Timberline Lodge History
Timberline Lodge Hundreds of thousands of visitors come to Timberline Lodge each year, making it one of the top tourist attractions in the State of Oregon. A majestic and natural structure made of local wood and stone, the lodge was built in three parts. It consists of two wings that extend and meet at right angles at a hexagonal-shaped tower, known as the “head house”. The Lodge lays below a recreational ski area and in the spring and summer it serves as a base camp for hikers and climbers alike. With help from the Mount Hood Development Association and President Roosevelt’s New Deal Plan, Timberline lodge was built and finished between 1936 and 1938 by the Works Progress Administration, which was created by Roosevelt after the great depression
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to give people work. The structure is very traditional in style with purposeful resemblance to wilderness hotels in places such as Switzerland, Austria and Germany. However, Timberline Lodge is very unique from all other wilderness hotels because of its many sections of handcrafted furnishings and structures. Throughout the lodge the furnishings made by hand include fabrics for rugs, lamps, chandeliers and furniture. The walls are decorated by an excellent collection of oils, watercolors, prints, mosaics, stained glass and woodcarvings all created by the WPA artists and craftsmen. Today Timberline Lodge still rests on Mt. Hood’s Southern flank overlooking the Salmon River Canyon and it is a spectacle and architectural museum frozen in time for all people of our modern era to enjoy and appreciate. The lodge rests at an elevation of about 5,500 feet and because of this it is very symmetrically balanced in its design for multiple structural reasons. In order to allow the lodge to serve as an arm support, its body fragments are composed of two A-Frame shaped wings which connect to a hexagonal-shaped head house. This design element allows the lodge to withstand year round mock assault games from temperatures, winds and of coarse snow. Timberline Lodge 's design strongly serves both a functional and representational image style. The steep strong wooden roofs that reach from the main beams along the top of the lodge to the floor, protect the building from large snow drifts both because of their composition and smooth design which also makes it resistant to high winds. From the outside of the lodge looking from afar the lodge serves a great representational memetic purpose. One might even say it appears as a highly representational abstract of the mountain and surrounding environment. The structure fits into a small nook on the south side of the mountain in a naturalistic fashion. With its A-Frame roofs, hexagonal head house and earth works; like stones used from Mt. Hood, the lodge almost resembles the mountain itself. Because of its strong steep roofs the building allows snow drift to move up and down it in the winter which sometimes gives off the appearance that the lodge is a rock formation because you can only see the tops of the brown roof. As you walk up the front steps to the lodge a large 1000+ pound door gives off the vibe that the personality of the lodge is more trusting than vigilant. Once inside, the postmodern image style which is over three quarters of a century old, makes you feel like your back in the 1800 's. While the inside of the lodge serves its purpose of conveying a time once forgotten its personality is modest and traditional while also being futuristic at the same time. The layout of the inside of the lodge is open, which serves both the visual and spacial intelligences. While at the same time it also appears very interpersonal and existential through its native american designs. Both the outside and inside of the lodge satisfy aesthetic needs with its naturalistic design and blending of environments. Whenever one leaves the lodge they usually have a rosy retrospective bias because Timberline had such a great effect on them. The lodge itself truly represents the state of Oregon. Through it 's phenomenalism it gives it 's guests a great Oregon experience. With it 's combination of futurism and traditionalism the lodge transports guests to a time long ago/ While at the same time satisfying their esteem needs with it 's state of the art technology. Every time I end up telling a story from Timberline it seems like I have an egocentric bias towards the lodge and not just because I 'm an Oregonian. Timberline Lodge is a beautiful piece of architecture that both representationally and harmoniously emphasizes the great mountain on which it has sat for over three quarters of a century. It smoothly contrasts the environment in which it is a part of through it 's design and materials. Furthermore, the lodge itself, both inside and out, conjure to mind a feeling of of a time nearly forgotten. The Pioneers would have