance, and 

deconstruction of facilities, 

along with roles and 

responsibilities of everyone 

involved in developing and maintaining them 

To enhance understanding of 

relationships and roles, along 

with appreciation for each participant’s contributions to creating and maintaining an appropriate facility image 

Everyone involved in 

authorizing, planning, designing, operating and maintaining facilities 

iii 
Page Content Purpose Primary Audiences 

dies 

239 Examples of administrative 

and recreation projects that incorporate character guidelines 

To illustrate successful 

Forest Service projects for 

peers to see and discuss 

Project sponsors, designers, 

operators, and maintenance personnel 

M) 

on 

249 Cites FSM 2330 and 7310 for 

recreation and administrative facilities 

To reinforce USDA Forest Service policy for the built environment 

Forest Service line and staff officers, designers 

ctrum (ROS) 

253 Indicates appropriate site 

furnishings, construction materials, development scale, and density for the ROS classes 

To integrate ROS 

considerations with architectural character to provide facilities and furnishings appropriate 

with the desired setting 

Forest Service line and staff 

officers, designers, and maintenance personnel 

263 Definition of terms 

used in the handbook 

To clarify terminology for external cooperators and those not in design fields 

All readers 

269 References for quotations 

used in the handbook 

Provide sources for quotations All readers 

271 Names of the individuals 

and teams who helped develop this guide 

Acknowledgment All readers 
tents 

 the Built Environment . . . . . 1 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 

MAGE GUIDE? . . . . . . . . . . . . . . . . . . . . . . . 3 

E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 

ATH THE SURFACE . . . . . . . . . . . . . . . . . . . 4 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 

TIVE IMAGE . . . . . . . . . . . . . . . . . . . . . . . . . 6 

E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 

UTILIZING FOREST SERVICE DESIGNERS . . . . . . . 7 

AINTENANCE, AND MAJOR REPAIR PROJECTS . . . 7 

G CONTRACT DESIGN . . . . . . . . . . . . . . . . . . . . 7 

GRAMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 

TTEE-PROVIDED FACILITIES . . . . . . . . . . . . . . . . . 8 

 PROJECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 

Chapter 2: Origins of The National Forest Built Environment . . . . . . . . . . . . . . . . . . . . . . . . . . 9 A BRIEF HISTORY OF USDA FOREST SERVICE BUILT ENVIRONMENTS. . . 10 

EARLY PARK AND RECREATION DESIGN INFLUENCES . . . . . . . . . . . . . . . . . . . . . 10 

PUBLIC RECREATION DEVELOPMENT AND THE ARTS AND CRAFTS STYLE . . . . . . . 1 1 

THE CIVILIAN CONSERVATION CORPS AND PUBLIC WORKS ERA . . . . . . . . . . . . . . 12 

POST-WORLD WAR II AND OPERATION OUTDOORS . . . . . . . . . . . . . . . . . . . . . . . 15 

EVOLUTION OF SUSTAINABLE DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 

RECREATION PLANNING AND SCENERY MANAGEMENT SYSTEMS . . . 16 

RECREATION OPPORTUNITY SPECTRUM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 

SCENERY MANAGEMENT SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 

DIVERSITY OF CUSTOMER BASE/ACCESSIBILITY . . . . . . . . . . . . . . . . . . . . . . . . 16 

CONSTRUCTION TECHNOLOGIES, MATERIALS, AND LABOR AVAILABILITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 

ROLE AND LEVEL OF GOVERNMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 THE BUILT ENVIRONMENT IMAGE—PAST AND FUTURE . . . . . . . . . . . . . 18 

Chapter 3: The Sustainable Image: Responses to Context . . . . . . . . . . . . . . . . . . . . . . 19 THE SUSTAINABLE IMAGE: CONTEXT AND COMMONALTIES . . . . . . . . . 20 

INTRODUCTION: WHY SUSTAINABLE DESIGN? . . . . . . . . . . . . . . . . . . . . . . . . . . 20 

THE ECOLOGICAL CONTEXT AND LANDSCAPE CHARACTER . . . . . . . . . 22 

TABLE OF CONTENTS v 
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 

tural Character Guidelines 

the Provinces . . . . . . . . . . . . . 31 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 

on to All Provinces . . . . . . . . . . . .33 

SPECTRUM . . . . . . . . . . . . . . . . . . . . . . . . . . 33 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 

IONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 

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ND IDENTITY . . . . . . . . . . . . . . . . . . . . . . . . . 40 

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ARDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 

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G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 

TOILET BUILDINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 

UTILITARIAN STRUCTURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 

URBAN SETTINGS AND TOWNSCAPES . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 

DESIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 

SITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 

REUSING EXISTING BUILDINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 

Part 2: Designing to the Scale of the Site and the Province . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 THE ISSUE OF SCALE: AN OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 THE EIGHT PROVINCES: ARCHITECTURAL RESPONSES TO THE INFLUENCES OF ECOLOGY AND CULTURE . . . . . . . . . . . . . . . . . . . . . . . . 53 Chapter 4.1: The Northeast Province . . . . . . . . . . . . . . . . .55 OVERVIEW: CHARACTER OF THE NORTHEAST PROVINCE BUILT AND NATURAL ENVIRONMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 INFLUENCES ON ARCHITECTURAL CHARACTER . . . . . . . . . . . . . . . . . . . 58 

LANDSCAPE AND ECOLOGICAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 

CULTURAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT . . . . . . . . . . . . . . . . . . . . . . . 59 

ECOLOGICAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 

CULTURAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 

ARCHITECTURAL GUIDELINES FOR THE NORTHEAST PROVINCE . . . . . . 64 

SITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 

MASSING AND SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 

BASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 

WALLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 

WINDOWS AND OPENINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 
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rovince . . . . . . . . . . . . . . . . . . . . . 77 

E LAKES PROVINCE 

MENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 

RAL CHARACTER . . . . . . . . . . . . . . . . . . . 80 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 

ND RESPONSES THAT 

HE BUILT ENVIRONMENT . . . . . . . . . . . . . 82 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 

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FOR THE LAKES PROVINCE. . . . . . . . . . . 84 

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 

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Chapter 4.3: The Southeast Coastal Province . . . . . . . . .95 OVERVIEW: CHARACTER OF THE SOUTHEAST COASTAL PROVINCE BUILT AND NATURAL ENVIRONMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 INFLUENCES ON ARCHITECTURAL CHARACTER . . . . . . . . . . . . . . . . . . . 98 

LANDSCAPE AND ECOLOGICAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 

CULTURAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT . . . . . . . . . . . . . 99 

ECOLOGICAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 

CULTURAL INFLUENCES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 

ARCHITECTURAL GUIDELINES FOR THE SOUTHEAST COASTAL PROVINCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 

SITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 

MASSING AND SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 

ROOF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 

BASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 

WALLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 WINDOWS AND OPENINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 

STRUCTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 

MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 

COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 

SUSTAINABILITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 

SYNTHESIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 

TABLE OF CONTENTS vii 
east Mountain Province . . . . . . . .117 

THE SOUTHEAST MOUNTAIN PROVINCE 

ONMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 

URAL CHARACTER . . . . . . . . . . . . . . . . . . . 119 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 

AND RESPONSES THAT 

 THE BUILT ENVIRONMENT . . . . . . . . . . . . . 121 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 

S FOR THE 

OVINCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 

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 Plains Province . . . . . . . . . . . . . . .139 

THE GREAT PLAINS PROVINCE 

ONMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 

URAL CHARACTER . . . . . . . . . . . . . . . . . . . 142 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT . . . . . . . . . . . . 143 

ECOLOGICAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 

CULTURAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 

ARCHITECTURAL GUIDELINES FOR THE GREAT PLAINS PROVINCE . . . 145 

SITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 

MASSING AND SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 

ROOFS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 

BASE AND WALLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 

WINDOWS AND OPENINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 

STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 

MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 

COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 

SUSTAINABILITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 SYNTHESIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 

Chapter 4.6: The Rocky Mountain Province . . . . . . . . . . . 159 OVERVIEW: CHARACTER OF THE ROCKY MOUNTAIN PROVINCE BUILT AND NATURAL ENVIRONMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 INFLUENCES ON ARCHITECTURAL CHARACTER . . . . . . . . . . . . . . . . . . . 162 

LANDSCAPE AND ECOLOGICAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 

CULTURAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT . . . . . . . . . . . . 164 

ECOLOGICAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 

CULTURAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 

ARCHITECTURAL GUIDELINES FOR THE ROCKY MOUNTAIN PROVINCE . . . 167 

SITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 

MASSING AND SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 

acific Province . . . . . . . . . . . . . . .179 

E NORTH PACIFIC PROVINCE 

MENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 

RAL CHARACTER . . . . . . . . . . . . . . . . . . . 182 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 

ND RESPONSES THAT 

HE BUILT ENVIRONMENT . . . . . . . . . . . . 184 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 

FOR THE NORTH PACIFIC PROVINCE . . . 187 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 

 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 

MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 

SUSTAINABILITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 SYNTHESIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 

Chapter 4.8: The Southwest Province . . . . . . . . . . . . . . .203 OVERVIEW: CHARACTER OF THE SOUTHWEST PROVINCE BUILT AND NATURAL ENVIRONMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . 205 INFLUENCES ON ARCHITECTURAL CHARACTER . . . . . . . . . . . . . . . . . . 206 

LANDSCAPE AND ECOLOGICAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 

CULTURAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT . . . . . . . . . . . . 210 

ECOLOGICAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 

CULTURAL INFLUENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 

ARCHITECTURAL GUIDELINES FOR THE SOUTHWEST PROVINCE . . . . . 213 

SITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 

MASSING AND SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 

BASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 

WALLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 

WINDOWS AND OPENINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 

ROOFS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 

STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 

MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 

ROOF MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 

COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 

SUSTAINABILITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 SYNTHESIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 

TABLE OF CONTENTS ix 
ng Architectural Character 

nagement Process . . . . . . . 231 

RAL CHARACTER IN 

TION, AND EXPANSION . . . . . . . . . . . . . . . . 233 

ES FOR ARCHITECTURAL 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 

nvironment Case Studies . . 239 

ION COMPLEX . . . . . . . . . . . . . . . . . . . . . . 240 

OREST TOILET CONSTRUCTION . . . . . . . . . 243 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 

Service Manual (FSM) 

H) Direction . . . . . . . . . . . . . 249 

ion Opportunity 

 . . . . . . . . . . . . . . . . . . . . . . . 253 

ry . . . . . . . . . . . . . . . . . . . . . 263 

ces . . . . . . . . . . . . . . . . . . . 269 

ledgments . . . . . . . . . . . . . . 271 
and the Built Environment 

c, then, reflects the existence of an ecological conscience, 

urn reflects a conviction of individual responsibility for the 

e land.” 

—Aldo Leopold 
ment Image Guide. 

s administrative and 

cape structures, site 

ads and trails, and 

y the Forest Service, 

mittees. 

 the image, 

nd overall quality of 

sistent with the 

nd stewardship. 

e: 

designing recreation

es that highlights

y’s national identity

t” facilities within

ical, physical, and

character types for

ational forests and

s of sustainability as

ctural character.

ne, from project

 designers, to field

ys in creating and

ty.

RONMENT 
MENT IMAGE GUIDE? 

nment contained 

ment influences: 

ervice as a

oor recreation.

orest Service

wardship.

ghtful design 

environment. 

t Service’s built 

cal one: We are 

the beautifully 

signed rustic 

ervation Corps 

radition has

lt environment

 for the

cape settings.

ed to conserve

creational and 

oared. Budgets 

stretch funds 

es, including the 

ess durable and 

less aesthetic building materials. Inconsistent signs and architectural styles have undermined our agency’s identity. In addition, a larger group of people influences design beyond the Forest Service personnel: joint-venture partners, permittees, and consulting architects and engineers. This group may not always be aware of the Forest Service’s tradition of design in harmony with our spectacular settings. In some cases, these pressures have spawned inappropriate designs. The result is too many facilities that do not fit their natural settings; are poorly constructed and, therefore, costly to maintain; fail to meet customer and employee needs; and generally reflect poorly on the agency. This guide does not replace or compete with professional training or functional manual direction. Rather, it focuses on the image, appearance, or architectural character of our facilities. It provides consistent examples, measures, and standards that allow everyone involved during the life of a project to grasp the importance of providing quality facilities. 

IMAGE AND THE BUILT ENVIRONMENT 1 3 
HE GUIDE 

 landscape 

ngineers charged 

ects. It is for 

 planning, designing, 

taining, and 

national forests and 

ff and technicians 

ts and who maintain 

odifying them and 

time. All affect the 

acility. The better 

environmental, 

xt of each facility’s 

ve our customers 

image. 

ce has a stake 

 a positive built 

IMAGE AND IDENTITY—BENEATH THE SURFACE 

Most definitions of the word “image” include “appearances” or “physical representations” of objects, places, or people. Aesthetics are, of course, very important in the creation of positive images. Research indicates that 87 percent of people’s perceptions are derived through the sense of sight (Agriculture Handbook 462). Scratch the surface and the word image can reveal a sense of integrity and true identity. Much like the saying that “beauty is more than skin deep,” a positive image for the built environment goes beyond appearance to include a complete fit in the landscape and the global environment. Our agency’s public image is based upon people’s impressions of the Forest Service. These perceptions may be based upon a casual reading of newspaper articles, a visit to a national forest a decade ago, or the experience of driving through a national forest without stopping. An image that creates positive impressions determines not only whether a person will visit a national forest, but also whether they become curious enough to learn more about the natural environment. It may encourage them to learn more about the Forest Service mission of conservation and stewardship. 

Beyond public image lie the issues of our agency’s identity—who we really are and our values. The basis of a successful image is the factual truth that our identity matches our image. In short, we must constantly reinforce the positive image of the Forest Service as good stewards and conservationists by making sustainable choices in the built environment. Moreover, we must make a visit to a national forest a legible experience—one that helps people understand the forces of ecology, the nature of the landscape, and the goals of the Forest Service. We can only achieve this by creating a legible built environment where buildings and structures complement the landscape, signs are clear and instructive, and minimal impact on the environment is strongly evident. Even during a short stay, visitors will easily grasp the essence of the landscape and the Forest Service’s role as stewards. 

RONMENT 
 largely on 

xt. This guide 

ological, cultural, 

ap and take 

vy-walled, 

 inappropriate 

Mountains of 

h the landscape 

ndings or the 

hwest culture. 

—ultimately an 

tenance problems 

ofs do not shed 

he conditions in 

h recessed 

d cool interior, 

he Northwest, 

 igneous rock, 

s, buildings have 

nce the earliest 

environments 

The adobe building fits into the Southwest for a number of reasons. In the Southwest region, the main building material (soil) was the most plentiful one. It worked well for the climate. It was an inexpensive material as long as labor was plentiful. Therefore, it was used extensively and came to be associated with cultural groups of the Southwest. The proper fit of Forest Service facilities into their natural, cultural, and economic contexts requires careful consideration of many aspects of design, including scale, proportion, and selection of building materials. The cultural context of community is also crucial. The size, style, and materials chosen for a regional office in a large city would be much different than those for a ranger station in a small town. Less obvious is how the small-town ranger station should reflect the character of the town around it. It should not be pretentious, but fit comfortably in the community, while still presenting the image of a quality natural resource agency. Integration into the local context conveys messages about what the agency represents. 

In summary, the built environment must go beyond superficial images. It must integrate the principles of sustainability regarding siting, energy efficiency, building materials, and even long-term considerations for decommissioning. Such integration of function, aesthetics, economics, and sustainability will result in facilities that truly fit their environments and, therefore, are beautiful, inside and out. 

IMAGE AND THE BUILT ENVIRONMENT 1 5 
F A POSITIVE IMAGE 

 reflect the context 

 its physical setting, 

m economic effects. 

uildings, sites, and 

rough thoughtful

orest Service family

 Service shield.

ment the character

s.

sity of different

aining elements

e entire agency.

tunity Spectrum

on, type, and

ing materials.

ustainability,

tural systems,

bility and cost

By creating and maintaining facilities that fit their natural, cultural, and economic contexts, we speak strongly to our visitors and cooperators of the national forests about the values and overall quality of the agency. The same messages will reach each employee, volunteer, and cooperator and serve as a continuous reminder of our agency’s traditions and mission. 

RONMENT 
APPLICATIONS FOR THE GUIDE 

The following are examples of how the guide applies to the various sources of projects. CAPITAL INVESTMENT PROGRAM, 

UTILIZING FOREST SERVICE DESIGNERS

Includes new recreation construction projects; rehabilitation of existing recreation sites; fire, administration and other (FA&O) facilities; and other facilities visited by the public. The guide provides standards and guidance for fitting the facility into its context and defines the architectural character for the province in which it occurs. Designers will combine the prescribed character with site-specific analysis and planning to match the project to its setting. SMALL CONSTRUCTION, HEAVY MAINTENANCE, AND MAJOR REPAIR PROJECTSThese projects are often accomplished at the district level. Examples include repair or replacement of roofing, siding, and site furnishings; construction of small information stations and signs; fencing; walls; and site rehabilitation. 

The guide provides insight into how these small-scale activities contribute to or detract from the overall image intended for the facility. It establishes a standard for either continuing the established design character or moving toward a new character through minor construction and maintenance. ARCHITECTURAL AND ENGINEERINGCONTRACT DESIGNIncreasingly, the Forest Service contracts the design of facilities to private architecture, landscape architecture, and engineering consultants. These firms may be unfamiliar with designing in natural landscapes. They may lack the tradition of harmonious, subordinate design that Forest Service designers are encultured with. The guide communicates the desired Forest Service character to architectural and engineering (A&E) consultants. It provides Forest Service managers and contract administrators with standards to guide and measure A&E performance. 

IMAGE AND THE BUILT ENVIRONMENT 1 7 
S PROGRAMS

s to emphasize 

cessibility, recreation, 

ovements or to 

e backlogs in all 

e included the CCC, 

onal Recreation 

ation. These initiatives 

al investment, 

abilitation activities, 

se initiatives 

s in a short time. 

ctural character 

tent quality even 

r an urgent schedule. 

LITIES

rom increased 

sed tax 

ector is providing 

 facilities on national 

 permits, private 

project development 

mprovements and 

&E consultants, 

e sector with 

ndards regarding 

RONMENT 

PARTNERSHIPS AND COOPERATOR PROJECTSPartnerships provide opportunities to match funds and labor to projects. They increase local involvement in Forest Service programs. The projects may be small, such as Eagle Scout projects, or they can involve the construction of entire recreation complexes through publicprivate ventures. Smaller projects are sometimes under-designed and under-supervised, resulting in facilities that lack the quality image or sense of permanence the Forest Service desires. The guide helps prospective partners understand the desired character and standards for facilities. The guide provides managers with a clear image that will help them evaluate and oversee proposed improvements. LEASED BUILDINGSMany Forest Service facilities are located in rural and urban settings that can provide the biggest challenge to providing a “corporate image” of quality and permanence. The guide identifies the “townscape” as the framework of context, communicates important image factors to contracting officers and prospective landlords, and provides managers with a framework for evaluating proposed facilities that support the positive image of the Forest Service. 
 of The National Forest 

nvironment 

est of the visitor...should concentrate on features of natural, 

e to artificial, beauty.... Architectural features should be 

subservient...” 

—Frederick Law Olmsted & Calvert Vaux 
USDA FOREST SERVICE 

S 

the Forest Service's 

s and meanings of 

nishings, and signs 

d. 

TION

s design of the built 

 forests had its 

ement of the mid

ustrial Revolution 

inkers became 

 unsanitary cities 

nnection for the 

al world. That led 

eate natural areas 

 York’s Central Park 

n park system for 

895). 

nterest was growing 

ndscapes of the 

t, large natural areas 

(first as a California 

 a national park in 

t Preserve (1885), 

reserved as “public 

for the benefit and 

rr, 1998, p. 11). 

 FOREST BUILT ENVIRONMENT 

The urban parks of that era emphasized maintaining “picturesque” landscapes for “passive” use such as picnicking or touring to enjoy the scenery. The built environment was often minimal, consisting primarily of curvilinear carriage drives and winding walking paths from which to enjoy the views of the landscape. Bridges and other structures were kept low and horizontal in form, often using rock from the immediate area. Rather than creating facilities for specific uses, large meadows and open spaces were provided to support an array of activities. This philosophy prevailed when the Forest Service began permitting construction of summer homes, resorts, lodges, and boathouses in the early 20th century. The Forest Service constructed its own ranger stations, roads, and trails for administrative purposes, while private interests designed and built recreation facilities under Forest Service permits and regulations. Most of these early facilities fit into the landscape quite well (Tweed, 1978, p. 2). 

However, public recreational facilities remained rare even though recreation use was growing rapidly. As described in an early report, rangers tried to fill this gap in some cases: “Forest rangers took time to clear inflammable material from around heavily used camp spots and to build crude rock fireplaces. They erected toilets and dug garbage pits whenever materials could be obtained .... Tables, toilets, and garbage pit covers were made from lumber scraps and wooden boxes, and crude signs were painted and displayed on rough-hewn shakes. Many of these...improvements were raw looking and some of them were clearly out of place in the forest environment, but they filled a real need” (Tweed, 1978, p. 3). 
OPMENT

STYLE

 national forest 

veloped in 1916. 

Gorge Park division 

(later Mt. Hood 

 the Columbia 

ea) (Tweed, 1978). 

ation at Eagle 

tion, restrooms, 

esigned in the 

style of the day. 

 favored the beauty 

dcraftsmanship 

 materials 

ement, the Arts 

t of concern over 

dustrial Age. 

 production 

on of natural 

The use of natural 

sis on simplicity in 

Arts and Crafts 

settings. This 

Eagle Creek and 

olving “rustic” style 

s (Tweed, 1978). 

Arts and Crafts included the prairie-style architecture of Frank Lloyd Wright, who believed that a building should appear to grow organically from its site. Prairie-style roofs were low-pitched, usually hipped, and had wide, overhanging eaves and low porches and terraces. Architectural details emphasized horizontal lines as well. The style echoed the context of the landscape. Its long, low character reflected the horizontal line of America’s prairies. 

ORIGINS OF THE NATIONAL FOREST BUILT ENVIRONMENT 2 11 
ON CORPS 

f the 1930’s came 

ecreation planning 

st Service. Beginning 

entiful labor provided 

ation Corps (CCC) 

cies, the Forest 

fessionally trained 

chitects to design 

onal forests across 

kly to ensure 

and image 

ce. In 1935 and 

ed Albert D. Taylor, 

ociety of Landscape 

ems and devise 

ning and design. 

eport included 

ecreation structures 

ervice recreation 

ses, shelters, 

unds. “Across the 

s, these types of 

al forests where 

rivies and ranger 

-21). 

At the same time, the National Park Service contracted architect Albert H. Good to catalog appropriate structures for use in the parks. In 1938, the Park Service published the definitive work, Park & Recreation Structures, edited by Good, which collected these and other examples of rustic architecture. By 1940, W. Ellis Groben, Chief Architect of the Forest Service, had written Architectural Trends of Future Forest Service Buildings. In it, Groben decried the widespread use of inappropriate urban styles on many forests. He advocated “buildings of a more distinctive character...which both express the purposes of the Forest Service and which are more appropriate to their particular locales.” All these guides emphasized the need for harmonious design using local natural materials such as timber and stone. They also called for the use of trained design professionals. The effects of this guidance, carried out by trained professionals and labor forces, soon became visible in the design and construction of forest roads, trails, buildings, and public recreation sites. Stone masonry and log structures predominated, and the massive scale of structural elements and site furnishings implied permanence and connection to the landscape. 