been proud. Because the mountain is such a distance from any city or town, it was in the late 1920’s that skiers at Mt. Hood realized the need for a place to stay overnight. It was then in the 1930’s that Jack Meier, who was a fanatic skier, organized the Mt. Hood Development Association in an attempt to build a shelter on Mt. Hood. Meier approached Emerson J. Griffith who was the director for the WPA in Oregon to try and establish a lodge at government camp. Griffith was interested in the project, but was convinced by a young Portland architect, John Yeon Jr., to consider the timberline site instead, with this Griffith visualized the site as a large building in the chateau style. Gilbert Stanley Underwood who headed an architectural firm in Los Angeles soon jumped on board and became a consulting architect on the timberline project, but most of the blue prints were still drawn by the forest service architects. Tim Turner was the first architect hired by the Forest Service and Linn Forrest, Howard Gifford and Dean Wright were also hired subsequently. Turner acted as supervisor of the architects and was active on the site during construction as well. It was Forrest, a recent graduate of Massachusetts Institute of Technology, who drew the bulk of the floor plans and exterior views. Gifford worked on the interior and incorporated the Indian motifs, and Forest Service engineers W.D Smith and W.W. Gano produced the structural engineering designs that were specially adapted to abnormal snow loads and creep. I read an article out of Oregon Historical Quarterly by a blacksmith named Oliver B. Dawson. Dawson was appointed as a Supervisor in the Art Project of the WPA. Dawson was a big fan of the Lodge project after being told that the design was going to have a Pioneer and North American Indian motif. He liked the idea because he had family heritage in the Cherokee tribe. To Dawson, the whole project was very exciting because it was being done by the Art Project of the WPA and a lot of people were going to help out, including other well known blacksmiths. One of the head architects Tim Turner had the idea for the ironwork of the lodge and he wanted it all to be hot forged just like pioneer times. He, combined with many other blacksmiths, took great pride in their work on the Timberline Lodge. However, he felt that because it was constructed under the WPA he wasn’t able to have as much freedom in his work. One year after construction he was told that Franklin Roosevelt would come stay in one of the deluxe rooms and that he had only two weeks and two days to finish all the fixtures in and castings in the lodge. Dawson told engineers that there wasn’t enough time for all that and he said they wouldn’t take “no” for an answer. They ended up recruiting a bunch of men from Portland to come help them finish up and sure enough everything was done in two weeks. As soon as the the president got into town, he took a motorcade all around Oregon and finished at Timberline Lodge. Dawson was invited but he refused the invitation for he had been working too hard and long and insisted on going home. Listening to the ceremony on the Radio from home Dawson got a lot of compliments from the first lady on all his metal and iron castings which gave him a strong sense of accomplishment. At the end of the story, he recalls going to lay the corner stone in 1936 with his wife and some friends. He said that it started to rain after the ceremony and that they had no cover to run for because the trees were to low to the ground and they 're cars were at the base of the hill so they just had to take the rain. As they sat there, he finishes with “I don 't know whether that was a good or bad omen, but I doubt if any one of the hundred of people who were there that day could possibly have visualized the beautiful and interesting structure that would soon to rise. May it be there for many decades to come.” Dawson really admired the Timberline Lodge project because it allowed him to show his skills to the world because timberline lodge stood for something nationally. The WPA construction of the Lodge got national attention from the president and the first lady. It was and still is successful in its reputation becacuse of its admiration by all. The second source I read was from a book called, Timberline Lodge, that I found in the knight library. The book covers all the basic aspects of the making and designing of the lodge. The book delves into how the design of the lodge was meant be “Cascadian” and similar to the lodges of Alpine Europe, “America has never developed any highland architecture such as the Alpine of Europe. So an attempt was made to establish a distinctive style, which subsequently was given the name of Cascadian architecture.” While drawing the designs for the lodge the architects wanted to instill in them the most basic feel for that of Alpine Europe. They accomplished this by using steep roofs and rugged walls which can take heavy snow loads and by using strong pioneer motifs. Being at the lodge, which from its name sits on the timberline, truly makes one feel as if they have been transported to a different region and time of the world. In my last source I read by William Robbins called, Timberline Lodge: The History, Art, and Craft of an American Icon, Robbins discusses further the intentions of the design of the lodge, “The shape of the central lounge was inspired by the character and outline of the mountain peak. The steepness of the roof was determined by the heavier snow loads at the elevation... the entire exterior was made to blend as nearly as possible with the mountain side” (William G. Robbins, Timberline Lodge: The History, Art, and Craft of an American Icon). The lodge when viewed from a distance is pleasing to the eye as it works as a naturalistic representation of the mountain that serves as its backdrop. This element is achieved by the head house and steep roofs which react as a mountain would to the natural elements around it. Because of this element Timberline Lodge serves as a beautiful and mysterious element to the mountain itself. Timberline Lodge falls under many categories of the Visual Arts. First and foremost its an environmental art because it is a wonderful piece of architecture. Secondly, its a Public Art because it was all constructed under the Works Progress Administration which was created by the order of President Franklin Delano Roosevelt and was funded by congress. The projects were funded by states and cities so they were paid for by the public. The lodge is also built on public land on Mt. Hood and created for the public to enjoy. Thirdly, it 's a functional piece of art because its enjoyed by hundreds of thousands of visitors every year and people come to stay and live in it for short periods of time and it serves as protection from the elements. Lastly it could be considered an Artworld Work because although it is not exhibited in a museum or gallery of any sort it is included in a colt classic film; The Shining by Stanley Kubrick. The exterior shots of the lodge used in the filming of the movie has given the building legendary status. People from all around the world come to see the lodge for this reason and admire it. Furthermore, it 's implementation in Kubrick 's 1980 classic will make the lodge 's presence eternal like a fine piece of art in a museum. Because of this its reputation and acknowledgment in our culture is well known as it serves as a pop cultural icon. Whenever people come to the lodge they can feel the spookiness of the old pioneer Alpine set hotel. The lodge of coarse isn 't haunted but this only adds to the mystery of the large cabin which sits at the top of the timberline. From an Oregonians perspective the lodge obviously serves as a refuge from a long day of hiking and skiing outdoors. It allows us to relax and escape from the troubles of our lives waiting back at home. Staying at timberline furthermore brings us back to our roots as human beings. It helps us reflect on our past as pioneers and people of the wilderness. In this sense, Timberline philosophically serves an emotive expression because it evokes an emotional experience from its guests. This feeling of pioneering and wilderness that takes someone back to they 're roots as humans was created purposefully by its design and motifs. Turner the head architect intended the lodge to elicit a rustic alpine feel which would be very fitting to people staying on the mountain and would stay fresh contemporarily for decades to come. The lodge itself reflects on a common human feeling and pursuit of trying to return to a time that once was and to a land that is far away. The designers and architects intentions were just that. Just like Croce and Collingwood agreed on about art as emotive expression, “the mental nature of art [is] conceived inside the artists head before being put into a medium”. The formalist perspective does not match however with my perception of Timberline Lodge. This is because the formalist 's view is about form, the way its made, and its pure visual aspects. The formalist view doesn 't take into account the realism, context, history, makers intentions, and ethical or social aspects at all. To me Timberline Lodge, although very beautiful visually, is a symbol and piece of art for more reasons than just its architectural aspects. The lodge represents Oregon and human influence on the natural environment and the mountain itself. If someone were to analyze the lodge itself only take into account the visual and formal aspects of it they would only be seeing half the picture. The formalist 's view is very much unlike my own and therefore I would have to reject it in my philosophical perspective of Timberline Lodge. The Lodge was created for many reasons, one of them being political.