 FOREST BUILT ENVIRONMENT 
d to as “rustic 

on a canny 

 skills and 

rts and Crafts 

harmony with 

tured and codified 

dy had been 

natural settings 

 Reserve and the 

virtually every 

tectural style 

ing stone and 

tions that 

the availability 

 

For example, in the Juan Tabo and La Cueva Picnic Area on the Cibola National Forest in New Mexico and in Sabino Canyon on the Coronado National Forest in Arizona, picnic shelters, restrooms, and bridges are made entirely of large granite boulders and native stone. These fit well within the rocky, arid character of the site. “However, the highest expression of CCC-era rustic architecture came in the Pacific Northwest Region of the Forest Service. Both in quantity and quality of facilities, this region surpassed all others, including that of the National Parks in the area. Rich in timber and volcanic rock, the region’s architecture and recreation site furnishings exhibited the classic elements of rustic architecture—stone bases, massive timbers, wood shakes, and incorporation of handcrafted features. This expression of rustic architecture in the Northwest became known as Cascadian style” (Tweed, 1978, pp 21–22). 

ORIGINS OF THE NATIONAL FOREST BUILT ENVIRONMENT 2 13 
e of the Cascadian 

 Begun in 1936 by 

tration (WPA), this 

ed native materials 

of handcrafted 

ts and Crafts style. 

II, the public works 

t works and publi

established the 

stic architecture 

hese principles, 

rm and avoidance

us exterior textures

ials sized in

cale of the landscape.

ding methods.

ndcrafted elements.

ral influences.

The rustic style resonated strongly because it reflected the character of the forests themselves and stood in pleasing contrast to the increasing “civilization” of the rest of the country. People sensed a connection to the uniqueness of the natural settings and to frontier traditions. These bonds contributed strongly to the agency image for decades. For many people, rustic architecture represents the ideal for natural parks and forests. Indeed, the work of the CCC is a legacy we cherish to this day. 

 FOREST BUILT ENVIRONMENT 
ext of recreation 

ted States 

conomic boom 

 on the national 

ibution of 

terials throughout 

vice began 

m to upgrade 

0th anniversary. 

allel program 

1957. Designers 

eparted from 

embraced the 

le and modern 

ple forms with 

al design with 

tion; and the 

an handcrafted 

In addition, construction practices reflected a new era of manufacturing technology, distribution processes, and human resources. As such, facilities from that era reflect the practical realities and the spirit of their time as clearly as those built by the CCC. This modern era resulted in some landmark structures, as well as many other examples of design excellence. In other cases, the new manufactured materials proved less durable than the natural materials of the rustic era. Many people sensed that modern design, in general, was less evocative of and sensitive to the forest settings. EVOLUTION OF SUSTAINABLE DESIGNPioneered by landscape architects Ian McHarg and Phillip Lewis in the 1960’s, a new ecological approach to planning and design emphasized respect for the flows of wildlife, air, and water across the landscape. 

Parallel to that movement was the increased awareness of the need to conserve energy, prompted by the oil crisis of the mid 1970’s. This resulted in increased conservation measures in buildings, development of such “off the grid” energy systems as solar and wind power, and use of natural ventilation and daylighting. Recycling became part of the American consciousness, reflected in increased reuse of building materials and buildings themselves. The effects of building materials on human health also became a concern. These developments eventually converged under the umbrella term of “sustainable design.” A 1993 National Park Service publication, Guiding Principles of Sustainable Design, synthesized many of these concepts for park and recreation settings. 

ORIGINS OF THE NATIONAL FOREST BUILT ENVIRONMENT 2 15 
NG AND SCENERY MANAGEMENT SYSTEMS 

systems based on 

ged to affect the 

. These are the 

trum (ROS) and the 

 Visual) Management 

o these two systems, 

er base has diversified 

al changes. 

SPECTRUM 

 that people expect 

 related to the 

 the type of 

ample, a facility 

ontrolled environment 

should be highly 

erials and providing 

ent with visitor 

ve “backwoods” area 

cted elements. 

all in scale and 

More detail on ROS 

d appendix C. 

SCENERY 

MANAGEMENT 

SYSTEM 

One premise of SMS is that land management activities (including construction of facilities) should not contrast with the existing naturalappearing landscape. Within a framework of regional landscape character types, form, line, color, and texture should be used to make activities and structures “fit” within landscapes (Agricultural Handbook 666). This approach promotes a strong response to the context of the natural landscape. It also reinforces the concept of early park planning that structures should be visually subordinate to the landscape. DIVERSITY OF 

CUSTOMER 

BASE/ACCESSIBILITY

Public lands provide outdoor recreation opportunities for an increasingly diverse customer base. This reflects demographic changes within the American population, including an increase in the number of ethnic groups, recognition of nontraditional family structures, and the increased mobility of persons with disabilities. Locally, such factors may require new design responses for different group sizes, different types of amenities, and different language needs, although they generally do not affect overall architectural character on a regional scale. 

 FOREST BUILT ENVIRONMENT 

Under the Architectural Barriers Act of 1968 and other mandates, universal design requires complete integration of accessibility within our facilities. As with sustainable design elements, universal design principles applied to a site or facility design from the outset seldom, if ever, have any obvious effect on architectural character. When skillfully executed, universally designed facilities fit seamlessly within the natural and social environments. As population increases near national forests, facilities must also be made more resistant to vandalism. In addition, offices must be made secure for Forest Service employees who sometimes work in communities where tensions arise over forest resource issues. 
OLOGIES, MATERIALS, AND LABOR AVAILABILITY 

 War II era have 

nstruction 

stems have 

ty and variety of 

nishings. Labor 

y scarce and costly. 

 have direct 

lt environment: 

ystems or modular

uding toilets, are

ely low initial costs,

d site preparation

to install. Therefore, they are often used to meet functional needs and economic constraints. 

• Prefabricated recreation site furnishings, such

as tables, benches, and trash receptacles, areoften used instead of the custom designedand built furnishings of the past. The characterof these ranges from fairly rustic (made ofnatural or natural-appearing materials) tomanufactured (including metal and plastics).

Already an economic reality, prefabricated units can be carefully selected and sited to meet 

requirements of function, efficiency, and aesthetics. This requires professional analysis of the landscape and ROS setting to yield locations and design treatments that blend these elements into forest settings. Without such measures, prefabricated units can look out of place. The contexts of ecology and culture should not be sacrificed to economics. All three contexts must be kept in careful balance. 

ROLE AND LEVEL OF GOVERNMENT 

“The era of big government is over.” Then-President Clinton’s pronouncement during the 1996 State of the Union address capped a 20-year trend toward reduced Government sizeand increased privatization of public services. TheForest Service had been moving in that directionfor some time. In 1987, the National RecreationStrategy emphasized “partnerships” and privateinvestment in national forest recreationmanagement. Since then, the number of entitiesinvolved in providing recreation facilities andservices has exploded. Nonprofit organizationshave contributed to construction of recreationand wildlife viewing facilities. About 50 percentof the national forest campground capacity ismanaged under concessionaire permits. TheForest Service is also strongly considering aprogram to encourage private investment, notjust for the operation but for the planning,design, and construction of recreation facilities.In short, the Forest Service is moving away from direct development of projects to a position of guidance, approval, and oversight. Our design philosophies will face the realities posed by the private sector’s cycles of investment and amortization. Key considerations include permanence versus short-term adaptability and the use of prefabricated elements, as previously discussed. 

ORIGINS OF THE NATIONAL FOREST BUILT ENVIRONMENT 2 17 
ENT IMAGE—PAST AND FUTURE 

magery of the CCC era 

mage for the built 

ervice. Perhaps this 

se of its strong 

ral, and economic 

 frontier past; and 

andcrafted buildings. 

rent stylistic trends 

vice, with varying 

sponses to the 

es. 

ve effects, but others 

ontext of the times. 

f a unified vision for 

ment image for the 

tempts to define 

cess of the rustic 

on of context, the 

y for the built 

the lessons of the 

 present to create 

 FOREST BUILT ENVIRONMENT 
stainable Image: Responses to Context 

n of every problem is contained within itself. Its plan, form, and 

re determined by the nature of the site, the nature of the materials 

ture of the system using them, and the nature of the life concerned, 

pose of the building itself.” 

—Frank Lloyd Wright 
AGE: CONTEXT AND COMMONALTIES 

AINABLE 

DESIGN? 

building style. 

ution in how we 

ct, and operate 

ustainable Building 

Mountain Institute 

velopment Services 

nment is strongly 

stainability grows 

on and stewardship 

tity and mission of 

nable built 

wing goals: 

ces.

 source of all

nments and

d future generations.

 renewable 

ged with care, will 

d ecosystems 

to demonstrate to 

ve these resources. 

nance, heating, and 

me an ever-increasing 

ural resources, 

more important. 

RESPONSES TO CONTEXT 

We can launch our drive toward sustainability by examining the Forest Service structures built during the era of the Civilian Conservation Corps (CCC). The rustic design of these 1930’s structures harmonized superbly with their natural settings. The designers accomplished this by including natural materials such as stone and logs. Moreover, the craftsmanship and proportions of CCC structures were often exquisite. 

But that is only a start. The rustic style of design was just that: a look. A rustic structure is not inherently any more ecological or sustainable than any other building dressed in the clothing of the forest. 

Foothills 

Broad valleys • Mild winter• Flat topography• Short or sparse vegetation• Flat or gentle roof pitch

High mountains • Heavy snow• Steep topography• Tall trees• Steep roof pitch

Roof Pitch Varies With Climate and Verticality of Topography and Vegetation 
’s built environment 

cts of our rustic 

mentally sensitive 

ques. 

sent will create 

ape setting and 

ological setting. 

t not consume 

. It should restore 

etation, wetlands, 

ould be built 

design a reality 

s more than one 

ainability varies to 

 individual setting. 

ds directly to its 

tant contexts for 

e: 

s that shape

 geology, soils,

ion.

hat shape and

story, development

cial uses.

ies and

that shape the

The following figure represents the intersection of Forest Service image, even while budgets grow all three contexts to form a sustainable image. tighter? Include the structures we design and By exploring these contexts, we find new answers build as part of our stewardship of the land? to the questions that drive our building programs. Keeping these contexts in mind, we can create How can we improve working conditions? Serve structures that complement, rather than a growing number of visitors? Present a better overwhelm, the landscape. 

 Factors of Context for a Sustainable Image

THE SUSTAINABLE IMAGE: RESPONSES TO CONTEXT 3 21 
NTEXT AND LANDSCAPE CHARACTER 

expect to see Table 3.1 Effect of Ecological Context on Architectural Character 

s. To fulfill those 

 facilities should 

pe settings. 

s from a combination 

ors. Design should 

each site: its ecology, 

ant life, microclimate, 

ures and roads 

 integrity. They 

s of the landscape 

and line. For example, 

United States can 

re of vegetation in 

structural elements. 

tion and geology, 

esigns can include 

 such as boulders 

hip of landscape and 

hown in table 3.1.) 

RESPONSES TO CONTEXT 

Landscape Attribute Influence Resulting Architectural Character 

Climate 

Low precipitation (3–18") Clear bright sky Hot summer temperatures Mild, clear winters 

roof slope 

wall material and mass 

shading 

colors wall openings 

flat roofs 

thick walls for insulation and heat retention 

bright intense colors 

recessed windows & doors shade overhangs, arbors solar design commonplace 

Vegetation 

Sparse Open pine, juniper forests Small-leaved shrubs Ground cover 

building materials structure massing roof structure 

wood used sparingly 

wood logs, poles for roof 

xeric, sparse landscaping 

water conserving 

Surface Geology/Rock 

Sedimentary Sandstones Shales 

building materials structure massing wall thickness wall finishes 

thick, adobe block walls 

plaster finish walls 

sandstone light colors, tans wall texture of surrounding soil 
be analyzed to 

olors, textures, 

e include: 

erage, patterns. 

cipitation, 

cles, seasonal 

ng loads. 

darkness; 

fe, geology, 

and sky. 

 

pe, texture, 

n capacity, 

patterns, 

esthetic 

ms. 

Massive vegetation suggests massive structural elements 

Slender vegetation suggests slender structural elements 

THE SUSTAINABLE IMAGE: RESPONSES TO CONTEXT 3 23 
following questions 

cape factors influence 

materials: 

mplement the 

o the area’s 

apes found within 

ed or blocked? 

o climate? 

he scale of the setting— 

s, or trees suggest a larger scale of materials 

RESPONSES TO CONTEXT 

Materials respond to the scale of the setting— Grasslands suggests a finer scale of materials 

• Does the design require regrading or clearing 

of vegetation? 

• Must new utilities be extended to the site? • Are the building materials locally produced, 

recycled, or recyclable? 

• Can the structures be made energy efficient? • Can they take advantage of energy sources 

such as solar, wind, or water power? 

• Will the project have an adverse effect on 

wildlife habitat? 

• Will it increase runoff and erosion? 
THE SUSTAINABLE IMAGE: RESPONSES TO CONTEXT 3 

te-responsive building characteristics 

ry climate: promote solar gain 

story window 

h-facing window to promote solar gain 

 toward the north 

mal mass 

Climate-responsive building characteristics Hot, humid climate: insulate and ventilate to reduce solar gain • Ridge venting • Reflective roofing 

color and material 

• Windows positioned 

to promote cross-ventilation 

• Under floor ventilation 

25 
New England historical context New England response 

North Pacific historical context North Pacific response 

EXT 

 

e 

er 

tors: 

ysical 

ltures, 

ettlers 

ent. 

their 

ple, 

 split 

e to 

gland) 

tlers 

e 

pe 

RESPONSES TO CONTEXT 
 conditions. In the 

sts combined their 

he adobe Pueblo 

well to the desert. 

developed a 

abby, made from 

ster shells. 

ies as air 

quipment, earlier 

he constraints of 

abors provide 

lity. For example, 

 disturbance and 

g and cooling. 

 the Forest Service 

al traditions. 

, Forest Service 

buildings were by necessity made from local materials using local skills. As a result, log cabins were erected in the mountains and adobe structures in the Southwest. Tested by time and proven to be utilitarian, traditional designs continue to be suitable and sustainable models for Forest Service structures. The best traditional designs: • Use locally available building materials. • Respond to the climate. • Work sensitively within the landscape setting, 

taking advantage of solar orientation, shade trees, prevailing breezes, and topography. 

• Reflect the region’s culture. 

al context North Pacific response 

THE SUSTAINABLE IMAGE: RESPONSES TO CONTEXT 3 

Issues to consider: • What are the traditional building styles of 

the region? Of the forest? 

• What materials, colors, and building 

techniques were traditionally used? 

• Can these be adapted using modern building 

techniques and materials? 

• Does the design fit within the image, history, 

and culture of the Forest Service? 

• Where does the site fit into the Recreation 

Opportunity Spectrum? 

27 
EXT 

same as elaborate 

cellent design may 

er square feet 

. A poorly designed 

uccess and 

very expensive to 

problems later.” 

White, Massachusetts 

using Finance Agency 

economics drive 

gn and construction 

ecisions are often 

such as the lowest 

times leads to 

no denying that 

 

ecognize the long-term 

 durability, improved 

d maintenance 

r short-term 

t value analysis. 

ts the economic 

s that respond to 

Best value analysis 

s that influence 

term. Table 3.2 

ween short-term 

s. 

RESPONSES TO CONTEXT 

The most successful projects are built with long-term considerations in mind. For example, it may seem to make sense to select on-grid electrical power for a campground simply when the source is locally available and has a lower initial cost versus an alternative energy source. But what about long-term costs? What is the cost to future generations because power was generated from a nonrenewable source of fossil fuels or from dam construction required to generate additional power? Does 

the least-cost alternative create a positive message about Forest Service stewardship of resources? Another example might involve the selection of low-cost paint and floor coverings for an administrative office. Does the low cost of the finish compensate for such potential problems as poor indoor air quality, potential employee health problems, and a short life for the materials before they wind up in a landfill? 

Table 3.2 Short- and Long-Term Considerations 

Short-Term Long-Term Initial investment Project budgets are what percent of overall cost of 

the facility? 

Immediate need for space Life Cycle Costs 

Potential for future adjustments in facility use 

Quantifiable environmental impacts within the immediate area of the project 

Attention to long-term environmental impacts and those which occur off-site 

Known measurable potential human health impacts Emphasis on human health (present and future 

generations) 

Short-term or current year maintenance needs Emphasis on long-term maintenance and ease 

of upgrade Response to regional or national trends 
acility be used for? 

blic? Will it be for 

e? The cost to 

ffice differs greatly 

or utilitarian 

oney is available 

n might the 

ternatives to new 

ng or adaptive 

vailable to complete 

ge? Is there an 

 funds? Are funds 

ve building systems 

icient funds 

Besides building 

ues are important 

design contribute 

the current 

ill the budget 

tain the design 

s available to 

tenance staff 

tives? 

Operation budget: How much is available to operate the facility? What are projected utility costs? Is the facility expected to last 10, 30, or 100 years? User impacts: How will the facility affect the public and Forest Service employees? Will it create a productive work area and a healthy built environment? Can recycling be incorporated into building design? Is it vandal resistant? Owner perspective: Is the owner the Forest Service or a private individual or organization? What kind of economic return does the private owner expect? How might this affect design, materials, and construction? Facility reuse or “deconstruction”: Will the facility be demolished or reused at the end of its life? Can it be remodeled or renovated to meet changing needs? These questions suggest considerations to include in a best value analysis. 

THE SUSTAINABLE IMAGE: RESPONSES TO CONTEXT 3 29 

ctural Character Guidelines 

 Nation and the Provinces 

ponsibly in the landscape should be the architect’s first consideration.” 

—Javier Barba 
 parts. Part 1 describes design principles common across the Nation 

rt 2 describes architectural character based on ecological and cultural 

geographic provinces. The term province is used here to distinguish it from 

ovince combines common elements from both ecological and cultural influences. 

as may cross, combine, or split the Forest Service regional boundaries. 

ESS 

held a series of design charettes (workshops) across the Nation. 

ng sessions included the participation of members of the Forest Service, 

emics, and a team of consultants. By profession, participants 

s, landscape architects, historians, writers, archeologists, recreation 

technicians, and line officers. 

 following influences and responses for each province: 

 the influences of ecology, culture, and economics. 

racter types for the province. 

d recommendations for architectural responses are discussed in part 2. 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
ples Common to All Provinces 

teristics shared by 

 includes a series 

ly in the following 

ctrum (ROS)— 

nt tool for 

ent of buildings 

cape. 

ntity—signs, 

ds. 

 of healthy built 

he use of 

osystems. 

les, such as 

s, and colors, for 

cnic shelters. 

pes—design, 

buildings. 

ITY SPECTRUM 

 and management 

to assist in 

se. A premise of 

seek variety in 

ckcountry campers 

ped facilities such 

ables, or flush 

ope to find few 

The Recreation Opportunity Spectrum 

reminders of civilization. Recreation vehicle campers and car campers, on the other hand, often expect easy access and developed facilities offering comfort, security, and social opportunities. The figure above illustrates the six ROS classes reflecting the range of possible recreation settings. The Forest Service strives to provide and maintain the range of settings from roaded natural through primitive to meet the expectations and desires of visitors. ROS classifications help determine acceptable development for each specific site. A combination 

of the following factors determines the ROS class for an area: • Remoteness, including distance from roads 

and settlements. 

• Degree of naturalness, based upon the level 

of human modification to the landscape. 

• Social setting, based upon the number of 

encounters with other people experienced in a typical day. 

• Managerial setting or degree of visitor 

controls evident. 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 33 
ity while creating a The ROS does not apply to recreation facilities following graphic illustrates the system of 

these factors must be alone, but to all types of Forest Service facilities appropriate structures and uses and how they 

or example, the width from public to nonpublic to utilitarian. The fit into the ROS settings. 

d that leads to a 

e development size 

und at the 

       

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
SITE PLANNING 

ential Entry Visitors to national forests and related 

e facilities need a clear idea of where they are 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 35 

heading, where to park, and where to enter their destination. Carefully design this sequence of arrival from the time a visitor nears a national forest or enters a town seeking a Forest Service office. This experience begins with a well-designed entry portal and proceeds to campgrounds, interpretive stops, visitor centers, offices, and other attractions. 
STATIONS 

door” to national 

reach this forest 

 clear direction from 

n highway. The entry 

ate traffic controls 

) so visitors can 

nd convenience. 

ortal near a natural 

outcrop, specimen 

nyon. 

re available, bracket 

g elements,” such 

 planting. 

tion, when provided, 

ped island in the 

utfitted with curb 

on is provided, place 

erm parking area 

ehicles just beyond 

eded, provide an 

perience” so that 

and will be enticed 

d landscape. 

 or the destination, 

onstructed feature, 

h glimpses of their 

ach. 

Major Entry Portal 

• Place good directional signs to help visitors 

find the access road or approach road. 

• When possible, create landscape openings to 

frame the view of the facility or attraction for approaching visitors. 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 

• To preserve vegetation and create vistas, 

align the access road and parking with natural topography. 

• Identify each segment in this entry sequence 

through tasteful use of the Forest Service shield and the family of signs. 
cs of a Major Entry Portal 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 37 
the direct line 

, whether it is a 

or normal demand. 

close to facilities. 

m visitor parking. 

when needed. 

ntial visitors, 

abilities. 

ntial vehicle types, 

eation vehicles 

tions, from offices 

 for all potential 

w and a single 

g for deliveries, 

h. 

venient vehicle 

sitors can see 

parking, as well 

tilitarian features, 

UNIVERSAL DESIGN 

Implementation of universal design principles ensures access for all people, including persons with disabilities, to workplaces and administrative programs and offers access to diverse recreation opportunities. Universal design allows for integration, choice, and dignity for all users. 

• Incorporate universal design principles to 

accommodate the broadest possible spectrum of people, regardless of ability, at recreation and administration facilities. 

• Apply the most up-to-date standards, currently 

the Uniform Federal Accessibility Standards (UFAS) and the Americans with Disabilities Act Accessibility Guidelines (ADAAG). 

• Scenic vista opens up as one approaches the overlook 

Positive Characteristics of a Scenic Overlook 

• Facilities & improvements are subordinate to landscape features • Buildings have been placed away from views 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
cs of a Small Interpretive Site 

PEDESTRIAN 

CIRCULATION 

Once they leave their vehicles, visitors should be welcomed with convenient, safe, and attractive walkways and circulation areas: • Ensure that visitors can safely walk from 

vehicles to pathways to destinations. 

• If there are curbs, provide curb cuts (and 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 39 

handrails when necessary) for universal access. 

• To prevent visitors from cutting new paths, 

create the quickest, shortest walk from the parking area to the front door or destination. 

• Place trash receptacles along the path from 

the parking area to the destination. 

• Place clear directional signs. • Screen utility areas. • Provide attractive lighting when needed. 
GE AND IDENTITY 

ning for additional 

Forest Service image 

a sign should 

 cultural context. 

ollow the Forest 

delines for the Forest 

ment (EM) Series 

thin the standards 

nd its supporting 

ovince’s guidelines for 

or, and sustainability. 

natural timbers and 

sed to support an 

e massive trees of 

mensional (machined) 

our wood posts and 

t be used as the base 

more slender 

 Coastal province. 

a powerful and widely 

ency and its values. 

ace the shield as an 

ons. Guidance for 

d in FSM 7160.34 

Narrow, slatted wood base responds to 

small scale of tree boles 

Positive Characteristics of 

Large stonework base responds to grandeur of setting 

Entry Portal Sign Bases 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
The roof over this 

interpretive sign 

provides shelter 

from weather 

and protects 

displays and 

image through 

tries. 

ign or monument 

tatement about 

natural features, 

 the setting by 

als, such as local 

d not obstruct, the 

 resource. 

ng site-specific, 

te a high-quality 

t visitors to Forest 

OARDS 

 should be carefully 

ervice’s graphic 

de shelter from the 

mation board may 

tation. 

 

 area. 

of the nearest 

Positive Characteristics of Signs 

The low-angled mounting of this interpretive sign does not block the view and reduces sun glare 

Wide and appropriate use of the Forest Service shield helps establish the agency’s presence and identity 

Simple sign using ‘in situ’ material is in character on this primitive trail 

information 

High-quality crafted details create a high-quality image 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 41 
the-board 

egins by considering 

y needed. 

te planning, 

n and materials 

ved through the life 

ders energy 

rom the energy 

als to the energy 

g, lighting, and 

ch” are frequently the 

For example, 

-placed windows that 

paces makes 

o electric lights for 

r the environment 

well. In some 

for daylighting and 

ce energy use while 

natural light and 

apply everywhere 

nergy conservation, 

ycling. 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 

Clearing 
Building Features and Vegetation Can Radically Reduce Energy Costs 

d surface grading 

the land and by 

ng roads and 

getation. 

 roads and parking. 

dlife or riparian 

tation, and 

buildings. 

hen setting clearing 

when selecting 

s to reduce 

 wildlife habitat. 

n systems. 

her point-of-use 

der temporary 

 only. 

t be watered, 

vest runoff. 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 43 

Length and placement of a fixed roof overhang determines amount of natural light entering a building at different seasons or times of day 

Locating deciduous trees on the south side of a building will help reduce summer solar gain while allowing solar heating in the winter 
erior spaces through 

 high windows and 

anced light. 

se thick, massive 

rth walls, and straw 

ect thermal mass 

. 

 desired interior 

s centrally for 

at, cooling, and power. 

using operable 

res to reduce the 

ation. 

eat pumps, passive 

ving heating 

ands, sand filters, 

mechanical systems 

xtures. 

uch strategies as 

erns, xeriscaping, and 

nimize erosion and to 

r. 

Building Features and Vegetation Can Radically Reduce Energy Costs 

Window location and size influence solar heat gain and daylighting 

A solar chimney may be used when heat gain is excessive 

A ground-coupled heat pump may be installed to drastically reduce a building’s operation costs 

RECYCLING • Rather than building anew, recycle or adaptively 

reuse a building for a new purpose. 

• Design flexible interiors that can be converted 

to other uses. 

• Encourage visitor and employee recycling 

through well-placed and marked containers and awareness programs. 

• Seek building materials with high recycled 

content and low “embodied energy.” 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
Buildings Should Be in Harmony With the Scale of Their Surroundings 

Several smaller elements within lower vegetation 

ty for additional 

tructures in all 

NG 

ctures should 

mediate natural 

in grand mountain 

with large building 

mbers, and larger

s. In settings 

 the landscape, 

fronts, manipulate 

ce the apparent 

late it to the size 

ding materials 

er, some traditional 

ay be too expensive 

day. Nevertheless, 

ls creates buildings 

nd and a better 

g materials that 

e, wood—especially 

Singular larger elements within taller vegetation 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 45 
se 

s 

erials, 

mble 

able, 

ergy-efficient to 

 using local stone as 

n inspiration for 

gral colors that 

rials that must be 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 

COLOR 

Standard color schemes should be developed for development complexes or special management areas within a national forest or grassland. Once established, the color scheme must be consistently applied throughout the complex or special area. Color schemes can be keyed to the landscape by: • Employing colors that complement local 

vegetation, soils, and rock outcrops. 

• Integrating colors by using local, natural 

materials. 

• Selecting shades for large planar surfaces 

that are slightly darker than the surrounding natural colors. 

Note: On most National Forest System lands, deviating from standard colors of signs must be preapproved by the regional sign coordinator. See EM-7100-15 for descriptions of sign standards. 
Restroom Siting 

let buildings and  

 point of visitor

mpression of the 

e to the context, 

developed and 

an in less 

eas. 

s, boulders, or

ore utilitarian 

 convenient to 

 and within 

ehicles. 

nate or disrupt 

while allowing easy 

visitors. 

 stream corridors, 

ccordance with 

rds. 

ult toilet buildings, ensure an

 the top of the vent pipe and 

ted near the wall vent. 

buildings downwind 

se areas. 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 47 
but conforming to 

ines of the province 

Maintenance building characteristics: 

• Expressed building structure • Building color blends with 

environmental/cultural context 

• Inexpensive detail adds to building character • Door setback increases shadows & visual 

character of building 

• Roof extends to create shadow line • Covered building entry • Covered outdoor work area in appropriate 

climates 

• Landscaping buffer from public areas 

ensive than public 

res—such as 

rash enclosures— 

ooflines, color, 

etailing of visitor, 

on buildings in 

from visitor 

s. 

res from public 

, landforms, 

paces by 

ral ventilation, 

ces. 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 

Effective Building and Site Design Allows Use of Utilitarian Structures Typical work center characteristics: • Entry drive offset to minimize 

views to facility 

• Landscape buffer • Perimeter security fence as 

needed. Vines on fence for visual screening 

• Adequate space provided for 

vehicle turning movements 

• Required Clear Zone around 

hazardous materials 
TOWNSCAPES 

offices play a vital 

ties. They should 

sence on Main 

and a focus of 

y be the first point 

flect a positive 

rvice, as well as for 

rvice offices must 

ext. 

each community 

ngs convey a 

ption areas, and 

ct emphasize the 

well as landscape 

Effective suburban ranger office 

Is your ranger office in town projecting the image of your forest? 

Employing the shield establishes identity 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 49 
REUSING EXISTING BUILDINGS 

• Adapt and recycle historic 

buildings when practical. 

• Retrofit existing buildings 

to express the Forest Service identity. 

ministrative buildings 

accessible within a 

te from the urban 

 multiple functions 

rvices) and leases 

 simply cannot 

ge for the Forest 

Some leased office spaces do not convey an appropriate image 

isting 

tics: 

n 

lt theme 

 

retation 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
ning to the Scale of the Site and the Province 

AN OVERVIEW 

mic contexts occur 

context for our 

national, province, 

st Service should 

ies that reflect the 

through integration 

rest Service shield, 

the family of signs. 

nd design 

mmon to the built 

ation. These 

d in the first 

d States contains 

cal and cultural 

fect on 

 this guide, the 

nt of architectural 

 common elements 

l contexts over 

begins to suggest 

ork within a 

 chapter includes 

rovinces and their 

Finally, the site scale will determine suitable architectural character types and sustainable strategies. For each project, tailor design elements such as colors and building materials to the specific site and to fit the local context, including the economic context. Other site considerations include ecology, vegetation, climate, and topography; the ROS setting; and 

the patterns of use by visitors, concessionaires, and employees. In some cases, a special area or development complex may develop a specific architectural theme to ensure consistency throughout an area. The process of adapting individual projects to their context and developing architectural themes is described in chapter 5. 

Nation 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 51 
Great Plains/Prairie Lakes 

 

ER GUIDELINES FOR THE NATION AND THE PROVINCES 
THE EIGHT PROVINCES: ARCHITECTURAL RESPONSES TO THE INFLUENCES OF ECOLOGY AND CULTURE “My forest setting is unique” was a comment frequently heard at the charettes. This may be true regarding the individual sense of place for each forest and grassland. Yet the charettes revealed ecological and cultural patterns that cross forest boundaries. To ensure sensitive responses to the contexts of ecology and culture, the guide addresses eight geographic areas known as provinces. For example, the Southeast Coastal Province is a lowland area with a hot climate and aristocratic cultural traditions. The Southeast Mountain Province includes characteristics such as higher elevations, a cooler climate, and cultural traditions formed by such “common” people as farmers and frontier families. Both contexts merit separate and individualized design responses. 

The provinces are: • Northeast Province, including the Middle 

Atlantic States and northern Appalachians into New England. 

• Lakes Province, including the eastern prairies 

and the Great Lakes States. 

• Southeast Coastal Province, including coastal 

areas of the Southeast and Gulf States and Puerto Rico. 

• Southeast Mountain Province, including 

the southern Appalachian Mountains, the Ozarks, and the Ohio River Basin. 

• Great Plains/Prairie Province. • Rocky Mountain Province, including the 

northern Rockies, the Black Hills, and the Wasatch Range. 

• North Pacific Province, including the Olympic 

Range, the Cascades Range, and Southeast and South Central Alaska. 

• Southwest Province, including the southern 

Rockies, the Mohave and Sonoran deserts, and Southern California. 

There may be anomalies within these broad provinces. In these cases, designers can consult the guidelines from an adjacent province to find characteristics that match a particular forest or grassland setting. Such variations must be documented in a Design Narrative. 

ARCHITECTURAL CHARACTER GUIDELINES FOR THE NATION AND THE PROVINCES 4 53 

1 

rtheast Province 

ship of man-made structures to the natural world offers 

and most valuable experience that architecture can show.” 

—Vincent Scully 

NORTHEAST 

R OF 

NCE 

NVIRONMENTS 

Forest Service 

and facilities in 

tlantic States. 

lly sensitive to 

occupied with 

 they lacked 

em, they developed 

t still work well 

e heat, they placed 

ther than outside 

buildings to their 

e, but for the 

tive when kept 

Mother England, 

rred wood as a 

he period are full 

mp, cold masonry 

re traditionally 

dscapes. The 

w England farms 

farmers moved 

 them into 

 fit well with 

ography. 

NORTHEAST 

Farther south, in the Middle Atlantic, German settlers enjoyed brick and stone masonry and celebrated its use with elaborate design. Many rural buildings of Pennsylvania seem to grow directly from the landscape of fractured rocks shaped by glacial freeze-thaw cycles. Scandinavian settlers introduced the log cabin in Delaware. Scottish-Irish settlers spread this most-American of building forms throughout mountains and valleys. 

Throughout the province, farm buildings were clustered close to roads to ease transportation of crops and products to market. This is only one example of a traditional idea that makes sense today. For example, contemporary buildings placed close to roads simplify snow clearance and mail delivery. This also is a sustainable strategy as it concentrates buildings near existing services, transportation, utilities, and infrastructure. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 57 
RACTER 

CAL 

nsely old—older 

nts (at least in 

, far, far older than 

 indeed than almost 

ures on earth.” 

, A Walk in the Woods 

n be divided into 

es. 

rtheast Province 

tains and Maine and 

e. This is a glacially 

cold winters (average 

reezing and only 100 

ally). Landforms are 

nges from broadleaf 

s (which grow well in 

ests. The summer 

l brings brilliant 

white and brown. 

 along waterways. 

ains of the northern 

dscape that features 

tains, many rock 

wfall. The forested 

on from a mixture 

o spruce-fir. 

To the south are the Appalachian Highlands and a topographically diverse landscape with plateaus, coastal plains, and the Ozark Mountains. These are smoother, more rounded mountains with little exposed rock. The average winter temperature is above freezing. The forest is mostly deciduous with a wider variety of trees in the wetter east and a dominant mixture of oak-hickory in the drier west. CULTURAL 

“If we don’t know where we’ve come from, 

how will we know where we are?” 

—Pauline Chase-Harrell, architectural historian 

During the Colonial period, the English dominated settlement in New England, the Dutch in New York and New Jersey, the Germans in Pennsylvania, the Scandinavians in Delaware, and the French along the lake and river system of what was then the Western frontier. The patterns of westward migration of these groups established paths of architectural influence throughout the region. The English established the prevailing cultural patterns, including a preference for wood architecture, especially for timber framing and clapboard, shingle, or vertical board siding. Steeply pitched roofs are another common and prominent design feature. Early building types included the salt box (a house made by attaching a shed roof to a gable roof); the timber-framed “English barn”; 

N E S F O R T H E N O R T H E A S T P R O V I N C E 

and, later, the “connected farmstead” of New England in the latter part of the 19th century. In the Middle Atlantic, the Dutch, German, and Scandinavian builders made their own contributions. These included the double-pitched Dutch gambrel roof (originally common only to barns in New York’s Genesee Valley but now everywhere) and German masonry construction. The French influence worked its way up the Mississippi and is visible in the enduring traditions of sweeping roof forms and generous porches. Swedes and Finns introduced log homes in Delaware. Other ethnic groups adapted log structures as they moved into the southern and middle frontier. Originally they used rough logs. Later cabins used hewn logs and permanent chinking. Except for the Iroquois in New York State, Native American structures have been obliterated, but archaeology has allowed for renewed interest in these forms. The 19th century brought cultural and technological changes that blurred distinctions among styles in favor of a national style, or rather a series of national styles. The first of these was Greek Revival, launched in the 1830’s. A decade later, a preference for Gothic Revival and other “Victorian” styles was greatly aided by popular pattern books for houses. The invention of the balloon-frame house in Chicago in 1833 introduced mass-production techniques to the 
ads fostered the 

ding parts (such 

ng façades) to 

on. 

ovements promoted 

ndardization. The 

hasized handcrafted 

 details and 

n, the Adirondack 

c” log-and-stone 

y. 

ed for hotels 

res, especially 

 of the Civilian 

movement left a 

of Forest Service 

y. 

 of standardization 

evolution. 

gned to look the 

me materials no 

But in the New 

ward Colonial 

erpretations 

nce, as did the 

tion movement. 

n important factor. 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT ECOLOGICAL INFLUENCES • Dramatic freeze-thaw cycles. 

• Prevailing northeasterly winds. • Topography dominated by mountains and 

• Long vistas. rolling hills with few open plains or fields. • Lush, dense vegetation. • Glacier-sculpted granite mountains that 

• Vegetation that changes with elevation from feature dramatic rock outcrops. low areas of hardwood forest to mixed conifers • Mountains that run north-south with 

with spruces and firs in upper elevations. east-west exposures. 

• Tree line as low as 1,800 feet in northern areas. • More snowfall and wetter climate 

than the Lakes Province. 

• Cold, wet, and 

overcast winters. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 

NORTHEAST 

59 
ls country 

Mountains 

N E S F O R T H E N O R T H E A S T P R O V I N C E 
wilderness. 

Dutch, French, 

but the English 

and traditional 

ly valued. 

ustry. 

illages, hamlets, 

nnected buildings. 

rmont. 

s a building material. 

me and log. 

y populated portion 

xpect cultural 

perience. 

lude the Cape Cod 

an farmhouse, and 

e in the Adirondacks 

althy. 

NORTHEAST 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 61 
English influence 

Rural farmstead 

N E S F O R T H E N O R T H E A S T P R O V I N C E 
NORTHEAST 

Saltbox 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 63 
DELINES 

PROVINCE 

g sites because of

s to protect the

ildings toward and

n lined up along a

ter buildings around

a village green or

F

Structures oriented toward roads 

es of clearings

N E S F O R T H E N O R T H E A S T P R O V I N C E 

Buildings clustered around a common site 
NORTHEAST 

n grades rather

itive. They should

ke a river weaving

 storage.

gs into slopes.

y planting banks

the building with Buildings are stepped down 

hed decks). grades to preserve natural 

landforms 

Outdoor space is detached from main structure 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 

tation is provided in Allegheny region 

65 
The building’s mass should be related to its surroundings: 

David Thoreau 

er building wings as

uilding.

have grown organically

e.

gs, as in barns or

ghts from one and a

main well suited for Mass should be broken into 

several smaller forms 

ng and small, punched

 the apparent mass

egular Victorian or

volumes.

on the gable side.

cale to a larger

Tall vegetation and steeper hills 

Complicated irregular forms 

Buildings are generally 1 1/2 - 2 stories 

N E S F O R T H E N O R T H E A S T P R O V I N C E 

Short vegetation and moderate hills 

to each other 
symbolic. They 

ty when expressed 

tured materials. 

atform that 

ng from frost, 

t line. 

tern stone bases. 

cal stones. 

mimic local geology. 

tic materials by 

lit-face stone. 

 of architecture in 

e usually wood in 

white 

ed in 

Cut stone: Random ashlar pattern 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 

NORTHEAST 

Platform for developed outdoor space 

Natural stone: random pattern 

67 
Appropriate windows Inappropriate windows 

and openings: and openings: 

double-hung, and 

 panes over 12 panes). 

metry. 

zontal bands. 

ents for ornamental 

f double doors. 

ries to buildings. 

public buildings. 

les. 

Single door Double doors 

ow 

acteristics: 

amental lintel 

ble-hung window 

essed sill 

Multiple small double-hung windows Horizontal strips of windows 

N E S F O R T H E N O R T H E A S T P R O V I N C E 
NORTHEAST 

Inappropriate roof elements: 

from 6:12 to 12:12 

 flat or shed style 

ain building). 

ted shingle, or 

nimal (if any) 

 dry. 

rds. 

 

r maintenance 

le and uncluttered. 

on metal roofs 

ue. Broad overhangs may Exposed rafter tails cause ice damming increase maintenance 

roof elements: 

Gutters and narrow 

overhangs keep walls dry Flat roofs Shed roofs 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 69 
Typical roof elements: 

• Gable roof • Cupola for roof venting • Simple gable dormers • Minimal overhang • Narrow fascia board 

(no exposed rafters) 

Simple porch entries: 

e porch Shed porch 

N E S F O R T H E N O R T H E A S T P R O V I N C E 

STRUCTURE Buildings of this province do not typically include heavily expressed or exposed structural members. Rustic, CCC-inspired buildings are suitable for picnic and cabin structures in remote areas, but they are out of character in settings classified as developed on the ROS. • Avoid exposed structure on exterior; • Include some exposed timber framing 

on the interior. 

Heavy, expressive structures 
NORTHEAST 

ic). 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 

Wood, slate, fiber-cement, 

or composition shingles 

Seamed metal 

aterials such as 

Alternatives 

crete block. 

ow-maintenance 

s. 

: 

ays. 

ock 

Inappropriate roof materials: 

Tile roofing 

Appropriate roof materials: 

COLOR Take cues from the setting, emphasizing blues, grays, and browns. Follow the ROS guidelines: • Naturally weathering materials and earth tones 

with no accents in primitive or semiprimitive settings. 

• Naturally weathering materials and earth tones 

with limited accents drawn from nature in roaded natural settings. 

• White, red, gray, and naturally weathering 

materials in rural settings. 

• Warm earth tones with a wide range of accents 

in rural settings. 

Other Guidelines: • Contrast colors in “detail areas” such as 

windows and doors. For example, use dark trim with a light wall and light trim with a dark wall. 

• Paint porch ceilings using historical colors, 

such as robin’s egg or sky blue. 

71 
mponents from 

c structures. 

s” section in the 

er for more 

ainability. 

Simple, adaptable forms Additions planned for the future constructed as necessary 

N E S F O R T H E N O R T H E A S T P R O V I N C E 
d’s 

g, 

y. 

er 

n be a 

 The dense 

 screen many 

sappear into the 

of native trees 

e building materials 

le materials. 

Clustered compound on a slope characteristics: • Simple forms, added to each other • Buildings step down grades • Multiple double-hung windows • Clapboard siding • Simple roof with gable dormers • Shed porch • Large gable ends 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 

NORTHEAST 

73 
Visitor facility characteristics: 

 Saltbox form  Simple forms repeated  Single, punched windows 

with divided lights 

Administration/ maintenance compound characteristics: • Simple forms repeated • Clustering of smaller masses 

N E S F O R T H E N O R T H E A S T P R O V I N C E 
NORTHEAST 

• Steep roof with • Small window 

minimal overhangs with divided lites 

Overlook characteristics: • Simple forms • Minimal base 

Restroom characteristics: • Simple gable end • Light structure 

• Entry porch • Minimal base 

Maintenance shop characteristics: • Gable roofs with attached shed forms • Clustering of forms • Mass broken down 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H E A S T P R O V I N C E 4 .1 75 

2 

kes Province 

ding is natural building: construction proceeding 

y from the nature of a planned or organized inside 

a consistent outside....” 

—Frank Lloyd Wright 

LAKES 
N E S F O R T H E L A K E S P R O V I N C E 
R OF THE 

T AND 

TS 

scape of the 

antially altered 

lers cleared 

arms and timber. 

etely cleared for 

vince is generally a 

ticated landscape 

national forests, 

 miles from a road. 

ongly here. The 

id not readily yield 

d the growing 

s. Much of this 

ture or forest and 

e the prairies. 

, urban populations 

hich comprise the 

d outdoor 

e may expect high 

recreation facilities. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

79 
HITECTURAL CHARACTER 

CAL 

 may have been 

h peaks as high as 

a of glaciers altered 

e and 

d the 

he 

about 

nd 

 and 

divided 

ones: 

rts of 

 the 

ine of 

 is a 

th long, 

e winter 

and only 

nnually. 

. Vegetation 

uous forests to 

he region’s acid soils) 

r landscape is lushly 

ors. The long winters 

ock is exposed except 

N E S F O R T H E L A K E S P R O V I N C E 
arts of the Lakes 

n rolling west to 

grasslands there 

grow many trees 

d rock. The climate 

d long, cold winters. 

d an intimate 

 and was 

ironment....The 

onintrusiveness 

 natural materials.” 

uildings of Michigan 

an 12,000 years 

minated by glaciers. 

lers, native peoples 

 stretching bark 

g types included 

y the Hurons), 

(which may have 

 places). Only 

ge of Native 

nce. 

 the first influences 

ovince. French and 

who used the 

highways, built 

g posts, military 

ons. These 

re complexes of 

log construction protected by tall log fences or The abundance of wood (especially in the huge stone ramparts. In 1817, the American Fur stands of pine forests) and lakes also influenced Company built an agency house on Mackinac design. Ornate wooden houses filled the towns Island in the elegant Federal style, foreshadowing where lumber was plentiful. the accelerated use of East Coast architecture Later in the century, the Arts and Crafts in coming decades. movement emphasized handcrafted buildings The opening of the Erie Canal in 1825 introduced and custom-designed details and decorations European settlement in the form of frontier farms as an antidote to standardized design. A and villages. The new pioneers initially built log regional variation, the Adirondack style, created cabins but soon replaced them with fashionable elaborately crafted “rustic” log-and-stone East Coast structures in such styles as the vacation homes for the wealthy. In the Lakes Greek Revival and the Gothic Revival. They also Province, rustic design for hotels, resorts, and employed such New York and New England building getaway cabins peaked between 1890 and 1910. methods as coursed cobblestone and wood. Rustic design for public recreational structures 

peaked during the 1930’s height of the CCC. In 1833, the invention of the balloon-frame house The Park Lodge in St. Croix State Park, Pine in Chicago introduced mass-production techniques County, Minnesota, is an example of the rustic to the construction of houses. Railroads fostered style in the Lakes Province. the shipment of prefabricated building parts 

(such as elaborately ornamental cast-iron building façades) to frontier towns across the Nation. The log cabin was another major influence that originated with early Scandinavian settlers in Delaware. A staple of the Appalachian frontier, the log cabin was reintroduced by Scandinavian settlers in the upper Great Lakes in the 19th century. Early versions used logs in their natural state as they were cleared from the land. Later versions were more sophisticated, with hewn logs and more permanent chinking. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

81 
NCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT 

e with a short • Coniferous forests prevail over deciduous • The landscape is intimate, with most views 

forests. closed off by trees. 

accented by the • In winter, frost depth ranges from 4 feet to • The summer climate is muggy and buggy. 

nks. 8 feet. • Lakes and wetlands provide the main 

 flat, with many • Snowfall can reach 100 inches. openings for views. 

• Snow stays on the ground all winter. • Riparian zones protect the integrity of 

igh. • Prevailing winds are from the northwest. lakeshores and water quality. 

NES FOR THE LAKES PROVINCE 
nstructed and 

res. 

andinavian, 

an. 

mes. 

lly close to water 

of thousands of Scandinavian log influence 

 for structures 

require setbacks. 

g, and fishing 

pular activities in 

ed landscape, 

rile. Lakefront structures 

driving distance 

Dairy/Agricultural Northern European influence 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

83 
DELINES FOR 

 

s near lakes for

.

s to provide views.

bserving setbacks

 and restoring

ape buffer between

he shoreline.

e might look like

 shoreline rather

e” setting that 

. 

ooking the lakes

vantage of

on against

d to catch

s.

arking areas

N E S F O R T H E L A K E S P R O V I N C E 

Natural shoreline appearance 

Trees thinned to protect view, but not completely cleared from the site 
LAKES 

e compact 

serve heat; with 

s can be up to two 

uch as recreation 

he structure 

d mass and to 

ather and animal 

d visible by raising 

ture that matches 

pe. 

Base accommodates site 

Prominent, raised base anchors sign to land 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

• Avoid basements—they are expensive to build 

and maintain because of high water tables and they create universal access problems. 

• Make the bases of portal signs substantial so 

that they appear to be anchored to the earth. 