It was created under FDR 's Works Progress Administration which was FDR 's way of giving jobs back to Americans and showing them that although we were suffering from a depression we could still manage to do great things. With his New Deal plan and the WPA he helped build among many other things in America, Timberline Lodge. The lodge was also created for society as-well. The building draws thousands of visitors every year and this has dramatically increased since 1980 because of Stanley Kubricks movie the Shining. Timberline Lodge was created for an experience and emotional response as-well. People who come to the lodge every year are sent to a far away land such as Alpine Europe. The lodge serves its purpose for visual pleasure as well because of its beautiful design that allows it to blend in with mountain and environment all around it. The interior of the lodge is beautiful as well with its many hand made ornaments and fixtures that have remained there for over three quarters of a century. In this sense it is also a commemorative piece which tells the story about the people, age , culture and region in which the lodge was built. When one stays at Timberline they are immersed in the history of
Oregon. Timberline can be appreciated aesthetically by many different views. Religiously it could be enjoyed by the Christian aesthetic view of art because it represents god and creation. Because god created man christians believe that man finds aesthetic pleasure in things like art because man is acting like god in his ability to create. However, the lodge would probably not fit or satisfy the African Aesthetic of because most if not all of their art is created and used to portray an aesthetic of health. The art of the African culture whether for good, bad, happy or sad, portray some degree of health using carvings of people and animals alike. To achieve these aesthetics of health their culture carves most often wood sculptures in different fashions to varying consistencies to represent different levels of health. Because of Timberline Lodge serving as an environmental piece of art (Architecture) the African view of Aesthetics would not apply. First of all because it is not a representation of a man or animal, it is not carved to varying consistencies and most importantly its not created to portray some degree of health. Socioculturally Timberline lodge was created to give skiers a place to to stay the night after a long day on the mountain. But it has slowly digressed into a place to just stay the night because it is such an experience. The lodge has become a type of resort that people enjoy going to weather they are taking part in activities or not. Because of Kubrick 's film, The Shining, the lodge has become one of many icons of the northwest. It not only has become an icon but a pop cultural landmark as well. In the winter months when heavy snow storms rock the steep roofs of the lodge, the management has murder mystery parties that celebrate the movie that made the lodge famous. For most Oregonians Timberline Lodge has become a symbol for the mountain and everyone that takes joy in being outdoors. Symbolically Timberline represents a heritage of skiers like Jack Mier, who are obsessed with going to the mountain rain or shine to enjoy the great state of Oregon. The lodge also represents our history not only Oregon 's but Americans. It gives a flashback into time of how our culture used to be and how design has been influenced over the years. With its many cast iron fixtures and large stone fire places it removes its guest from modern times and transports them into a feeling of centuries ago. Symbolically Timberline represents everything that Oregonians love; the great outdoors, skiing, hiking, beautiful sunsets, removal of technology and rustic old beautiful architecture. Environmentally the lodge built on a mountain in the wilderness so it has many effects on the habitats around it. The physical effects of Timberline could probably have been see when it was being created. To build the lodge they had to log over 150 acres of forest to make a road and lodge among other things. This logging definitely had an impact on the animals and species of wildlife that lived around or near where he lodge was constructed. However, there is definitely a sense preservationism that can be seen both inside and out of lodge. The inside of the lodge is littered with pictures and designs of native american culture and Oregon landscapes. The interior decoration is a celebration of the environment in which the lodge was built and the cultures that have resided in the land it was built over the ages. The outside of the lodge has a preservationism feel to it as well with the design of the cabin attempting to be as camouflaged with the landscape as possible. Its architects intended for the lodge to be almost unnoticed, blending perfectly into the mountaintop. Behaviorally Timberline makes people feel happy and removes them from their daily lives for a couple hours or maybe days. It serves as a home base for people using the mountain or for people just traveling through Northeastern Oregon. The lodge is a temple for people who want to be as close to the mountain as possible. For some families it plays a connecting role in allowing them to interact maybe once a year. For people like me its a mysterious place that pleases the senses both physically and figuratively. Its a time machine that I can go to and say that I experienced something that other Oregonians have experienced before me for the last 70 years. It satisfies its purposes for being built in every way shape and form. After this project I have learned so much more about Timberline Lodge than I ever knew before. It truly serves as a cultural symbolic and environmental icon for all of Oregon. I completely agree with the experts and the designers and architects who created it. Timberline Lodge is truly a masterpiece, in my own mind, and I wouldn 't have done it any other way. From my perspective I would definitely consider it a piece of art. Its wonderful in the way it was designed. The way it fits into the mountain landscape and reflect the beautiful and majestic backdrop that is Mt. Hood. The way it was designed and the ideals and motifs reflected by it will last for centuries to come and it will be restored many times over. For ages to come, people will be able to go to Timberline Lodge and experience the old alpine lifestyle of Eastern Europe and at the same time be able to reflect on their own culture that pioneered manifest destiny to the west. Timberline lodge is a beautiful and glorious piece of architecture that will forever be a museum frozen in time for all people, architects and builders alike to come and appreciate for years and years to come. Works Cited
Griffin, Rachael, and Sarah Munro. Timberline Lodge. Portland, Or.: Friends of Timberline, 1978. Print.