Basements are expensive to build and maintain 

85 
nd patterns 

al structures. 

 patterns as 

Inappropriate wall elements: 

ch usually have 

pposed to raw 

ding. 

such as T-111 

Appropriate wall elements: 

N E S F O R T H E L A K E S P R O V I N C E 

Overly refined products 

t in gable 

siding 

Rounded contours 
administrative 

hen placed on the 

ended as a shed 

vertical than 

with summer 

r shutters. 

les. 

Entries at gable ends avoid snow and ice 

al banded windows. 

 rather than 

 footprint. 

r ventilation. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

Vertical double-hung window 

nds 

Porch as shed or eave extension or as extrusion of gable end 

Protruding vestibule (plan view) 

87 
of 7:12 or more. 

mmon and can 

f large buildings. 

gs on eaves to 

rain and snow. 

than eaves to 

 drip lines. 

ls. 

Broad overhangs 

Roofing extended beyond rafter tail, protecting ends/ Flat roofs Gutters underside 

pped roof to diminish mass 

d height of building 

N E S F O R T H E L A K E S P R O V I N C E 

Mixture of roofing materials 

Appropriate roof elements: Inappropriate roof elements: 

Roofing extended to accommodate dripline 

Unprotected rafter tails 
ural elements 

nd vaulted 

dings. 

sized to convey 

to appear 

the snow loads. 

 heating and 

s would create 

le for the 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

sized structures 

Oversized vertical structural elements 

89 
 building materials are 

gain for a natural way 

ht 

 natural materials 

urrounding landscape. 

and siding products if 

h care. 

tations for craftsman

s, and a high level of 

erials for a balanced 

mixing and matching 

, wood interior trim, 

 they do not gather 

materials, such as 

pavers for pathways. 

ocal geology, vegeta

s from earth tones, 

bark, and so forth. 

n the color scheme. 

tle. 

han primary colors for 

er naturally to 

s. 

N E S F O R T H E L A K E S P R O V I N C E 

Use refined interior Inappropriate elements: trim to express craftsmanship: • Crown molding • Smooth wall surfaces • Chair rail Appropriate elements: • Base 

Natural & irregular materials 

Color characteristics: • Medium-brown pine bark • Light gray bark • Low deciduous shrubs • Gray granite rocks 

Overly regular materials 
new uses. 

uilding parts. 

now maintenance 

cture 

 

o this 

Earth berms protect buildings from northwest winds 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

Daylighting should be maximized by adding high windows for additional daylighting Natural landscaping on prevailing wind side of building 

91 
es Province will not 

d structures of the 

while paying equal 

materials, and 

ntemporary 

ave a place in this 

 more refined version 

sion materials; for 

han unfinished logs. 

ally expect high

ip, as well as more 

sitor facilities. 

visitor facility characteristics: 

sh mass 

Restroom characteristics: • Horizontal log pattern • Materials finished 

N E S F O R T H E L A K E S P R O V I N C E 

Visitor facility characteristics: • Broad overhangs 

to protect wall 

• Oversized, exposed 

structure 

• Rounded logs 

Administrative and visitor facility characteristics: • Oversized log structure • Broad overhangs • Rounded Logs 
• Add high windows for additional daylighting 

Maintenance/Storage facility characteristics: • Hipped roofs • Daylighting 

se elements that 

ble, warm, and dry. 

t provide access to 

es without 

itially, frontier 

cted to the 

ronts for 

otential to produce 

 goods. Today’s 

or recreation. When 

tructures in this 

 elevate them for 

 Interpretive facility characteristics: 

• Extended porch • Vertical chimney accent 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E L A K E S P R O V I N C E 4 .2 

LAKES 

93 

3 

utheast Coastal Province 

e for present delight, nor for present use alone; 

h work as our descendants will thank us for.” 

—Frederick Law Olmsted 

SOUTHEAST

COASTAL 

SOUTHEAST

COASTAL 

R OF THE SOUTHEAST COASTAL PROVINCE BUILT AND NATURAL ENVIRONMENTS 

ce is layered with 

 that respond 

mate; tidal rivers; 

res. It was originally 

s (who were largely 

hy planters, 

reedmen, Spanish 

ench and 

ulf Coast. 

as the traditional 

m the early Native 

 of air conditioning, 

ned to catch 

vide cool, outdoor 

d sleeping porches. 

s and the generous 

 in Charleston 

n distinctive 

tructures also 

ing solar radiation. 

Culture and climate are nearly inseparable in this province. Traditional structures provided balconies, porches, large hallways and breezeways, wide eaves, and louvered windows that provided relief from blazing, humid summers. In Louisiana, many houses were built on tall foundations to protect against flooding. In Georgia, South Carolina, and Alabama, simple woodframe structures elevated on wooden stilts may have been influenced by the Florida Seminole huts called “chickees.” Dairies and springhouses were burrowed into the earth to preserve perishable 

goods. The dogtrot house included a single roof covering two pens, creating a breezeway and shelter connecting two buildings. In agrarian compounds, kitchens were frequently placed in separate buildings to keep heat (and the threat of fire) out of the main house. Plantations and farms put different functions into separate buildings such as smokehouses, blacksmith shops, or winnowing houses for separating rice or grain from its hard outer shell. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 97 
HITECTURAL CHARACTER 

CAL 

nce is characterized 

ell-drained soils; 

of wetlands. 

es, the forests 

der pines with 

oduce tannic acid 

 slow-moving rivers 

er is hot, with 

s an enclosed 

ities for vistas. 

of the Southeast, the 

iedmont areas where 

rer, topographical 

d, and hardwood trees 

s an area of foothills 

ed by towns and 

 this new world. The 

ed “Creole cottage” 

en in New Orleans. 

ciated with the 

nnected rooms and 

 British styles, such 

ed almost every

ontributed highly 

nstruction for 

farmhouses and barns. Another strong cultural factor is a high regard for heritage in this region, where the historic preservation movement began. Other influences include: Settlement Patterns: Early European settlements relied on shipping and fishing. They clung to the coasts and in communities along navigable rivers. Early waterborne industries included the fur trade, logging, fishing, and rice. Agriculture and Industry: The early Southeast Coastal Province was an agrarian society. Tobacco flourished as a cash crop in Virginia, Maryland, and Kentucky. Rice was grown along the coasts 

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 

of Georgia and the Carolinas. Sugar cane and, later, cotton were king in the South. Indigenous Materials: Settlers in coastal South Carolina, Georgia, and Florida appropriated a Native American material called “tabby”— a mixture of lime, sand, and oyster shells. Brick became common as more permanent buildings were erected in the colonies in the mid-1700’s. This was particularly true in Virginia, where the red clay is suited to mixing and firing. This region’s large stock of stone and brick buildings remaining today belies the fact that most early buildings were constructed of wood. 
CES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT 

olling hills. 

th 

and 

un, and 

 termites, 

materials. 

Coastal: Low Wetlands— pine, oak, hemlock 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

99 
oastal pine forests Lower Piedmont: hardwood, live oak, pines 

gh canopy of trees. 

oods in drainages. 

of slow-running 

s. 

nd other wetlands. 

ects to alligators. 

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 
0 years; 

cape bisected 

e more than a 

l are within a 

d patchwork of 

forest lands. 

French Creole cottage 

SOUTHEAST

COASTAL 

Plantation influence 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 101 
Spanish 

influence 

ral history that 

, and smokehouses 

d the estates and 

racy. 

aterial. 

, as well as 

, fishing, and 

Early CCC 

English influence 

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 
A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

 to preserve

void insects,

er.

s of clearings

e.

Higher, raised structures 

in warmer climate 

Lower structure in cooler 

climate, retaining ventilation 

LINES FOR THE SOUTHEAST COASTAL PROVINCE 

Characteristics: • Structure located at

edge of vegetation

• Area around

structure clearedfor airflow

• South entry

with shade

103 

ks connect buildings 

ilizing grade and boardwalk 
onnected or related

uildings for ventilation

ts and fire.

ns”) around the  

mize mud splash. Characteristics:

• Breezeway

connection

Structure placed well above 

and away from stream 

to avoid flooding and insects 

cleared and 

for ventilation 

Outdoor courtyard spaces and upper level porches 

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 

• Separation of

buildings forbreezes andfire protection

Capture the breezes 
ms.

 with smaller

 and to promote

nding.

overed breezeways.

perimeter to

ogtrot house).

osed structure (voids) 

nce.

• Center removed• Corner removed

Subtractive openings: 

Subtractive forms 

Structures are predominately 11/4 to 

2 levels (high volumes) 

Subtractive opening: traditional “dogtrot” 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

105 

Additive, simple forms 
Simple, hipped roof, broad overhangs 

oof itself, 

 skylights, and 

te the roof. 

h as shed, gable,

these forms that

cause leaks.

ge from 7:12 to

rovide protection

 a dripline trench

• No gutters 

 from simple

• Dripline trench 

on and light

roofline.

ofs predominate 

 roof forms are minimized 

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 

Broad overhangs: • Wall is protected from

sun and driving rain

Simple dormers provide ventilation and light 
very lightly on

without a base.

itable.

ay include bases

rial from the siding.

Building that is light on the land 

WALLS• Expose or plaster brick walls with stucco

or “tabby” (a mixture of lime, sand, andoyster shells).

• Use horizontal wood siding, as with lap siding.

Wall materials should yield a horizontal expression 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

107 
• Window recessed

in wall

• Decorative lintels

ce that conveys a

ple, with a porch).

xtending the roof

ce.

th traditional side

s for public buildings.

visual access and

hen possible.

s.

panes in dormers

h as vegetation)

 expressed rather

• Louvered shutters

 such as louvered

un while providing

on by placing louvered

cross from each other.

of the “open structure:” • Extended

overhangs

• Walls retractExpression 

Solid walls 

are minimized 

Open doors and walls Porches are important transition spaces: 

Opposing windows allow • Extended roof

• Subtracted walls for cross ventilation 

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 
other structure

cture reduces

als needed.

nd beams to

ar to be light

structures

t the tall,

al forests.

es cavities

nsects.

MATERIALS• Use natural, indigenous, or locally produced

materials when possible.

• Select durable, low-maintenance materials.• Express local craft and artistry in public

buildings.

• Use synthetic materials that resemble natural

materials, are durable, and match the ROSsetting.

• Use metal roofs in areas where they were used

historically.

• Use materials that yield horizontal expression,

such as clapboard siding.

Tall, thin vegetation Yields Light structure and materials 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

109 

Exposed structure 
 native vegetation,

re.

be used throughout

s within the forest

n open, sunny areas.

ildings that reflect

hat can be derived

ltural influences.

nonreflective.

d structural

nd trusses) so they

Colors: • Light grays and tans of tree bark

and sands

• Greens of palm and pine• Accents in the pastels, corals• Red clay of the Lower Piedmont

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 
at reflect heat.

 light for buildings)

ous trees.

nd south sides by

h as shutters,

ens into building

ey catch breezes.

building materials.

 mechanical

ycling graywater

eating permeable

aintain the

ent erosion.

t pumps for

 section in the

 for more

nability.

Groundcoupled heat pump 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

Natural ventilation and shading are maximized 

Operable windows are installed 

Insulated and ventilated 

to reduce solar gain 

111 
pect Forest Service Utilitarian structure: 

vive without air • Effective ventilation

ver, to learn from • Large, operable openings

signed to suit the 

and money) to cool. 

ce should be placed 

scape to afford a 

many bogs, marshes, 

dwalk entries and 

ove wet earth 

site buildings 

Toilet facility: • Simple roof with effective,

protected ventilation

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 
ry structures 

y light rather 

boulders are not 

ams, or trusses. 

tural members 

lolly pines and 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 

SOUTHEAST

COASTAL 

113 
Picnic table with 

thick planks (3–4") 

ucture 

s: 

adhere

stern

e remaining

 functional

ning with

N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 
SOUTHEAST

COASTAL 

Toilet facility characteristics • Simple gable roof• Slender structure• Open screened ventilation

Interpretive shelter characteristics: • Simple, hipped roof form• Openly expressed structure for

maximum airflow

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T C O A S TA L P R O V I N C E 4 .3 115 

4 

utheast Mountain Province 

e and landscape design are not words on paper.... Situated in 

es on the ground, connecting past to the future, palpably there, 

ra and fauna, they are the stage for life itself.” 

—Douglas Kelbaugh 

SOUTHEAST

MOUNTAIN 
N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E
R OF THE SOUTHEAST MOUNTAIN PROVINCE 

As summer visitation is very high in this province, cooling and ventilation remain primary concerns. Rustic-style structures that feature unhewn logs and heavy stone foundations are cooler. Siting and designing to capture vistas is crucial, as is tucking structures into the edges of forests (or off the crests of mountains) to prevent silhouettes and preserve the view from other points. Designing for durability is vital because of the climate and because of concerns about vandalism in these 

NVIRONMENTS 

nce contains every 

from quite simple 

r cabins, Native 

ownhomes, metal 

es built by the CCC. 

rovide intelligent 

ors as culture, 

gy. 

ntain Province has 

mate, and climate 

ng for sustainability. 

ummers and cool, 

nts maintenance 

to catch breezes 

ore comfortable 

uctures can be 

ly within 

heavily visited forests. 

INFLUENCES ON ARCHITECTURAL CHARACTER LANDSCAPE AND 

ECOLOGICAL

The Southeast Mountain Province includes lands above the “fall line” or the demarcation between the rushing rivers of the Piedmont and the flat, tidal rivers of the Coastal Province. There are two mountain ranges, one plateau, and three forest types. Early settlers inhabited moist coves, called hollows, that had rich soils forested with hemlock and white pine. Higher-elevation forests include mixed oaks. The highest and most northern forests are coniferous. Valleys, rocky ridges, and cascading streams punctuate these mountains. Because of the higher elevation, there is dramatic seasonal color change with spectacular autumns. The views vary with one’s place in the landscape, from enclosed in the valleys to open panoramas on ridgetops. The Southeast Mountain Province generally is cool, wet, and high, with some elevations exceeding 6,000 feet. Summer temperatures are moderate, but weather swings can be dramatic, with 30-degree fluctuations in a single day. The limitedflat land severely restricts building sites. Winterstorms moving in from the west are more likelyto include ice and snow, posing more challengesto heating and maintaining buildings. Soils areshallow with lots of rock and clay.

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 

SOUTHEAST

MOUNTAIN 

119 
 balds are an 

e. They may have 

g and overgrazing 

ghtning. In any 

ees because 

 to revegetate. 

d plant habitat. 

m Rogers, balds in 

ess than 1 percent 

29 percent of the 

at are vital to 

n the Woods: 

ool, dark forest 

 liberating open 

 a dome of blue sky, 

s an experience 

CULTURAL

The culture of the Southeast Mountain Province has informal and “common” antecedents. The early settlers— English, French, German, Scotch-Irish, and African-American—were loggers, subsistence farmers, and frontiersmen. They built simple, vernacular farmhouses and dependencies. Small towns are more typical than larger cities. Settlement Patterns: Early settlers, moving down through the mountains from the north, were frontiersmen and subsistence farmers from German, English, and Scotch-Irish backgrounds. They built log cabins and settled in the coves sometimes known as hollows. The railroads allowed settlements and industries to become established upriver of the fall line that separates the Coastal Mountains from the Coastal Plain. Mountain gaps allowed Tennessee and Kentucky 

to flourish as gateways to the West. 

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

Indigenous Materials: This was a heavily forested province (and heavily logged), where logs remained a favored building material into the 20th century. Logs were sometimes left unfinished. The chinking could be removed for summer ventilation. Stone was common, where it could be quarried or collected in fields. Rustic Design: The creation of such national treasures as Great Smoky Mountains National Park and the Blue Ridge Parkway spread rusticinfluenced design across the 

spine of this province. Rustic 

design emphasizes the use 

of natural materials such as 

logs and boulders, as well as 

forms that fit into the 

mountain landscape. 
CES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT 

idges.

s.

h from the west.

lay.

With altitude, temperatures drop and rainfall increases 

Anatomy of ridges: 

• Grassy balds• High, dry slopes pines• Lower slopes oaks• Slash and burn grazing• Wet cove

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 

SOUTHEAST

MOUNTAIN 

121 
coves.

terfalls.

et.

ck and white pine.

s at higher elevations.

er elevations.

ntain clearings

vistas.

ts potential

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

Upper Piedmont 

Ridges and valleys 
nce farmers,

h-Irish settlers

lding types.

rivate in valleys

Southeast Mountain 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 

SOUTHEAST

MOUNTAIN 

123 

English stone 
English 

influence 

g material well into

lodges and

n.

mon than big cities.

red coves or

Rural piedmont 

Log cabin 

N E S F O R T H E S O U T H E A S T M O U N TAIN PROVINCE 
SOUTHEAST

MOUNTAIN 

LINES FOR THE SOUTHEAST MOUNTAIN PROVINCE 

s to preserve

ctures below the

ucture silhouette.

s at the highest

zes.

s (such as viewing

n the tree canopy

s.

e floodplain in

rvation platform uses 

cal, natural materials 

Development limited at the top of the ridges 

Structure moved off of the higher point 

Building sites 

limited to toe 

of slope 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 125 
nd on three sides

re on the south side

e broader valleys.

ing by terracing lots.

with decks and

uildings (but “limb up”

g them) for

from insects and

 contours of the

nt in sheltered coves 

Branches trimmed up and undergrowth cleared 

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

Landscape buffer maintained in riparian zone 
 related buildings

g to minimize

e buildings with

pping down

Clustering of structures is encouraged 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 

SOUTHEAST

MOUNTAIN 

er 

127 
 setting 

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

ear to have grown

by combining

hed and gable-style

gs to be sited on

espond to solar

tter than square

Hill-top: Large valley: minimal mass larger mass 

Large building is broken down in scale Forms can step down a slope 
ant element

te a

ndforms by

nge from

 have a

oof.

ofs,

 

Roof characteristics: • Addition intersecting with main roof• Broad overhangs• Flatter porch• Chimney on end

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 

SOUTHEAST

MOUNTAIN 

129 

Additions are shed or gable Roof has broad overhangs 
 appears

 ground.

em to grow out

ngs.

an piers or stilts.

wl space with

Base up to window sills Where appropriate, base can “grow” 

out of the stone outcroppings 

Base to take up grade and provide ventilation

laid in local geological pattern 

o roof and base 

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

All stone walls use local stone 
minate the façade

ly short plane

base and roof.

e either double

dows when possible.

erable windows,

d roofs and gables.

ve and substantial;

ding corners.

e roof form; avoid

le openings.

ngs to allow views

building.

them clear and

es.

Log Lap siding 

Wall materials 

Board and batten 

Well-defined main entry 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 

ment Transom 

 types 

SOUTHEAST

MOUNTAIN 

131 

Window proportion is vertical 
NES FOR THE SOUTHEAST MOUNTAIN PROVINCE 

an be vented using: 

nt

s/transitions • Porch is an outdoor room

• Keep porch ceiling high for views and light• Wood porch with stone pier• Shed porch ceiling:

Mountains: open Piedmont: closed

• Dormer for daylight and venting• Add glass to gable end of building

for daylighting

Windows can infill between structure 

Characteristics: 
ng posts, beams,

n shelters when

ments to convey

 expressed 

MATERIALS• Use materials that look substantial and heavy.• Use indigenous, natural, and locally produced

materials.

Suitable wall materials include: • Stone laid to reflect local geological patterns,

and stone in scale with size of local rocks.

• Horizontal log.• Board and batten.• Wood-lap siding.Alternate wall materials include:• Split-face block, if skillfully constructed,

as a substitute for stone.

• Concrete, if tinted and highly textured to

blend with textures of natural surroundings.

• Cement-fiber siding to match wood.Avoid: • Patterned plywood.

Treated, southern pine shake shingles 

Composition shingles heavy texture 

SOUTHEAST

MOUNTAIN 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 133 

Standing seam metal 
de: 

ake shingle.

edium tones.

es a traditional

hingles.

ude: 

es.

• Stone base• Standing seam metal roof• Board and batten walls

Characteristics: • Expressed structure• Natural materials• Strong connections• Wood shake roof• Heavy timber frame

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

Predominant materials: 
,

SOUTHEAST

MOUNTAIN 

e

e 

Colors: • Grays and browns of trees and rocks• Greens of leaves and needles

SUSTAINABILITY • Use durable, locally produced materials such

as pressure-treated southern pine shingles.

• Minimize painting and staining by using

materials that weather or have integral color.

• Use wood from the region—avoid cedar or

redwood, for example.

• Consider ground-coupled heat pumps, passive

solar, and other energy-saving heating techniques.

• Ventilate all buildings and rooms, especially in

conjunction with passive solar strategies.

• Use operable windows for effective ventilation.• Consider constructed wetlands, sand filters,

and other alternatives to mechanical systemsfor sewage treatment.

• Install porous paving to minimize erosion.• Consider modular buildings that can be taken

apart and stored out of season.

• Use daylight for interior spaces.• Minimize disruption of natural landforms and

vegetation when planning for roads, trails,utilities, and structures.

• See the “Common Principles” section in the

Passive solar design 

strategies used 

introduction of this chapter for morerecommendations on sustainability.

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 135 
Information kiosk 

characteristics: • Heavy timber• Exposed structure• Natural materials• Well-organized graphics

N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 

vince has strong 

rials such as 

gh-hewn logs. 

ully replicated or 

ufactured materials. 

rn because of the 

s. Care must 

o water without 

d to orchestrate 

 of this province. 

Public building characteristics: • Simple roof form• Simple dormer• Windows contained

by structure

• Massive corners• Stone base

Utilitarian/work center characteristics: ••

Adheres to design principleswhile recognizing economyLandscaping provides natural

setting and screening
SOUTHEAST

MOUNTAIN 

er characteristics: 

ristics: 

reserve vegetation

nce

mics vegetation

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H E A S T M O U N TA I N P R O V I N C E 4 .4 137 

5 

eat Plains Province 

in all its expressions, is a massive, subtle place, with a long history of 

n and misunderstanding. But it is worth the effort at comprehension. 

l, at the center of our national identity.” 

—Wayne Fields 

GREAT

PLAINS 
Great 

Plains 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 
R OF THE GREAT PLAINS PROVINCE BUILT AND NATURAL ENVIRONMENTS 

GREAT

PLAINS 

be divided into 

nd, rolling land, 

ubtle landscapes 

. Users of this 

the following 

te is arid but rapidly 

emes. Blizzards are 

porates or melts 

can occur in spring. 

es are a factor. 

 horizon dominates 

hy actually varies 

ndhills, to mesas 

Vegetation: With the exception of large cottonwoods that grow near creeks and ditches, the native vegetation of the Great Plains is sparse and small in scale, dominated by grasses and shrubs. The Great Plains appears both sparsely inhabited and highly domesticated because of widespread agriculture. Crops such as wheat, corn, soybeans, and pasture grasses contribute to our vision of the typical Great Plains landscape. Water: Water may be the most precious resource on the Great Plains, as well as the element that most attracts people and wildlife. People are drawn to the shade, the lush substory vegetation, the wildlife, and the opportunities for fishing, boating, and swimming. Water elements include lakes, wetlands, creeks, and rivers. 

“Aridity, more than anything else, gives the western landscape its character. It is aridity that gives the air its special dry clarity; aridity that puts brilliance in the light and polishes and enlarges the stars; aridity that leads the grasses to evolve as bunches rather than turf; aridity that exposes the pigmentation of the raw earth....” 