The Ironwork of Timberline, Oliver B. Dawson Oregon Historical Quarterly , Vol. 76, No. 3 (Sep., 1975), pp. 258-268
Robbins, William. "Timberline Lodge: The History, Art, and Craft of an American Icon Sarah Baker Munro."Oregon Historical Quarterly, 111.1 (2010): 109-110.
Griffin, Rachael, and Sarah Munro. Timberline Lodge. Portland, Or.: Friends of Timberline, 1978. Print.
The Ironwork of Timberline, Oliver B. Dawson Oregon Historical Quarterly , Vol. 76, No. 3 (Sep., 1975), pp. 258-268
to give people work. The structure is very traditional in style with purposeful resemblance to wilderness hotels in places such as Switzerland, Austria and Germany. However, Timberline Lodge is very unique from all other wilderness hotels because of its many sections of handcrafted furnishings and structures. Throughout the lodge the furnishings made by hand include fabrics for rugs, lamps, chandeliers and furniture. The walls are decorated by an excellent collection of oils, watercolors, prints, mosaics, stained glass and woodcarvings all created by the WPA artists and craftsmen. Today Timberline Lodge still rests on Mt. Hood’s Southern flank overlooking the Salmon River Canyon and it is a spectacle and architectural museum frozen in time for all people of our modern era to enjoy and appreciate. The lodge rests at an elevation of about 5,500 feet and because of this it is very symmetrically balanced in its design for multiple structural reasons. In order to allow the lodge to serve as an arm support, its body fragments are composed of two A-Frame shaped wings which connect to a hexagonal-shaped head house. This design element allows the lodge to withstand year round mock assault games from temperatures, winds and of coarse snow. Timberline Lodge 's design strongly serves both a functional and representational image style. The steep strong wooden roofs that reach from the main beams along the top of the lodge to the floor, protect the building from large snow drifts both because of their composition and smooth design which also makes it resistant to high winds. From the outside of the lodge looking from afar the lodge serves a great representational memetic purpose. One might even say it appears as a highly representational abstract of the mountain and surrounding environment. The structure fits into a small nook on the south side of the mountain in a naturalistic fashion. With its A-Frame roofs, hexagonal head house and earth works; like stones used from Mt. Hood, the lodge almost resembles the mountain itself. Because of its strong steep roofs the building allows snow drift to move up and down it in the winter which sometimes gives off the appearance that the lodge is a rock formation because you can only see the tops of the brown roof. As you walk up the front steps to the lodge a large 1000+ pound door gives off the vibe that the personality of the lodge is more trusting than vigilant. Once inside, the postmodern image style which is over three quarters of a century old, makes you feel like your back in the 1800 's. While the inside of the lodge serves its purpose of conveying a time once forgotten its personality is modest and traditional while also being futuristic at the same time. The layout of the inside of the lodge is open, which serves both the visual and spacial intelligences. While at the same time it also appears very interpersonal and existential through its native american designs. Both the outside and inside of the lodge satisfy aesthetic needs with its naturalistic design and blending of environments. Whenever one leaves the lodge they usually have a rosy retrospective bias because Timberline had such a great effect on them. The lodge itself truly represents the state of Oregon. Through it 's phenomenalism it gives it 's guests a great Oregon experience. With it 's combination of futurism and traditionalism the lodge transports guests to a time long ago/ While at the same time satisfying their esteem needs with it 's state of the art technology. Every time I end up telling a story from Timberline it seems like I have an egocentric bias towards the lodge and not just because I 'm an Oregonian. Timberline Lodge is a beautiful piece of architecture that both representationally and harmoniously emphasizes the great mountain on which it has sat for over three quarters of a century. It smoothly contrasts the environment in which it is a part of through it 's design and materials. Furthermore, the lodge itself, both inside and out, conjure to mind a feeling of of a time nearly forgotten. The Pioneers would have been proud. Because the mountain is such a distance from any city or town, it was in the late 1920’s that skiers at Mt. Hood realized the need for a place to stay overnight. It was then in the 1930’s that Jack Meier, who was a fanatic skier, organized the Mt. Hood Development Association in an attempt to build a shelter on Mt. Hood. Meier approached Emerson J. Griffith who was the director for the WPA in Oregon to try and establish a lodge at government camp. Griffith was interested in the project, but was convinced by a young Portland architect, John Yeon Jr., to consider the timberline site instead, with this Griffith visualized the site as a large building in the chateau style. Gilbert Stanley Underwood who headed an architectural firm in Los Angeles soon jumped on board and became a consulting architect on the timberline project, but most of the blue prints were still drawn by the forest service architects. Tim Turner was the first architect hired by the Forest Service and Linn Forrest, Howard Gifford and Dean Wright were also hired subsequently. Turner acted as supervisor of the architects and was active on the site during construction as well. It was Forrest, a recent graduate of Massachusetts Institute of Technology, who drew the bulk of the floor plans and exterior views. Gifford worked on the interior and incorporated the Indian motifs, and Forest Service engineers W.D Smith and W.W. Gano produced the structural engineering designs that were specially adapted to abnormal snow loads and creep. I read an article out of Oregon Historical Quarterly by a blacksmith named Oliver B. Dawson. Dawson was appointed as a Supervisor in the Art Project of the WPA. Dawson was a big fan of the Lodge project after being told that the design was going to have a Pioneer and North American Indian motif. He liked the idea because he had family heritage in the Cherokee tribe. To Dawson, the whole project was very exciting because it was being done by the Art Project of the WPA and a lot of people were going to help out, including other well known blacksmiths. One of the head architects Tim Turner had the idea for the ironwork of the lodge and he wanted it all to be hot forged just like pioneer times. He, combined with many other blacksmiths, took great pride in their work on the Timberline Lodge. However, he felt that because it was constructed under the WPA he wasn’t able to have as much freedom in his work. One year after construction he was told that Franklin Roosevelt would come stay in one of the deluxe rooms and that he had only two weeks and two days to finish all the fixtures in and castings in the lodge. Dawson told engineers that there wasn’t enough time for all that and he said they wouldn’t take “no” for an answer. They ended up recruiting a bunch of men from Portland to come help them finish up and sure enough everything was done in two weeks. As soon as the the president got into town, he took a motorcade all around Oregon and finished at Timberline Lodge. Dawson was invited but he refused the invitation for he had been working too hard and long and insisted on going home. Listening to the ceremony on the Radio from home Dawson got a lot of compliments from the first lady on all his metal and iron castings which gave him a strong sense of accomplishment. At the end of the story, he recalls going to lay the corner stone in 1936 with his wife and some friends. He said that it started to rain after the ceremony and that they had no cover to run for because the trees were to low to the ground and they 're cars were at the base of the hill so they just had to take the rain. As they sat there, he finishes with “I don 't know whether that was a good or bad omen, but I doubt if any one of the hundred of people who were there that day could possibly have visualized the beautiful and interesting structure that would soon to rise. May it be there for many decades to come.” Dawson really admired the Timberline Lodge project because it allowed him to show his skills to the world because timberline lodge stood for something nationally. The WPA construction of the Lodge got national attention from the president and the first lady. It was and still is successful in its reputation becacuse of its admiration by all. The second source I read was from a book called, Timberline Lodge, that I found in the knight library. The book covers all the basic aspects of the making and designing of the lodge. The book delves into how the design of the lodge was meant be “Cascadian” and similar to the lodges of Alpine Europe, “America has never developed any highland architecture such as the Alpine of Europe. So an attempt was made to establish a distinctive style, which subsequently was given the name of Cascadian architecture.” While drawing the designs for the lodge the architects wanted to instill in them the most basic feel for that of Alpine Europe. They accomplished this by using steep roofs and rugged walls which can take heavy snow loads and by using strong pioneer motifs. Being