—

Wallace Stegner 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 141 
HITECTURAL CHARACTER 

CAL

Plains landscape 

ss. Shaped by winds 

y is gently rolling 

xed grass prairie 

and mixed grass). 

y verdant strands 

e as a contrast to 

expanse of land can 

an scale. Horizontal 

rry the eye to a 

Vertical forms seem 

 the horizontal 

 the visual sense, 

compared to the 

se of exposure 

ins. Rainfall is sparse 

y throughout the 

dity is low, which 

nd clear, brilliantly 

are accentuated by 

ttle landform to 

vements, weather 

ross the plains. In 

on the winds from 

ms and tornadoes 

are born in the Gulf of Mexico. Winters are cold, and summers can be hot and dry. The expansiveness and harshness of the landscape offers challenges and opportunities to the built environment. The strong horizontal form of the landscape and the dramatic forces of the climate demand a careful response. Buildings constructed without sensitivity to siting, color, massing, and materials can appear very awkward and easily mar the views within the landscape. They must also be constructed to provide shade and shelter from the winds, heat, and cold. Done right, the result is one of the more distinctive forms in the country. Visually and climatically, the Great Plains share many characteristics with other arid grassland landscapes in the Western United States. The architectural character types described in this section may apply to those grasslands as well. 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 

CULTURALThe early buildings and related structures erected by homesteaders, farmers, and ranchers harmonize with the Great Plains. The long, broad roofs shield people from wind and sun, but they also complement the rolling landscape. The sod roofs of early settler cabins create buildings that grow from the landscape itself. The bases of traditional buildings appear to be rooted. Structures such as windmills and silos symbolize the built environment within the prairie landscape. 

As developed by Frank Lloyd Wright around 

1900, prairie-style design made major 

advances in the art of blending buildings and 

structures within their locations. The forms 

Wright developed—low, horizontal buildings with 

long rooflines and overhanging eaves—work well 

on the Great Plains. Other influences include: Farming and Ranching: Isolated in windswept, sun-beaten settings, the traditional farms and ranches of the Great Plains are excellent examples of architectural response to climate. They were built from materials available nearby. Their orientations and rooflines were carefully planned to withstand snow loads, high winds, 
ered in sheltering, 

flexible for changing 

haped the 

materials and 

uch as cast-iron 

her regions. 

 settlers imported 

yles, and 

fluences include 

 designs. Migrants 

to recreate the 

or Ohio, as well as 

olonial Revival. 

ped by Frank Lloyd 

est is one of the 

f design to emerge 

ture is low-slung 

m to hug the earth. 

tioned to take in 

are abstracted 

logy. 

e Design: This 

tial to harness 

r. At the edge of 

Renewable Energy 

Colorado, has 

uilding and design. 

SUMMARY OF INFLUENCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT ECOLOGICAL INFLUENCES CULTURAL INFLUENCES• Sparse rainfall. • European, Mormon, and Native American cultures.• Low humidity. • Tradition of building compounds to create

• Abundant and intense sunlight. community and shelter.• Dramatic freeze-thaw cycles. • Ranching and agricultural cultures.• Visible geology—an abundance of rock visible • Landscape that is at once domesticated and

on the Earth’s surface. sparsely populated.

• Long vistas with dramatic views. • Prairie-style architecture that developed

• Wide-open landscapes that provide little sense as a response to horizontal landscape with

of enclosure or sheltering from wind and sun. limitless horizon.

• High winds.• Thin soils.• Relatively sparse vegetation.• Less diverse vegetation compared

to more humid, rainy regions.

• High elevation.• Clear, brilliant skies.

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

GREAT

PLAINS 

143 
N E S F O R T H E G R E AT P L A I N S P R O V I N C E 

Ranching 

and farming 

Prairie style 
LINES FOR THE GREAT PLAINS PROVINCE 

transitional zones,” 

t plains and rolling 

ather than within) 

asic types of sites: 

eate protective

Compounds Flat plain 

and shade. 

ture that should

s. It can be set

ng mass merges

Rolling plain Riparian zone 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

145 
Building set back from road 

Low plants provide visual base for building 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 

Building cluster with wind break 
GREAT

PLAINS 

147 

s province cannot 

n or landforms. 

 visible for miles. 

lm or dominate 

dings for public 

gnificant within 

w profiled and

 landscape.

etain heat and

ngs—they look

andscapes.

h as native

uilding scale to

ppearance of

sprinkled 

cape 

Isolated, tall structure 

Entry sequence 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 
A vertical accent in a horizontal grouping is acceptable 

Clustered structures conforming to the landscape 

 relate to landscape 

Low structure set into the land form 

ndscape Layered, horizontal lines fitting into the landscape 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 
Porch element 

can reduce apparent mass 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

Inappropriate elements: 

 itself, eaves, 

eatures that 

e a low or flat pitch.

 continuous

y connected to the

Excessive overhangs Complex roofs 

be used to provide Appropriate element: 

passive solar Simple, horizontal roofs 

ooth to fine

um-toned colors.

t heat without

and high winds.

Porch as transition and protection 

GREAT

PLAINS 

149 
ugh some Native

s Mandan lodges,

gle material without

arate base.

ominantly.

rth or hay bales

berm.

d to the 

ey grow 

ccomplished 

.

Heavy Base 

Walls are used to emphasize the horizontal: 

 grained vertical Strong horizontal Massive earthen/masonry 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 

Rooted in the land 

Walls 
e on the south side.

rizontal pattern.

asant work

ory windows to

 natural light to

t-time visitors.

tered by a porch,

tive space or as

g space. Porches Horizontal sets of windows Random openings 

 the intimate

rs.

t through the use

ss. They should Light frame structure, 

l ventilation. structure not visible 

s for entries

.

tructural elements,

 This provides for

er maintenance

ean architectural

 but well-insulated.

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

GREAT

PLAINS 

Thermal mass in earthen structure 

151 
reflective building

assive boulders

s, which are not

.

rials, which include

earth, straw bale,

tone.

erials for siding 

fs and siding).

ncrete panels.

clude:

k,

Range of roof materials: 

Metal 

Corrugated 

Composition 

Sod 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 
Study landscapes for color cues: 

• Light brown and yellow• Grass greens• Light and pale yellow highlights• Straw yellows• Pale violets and blues

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

s.

e of walls and

 walls.

ones (buff, tan,

 with brighter

nna, green, or

Medium tone roof 

een light and dark, Darker tones at bottom 

aterials.

GREAT

PLAINS 

153 
Topography used to shelter north winds 

such as rammed

ucts, such as

alls.

which are viable in

his cultural setting.

igation.

wind resistant

orate sod roofs

oling costs.

-west orientation

r gains.

ern exposure.

es on the south

rms to take

thermal mass

West side trellis shading 

Deciduous vegetation located to west for summer shading and winter solar gain 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 

Shading: South side fixed overhang 

Solar chimney 
he Great Plains 

ndscapes of their 

 the ground, of 

provide shade and 

nst a harsh 

rks such as ranch 

see how they were 

hieve sustainability, 

t endure and 

xpenditure of 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

Work structure characteristics: Solar orientation/daylighting 

Appropriate elements: • Daylighting shaded• Stepped horizontal rooflines• Rooted in landscape

GREAT

PLAINS 

155 
terpretive site characteristics: 

 timbers

as sandstone, layered in horizontal pattern

Toilet facility characteristics: • Light structure• Fine-scale materials

 

N E S F O R T H E G R E AT P L A I N S P R O V I N C E 
 

Visitor center characteristics: 

• Horizontal bands of windows• Horizontal site elements• Layered, horizontal planes• Broad overhangs• Vertical accent

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E G R E AT P L A I N S P R O V I N C E 4.5 

GREAT

PLAINS 

157 

6 

cky Mountain Province 

n sensible ways, responding to the opportunities and limitations afforded 

 the light, climate and topography, we will also begin to reinforce the 

haracter of our region, deepening its residents’ sense of place.” 

—Jeff Limerick 

ROCKY

MOUNTAIN 
N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 
ROCKY

MOUNTAIN 

R OF THE ROCKY MOUNTAIN PROVINCE BUILT AND NATURAL ENVIRONMENTS 

ontains some of 

andscapes. It also 

 rustic architecture 

tch the scale and 

untains, valleys, and 

ges of Yellowstone 

 resorts, this 

 of buildings, roads, 

 to grow from their 

rvey Kaiser notes 

dies the three 

c design: “use of 

ns to pioneer 

 ties to the site.” 

Contemporary Forest Service design should synthesize rustic precedents with contemporary needs and realities. For example, historic rustic architecture appeared comfortable within the forest, but this effect was frequently achieved by placing a veneer of natural materials over a conventional building. Today’s Rocky Mountain structures may not always use natural materials. Yet they can still complement their settings, be more durable, consume less energy, and lay more lightly within the landscape than structures from previous eras. 

The province’s vast landscapes dwarf buildings and structures. Even though the landscape is overpowering in scale, it is fragile. Once disturbed, it heals slowly, if at all. Poorly designed buildings protrude awkwardly and destroy the long, open vistas that westerners treasure. While this can be a challenging province in which to build, it also has high potential to promote sustainable designs built from locally harvested, renewable materials. It can take advantage of passive and active solar, as well as wind power. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 161 
HITECTURAL CHARACTER 

CAL

 is generally sunny, 

, sweeping vistas. 

, parks, and high 

eature prairie-like 

rasslands instead 

 from exposed 

he foothills to granite 

ds. Buildings may be 

andforms, with more 

provinces. Vegetation 

scaled, including 

rests with juniper, 

ne, willows, aspens, 

 

 can be divided into 

eys, narrow valleys 

 plateaus. 

The glaciated terrain of northern Idaho, western 

Montana, and eastern Washington encompasses some 38,100 square miles which includes rugged mountains, steppes, coniferous forests, and alpine meadows. Winters are harsh and skies are more gray than blue. Greater precipitation (compared to the rest of the province) makes possible stands of trees, such as giant western red cedar. The middle and southern Rocky Mountains encompass a 102,300-square-mile area. Vegetation occurs in zones from the foothills (where grasslands and ponderosa pine dominate), to the subalpine spruce-fir forests, to the tundra of alpine areas above 14,000 feet. The mountains are punctuated by broad, flat valleys called “parks.” The coniferous Black Hills area in South Dakota, Nebraska, and Wyoming, springs from a core of Precambrian rock rising between 1,000 and 5,000 feet from the Plains Province. Trees range from white spruce, to eastern broadleaf species, such as ash and oak, to ponderosa pine and aspen. There are no alpine zones in these low mountains. 

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 

CULTURALThis province contains some of the oldest structures in the United States, dating to the cliff dwellings and pueblo villages constructed by the Anasazi peoples. Yet we consider it a “new” province in America’s history because it was settled by Europeans well after the East Coast or the Southwest. Cultural influences include: Farming and Ranching: Isolated in windswept, sun-beaten settings, the traditional farms and ranches of the Rocky Mountain Province provide excellent examples of architectural response to climate. They were built from materials available nearby. Their orientation and rooflines were carefully planned to withstand snow loads, high winds, and hot sun. They were often clustered in sheltering, village-like complexes making them flexible for changing uses and adaptations. 
h as headframes, 

trial landmarks. 

structures, 

t and most 

Although the 

at of environmental 

werful structural 

designs. Mining 

g cabins and 

ived, the more 

w, and created 

ure derived from 

st. Cities such 

ity, Utah, built 

hat endure today 

d the landscape 

terns, they also 

prefabricated 

on façades, to 

s. 

n settlers imported 

tyles, and tech

rested Butte, 

xamples of wooden 

 carpenters 

opean styles. 

ude Spanish, 

Rustic Style: In the first half of this century, the National Park Service and the Forest Service adapted the rustic style, which had been developed from models such as Swiss chalets and 19th century Adirondack lodges. Influential examples include the Old Faithful Inn at Yellowstone (1904) and the Timberline Lodge on Mt. Hood (1937). Rustic-style buildings, often built by the CCC, are highly crafted structures featuring native stone and unhewn logs. The scale of details can be massive, even in the cases of kiosks or cabins. The rustic style was popularized in the 1900 to 1940 era by resort developers like Averill Harriman, who called Sun Valley, Idaho, the St. Moritz of America. In the Rocky Mountain Province, the public associates images of rusticstyle lodges with recreation. 

Solar-oriented and Sustainable Design: For three decades, the Rocky Mountain Province has been a leader in this area. This is in part because everpresent sunshine can be harnessed for heat and power. Institutions such as the Rocky Mountain Institute in Snowmass, Colorado, have provided leadership in “green” building and design. 

ROCKY

MOUNTAIN 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 163 
NCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT 

light. 

es. 

ance of rock visible 

 views. 

t provide little sense 

from wind and sun. 

• High winds. • Thin soils. • Less diverse vegetation compared to more 

humid, rainy provinces. 

• Mountainous terrain including the high peaks 

that form the “spine of the Nation.” 

• High elevation. • Clear, brilliant skies. 

NES FOR THE ROCKY MOUNTAIN PROVINCE 

Broad mountain valleys 

Narrow mountain valleys Foothills High plateaus 
ve American

arks and resorts.

 strong demands

s of recreation.

chitecture and

ublic lands that

eage.

r “wilderness

Native American influence 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

ROCKY

MOUNTAIN 

165 
Railroads 

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 

Mining influence 
LINES FOR THE ROCKY MOUNTAIN PROVINCE 

ges of clearings. 

side of dense 

es to ensure 

ght. 

rth side to 

es. 

posure 

Structures located at transitions 

Structural forms echo landscape forms 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

ROCKY

MOUNTAIN Building in context with geological setting 

167 
ctures can be 

he soaring forests 

tions that surround 

t within overscaled 

rscaled building 

doors and windows, 

 boulders incorporated 

elements help humans 

cale of the landscape. 

s.

ith similarly Large-scale materials Simple form 

aterials

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 

base) to

dscape.

Repetition of simple forms 

More complex forms 

Simple form 

Forms simplify with altitude 
sense of protection. 

chitectural 

ofline.

eepens or as

tical.

pitch to avoid

orms such as

d gable dormers.

rap moisture

lems.

sites enclosed

t exposed,

Roof pitch varies with verticality of landscape and setting 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

ROCKY

MOUNTAIN 

Simple dormer elements 

Complex roof forms 

169 
ansition from the 

ating a sense 

g out of the site. 

e site with a

derate slopes to

building.

opes or for large

ms and volumes

Cut and fill 

Where appropriate, base can “grow” 

out of the stone outcroppings 

in response to grade 

Stepping base Base 

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 

Stepping base on steep slope 

Structural platform 

• Slight batter to stone• Larger stones at bottomWeathering 

Base takes 

up grade 
nd substantial, 

corners through: 

acing windows

Elements of elevation: 

Strong 

corners 

rners. 

Wall is less dominant than roof 

 the center of

 mass of corners.

d” openings

 face to

d to protect Porch as an 

outdoor room 

s to shed water.

as an outdoor

ock for comfort

penings 

 

Recessed windows Clusters of vertical Sloping sill with drip 

windows are effective 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

ROCKY

MOUNTAIN Large windows 

Flush windows with boxed frame 

171 
ublic use, express

wood beams,

ng.

ns of structure—

beams—with care.

mber, and other

ey are available

materials, such

 can achieve the

terials. The key is

nd texture of

he setting.

bility in remote

of cedar

substitutes

 shake

signed.

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 

Well-defined main entry expressing structural elements 

Characteristics: 

• Structure exposed• Stone and timbers

openly expressed
for indigenous

nspired by rock

tree trunks and

e forest floor.

arth tones.

 materials

m accents of the

rust of lichen,

gwood, the deep

nd the ivory of

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

Colors: • Warm grays of bark• Light browns• Rusty brown of needles• Earthy rose of rocks• Pale greens of lichens• Deep forest greens of trees• Golden brown of pinecones• Yellows & violets of wildflowers

used as accents

ROCKY

MOUNTAIN 

173 
by following the

ocating structures

 of new roads and

uilding materials.

o building design with

g, window location,

hade structures.

ing materials that

 Use photovoltaics

r thermal mass,

alls, and so forth.

tion in fixtures,

ing, and graywater

s” section in the

er for more

ainability.

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 
Public office characteristics: 

• Simple roof• Well-defined entry• Broad porches

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

ROCKY

MOUNTAIN 

ain Province should 

d texture of their 

materials found in 

, boulders, and 

aking substantial 

rackets, beams, and 

amine and learn 

n of rustic 

ning structures. 

Restroom characteristics: • Strong roof with protected entry• Extra daylight-exposed structure• Strong base• Can be prefabricated or built on site

175 
NES FOR THE ROCKY MOUNTAIN PROVINCE 

Recreation cabin characteristics: • Simple massing• Outdoor room• Local materials• Detached toilet

Display structure characteristics: • Fully expressed log structure• Overhang for protection

Visitor center characteristics: • Open, expressed structure• Daylighting, open to views• Natural materials
Public/office characteristics: 

• Strong entry identity• Daylighting

Vista point characteristics: • Unobstructed views• Natural materials• Stone and setting of stone

match local formation

• Flowing natural line of path,

integrated into site

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 4.6 

ROCKY

MOUNTAIN 

177 
Public/office characteristics: 

• Expressed structure of stone and heavy timber• Window area contained within strong structure

litarian building 

aracteristics: 

mple massing and form

andscaping to screen work areas

aterials sensitive to the setting

otected entry

N E S F O R T H E R O C K Y M O U N TA I N P R O V I N C E 
7 

rth Pacific Province 

nvironment of this magnificence and grandeur has had a humbling impact 

n's architecture.... This is not the climate for loud and glamorous architecture.” 

—Douglas Kelbaugh 

NORTH

PACIFIC 
N E S F O R T H E N O R T H PA C I F I C P R O V I N C E
adian. 

d but not 

ment. It is still 

ciers, seismic 

mate, maritime 

parable elements. 

100 inches of rain 

of snow. The 

sh, dense plant 

-zone rainforest 

t trees. Vivid 

contrasts are everywhere. The province’s rainiest point in the Olympic Range (240 inches per year) is a day’s hike from its driest coastal spot, Dungeness Spit (15 inches). Forest Service design in the North Pacific includes a richness worthy of this landscape. The bridges, parkways, and buildings of the Columbia River 

Gorge, the Timberline Lodge on Mt. Hood, and the Visitor Center at Mendenhall Glacier are only three examples of Forest Service structures that match the grandeur of their settings. 

R OF THE NORTH PACIFIC PROVINCE BUILT AND NATURAL ENVIRONMENTS 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 

NORTH

PACIFIC 

181 
HITECTURAL CHARACTER 

CAL 

crowded, and their 

zens of feet skyward 

pear. ...The space 

 that light filtered 

s diffused to create 

ghout. The effect is 

mnity.” 

tney, Western Forests 

Pacific consistently 

rence for nature and 

e with the setting. 

province possesses 

People have a front 

 processes. Glaciers, 

olcanoes, and 

andscape that 

 from the primeval 

he maritime climate 

ures and high 

nfluence sends 

e east. 

ns of the Tongass 

the ocean. Inland 

akes, and waterfalls. 

a dotted with 

ds. Farther north 

and west in the Chugach National Forest, the land masses are constantly shifting in a landscape dominated by glaciers. Broad valleys contain filledin fiords that have become marshlands bisected by glacially fed rivers. The archipelago of coastal islands is foggy, heavily forested, and separated by deep channels. Throughout Alaska, the landscape, sky, light, and water reflect the colors of glacial blue, of gray fog, and of white winter. For a brief burst in summer, wildflowers alter the landscape with an explosion of color. The most visible geology results from angular forms of graywacke shale. Even at lower elevations, trees cover the landscape only in patches. The treeline can occur as low as 1,500 feet. The Cascade and Klamath ranges of Washington, Oregon, and northern California are extremely rugged, with large mountains dominated by volcanic peaks and deep, heavy snows at higher elevations. Some of the world’s largest and oldest trees live within this lush, cool coniferous forest: Douglas fir, Sitka spruce, western hemlock, and coast redwood 

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 

among them. The Cascades are a place with abundant rivers, streams, and waterfalls. The west side comes in many shades of green dictated by ferns, mosses, and big trees that stay green through the year. High rainfall intensifies colors in the landscape. East of the Cascades is much drier with sparse vegetation. Rolling hills and high prairies are punctuated by volcanic cones. Space between trees seems open and expansive with long vistas. The landscape is generally rural rather than wilderness with irrigated fields, pasture, orchards, and rangeland. Colors are warm with pastel hues varied by the rock and soil visible through the vegetation. Shades of dark gray, dark brown, and 
tions of columnar 

 ponderosa pine, 

s the Mediterranean 

cing the northern 

s forests, shaped 

mild wet winters, 

range from giant 

to California red fir 

iginal Native 

deal with 

coast, on the 

thin the Great 

area made their 

re made of planks 

mes split from the 

communal dwelling 

ouse with vertical 

ault in Washington, 

 among the 

nd northern 

, Yurok, and Hoopa 

branch” houses. 

uropean settlers 

g trees cleared for 

 (Scandinavians, 

ts (French), and 

forts (Russian). They typically used broad-hewn logs locked in dovetail joints. Onion-dome Russian churches endure along coastal Alaska. Agricultural Structures: The simple forms of traditional Willamette Valley barns have inspired many contemporary architects and artists. These picturesque barns employed building techniques in use since medieval times: heavily timbered frame construction held together by skillfully made mortice and tenon joints. Rustic: From about 1890 to 1940, architects and designers created a Northwestern variation on the rustic design called Cascadian. An early example is the Cloud Cap Inn, a hikers’ lodge on Mt. Hood, perhaps inspired by rustic buildings then being constructed in the Adirondacks. The CCC of the 1930’s incorporated rustic design and a high level of craft into public works. A notable example is the shelters, pavilions, way stations, and comfort facilities built along the Columbia Gorge Scenic Highway. In the late 

1930’s, the WPA built Timberline Lodge, an Arts and Crafts extravaganza that employed scores of masons, carpenters, sculptors, and artisans. Alaska: Many Alaskan buildings and sites were designed for access by boat or float plane. Alaskan design ranges from the Quonset huts of the Aleutian Islands, to the Russian churches of Sitka, to industrial oil terminals and canneries. Coastal fishing villages are a building type somewhat unique to Alaska. These villages typically feature brightly colored cottages rising on steep slopes straight up from the waterfront. Northwest Modernism: The Modernist movement aimed to create a worldwide design—the so-called International style. The Northwest responded with variations. In the 1930’s and 1940’s, architects Pietro Belluschi and John Yeon designed modernist churches inspired by barns of Oregon’s Willamette Valley. They adapted their buildings to the Northwest by using wood as a structural material and by including broad roof overhangs to keep rain off windows. More recent architects skillfully 

meld natural and industrial materials suggesting 

that modern design can be contemporary in 

spirit, massive in scale for durability’s 

sake, and yet comforting to the 

human touch and scale. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 

NORTH

PACIFIC 

183 
NCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT 

ts of rain, fog, mist,

te.

ith Mediterranean

nses similar to the

rock outcrops and

rthquakes that

andscape with

andforms.

west,

west

est.

at

e

trees.

ent

pies

• Declination of the sun

that creates radicalangles of light.

• Long vistas with

snow-cappedvolcanic peaks.

• Sunlight that has

become important,even revered, when itappears because ofprevalent gray skiesand short winter days.

NES FOR THE NORTH PACIFIC PROVINCE 
emaining forts

ch structures as

ows and planked

n. Colors are red,

orporated into

 structures with

tructure and large

en in log cabins and

h cutout details in

ings.

owerful cultural

scape.

CCC-“Cascadian” 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 

NORTH

PACIFIC 

Alaskan maritime 

Native American long house 

185 
North Pacific 

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 
NORTH

PACIFIC 

187 

LINES FOR THE NORTH PACIFIC PROVINCE 

Buildings concentrated away from riparian and wildlife migration zones 

forest can be of 

erful scale of the 

mountains, of a 

o survive years of 

g a finish and 

ate the human 

hitectural historian 

of existing

s and habitat,

tation, and

n and shade

ilding

vered walkways.

cessary to

Alaska.

ngs on the

s with

uctures; plantings

ock views.

Facilities and improvements should be subordinate to landscape features: • Preserve views• Place buildings

away from views

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 
Buildings carefully placed 

within edges of clearings 

Building compound: Covered walkway between buildings 

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 
Buildings should complement 

arger buildings by the scale of their surroundings: 

s of connected

e (for example,

 in massive forests.

ld be a collection of smaller elements 

Massive scale landscape allows larger, more massive buildings 

Lesser-scale landscape dictates smaller scale and massing 

NORTH

PACIFIC 

building elements in rugged terrain 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 189 
 dramatic landscape

ar on buildings by

. The base should

ound and comprise

.

hen possible

ding stone may not

ways over landscape

zones and other

s skillfully textured

Appropriate sign base Inappropriate sign base 

protect wall from snow Strong, battered stone base 

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 
be growing from

ntal wall textures;

e wall.

A building’s wall should be smaller than its base and roof 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 

NORTH

PACIFIC 

191 
e in views, warmth,

ving rain and snow by

bules when possible.

stibule provides a

e to remove rain gear,

 dogs sleep. An arctic

90 degrees from the

s warm and dry.

bands of windows.

 and scale by using

rners.

 and maximize

 south side of

hting.

 leave gables open

Protected entries: 

• Windows should be maximized,

especially south and southeast

• Windows to the north should be

minimized

Airlock vestibule, especially appropriate in Alaska 

Continuous eave porch Added gable porch 

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 

Covered entry porch 
ominates the

xcept in warm

om 6:12 to 12:12;

lifornia climates.

mplex shapes

ow, creating

es if desired.

as or as shelters.

ambrel roofs.

e climate but not

rter overhangs in Simple hipped roof 

at may shed snow

te the building Unprotected rafter tails 

NORTH

PACIFIC 

Eave soffits Cover rafter tails 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 193 
in sunlight.

rmers.

y bargeboards.

t rafter tails

extending them

ble, or place

Rain: Gutters, less Snow: Steep pitch, Sun: Overhangs on pitch, broad overhangs less overhangs, south and west for 

no gutters shading 

Maritime Coastal Mountain Eastern 

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 
MATERIALS

d and substantial. • Celebrate the use of wood as a symbol and

 as trusses and the most significant resource of the province.

erior and exterior. • Match the texture of materials to the scale

es and site of the setting. For example, in beachfront

settings, use narrow siding to match thetexture of grass and sand; do not useboulders or massive timbers.

Roof Materials: • Use cedar shakes; however, they may be

difficult to obtain and maintain.

• Use standing-seam metal and “oxidizing” steel

roofs in dark tones.

• Use patterned asphalt shingles.• Avoid intrinsically bright, shiny, light-colored

roof material. 

• Avoid slate or Spanish-tile roofs. Cluster members together to 

increase massive expression 

l structure 

NORTH

PACIFIC 

Steps and site wall Assemble natural, not overly refined materials Feature existing natural materials 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 195 
ones such as beige,

 range in response to

as.

ern areas.

s it reflects the color

tive American accent

lack.

ay colors to match

aside settings.

ore colorful with

t colors for trim.

Make interiors light

ight, airy

roofs—green, black,

aritime areas.

Groundcoupled heat pump: draw warmth from the Earth in winter; deposit warmth in summer 

V

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 

SUSTAINABILITY • Celebrate, but do not overuse, wood; especially

avoid scarce species or sizes.

• Employ daylighting to bring natural light into

buildings.

• Use hyperinsulation in Alaska and other cold

climes.

• See the “Common Principles” section in the

introduction of this chapter for morerecommendations on sustainability.

Insulation should be maximized and a “cold roof” created in Alaska and higher elevations 
ws upon the rich 

e American, and 

ndustrial designs 

and working 

ulture does not 

esign does not 

ent. It expresses 

ors local climate, 

ilding practices. 

r fountain 

acteristics: 

of heavy timbers

gh hewn

Interpretive facility characteristics: • Simple, dominant roof• Strong base• Windows maximized

Bench with a massive feel 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 

NORTH

PACIFIC 

197 
Restroom characteristics: 

• Stone base on walls and columns• Heavy timbers, clustered

l building characteristics: 

wn timbers

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 
NORTH

PACIFIC 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 199 

Maintenance shop characteristics: • Simple forms, dominant roof• Dormer for daylighting• Base is expressed

ick
Site wall with path 

characteristics: • Rustic, not too refined• Slope stabilization to safety barrier

N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 
indows

d characteristics: 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E N O R T H PA C I F I C P R O V I N C E 4.7 

NORTH

PACIFIC 

201 

8 

uthwest Province 

he forced weave of the two [Spanish and Native American] cultures 

here was enough of the Old World that the New World liked.” 

—Timothy Egan 

SOUTHWEST 
Southwest 

N E S F O R T H E S O U T H W E S T P R O V I N C E
OF THE SOUTHWEST PROVINCE BUILT AND NATURAL ENVIRONMENTS 

onment ranges 

d. Torrid summers 

 The relative lack 

one has helped 

sign. 

me to the oldest 

d States. When 

e 1500’s, they 

tlements already 

sazi ruins that 

he continent. 

n include the 

l that influenced 

Spanish colonists. From southern California to central Texas, centuries of Spanish-Mexican presence created a design heritage well adapted to climate, geography, and scarcity of water. Built forms often are simple but exquisitely scaled and detailed. In today’s Southwest, visible remains of Native American and early European settlement are preserved and celebrated. These design traditions endure in contemporary structures. Although diverse, the Southwest contains a strong, unified sense of cultural identity. Cultural traditions remain alive because the source 

cultures are still vital. For example, reservations in the province host dozens of sovereign Indian nations. Many landowners can trace their ancestral properties to land grants made by Spanish kings. The air-cooled, post-World War II era brought an influx of residents from other parts of the country, particularly to booming cities like Albuquerque, Los Angeles, Tucson, and Phoenix. They have imported their own expectations and tastes. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

205 
HITECTURAL CHARACTER 

CAL

mbrace a range of 

rasslands. Drought 

ces. Only 4 percent 

 is riparian. These 

lued and sometimes 

rests. 

dscape character 

as, these share the 

, long vistas, and a 

nd forms are 

 plains, and canyons. 

of color varying from 

y-green woodlands. 

 deep reds of 

ons. Landscape 

The Mexican Highlands, a vast area of Arizona and New Mexico, roughly is divided into one-third mountains and two-thirds plains and grasslands. Drained by V-shaped ravines, the mountains of the Mexican Highlands feature bold escarpments and outcrops. Dry washes called arroyos drain the plains. Vegetation varies from coniferous forests at higher elevation, to woodland, to desert shrub. The Sonoran Desert dominates southwest 

Arizona. Like the Mexican Highlands, the area combines mountains with canyons and plains drained by arroyos. The Colorado River is the principal waterway. Mountains are relatively low and barren with many exposed rocks. The plains are relatively barren. Areas with no ground cover plantings are justly called “desert pavement.” But places where Saguaro cactus grows host a rich complement of palo verde, mesquite, and 

The Tonto makes a transition between the desert floor and the Colorado Plateau. This is a landscape of coniferous forests, deciduous woodlands, desert shrub, chaparral grasslands, palo verde, and cholla cactus. Geology is epitomized by the dramatic red-rock formations of Sedona, Arizona. The principal rivers are the Verde and Salt rivers with dry washes draining the foothills. In California, the Southwest Mountain and Valley is crossed by earthquake faults and dominated by chaparral grasses that can grow 10 feet tall. The province stretches from San Luis Obispo County to the north to the Mexican border and from the undulating coastal plains to three rugged mountain ranges: the Transverse, the Peninsular, and the Southern Coastal. National forests comprise about one-third of 

prickly pear. these lands. Sonoran 

Desert 

Desert and Desert Mountain 

NES FOR THE SOUTHWEST PROVINCE 
miarid with forested 

ions. It is 

rian areas. 

ain includes 

he Mexican border 

se of the Sierra 

erse mountain 

and Mohave 

e. Elevations range 

alley to 14,242 feet 

andscape character 

type is typified by long views across sagebrush and shadscale or creosote bush. Alkali flats and bare peaks may be visible in the distance. Open stands of Joshua trees are common. Pinyonjuniper woodlands cover the foothills and lower mountain slopes. Bristlecone pines grow at elevations above 10,000 feet. The Sierra Foothills and Low Coastal Mountains include low hills at the base of the Sierra Nevada and Cascade ranges as well as a major portion of the Coastal Range. The Sierra foothills and 

eastern Coastal Mountains are typified by oak woodlands, rounded hills, and chaparral-covered slopes. Trees range from 15 to 70 feet tall. Several major rivers and canyons bisect the province. The green hills of winter turn gold with fields of poppy and lupine in summer. The western Coastal Range rises to 5,000 feet with dense forests of pine, fir, and oak. Madrone cover northand east-facing slopes, and chaparral grasses cover west- and south-facing slopes. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

207 

Sierra Foothills/Low Coastal Mountains 
e Americans in 

uthwestern Colorado 

manent structures— 

ters. Eventually the 

 dwellings such as 

d 900 A.D., they 

onry dwellings that 

m small villages. 

d its peak between 

multistoried pueblos 

rners area. Perhaps 

zi dispersed. Their 

tered pueblos of 

Taos, Acoma, Zuni, 

s period. 

ermanent Spanish 

oned pueblo near the 

d it with Spanish

610, Governor Don 

 Santa Fe under a 

andate called the Law 

ted that all Spanish 

tral plaza with public, 

l buildings (such as 

Residences were built 

ts extending from 

680 forced the 

o valley. When the 

fied buildings and 

N E S F O R T H E S O U T H W E S T P R O V I N C E 

churches against further Indian attack. For example, they built enclosed complexes with smooth windowless exterior walls. Their buildings included such defensive features as parapets, troneras (gun ports), and torreones (lookout 

towers). 

Mission Style: Spanish Colonial missions and churches were a continuing influence on later Southwest design. Unlike the adobe structures of the pueblos, these missions were built of stone. Their construction derived almost entirely from European designs. 
old Rush of 1849, 

rnia on overland 

l. The new settlers 

ed the Spanish well in 

y added decorative 

Milled woodwork 

houses spawned the 

ecause Arizona and 

 predominated, 

 20th century. 

0’s, the WPA, CCC,

rams built civic

hroughout the

WPA-era buildings

ueblo, and Territorial

mes, curvilinear

d stucco. The “rustic”

orests, and outdoor

e only indigenous 

long the lower Rio 

l for local brickmaking 

to the present. 

Mexican-American 

e brick dwellings, 

ldings on both sides 

do to Brownsville. 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

209 

Southwest 
NCES AND RESPONSES THAT SHAPE THE CHARACTER OF THE BUILT ENVIRONMENT 

• Ecosystems dependent on fire for renewal.

er vegetation.

o survival.

r; northerly

er.

ges both

ons.

• Strong color contrasts.• Aspect of the sun a strong influence.• Disturbances to soil and vegetation slow

to heal.

• California landscape marine-influenced

in some areas with a wetter climateand more dense vegetation.

• “Big sky” with intense sunshine.

NES FOR THE SOUTHWEST PROVINCE 
ulation, with few

year-round use.

re Anglo, Native

higher, cooler

eation.

e highly visible,

 nations and

forests.

early 500 years

0’s.

orary Mexican

rge groups to

 needed.

prevalent.

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

211 

Territorial influence 
Pueblo influence 

CCC-era pueblo revival

N E S F O R T H E S O U T H W E S T P R O V I N C E 

Spanish Colonial influence 
SOUTHWEST 

LINES FOR THE SOUTHWEST PROVINCE 

ailability of shade.

o provide shade

se.

U-shaped

ntryways.

ctions around

de.

d access to water.

people to the water

 facilities there. 

eature for evaporative cooling 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

• Locate parking farthest from water in riparian 

areas.

 • Locate public facilities back from the rim o canyons or on a bench above the riparian zone

• Site entries on south side to create potential

 courtyards and seating.

• Select site based on the form of the land; for

example, site structures to match thehorizontal plane of the landscape.

• Buffer parking from buildings to keep buildings

cool.

Buildings and walls create outdoor rooms 

213 
Courtyards

protected from the sun, while promoting ventilation 

N E S F O R T H E S O U T H W E S T P R O V I N C E 
SOUTHWEST 

orizontal, blocky,

orms create

ts into landscape

ne solid block.

mon.

rms can work for

ces for exhibits

Doors and windows used to create human scale 

ertical structures,

r oaks and

proportion.

 more horizontal than vertical • Low, horizontal, and rectangular massing is appropriate for most structures

• Second story possible• Corners create added shade

Rounded forms may be appropriate for special and ceremonial functions 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 215 
s a connection to

f rocks are prevalent

ctural columns. Straight, vertical 

on level sites. base for flat sites 

ng.

ent color so mud

m structure.

wall wider so that

top.

Stepped base for sloping sites 

Selectively clear vegetation & slope away from structure for drainage 

N E S F O R T H E S O U T H W E S T P R O V I N C E 

Distinctly 

separate base 

Elevating 

structure 

off ground 
t in California 

types.

vertical.

es.

rent 

fornia 

WALLS• Walls (including parapets) are dominant in the

building composition.

• Walls are monolithic and massive.• Monolithic, unadorned walls can be accented

by wood elements and detailing.

• Walls have soft, rounded edges and corners.• Caps on walls add texture.• Variations include buttresses on walls.• Courtyard walls are extended from the building

with the same materials, color, and texture.

California Variations: • Walls are thinner.• Walls are less dominant in composition.• Resistance to earthquakes is a primary

structural consideration.

• Use wood siding if stained rather than painted.• Limit logs and heavy timbers to structures

at higher-elevation sites with more densevegetation; use moderate-size rather thanmassive logs.

Walls should be thinner in California mountains due to more temperate climate and greater seismic activity 

In California 

mountains, walls are 

more equal to roofs 

SOUTHWEST 

217 

in proportion 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 
Walls are simple, monolithic without expressed base 

 vertical 

 horizontal wall 

Courtyard walls extend building’s horizontal plane 

N E S F O R T H E S O U T H W E S T P R O V I N C E 
thick, inset 

 

s—more 

of glass. 

e northeast and 

st side. 

double-hung, 

ather than wide, 

to minimize the 

rom ground. 

on the west or Corner windows 

Windows should be recessed within walls 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

Vertically proportioned openings should be created, whether singular or grouped 

Detail at doorway 

• Windows should be placed on north, 

east, and south 

• Openings should not be on the west 

219 
nt such as decorative 

oors and windows. 

windows. 

ructural element that 

—over openings. 

h as trellises and 

hes. 

ys and portals 

 

re suitable. 

ail should be 

d at windows 

s 

N E S F O R T H E S O U T H W E S T P R O V I N C E 

Door frame flush with wall 

Shade created with trellis elements 

Larger, more detailed windows Sun are more appropriate in 

California mountains 

Courtyard Shade 

Courtyards used to create shaded areas 
l tradition in this 

al precedents for 

oofs can improve 

 curtail vandalism, 

table hybrid 

roof behind a flat 

apes or in areas 

ed areas or within 

m 1:12 to 6:12. 

rches. 

ed roofs. 

s. 

oofs may be hidden 

flat parapet walls 

Flat roofs should be used in flat terrain 

Free-standing sheds 

should be used in varied mountainous terrain 

Pitched roofs with a moderate 12–15" overhang 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

Simple shed forms may be added to steeper-pitched gable forms 

In California, broader overhangs should be created that focus views out to the landscape 

221 
Exposed structure should be limited primarily to roof supports 

are load-bearing and 

 expose roof beams 

ucture. 

ncluding corbels, 

decorative). 

s. 

rs through the  

s that have less 

uctures have more 

mns on ramadas. 

sion should be limited 

bly window supports 

NES FOR THE SOUTHWEST PROVINCE 
h integral colors 

ted or stained. 

e, concrete block, 

als including 

ed flagstone. 

aterials to create 

hadow patterns. 

ture wall to match 

e maintenance and 

 exposed 

erse heat. 

 concrete to 

nes for pathways. 

ed areas or in 

l surfaces that 

at create glare. 

rotected from sun. 

d materials when 

an structures. 

s and shade 

ter, collected 

ote, Mormon, or 

Materials may be more varied in the California mountains 

Ornamental use of 

manufactured 

split-free concrete 

block, including 

fluted detailing 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

223 
Appropriate Roofing Materials 

rugated metal roofs. 

s, concrete tile, and 

“mission” tile if Seamed Metal 

mped metal shake 

Composition, concrete, or fiber-cement shingles (Mission) clay tile Corrugated metal 

N E S F O R T H E S O U T H W E S T P R O V I N C E 

COLOR • Make colors slightly darker than landscape 

precedents as they will fade in the intense sunlight. Dark colors also look lighter in the bright sun. 

• Use lighter colors for brightness in interiors. • Use light, moderate earth tones, including brown, 

gray, terra cotta, gray-green, olive, and sage. 

• Avoid deep, rich greens. • Avoid reflective colors. • Use color as an accent in decorative elements 

such as clay tiles, mosaics, and in door and window frames. 

• Use light, bright colors in townscapes. • Use darker colors in mountains. 
SOUTHWEST 

entrate Details at Focal Points 

Locating detailing 

at focal points 

with handmade tiles 

Handcrafted hardware 

Hand-wrdoor pull 

fixtures and 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 225 
—an abundant 

 such as passive solar 

 as photovoltaics. 

 cooling. 

swamp coolers”), 

onditioning. 

ought-tolerant plants. aping. 

 

 

off to vegetation. 

al materials rather 

ured materials that 

scape irrigation. 

s” section in the 

er for more 

ainability. 

Solar gain and daylighting should be maximized 

N E S F O R T H E S O U T H W E S T P R O V I N C E 
ys and gardens. 

rs high potential 

resent sun can be 

gy. Designers and 

west have returned 

om San Diego to 

tecture that 

cial and distinctive. 

Picnic tables characteristics: 

e 

e in 

adition of 

ghted in 

d 

 The 

esponse 

unities 

ructures 

• Recycled plastic/wood members • Simple form • Accessible 

Sign kiosk characteristics: • Open roof with lattice for shading • Organized graphics 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST Visitor/interpretive facility characteristics: • Low cluster of horizontal buildings • Structure creates shading 

227 
sh Colonial Revival 

new housing, 

s. Chain restaurants 

riated these styles. 

rest Service’s 

f the potential to 

nct design. Care 

e elements of 

orting to clichés 

Administration/interpretive facility characteristics: • Long, open porch• Horizontal form

Ramada picnic structure characteristics: 

N E S F O R T H E S O U T H W E S T P R O V I N C E 

•••

Exposed structure, lattice for shadeSplit-face blockStepped walls
Administration/interpretive facility characteristics: 

• Soft stucco edges • Territorial influences 

th ribbed block details • Punched, vertical windows 

tics: 

A R C H I T E C T U R A L G U I D E L I N E S F O R T H E S O U T H W E S T P R O V I N C E 4.8 

SOUTHWEST 

229 
tructure characteristics: 

cal geology 

e only Maintenance/work facility characteristics: 

• Economical construction, but with Southwest expression • Ornamental banding 

Guardrail, wall, and culvert characteristics: • Native stone dry-laid in horizontal, random pattern • Finished culvert end 

N E S F O R T H E S O U T H W E S T P R O V I N C E 
ting Architectural Character 

he Facility Management Process 

oning of ideas to bring together the visual, economic, and political 

 the building process is an index of our culture, a major factor in our 

e, and is the heart of our concept of civilization.” 

—William Speer 
mage, we must Figure 5.1 Architectural character input in the facility management process 

vey this theme to 

Facility Management Step 

ain the theme over Architectural Character & Sustainability Input 

evelopment complex. 1. Concept Planning 

volved in the • Forest management plan • Watershed analysis 

or complex • Facilities master planning 

General/province architectural character guidelines statements 

• From BEIG, chapter 4, part 1 

erstand and support 2. Project Initiation 

• Needs analysis 

theme. 

• Market analysis 

General/province architectural character guidelines and vision from BEIG, chapter 4, part 1. General sustainability, architectural character guidelines and vision. 

• Concept/vision 

 sustainability are a 

3. Project Planning 

acility management, • NEPA 

• Scoping • Alternatives • Public involvement • Decision/plan • Documentation • Budget/costs 

General architectural character concept and sustainability guidelines 

• Tie to province and forest theme (if applicable) from BEIG, chapter 4, part 2 • Get public feedback from meetings, etc. • Line officer decision on architectural character and sustainability 

4. Design Narrative 

• Site analysis 

• Detailed market analysis 

pdated needs. • Design guidelines • Budget/costs 

ss for integrating 5. Project Design 

• Agency 

sustainability into • Consultant 

cess. The process • Plans/specs 

Define site specific project architectural character and sustainability guidelines 

• Tie to province and forest theme (if applicable) • Develop chapter 4 broad BEIG architectural character guidelines further to 

specific site and program; tier chapter 4, part 2 guidelines 

• Site and program analysis create more specific guidelines for major projects 

Specific graphic/drawings for architectural character and sustainability 

• Implement architectural character and sustainability guidelines from 

design narrative into plans and specs 

• Retain for development of O&M manual 

• Cost estimate 

the national 

6. Project Implementation/Construction 

ed in part 1 of • Guideline control 

architectural 

Monitor construction to ensure meeting plans and specs 

• Ensure construction change orders do not alter or compromise architectural 

character or sustainability 

h province, as 7. Evaluate Completed Project Monitor completed project for adequacy of meeting guidelines 

er 4. 8. Usage • Operations 

hitectural character • Maintenance 

Develop specific O&M manuals/guidelines that include architectural character and sustainability considerations: paint color, materials, etc. 

• Educate users of O&M manual 

specific to the 9. Monitor Usage • Regular intervals 

assland, or special • Needs met 

• Objectives met 

it becomes tailored 

Evaluate project’s acceptance, usability, relevance of architectural character, and sustainability 

10. Reconstruction/Removal 

m. • Recycle to Facility Management Step 1 Recycle or create steps 1-5 architectural character and sustainability input 

RAL CHARACTER WITH THE FACILITY MANAGEMENT PROCESS 
CTURAL 

STRUCTION, 

ANSION 

onstruction, 

aintenance must 

ectural character 

nd update the 

ples. If the original 

endure for decades, 

igurations must be 

novation present 

c character or to 

 with the chapter 4 

his can be achieved 

nology and building 

te form liners can 

 rock textures. 

de wood and stone 

d simulated-wood 

ROLES AND RESPONSIBILITIES FOR ARCHITECTURAL CHARACTER Architectural character guidelines are the responsibility of everyone involved in a project, including: • Line officers. • Engineers. • Architects. • Landscape architects. • Technicians. • Operation and maintenance personnel. • Program managers. Each profession brings its own valuable perspective. Designers may represent and interpret the national and provincial character guidelines. Line officers ensure that the proper guideline is selected and maintained over time. Operation and maintenance (O&M) personnel have practical knowledge that ensures what is designed can be maintained efficiently and economically. 

After construction is completed, the building maintenance staff becomes responsible for the facility. It is vital to convey, through a documented process, the original design’s architectural character or theme to the operation staff. The following recommendations will help make this happen: • Involve O&M staff in initial design. • Include architectural character guidelines in 

O&M manuals for roof material, paint colors, 

and so forth. 

• Train O&M staff to maintain character over 

time during such activities as repainting, reroofing, administrative sign placement, 

and plant and landscape maintenance. 

• Review facilities to evaluate architectural 

character and sustainability at routine intervals. 

• Survey potential users for their ideas about 

the project character. 

Figure 5.2 illustrates the roles of the various players and their involvement in character or image defining and implementation. 