at the lodge, which from its name sits on the timberline, truly makes one feel as if they have been transported to a different region and time of the world. In my last source I read by William Robbins called, Timberline Lodge: The History, Art, and Craft of an American Icon, Robbins discusses further the intentions of the design of the lodge, “The shape of the central lounge was inspired by the character and outline of the mountain peak. The steepness of the roof was determined by the heavier snow loads at the elevation... the entire exterior was made to blend as nearly as possible with the mountain side” (William G. Robbins, Timberline Lodge: The History, Art, and Craft of an American Icon). The lodge when viewed from a distance is pleasing to the eye as it works as a naturalistic representation of the mountain that serves as its backdrop. This element is achieved by the head house and steep roofs which react as a mountain would to the natural elements around it. Because of this element Timberline Lodge serves as a beautiful and mysterious element to the mountain itself. Timberline Lodge falls under many categories of the Visual Arts. First and foremost its an environmental art because it is a wonderful piece of architecture. Secondly, its a Public Art because it was all constructed under the Works Progress Administration which was created by the order of President Franklin Delano Roosevelt and was funded by congress. The projects were funded by states and cities so they were paid for by the public. The lodge is also built on public land on Mt. Hood and created for the public to enjoy. Thirdly, it 's a functional piece of art because its enjoyed by hundreds of thousands of visitors every year and people come to stay and live in it for short periods of time and it serves as protection from the elements. Lastly it could be considered an Artworld Work because although it is not exhibited in a museum or gallery of any sort it is included in a colt classic film; The Shining by Stanley Kubrick. The exterior shots of the lodge used in the filming of the movie has given the building legendary status. People from all around the world come to see the lodge for this reason and admire it. Furthermore, it 's implementation in Kubrick 's 1980 classic will make the lodge 's presence eternal like a fine piece of art in a museum. Because of this its reputation and acknowledgment in our culture is well known as it serves as a pop cultural icon. Whenever people come to the lodge they can feel the spookiness of the old pioneer Alpine set hotel. The lodge of coarse isn 't haunted but this only adds to the mystery of the large cabin which sits at the top of the timberline. From an Oregonians perspective the lodge obviously serves as a refuge from a long day of hiking and skiing outdoors. It allows us to relax and escape from the troubles of our lives waiting back at home. Staying at timberline furthermore brings us back to our roots as human beings. It helps us reflect on our past as pioneers and people of the wilderness. In this sense, Timberline philosophically serves an emotive expression because it evokes an emotional experience from its guests. This feeling of pioneering and wilderness that takes someone back to they 're roots as humans was created purposefully by its design and motifs. Turner the head architect intended the lodge to elicit a rustic alpine feel which would be very fitting to people staying on the mountain and would stay fresh contemporarily for decades to come. The lodge itself reflects on a common human feeling and pursuit of trying to return to a time that once was and to a land that is far away. The designers and architects intentions were just that. Just like Croce and Collingwood agreed on about art as emotive expression, “the mental nature of art [is] conceived inside the artists head before being put into a medium”. The formalist perspective does not match however with my perception of Timberline Lodge. This is because the formalist 's view is about form, the way its made, and its pure visual aspects. The formalist view doesn 't take into account the realism, context, history, makers intentions, and ethical or social aspects at all. To me Timberline Lodge, although very beautiful visually, is a symbol and piece of art for more reasons than just its architectural aspects. The lodge represents Oregon and human influence on the natural environment and the mountain itself. If someone were to analyze the lodge itself only take into account the visual and formal aspects of it they would only be seeing half the picture. The formalist 's view is very much unlike my own and therefore I would have to reject it in my philosophical perspective of Timberline Lodge. The Lodge was created for many reasons, one of them being political.