INTEGRATING ARCHITECTURAL CHARACTER WITH THE FACILITY MANAGEMENT PROCESS 5 233 
ership and management—guiding the facility management process 

Degree of Involvement In Image (Tasks at each Phase) 

ning Design Construction Usage Evaluation 

ritize need/ 

in funding 

Maintain adequate O&M funding 

Understand image 

tify need/Obtain 

ing/Input into 

gn narrative 

Involvement in commissioning 

Maintain adequate O&M funding/ 

Implement image intent 

Evaluate original need 

against image implementation 

tify need/Obtain 

ing/Match image 

Review for 

Overall image 

match 

Maintain adequate O&M funding 

Evaluate funding needs 

at each phase/understand image implementation 

orm and document 

A analysis 

Evaluate NEPA Analysis 

erstand need/ 

elop design 

ative/Match image 

Implement Design Narrative 

Manage construction activities to meet design intent 

Aid in O&M and follow-thru on image intent 

Evaluate design narrative and image implementation 

erstand need/ 

elop design 

ative/Match image 

Implement Design Narrative 

Manage construction activities to meet 

design intent 

Aid in O&M and follow-thru on 

image intent 

Evaluate design narrative 

and image implementation 

erstand need/ 

elop design 

ative/Write 

 report 

Implement design narrative 

Manage construction activities to meet 

design intent 

Aid in O&M and follow-thru on image 

intent 

Evaluate design narrative and image implementation 

Input previous 

experience 

Manage construction activities to meet 

design intent 

Perform O&M to meet original image intent 

Evaluate O&M activities 

t into NEPA & 

gn narrative 

Involvement in commissioning 

Utilize facility Provide feedback on use 

RAL CHARACTER WITH THE FACILITY MANAGEMENT PROCESS 
ual development 

 area should relate 

mily of designs 

nique to that 

plementing the 

 create harmonious 

pe and then 

aphics, and 

tructures to an 

 can consistently 

rything from trash 

nd fences, to 

r centers. 

onment contributes 

place, as well as to 

t Service as 

Theme/image is identified and the family of site amenities is then developed 

Theme Board for an Individual Development Complex or Geographical Area 

INTEGRATING ARCHITECTURAL CHARACTER WITH THE FACILITY MANAGEMENT PROCESS 5 235 
Site Amenities Reflect 

Architectural Character of Structures 

RAL CHARACTER WITH THE FACILITY MANAGEMENT PROCESS 
Family of Site Amenities 

enities, each contributing to the overall built image of that forest 

INTEGRATING ARCHITECTURAL CHARACTER WITH THE FACILITY MANAGEMENT PROCESS 5 237 

A 

nvironment Case Studies 
CREATION COMPLEX 

stern Province, Project Team: The core design team consisted 

nger District, of the Santa Fe National Forest landscape 

 National Forest architect, the facilities engineer, and civil engineer 

 recreation technicians. The landscape architect directed 

onstruction and coordinated the project. Other specialists 

or’s estimate— 

.00 

sts (with change 

—$640,771.00 

who provided input and technical assistance during project planning and design included the district recreation staff, forest hydrologist, forest and district archaeologists, and the district fisheries/wildlife biologist. As with other recreation projects on the Santa Fe National Forest, the core design team was also responsible for contract administration. This provided continuity between design and construction phases and ensured that any field changes were made in keeping with the original design intent. Project Description: The Lower Jemez Recreation Complex consists of a picnic area, a campground, an information/rest area, and five small parking areas for fishing access. These sites are distributed along the Lower Jemez River from the mouth of San Diego Canyon to just south of the town of Jemez Springs, New Mexico. The Forest Service acquired the land from private landowners in the early 1980’s through Land and Water Conservation funds. 

MENT CASE STUDIES 

Mountains and rivers are natural attractors, and this area is no exception. It is the backyard playground to a population base of well over 600,000. The Lower Jemez Complex is key to providing many recreation opportunities along heavily traveled New Mexico State Highway 4 and serves as a gateway to the Jemez Mountains. Large-Scale Planning: Long before Lower Jemez came into public ownership, access to the river 

and related activities were tolerated by the private owners, which established a pattern of heavy use. The area features a beautiful and sensitive riparian zone, endangered species, and numerous heritage resources. All of these elements were being severely impacted by unmanaged and uncontrolled use. An area-wide recreation opportunity study conducted during project initiation and planning 

highlighted the need for additional camping and picnicking facilities on the Jemez District. Providing additional facilities along the Lower Jemez Corridor, while managing use and controlling vehicular traffic, would address recreation demands as well as extend the season of use. Because the elevation of the corridor is considerably lower than the rest of the Jemez Mountains, recreation developments in the area would allow for early spring and late fall use. 
entation: One of 

n team was how 

tion sites spread 

re as a single 

 design theme was 

le allowing each 

o shine. The most 

s in the area are 

 slump block with 

 craggy textures 

ers of red, brown, 

ng dramatic mesas. 

veness of the 

 most human 

e recreation 

ement the natural 

for attention. 

the lead in 

d worked primarily 

e theme translated 

res, road alignment, 

nd water treatment 

lit-face block 

n metal roofs. 

al color and rich 

tecture and 

campground carry 

ck wall/tubular 

ace block is also 

APPENDIX A: BUILT ENVIRONMENT CASE STUDIES 241 
ding the bulletin 

ches, and fishing 

were located to take 

s and minimize 

n vegetation. 

ated at each site 

smooth wire fence 

dor between sites to 

ular traffic. However, 

 act as a backdrop 

 a more welcoming 

ither side of the 

e facilities, programs, 

itors—was an 

rom the earliest 

n achieved 

picnic and camp 

ped with accessible 

ly accessible to 

drinking water. Most 

ng grades and are 

d fishing pads have 

 the river’s edge. 

 the fishing pads 

nt, log structures 

cent to and 

the pads to create 

ies habitat. In 

ncluding a bench, 

MENT CASE STUDIES 

niche for strollers or wheelchairs, and space for interpretive signing, was located within sight distance of each fishing pad for nonanglers accompanying their fishing partners. The design and location of facilities is also sensitive to concerns of the Pueblo Indians of Jemez. An additional parking area, a second picnic ground, and trail to a petroglyph, included in the original proposal, were ultimately deleted after negotiations with the tribe regarding potential impacts to sacred areas. Use/Evaluation: Maintenance and repair are important considerations, especially whenever developments are provided along a river. The design team recognized early on that building facilities in the annual floodplain could be problematic and require heavy maintenance. To minimize this to the extent possible, asphalt was used to surface trails, picnic and camp units, and the fishing pads. A post-occupancy review after the first season of use and the first major flooding revealed that much of the trails and some of the fishing pads had washed out. The forest and district recreation staffs and maintenance crews met on site to assess the extent of the damage and determine the best course of action. Corrective measures taken included placing boulders downstream of the fishing pads for protection from the scouring action of flooding 

waters and placing substantial amounts of riprap along trail fill slopes. For the most part, these measures appear to be working, although monitoring and addressing the effects of flooding and the occasional vandalism and graffiti is a continuous process. This recreation development has been very well received and supported by visitors to the area 

as well as local residents who appreciate an increased Forest Service presence. It has also received regional recognition for its design and implementation. Lower Jemez Complex represents one of the best multiple-resource projects on the Santa Fe National Forest. Although recreation was the driver behind this project, many other staffs were actively involved during the planning and design phases. Close coordination among the different resources resulted in a project that continues to meet the needs of the growing number of recreationists while minimizing impacts to the natural environment. 
 FOREST TOILET CONSTRUCTION 

tain Province, 

ational Forest 

truction 

ck Phase 2 

n calendar year 1997 

ke Campground 

pleted in calendar 

ck Phase 2 

 

2 

ts 

 

2 

$349,111.50 $358,121.82 

$88,660.06 $98,637.72 $85,660.06 95,637.72 $114,750 $128,394.43 $57,375 $67,604.02 $57,375 $60,790.14 

ational Forest: 

chnician, 

Architects, Forest Architect, and the 

neer, plus an 

om the Rocky 

egional Office. 

The San Juan National Forest leadership team, on the recommendation of the forest design team, approved a standard toilet design that would be constructed at recreation facilities identified with a Recreation Opportunity Spectrum (ROS) of Roaded Natural through Rural. Forest maintenance personnel and the forest design team designed and recommended a masonry building because of the long-term durability and ease of maintenance of masonry. The standard building design features two barrier-free compartments, a separate storage area, a full-width stairway (7 feet 4 inches wide), a full-depth basement, and a compost/evaporative waste management system. The standard toilet design allows for minor alterations to meet specific site characteristics. Minor alterations are primarily color selection of the following elements: metal roof, masonry block, gable ends, soffits, trim, and doors. In addition, the option of photovoltaic power or electric power may be selected. In some cases, special alterations may be implemented, in addition to the minor alterations, to meet sites classified as “special places.” These special alterations include the addition of stone veneer and/or special siding materials. 

APPENDIX A: BUILT ENVIRONMENT CASE STUDIES 243 
Area may be 

.” The site offers 

nd contains the 

Columbian Indian 

oric uses. The area 

cape, rich with 

es and landforms 

and hills. It is 

sa pine and pinyon

tive grasslands 

 range of targeted 

ge is from Primitive 

toilet structure one, 

c contact point, is 

cture two, located 

erpretive area, is 

r the standard toilet 

special alterations. 

table color scheme 

e stone veneer was 

f both building 

zed in the midwall 

). The addition of 

ts enable these 

ze with the existing 

eological sites and 

MENT CASE STUDIES 

In addition to the implementation of the minor alterations, special alterations were incorporated into the design. The use of a stone veneer base at toilet structure one, the primary public contact, anchored the structure to the landform. In addition, it introduced the visitors to the archeological and historic use of stone. The use of stucco (color selection) in the midwall section allows the structure to further blend with existing site colors as well as provide a textural change. In addition, the implementation of the elements identified in minor alterations reinforced specific site characteristics (color). Electric power was selected for this structure, as it permits a higher evaporative capacity. As the first and primary public contact point, the need for maximum evaporative capacity was identified. The use of a stone veneer base at toilet structure two, the primary archeological interpretive area, enabled the structure to blend with the abundant archeological and historic sites. The use of stucco (color selection) in the midwall section allows the structure to further blend with existing site colors as well as provide a textural change. In addition, the implementation of the elements identified in minor alterations reinforced specific site characteristics (color). Photovoltaic power was selected for this structure. The anticipated evaporative needs at this site would be less, as 

most users would have used structure one. Moreover the specific site characteristics, that is, elevation and vegetation cover, create an ideal opportunity for photovoltaic power. Haviland Lake Campground is a heavily used campground facility located in southwestern Colorado. The site is located in the upper Animas River Valley, under the backdrop of the scenic Hermosa Cliffs and at an approximate elevation of 8,200 feet. It is part of a mountainous landscape, composed of ponderosa pine forests and glacial landforms. The campground is located in a diverse microecological setting, composed of park-like ponderosa pine forest and gambrel oak hillsides intermixed with riparian and wetland areas. The campground has a ROS classification of Roaded Natural, and is therefore well-suited for the standard toilet design with minor alterations. A split face masonry block was used in the base section to attempt to solidify the connection between site and building through the use of texture. A smooth face masonry block was used in the midwall sections to diversify the visual mass through a change in materials. In addition, 

a suitable color scheme (minor alterations) was selected and implemented for the proposed site structures. The color scheme allowed the buildings to merge with the existing site character and created a consistent architectural theme. 
ed for both 

cilities were used, 

verted to electric 

aporative capacity 

ould supply. 

ples discussed, 

ea and Haviland 

illustrate how 

ized throughout 

 suit sites with 

tures at Chimney 

een positively 

tics, the use of a 

system, and the 

lectric and 

is for the high 

tures at Haviland 

d mixed opinions; 

scale of the 

anagement 

r source, either 

e from the 

ses. However, 

e. 

APPENDIX A: BUILT ENVIRONMENT CASE STUDIES 245 
cific Province 

n, Washington, 

River Gorge 

Scenic Area 

d Conference Center 

tion $24.5 million 

Service: $5 million 

ia County: $5 million 

ray (developer): 

illion 

Moisan, Architects 

acy, 

e Architects 

Reimann Assoc., 

s Project Description: The lodge includes a 

ervice technical 12,000-square-foot conference center, a Forest 

ce, review Service information center, 195 guest rooms, 

a restaurant, and an 18-hole golf course. It is connected to the city of Stevenson by hiking and biking trails. The project was made possible by a Forest Service grant through the Columbia River Gorge National Scenic Area. Project Planning: The architect defined the Cascadian theme by researching regionally historic lodges, cabins, and Forest Service buildings. This theme was illustrated in a design 

MENT CASE STUDIES 

document used for environmental planning, marketing, financial decisionmaking, and establishing public acceptance and support. The planning stages described energy efficiency, use of recycled materials, and site restoration objectives as an integral part of the program. The site had been a sanitary landfill, which was transformed into a wildflower meadow adjacent to the lodge. Environmental documents identified community economic enhancement and flora and fauna protection as important project aspects. 
ascadian theme 

g massing, steep 

nsive use of natural 

muted green and 

very large, the 

egional artwork 

ed extensively 

 landscape views 

building. Exterior 

batten and cedar 

ral-grade heavy

and wetlands 

enhanced with 

ants also are 

. Parking is 

 main highways. 

ude 200-year-old 

 large timber 

cannery. 

roughout the 

aving more than 

om local quarries 

rkers made much 

olstery were 

t. 

Use: Energy objectives and building and landscape design themes have been maintained through the facility operation. Evaluation and Modification: While the facility has been very successful, minor internal and external modifications have been undertaken. These modifications have adhered to the original design theme. 

APPENDIX A: BUILT ENVIRONMENT CASE STUDIES 247 

B 

Service Manual (FSM) 

ndbook (FSH) Direction 
LITIES 

TYLE, 

ood into architectural 

e setting and 

he building or 

ce Design, 

c design schemes and 

nes for appropriate 

s the importance 

ice image and style 

UILDING 

DESIGN 

s, Station Directors, 

sible for approving 

lding design unless 

anization. 

gineering (NFS) 

rectors for 

re responsible 

s. 

TION 

SKILLS AND 

DESIGN 

STANDARDS 

Skills FSM 7313: Qualified professionals and/or qualified technicians shall accomplish or direct all planning, design, and construction of Forest Service buildings and related facilities. Qualified professionals include professional architects, landscape architects, or engineers who have the required training, experience, and knowledge of the following: site planning; vehicle and pedestrian circulation; and various applicable building, electrical, mechanical, safety, and related codes normally associated with the design, construction, and operation of structures, buildings, water and wastewater treatment plants, mechanical systems, and similar facilities. FSH 9309: Facility designers and managers shall use the criteria, procedures, and practices established within the professional design disciplines. Design Standards Guide to Forest Service Office Design, Identification, and Location FSM 7313.3 FSH 7309.11, Chapter 34 

RECREATION FACILITIES 

OBJECTIVES AND 

POLICY 

FSM 2330.2 Establishes as objectives for the provision of recreation facilities: 1. To maximize opportunities for visitors to 

know and experience nature while engaging in outdoor recreation. 

2. To develop and manage sites consistent with 

the available natural resources to provide a safe, healthful, aesthetic, nonurban atmosphere. 

3. To provide a maximum contrast with 

urbanization at National Forest sites. 

FSM 2330.3 sets policy for the development and administration of sites and facilities, including: 1. Use recreation opportunity spectrum 

guidelines (FSM 2310) when developing sites. 

2. Develop sites and facilities that will provide 

recreation experiences toward the primitive 

end of the spectrum. Do not provide urban class facilities (ex. 01). 

3. Use the land and resource management 

planning process (36 CFR 219, FSM 1920, 

and FSM 2310) to reach decisions to develop recreation sites. 

4. Develop sites and facilities to enhance natural 

resource-based activities normally associated with a natural environment. 
ent of cost 

nd operating sites 

development and 

 following order: 

 safety. 

onment of the site. 

es and facilities 

ction with the 

s that conform 

creation role. 

of National Forest 

ecreation facilities 

or persons with 

 the mainstream 

r recreation 

vironmental 

efore undertaking 

ilitation efforts. 

ster. (At the 

the following 

ed to the Forest 

eserved to the 

of site planning 

and development, the Regional Forester has the responsibility to: 1. Review and approve design narratives and 

site designs. 

2. Seek partnerships with other entities to 

share in the development, cost, and/or labor of providing recreation opportunities and ensure compliance with requirements on authorizing instruments (agreements, memoranda of understanding, and so forth) in FSM 1580 and FSH 1509.11. 

3. Identify and update regional priorities for 

the recreation capital investment program. This responsibility is reserved to the Regional Forester. 

2330.42b - Forest Supervisor. The Forest Supervisor has the responsibility to: 1. Prepare design narratives, site plans, and 

final drawings. Develop sites and facilities in accordance with established objectives and policies and land and resource management plans. 

2. Monitor operation and maintenance actions. 2330.42c - District Ranger. The District Ranger has the responsibility to: 1. Prepare operation and maintenance plans. 

This includes fee compliance plans and vegetative management plans. 

2. Operate and maintain recreation sites 

and facilities in accordance with plans. 

3. Enforce payment of recreation fees. SITE AND 

FACILITY 

PLANNING AND 

DESIGN 

FSM 2333. The guidelines in this section apply to all recreation sites on National Forest System lands. 2333.03 - Policy. 1. Prepare site plans before construction, 

rehabilitation, or expansion of a site. Site plans must show the specific location and design of facilities and must provide for control of traffic, sanitation, public safety, site protection, grading, landscape planting, and use distribution. 

2. Use the recreation opportunity spectrum 

class and development scale established in management plans in site designs (ex. 01, FSM 2330.3). Accommodate environmental concerns identified in the environmental assessment in site designs. Carefully consider 

the cost of installing facilities, as well as future operation and maintenance costs. 

3. Design facilities, such as roads, barriers, 

paths, and water and sanitation systems, so that they are as natural, simple, and 

unobtrusive as possible. Design and build rustic-looking facilities so that they become 

APPENDIX B: FSM/FSH DIRECTION 251 
r example, use hand 

nts, plantings of 

 and wood posts 

s that are: 

nature, adequate 

on, and devoid of 

personal preference 

m the standpoint 

nd continued 

ance. 

the surrounding 

formance with 

s. 

tional and 

ersons with 

ee specified in 

king Buildings 

le to, and Usable 

icapped.” 

andards Institute, 

New York.) 

experience 

or the site. 

TION 
 

tion Opportunity Spectrum (ROS) 
ation contained in 

 Opportunity 

REC-118-94); and 

(R6-REC-021-90). 

OS Setting the kind 

t can be considered 

inconsistent,” or 

On-Site Development 

o facilities for user 

omfort; rustic and 

udimentary ones 

or site protection 

nly. Synthetic** 

materials excluded. 

se undimensioned 

ative* materials only. 

o site modifications 

or facilities. 

Rustic and rudimentary 

facilities primarily for site protection. Use 

undimensioned native* 

materials. Avoid use of 

synthetic** materials. Little or no site modifications for 

facilities. Limited and 

subtle site modification. 

Rustic facilities providing some comfort for the user 

as well as site protection. 

Contemporary/rustic 

design usually based on 

use of native* materials. Synthetic** materials 

should not be evident. 

Moderate site 

modification. 

Some facilities designed 

primarily for user comfort and convenience. Some 

synthetic** but 

harmonious materials 

may be incorporated. Design may be more 

complex and refined. 

Moderate to heavy site 

modifications for facilities. 

Facilities mostly designed 

for user comfort and 

convenience. Synthetic** 

materials are commonly 

used. Facility design may 

be highly complex and refined but in harmony or 

complementary to site. 

Heavy site modifications 

for facilities. 

ormal Inconsistent Unacceptable Unacceptable Unacceptable 

ully compatible Normal Inconsistent Unacceptable Unacceptable 

ully compatible Normal Inconsistent Unacceptable Unacceptable 

nconsistent Fully compatible Normal Inconsistent Unacceptable nconsistent Inconsistent Fully compatible Normal Inconsistent 

nconsistent Inconsistent Inconsistent Fully compatible Normal 

und naturally in nature. It needn’t come from or near the project site. 

not be used in primitive settings. Where possible, they should be avoided in semi-primitive settings, but if used, they should not be evident 

al settings, native materials are usually used, and synthetics, if used, should not be evident to the user. 

PORTUNITY SPECTRUM 
tions found in the ROS Setting 

tions that meet or exceed the norm for 

s not generally compatible with the normal 

be necessary under some circumstances to 

more removed from the “norm” shown in the 

ble the condition would be. For example, a pit 

ng would be very questionable in a rural or 

stic siding or roofing that appears obviously 

onsistent in a roaded natural setting. 

ns that, under any circumstance, do not 

ce of an ROS Setting, and which will cause 

one that is more developed. For example, 

on and development of facilities for user 

ROS setting into one that is more developed. 

APPENDIX C: RECREATION OPPORTUNITY SPECTRUM 255 
bes typical ROS settings as described in the “1986 ROS Book.” 

cribed may vary somewhat between regions. 

of at least 5,000 

 all roads and trails 

ufficient spatial or 

to allow a sense of 

motorized trails or 

actions with other 

solitude; unmodified 

 environment. 

ZED 

of primitive roads* or 

motorized use; is 

es in size; and is 

m all roads, railroads, 

 Access is via 

otorized primitive 

contact frequency 

bability of solitude; 

nt. 

SEMIPRIMITIVE 

MOTORIZED 

A setting that has an area that allows motorized use, is generally at least 2,500 acres in size, and is at least 1/2 mile from a better than primitive road.** It is within 1/2 mile of primitive roads or trails used by motor vehicles. Access is via motorized trails or primitive roads or crosscountry, where terrain and regulations permit. Low to moderate contact frequency with other visitors. Environment may have moderately dominant alterations, but these do not dominate views from trails or primitive roads in the area. ROADED 

NATURAL 

A setting in an area that is within 1/2 mile of a better than primitive road. Access is primarily via conventional motorized use on roads. Contact frequency with other users may be low to moderate on trails and moderate to high on roads. Environment is natural appearing as viewed from visually sensitive roads and trails. 

nstructed or maintained and are not generally suitable for highway type vehicles. 

ds are constructed or maintained for the use of highway type vehicles. 

PORTUNITY SPECTRUM 

RURAL Predominantly a culturally modified setting where the natural environment has been substantially modified, i.e., structures are readily apparent, pastoral or agricultural or intensively managed wildland landscapes predominate as viewed from visually sensitive roads and trails. Access is primarily via conventional motorized use on roads. Contact frequency with other users may be moderate to high in developed sites and moderate away from developed sites. URBAN Urbanized environment with dominant structures, traffic lights, and paved streets. Access is highly intense, motorized, and often with mass transit supplements. Contact frequency and interaction with large numbers of people is high. Recreation places may be city parks and large resorts. 
gray shading those portions of the ROS where the well-designed use of 

s either “normal” or “fully compatible.” Where not shaded, material use 

ceptable.” Note that Roaded Natural (RN) was enlarged to show more 

spread nature and importance of this setting in the national forest built 

b, when one-third or less of a setting is shaded, use the material with 

direction to determine suitability of certain improvements, e.g. shelters 

Buildings 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

ate 

dominate 

 

APPENDIX C: RECREATION OPPORTUNITY SPECTRUM 257 
Roads 

(See FSM 7709.58 for Maintenance Level Definitions) 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

ne with turnouts) 

 

urfacing) 

 

ce) 

hicles, so not Level 1. The above does not preclude use of designed drainage and other features to minimize road-caused resource impacts. 

Site Circulation and Traffic Control 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

eation Facilities 

ers 

PORTUNITY SPECTRUM 
k 

y type boardwalk 

combinations 

 

stops/barriers 

elstops 

s are synthetic, they may offer less visually impacting solutions that better maintain an ROS setting, 

diate foreground. 

Site Circulation and Traffic Control (continued) 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

APPENDIX C: RECREATION OPPORTUNITY SPECTRUM 259 
Water, Sanitation, and Electrical Facilities 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

ntain 

PORTUNITY SPECTRUM 
on Sites and Trails (Adapted from EM-7100-15 Sign and Poster Guidelines for the Forest Service) 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

 

ot evident) 

 

APPENDIX C: RECREATION OPPORTUNITY SPECTRUM 261 
Interpretive Facilities 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

al 

ts of 

aterial 

gn 

s 

ally staffed) 

Nonvehicular Bridges 

Semiprimitive Semiprimitive 

Primitive Nonmotorized Motorized Roaded Natural Rural Urban 

t (if used) 

r decking of bridges in P and SP settings is often necessary, although such materials in those ROS settings should not otherwise be used. 

PORTUNITY SPECTRUM 
D 

ry 
d brick of clay and 

e brick is made is 

” clay and used as 

the blocks together. 

 distinguishing 

r structure’s 

ch as roof slope, 

ng, color, and scale. 

 ecological and 

e: Based on ecological 

e architectural 

distinctive and broad 

ectural character 

tinguishing features 

t provinces. 

 A building and 

mately 1890 to 1929 

 by the Craftsman 

ment, which 

mplicity and lack of 

cluded design of 

les, and pottery. 

period and design 

tave Stickley, 

k Loyd Wright. 

Balds: Southern Appalachian mountain balds are 

meadow-like, essentially treeless openings of grasses, sedges, forbs, and shrubs that occur above 4,000 feet in elevation on mountain gaps, ridges, and crests. When viewed from a distance these areas appear “bald” as opposed to the surrounding taller vegetation. 

Bargeboards: The covering of the outside edge 

of a gable roof that runs parallel with the rafters. 

Base: Bottom or lower part of a building; its 

connection to the ground or land. 

Battered: A wall that has been methodically 

stepped back to form a slope from bottom to top. Typically this treatment is used in retaining walls to use the weight of the wall to resist the horizontal forces. 

Built environment: The part of the environment 

formed by humans, including buildings, structures, landscaping, earth forms, roads, signs, trails, and utilities. 

Canales: “Canal” and “Canales” are the Spanish 

words for a drain or waterspout that takes water from a roof and dispenses it off the side of the building away from the wall. 

Chickees: A traditional abode of Southwest 

Florida’s Native Americans; “chickee” in the Mikasuki language means “dwelling.” It is an open air structure made from peeled pine or cypress poles with palm fronds nailed to the roof poles in an overlapping circular manner 

for water tightness. 

Civilian Conservation Corps: Formed in the Great 

Depression, the Civilian Conservation Corps is a national Government work program that operated from 1933 to 1942 to employ 500,000 18- to 25-year-old men from lowincome and nonworking families at jobs in forests, parks, and rangelands. It was a joint Government operation: the Army ran the camps; the Departments of the Interior and Agriculture were responsible for work projects and personnel to manage them. The program created many high-quality structures, buildings, and campgrounds; most of which still remain in use. 

Cold roofs: A continuous, semi-flexible roof 

membrane, consisting of plies of felts, mats, or fabrics that are laminated on a roof with alternate layers of cold-applied roof cement and surfaced with a cold-applied coating. 

Context: The larger sphere of influence that a 

facility is considered within and affected by. Three contexts for sustainability are ecological, cultural, and economic. 
post and beam 

corated support 

rting the beam. 

he load of the 

as decoration. 

tones are stones 

ar shapes; they 

nts are visible as 

uildings associated 

tool sheds, chicken 

orn cribs. 

arrow house of logs 

e old South, some 

better appearance 

e of the house on 

low though. A 

ly on both sides 

rom the fact that 

ough the middle, 

inage water drops 

m or material to 

mples: drip line of 

ng from the 

o the house wall. 

er the rafter ends. 

Embodied energy: For buildings, it is the sum 

total energy required for construction (that is, procurement of materials, on site activity, and, also, maintenance and refurbishment and demolition). It can be compared to the capital cost of the building only in terms of energy measurement, not monetary terms. For materials, it is the total energy measured in units of energy to create for a unit of weight. 

Expressed oversized structure: One typical 

element was enlarged or exaggerated to emphasize it as a major design feature (for example, the front porch of a Craftsman Bungalow style house with very large porch piers). 

Fall line: A point where the coastal plain rocks 

have eroded back to the harder upland rocks that form a barrier in a river. Typically this fall line would create waterfalls for power generation, as well as form the point where boats would have to be unloaded to move their cargo upriver. These points formed natural features around which early towns formed in the 19th century. 

Family of signs: A series of signs with a 

distinctive shape that serve as an informal logo of the Forest Service. The signs have different, but similar, shapes with different sizes and have a protocol of use as delineated in Engineering Management series publication: EM-7100-15, Sign and Poster Guidelines For The Forest Service. The signs of dark brown and crème (off white) color are usually entrance signs and readily identify a Forest Service facility. 

Fee demonstration: A temporary program 

authorized by Congress in 1996 to allow certain Government agencies to charge fees for use of developed recreation sites and parking. A condition of the program is that the fees are to be used to maintain the existing sites within the fee area. The program was to last 2 years but has been extended 

and could possibly be made permanent. 

Forest Service region: For administrative 

purposes, the Forest Service has divided the States and territories into 10 administrative units called regions. Each region has a regional forester with staff to serve as administrator for the forests in the region. 

APPENDIX D: GLOSSARY 265 
s the official 

Service used to 

ence and property 

agency. It consists 

ngle conifer tree 

 S, and the words 

ree and Dept. of 

de. 

ction at the ends of 

the two roof slopes. 

all section. 

s back to back 

 end called a gable. 

ranger-Thye Act of 

ching statutory 

Service funds and 

cific ways. This act is 

overnment facilities 

) and expenditures of 

er than Government 

programs. The permit 

the conditions and 

od beams on the 

tween stucco or 

a feature of some 

e it is simpler and 

 to be confused 

Head frames: The steel or timber frame at the 

top of a mining shaft, which carries the sheave or pulley for the hoisting rope, and serves various other purposes. Includes all the raised structure around the shaft that is used for loading and unloading cages. 

Hip roofs: A gable roof with the ends brought 

together at the same pitch as the rest of the roof so all four sides of the roof are the same angle. 

INFRA: Acronym for “Infrastructure.” A Forest 

Service corporate database and inventory of the entire national forest and grasslands built environment, including roads, buildings, trails, structures, utilities, and all other improvements. 

Landscape character: The distinguishing 

appearance of a landscape’s visual and ecological factors; landscape character is defined in visual aspects of landform, climate, geology, and surfacial rock; water features; vegetation; color; and cultural pattern. 

Landscape character types: A subdivision of 

a province having overall characteristics of the province but having a distinguishing geographically specific landscape character. For example, the Southern Rocky Mountain, Northern Rocky Mountain, and Black Hills landscape character types of the Rocky Mountain Province. 

Line officer: Forest Service administrative 

decisionmaker, for example, the district ranger or forest supervisor. 

Lintel: The horizontal beam forming the upper 

support member for a door or window frame carrying the weight of the structure to the side supports. 

Mandan lodges: Earth covered post and beam 

lodges of the North Dakota Mandan Tribe. All around the perimeter of the lodge were 12 pillars that supported the rafters that radiated down from the smoke hole at the center and the 4 central posts. Across the tops of these posts ran stringers, and slanting down to the ground was an outer wall of vertical-slanted logs. This formed a storage space where firewood was kept and a coral for favored horses, that might be brought in to protect them from enemy raiding or dangerous storms. The log walls and roof were covered with willow poles, then brush, then heaped with dirt. The lodges were arranged in circles around a ceremonial plaza. 

Massing: Expanse, spatial enclosure having form 

or bulk; the resultant shape or form of buildings or a building group. 

Meaningful Measures: A Forest Service 

recreation management system defining measurable quality standards, costs, priorities, targets, and results monitoring reporting. 
 Now known as 

nda, the strategy 

e Forest Service’s 

d the plan of 

g recreation use 

sity, and 

strategy focuses 

 the settings 

nhancing visitor 

 visitor 

nd facilities, 

urban communities 

nd economic 

th recreation on 

ngthening our 

 cooperate to 

or all Americans, 

tion use does 

e of landscape of 

inance of nature 

a formal or 

to achieve a 

nterested partner 

rship is a 

nvolve interested 

he Forest Service. 

rea having similar 

 and cultural 

Rafter tails: Same as rafter ends; the end of 

the rafters exposed at the edge of the eave. 

ROS: Recreation Opportunity Spectrum, defining 

six different recreation settings varying from urban to primitive. 

Recreation Opportunity Spectrum (ROS): A 

recreation planning land classification system that defines areas by the probable recreation experience it provides in terms of setting and level of development. The setting is measured by the number of people expected, producing different levels of solitude and the evidence of human use as shown by management activities and degree of development. 

Rustic: A historic building style generally 

employing local native materials and extensive use of unrefined or natural formed wood members and stone. 

Scale: Two definitions: (1) in architecture, the 

size of a building or structure in relation to a human, varying from small intimate to monumental, and (2) the geographic context for relating to and identifying the built environment—these scales are Nation, province, and site; goals such as national identity influence architectural character at a site scale and vice versa. 

Scenery Management System (SMS): Provides 

an overall framework for the orderly inventory, analysis, and management of scenery. Applies to every acre of national forest and national grasslands administered by the Forest Service 

and to all Forest Service activities, including timber harvesting, road building, stream improvements, special use developments, utility line construction, recreation developments, and fuel breaks. 

Shotgun house: Simple, long, narrow, one-story, 

gable roof house with a narrow, covered front porch in front. A door and back door are on the other end with a small platform. Rooms were as wide as the house and doors continued through the rooms to the end. This was typically a low-cost house for low-income residents. 

Structure: Description of the spatial relationship 

of components parts of a building and their connections. Also, a term for something built having mass and shape (for example, bridge, tower, or building). 

Sustainability: An aspect of developments and 

land uses that (1) minimizes the use of resources, (2) conserves ecosystems, and (3) creates healthy built environments and landscapes for present and future generations. 

APPENDIX D: GLOSSARY 267 
om lime, sand, and 

stly on the southern 

 made from this 

s; some walls were 

and also scored to 

the landscape 

y, including a town 

nd residential area. 

s tending to be of 

d by the public, for 

ell houses. 

Universal Design: A term for a public philosophy 

directing the design of products and environments to be usable by all people, to the greatest extent possible, without the need for adaptation or specialized design. The intent of universal design is to simplify life for everyone by making products, communications, and the built environment more usable by as many people as possible at little or no extra cost. Universal design benefits people of all ages and abilities (1997 North Carolina State University, The Center for Universal Design). 

Vigas: In the Southwestern United States, a 

vigas is a tree log often stripped of its bark and used in a room, or throughout a house, for structural roof support or decoration. 

Visual Management System (VMS): A guideline 

process developed by the Forest Service in 1974 to retain a selected level of visual quality in the seen landscape. The landscape is sorted into different areas in terms of distance, relative quantities of persons viewing the landscape for recreation reasons, and quality of scenery. This system was modified in 1996 and evolved into the Scenery Management System. 

Works Progress Administration (WPA): An 

independent agency established by Congress in 1935 to provide jobs during the Great Depression. Although it primarily created major public work construction jobs, it also provided art, music, writing, and theater projects. The need for the WPA ended in 1941; the agency was officially eliminated in 1943. 
 

nces 
gning the City: A Guide 

ficials. Washington, DC: 

909). 304 p. 

Motifs—A 

Traditional Greek 

r Barba/Text by 

y by Scott Frances. 

ne. January. 

, William D. 1995. 

ding. Snowmass, CO: 

SBN 1881071057). 

Buildings of Michigan 

es). New York, NY: 

N 0195061497). 

e Woods: Rediscovering 

 Trail. New York, NY: 

7902521). 284 p. 

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sual Dictionary of 

ture. New York, NY: 

porated (ISBN 

by Design: Landscape 

al Park Service. Lincoln, 

ress (ISBN 

he Wind: Away to the 

pf, Alfred A. (ISBN 

ef’s Office, USDA 

tectural Trend of 

ngs. Washington, DC: 

ure, Forest Service. 

Good, Albert H. 1938. (National Park Service) Park & 

Recreation Structures. New York, NY: Princeton Architectural Press (ISBN 1568981716). 624 p. 

Hilton, James. 1996. The Lost Horizon. New York, NY: 

Morrow, William & Co. (ISBN 0688146562). 262 p. 

Kaiser, Harvey. 1997. Landmarks in the Landscape; 

Historic Architecture of the National Parks of the West. San Francisco, CA: Chronicle Books (ISBN 

11818543). 312 p. 

Kelbaugh, Douglas. 1997. Common Places; Toward 

Neighborhood and Regional Design. Seattle, WA: University of Washington Press (ISBN 0295975903). 376 p. 

Leopold, Aldo, and Schwartz, Charles W. (illustrator). 

1972. A Sand County Almanac and Sketches Here 

and There. New York, NY: Oxford University Press, Inc. (ISBN 0195007778). 269 p. 

Stegner, Wallace Earle. 1987. American West As Living 

Space. Ann Arbor, MI: University of Michigan Press (ISBN 04720637580). 89 p. 

Scully, Vincent. 1991. Architecture: The Natural and 

the Man-Made. New York, NY: St. Martin’s Press, 

Inc. (ISBN 0312062923). 512 p. 

Taylor, A.D. (Consulting Landscape Architect, USDA 

Forest Service). 1936. Problems in Landscape 

Architecture in the National Forest. Unpublished report to the Chief of the Forest Service of 

inspection trip through some of the national forests. 

Tweed, William C. (Date unknown.) A History of 

Outdoor Recreation Development in National Forests: 1891–1942. Washington, DC: Reprinted by 

Clemson University, Department of Parks, Recreation and Tourism Management. 29 p. 

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(compilation of information), Washington, DC: Recreation, Heritage, and Wilderness Resources. 276 p. 

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Guidelines for the Forest Service. EM-7100-15. Washington, DC: Engineering Staff. 543 p. 

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wledgments 
he first question 

mall Forest Service 

or’s Building 

on, DC, in September 

together with a 

f Recreation, 

sources, Lyle Laverty, 

sistency, and quality 

eation facilities.” 

rve our customers 

age as a quality 

d leading outdoor 

 a large multiple-use 

y? There were many 

early in the process 

 the effort was 

 Director of 

oghlan, to include 

facilities. Over the 

he small group 

nvironment Image 

d with hundreds of 

orest Service and 

d the question with 

 that involvement, 

 Guide (BEIG) 

s it did. The BEIT 

 the guide with 

nd with their art 

ENTS 

and inspiration, but mostly with their dedication and caring. They are acknowledged here for their contributions to this guide. Their true reward will come with steady improvement of Forest Service facilities on the ground, over time. That is how the question will truly be answered. The following were among those who contributed to the preparation of the Built Environment Image Guide: THE BUILT ENVIRONMENT IMAGE TEAM (BEIT) The BEIT (pronounced Be-it) evolved from the “small group” described above and served as the driving force for the project. They developed the scope and overall approach of the guide, selected consultants and reviewers, wrote much of the content, and edited the rest. It was a high spirited and dedicated team, representing diversity in expertise, geographical location, and most of all, opinion. Every point and question was subject to rigorous examination and debate (at least once), but always with respect and best intentions for the end products. It is often said that the process can be as important as the product. The BEIT will remember both with pride. James S. Bedwell, Chief Landscape Architect, 

National Headquarters, Recreation, Wilderness, and Heritage Resources (Team Leader) 

Marcus Anderson, Facilities Program Leader, 

Pacific Northwest Region 

Ted Coffman, Forest Recreation Staff Officer, 

Southern Region, George Washington & Jefferson National Forests 

Anna Jones Crabtree, Forest Engineer, Rocky 

Mountain Region, Bighorn National Forest 

Jurgen Hess, Planning and Design Staff Officer, 

Pacific Northwest Region, Columbia River Gorge National Scenic Area 

Maurice Hoelting, Regional Architect, 

Southern Region 

Josiah Kim, National Facilities Program Leader, 

National Headquarters, Engineering 

Ron Yates, Forest Landscape Architect, 

Northern Region, Lewis & Clark National Forest, 

Gene Zimmerman, Forest Supervisor, 

Pacific Southwest Region, San Bernardino National Forest 

STRATEGIC ADVISORS FOR THE BUILT ENVIRONMENT (SABE) 

The SABE (from the Spanish verb, “to know”) was made up of regional directors of two of the 

program areas most directly involved in the planning and design of facilities-engineering and recreation. Their purpose was to provide counsel to the BEIT on how to successfully integrate, or inculturate, the concepts and approach of the 
Al Koschmann, Director of Engineering, 

Centers. units, such as the Technology and Development content, rollout, training, and linkage to other operation and program of work. This included guide into the Forest Service’s normal modes of 

Southwestern Region 

Bob Ross, Director of Recreation, 

Intermountain Region 

John Shilling, Associate Regional Forester, 

Public Services, Pacific Southwest Region 

Glenda Wilson, Director of Engineering, 

Rocky Mountain Region 

expertise. at the Denver Service Center also provided Ethan Carr, Landscape Architecture Historian, Carol Whipple, Senior Landscape Architect and approach, and document review. consultants, critical feedback on the overall this involvement, which included selection of and Linda Morey, Branch Chief, for supporting Clapper, Director of the Denver Service Center, process. Appreciation is extended to Charles two key individuals in the early stages of the planning and design through the involvement of experience and expertise in the area of facility The National Park Service lent their considerable NATIONAL PARK SERVICE ADVISORS 

Stan Doctor Illustrator: Michael Leccese, Fountainhead Communications Writer: Roger Burkart, DHM Design Corp. Dick Marshall, DHM Design Corp. Landscape Architects: Rick Petersen, OZ Architecture K. David Carson, OZ Architecture Architects: professionalism to the process. continuous excellence, enthusiasm, and content of Chapters 3 & 4, the OZ team brought capturing participants’ ideas, and writing the research and content in advance, graphically charettes. In leading the charettes, developing CO, was selected to lead and facilitate the group led by OZ Architecture of Denver & Boulder, “charettes” around the country. A consultant decided to hold a series of design workshops, or richly illustrated. In order to achieve this, it was examples of regional architectural character types, BEIG was the decision to develop representative A critical juncture in the process of developing the BEIG CONSULTANTS 

experiences for everyone. charettes were productive, fun, and learning for the charettes. Thanks to all of them, the background material, as well as the logistics tedious work in developing much of the minds. The province coordinators performed experience, expertise, enthusiasm, and open design within the area, along with their bring with them examples of “good” and “bad” Forest Service. Participants were asked to province and also within the culture of the character type(s) that fit best within the in the province; and develop the architectural on the most important influences on design on architectural style; provide primary input common environmental and cultural influences “provinces,” or areas of the country with to define the number and coverage of the Five charettes were held around the country THE CHARETTE TEAMS Polly Chase-Harrell, Boston Affiliates, Inc. Leland Roth, University of Oregon Terri Myers, Hardy, Heck, Moore & Myers Judith Robinson, Robinson & Associates Joan Draper, Ph.D., University of Colorado Architectural Historians: 

APPENDIX F: ACKNOWLEDGMENTS 273 
SOUTHEAST 

COASTAL AND 

SOUTHEAST 

MOUNTAINS 

PROVINCES 

Ted Coffman, George Washington & Jefferson, 

National Forests* 

Paul Dore, Mount Rogers National Recreation Tom Chappell, Southern Region Quentin Bass, Cherokee National Forest Bill Speer, Southern Region* 

Area 

Carolyn Hoffmann, Chattahoochee-Oconee Maurice Hoelting, Southern Region Steve Hendricks, Cherokee National Forest 

National Forest 

David Wagner, George Washington & Jefferson Victor Mercado, Caribbean National Forest Joe Meadows, Cherokee National Forest Clara Johnson, National Forests in Mississippi Bill Hughes, Southern Region Jim Holbrook, Southern Region 

National Forests 

Heber Williams, National Forests in Florida Randy Warbington, Southern Region 

APPENDIX F: ACKNOWLEDGMENTS 

SOUTHWESTERN 

PROVINCE 

Deborah MacIvor, Apache-Sitgreaves National Bill Larsen, Southwestern Region Debby Kriegel, Coronado National Forest Kurt Kretvix, Southwestern Region Al Koschmann, Southwestern Region Jeff Klas, Southwestern Region John Grosvenor, Pacific Southwest Region Jeni Bradley, Pacific Southwest Region Jeff Saari, Southwestern Region* 

Forest 

Gene Zimmerman, San Bernardino National Ramiro Villalvazo, Angeles National Forest Dennis Trujillo, Santa Fe National Forest Tina Terrell, Tonto National Forest Dan Salcido, Pacific Southwest Region Chuck Richmond, Pacific Southwest Region Joe Meade, Southwestern Region Mike McIntyre, Angeles National Forest Art Mathias, Coconino National Forest 

Forest 

* Province Coordinator 

NORTH 

PACIFIC 

PROVINCE 

Terry Skorheim, Mt. Baker/Snoqualmie National Dick Sawaya, Willamette National Forest Beth Pendleton, Alaska Region Jerry Mosier, Klamath National Forest Dom Monaco, Tongass National Forest Meg Mitchell, Alaska Region Mike Miller, Mt. Baker/Snoqualmie National Forest Linda Lux, Pacific Southwest Region Tom Lockhart, Pacific Northwest Region Nora Laughlin, Alaska Region Jeff Lalande, Rogue River National Forest Robert King, Pacific Southwest Region Stan Hinatsu, Pacific Northwest Region Roberta Hilbruner, Pacific Northwest Region Steve Hennig, Chugach National Forest Nancy Diaz, Mt. Hood National Forest Kimberly Bown, Pacific Northwest Region Gary Bartlett, Rogue River National Forest Sara Baldwin, Alaska Region Jurgen Hess, Pacific Northwest Region* Marcus Anderson, Pacific Northwest Region* 

Forest 

Richard Sowa, Pacific Northwest Region Terry Slider, Pacific Northwest Region 

274 
G

James Wolfe, Alaska Region E. Gail Throop, Pacific Northwest Region Jaime Stone, Umpqua National Forest 

REAT 

LAKES & NEW 

ENGLAND 

PROVINCES 

Martha Twarkins, Green Mountain/Finger Lakes Roger Tremont, Eastern Region Rick Short, Midewin National Tallgrass Prairie Greg Porter, Allegheny National Forest* Dennis Parker, Chippewa National Forest Walt Okstad, Superior National Forest George Lundy, Eastern Region Frank Leoni, Superior National Forest David Lary, Green Mountain/Finger Lakes NFs Dennis Jones, Eastern Region John Jakel, Eastern Region David Dercks, Eastern Region Larry Anderson, Eastern Region Lisa Whitcomb, Eastern Region* Daryl Dean, Chequamegon/Nicolet National Forest* 

NFs 

Ron Yates, Lewis & Clark National Forest Gerry Xavier, Eastern Region Francisco Valenzuela, Rocky Mountain Region 

ROCKY 

MOUNTAIN AND 

GREAT 

PLAINS 

PROVINCES 

Connie Clementson, Grand Mesa-UncompagreSteven Brink, Intermountain Region Stan Specht, Rocky Mountain Region* Wilden Moffet, Intermountain Region* 

Gunnison NFs 

Neal Weierback, Pike & San Isabel NFs and Deb Tiller, Caribou National Forest Pat Thomas, Flathead National Forest Bob Sieger, San Juan/Rio Grande National Forest Bill Schleining, Black Hills National Forest Bob Ross, Intermountain Region Oswaldo Mino, Northern Region Margaret Lincoln, Kootenai National Forest Ron Klouzek, Pike & San Isabel National Forests David Hatch, Wasatch-Cache National Forest Chris Hartman, Intermountain Region Anna Jones Crabtree, Bighorn National Forest 

Cimarron & Comanche NG 

* Province Coordinator Terry Wong, Rocky Mountain Region Corey Wong, Arapaho National Forest Glenda Wilson, Rocky Mountain Region Gordon Williams, Intermountain Region 

Sonja Beavers, National Headquarters, OTHER CONTRIBUTORS 

guidance and contracting of editing Office of Communication, for overall publication 

Tom Iraci, Photographer, Pacific Northwest Region, 

remaining photos in the guide for collecting, selecting, and shooting the 

Nora Laughlin, Regional Landscape Architect, 

toward final publication Alaska Region, for final review and guidance 

Leslie Myers, USDA Office of Communications, 

graphic layout, contracting, and art direction Design Division, for development of the 

George Avalos, USDA Office of Communications, 

layout, contracting, and art direction. Design Division, for development of the graphic 

Jerry Williams, Historian, National Headquarters, 

for the historic photos in Chapter 1 

Dennis E. Bschor, Director of Recreation, through the completion of the BEIG: And finally, for continuing support and funding 

National Headquarters Heritage, and Wilderness Resources, 

Vaughn Strokes, Director of Engineering, 

National Headquarters 

APPENDIX F: ACKNOWLEDGMENTS 275 



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