It was created under FDR 's Works Progress Administration which was FDR 's way of giving jobs back to Americans and showing them that although we were suffering from a depression we could still manage to do great things. With his New Deal plan and the WPA he helped build among many other things in America, Timberline Lodge. The lodge was also created for society as-well. The building draws thousands of visitors every year and this has dramatically increased since 1980 because of Stanley Kubricks movie the Shining. Timberline Lodge was created for an experience and emotional response as-well. People who come to the lodge every year are sent to a far away land such as Alpine Europe. The lodge serves its purpose for visual pleasure as well because of its beautiful design that allows it to blend in with mountain and environment all around it. The interior of the lodge is beautiful as well with its many hand made ornaments and fixtures that have remained there for over three quarters of a century. In this sense it is also a commemorative piece which tells the story about the people, age , culture and region in which the lodge was built. When one stays at Timberline they are immersed in the history of
Oregon. Timberline can be appreciated aesthetically by many different views. Religiously it could be enjoyed by the Christian aesthetic view of art because it represents god and creation. Because god created man christians believe that man finds aesthetic pleasure in things like art because man is acting like god in his ability to create. However, the lodge would probably not fit or satisfy the African Aesthetic of because most if not all of their art is created and used to portray an aesthetic of health. The art of the African culture whether for good, bad, happy or sad, portray some degree of health using carvings of people and animals alike. To achieve these aesthetics of health their culture carves most often wood sculptures in different fashions to varying consistencies to represent different levels of health. Because of Timberline Lodge serving as an environmental piece of art (Architecture) the African view of Aesthetics would not apply. First of all because it is not a representation of a man or animal, it is not carved to varying consistencies and most importantly its not created to portray some degree of health. Socioculturally Timberline lodge was created to give skiers a place to to stay the night after a long day on the mountain. But it has slowly digressed into a place to just stay the night because it is such an experience. The lodge has become a type of resort that people enjoy going to weather they are taking part in activities or not. Because of Kubrick 's film, The Shining, the lodge has become one of many icons of the northwest. It not only has become an icon but a pop cultural landmark as well. In the winter months when heavy snow storms rock the steep roofs of the lodge, the management has murder mystery parties that celebrate the movie that made the lodge famous. For most Oregonians Timberline Lodge has become a symbol for the mountain and everyone that takes joy in being outdoors. Symbolically Timberline represents a heritage of skiers like Jack Mier, who are obsessed with going to the mountain rain or shine to enjoy the great state of Oregon. The lodge also represents our history not only Oregon 's but Americans. It gives a flashback into time of how our culture used to be and how design has been influenced over the years. With its many cast iron fixtures and large stone fire places it removes its guest from modern times and transports them into a feeling of centuries ago. Symbolically Timberline represents everything that Oregonians love; the great outdoors, skiing, hiking, beautiful sunsets, removal of technology and rustic old beautiful architecture. Environmentally the lodge built on a mountain in the wilderness so it has many effects on the habitats around it. The physical effects of Timberline could probably have been see when it was being created. To build the lodge they had to log over 150 acres of forest to make a road and lodge among other things. This logging definitely had an impact on the animals and species of wildlife that lived around or near where he lodge was constructed. However, there is definitely a sense preservationism that can be seen both inside and out of lodge. The inside of the lodge is littered with pictures and designs of native american culture and Oregon landscapes. The interior decoration is a celebration of the environment in which the lodge was built and the cultures that have resided in the land it was built over the ages. The outside of the lodge has a preservationism feel to it as well with the design of the cabin attempting to be as camouflaged with the landscape as possible. Its architects intended for the lodge to be almost unnoticed, blending perfectly into the mountaintop. Behaviorally Timberline makes people feel happy and removes them from their daily lives for a couple hours or maybe days. It serves as a home base for people using the mountain or for people just traveling through Northeastern Oregon. The lodge is a temple for people who want to be as close to the mountain as possible. For some families it plays a connecting role in allowing them to interact maybe once a year. For people like me its a mysterious place that pleases the senses both physically and figuratively. Its a time machine that I can go to and say that I experienced something that other Oregonians have experienced before me for the last 70 years. It satisfies its purposes for being built in every way shape and form. After this project I have learned so much more about Timberline Lodge than I ever knew before. It truly serves as a cultural symbolic and environmental icon for all of Oregon. I completely agree with the experts and the designers and architects who created it. Timberline Lodge is truly a masterpiece, in my own mind, and I wouldn 't have done it any other way. From my perspective I would definitely consider it a piece of art. Its wonderful in the way it was designed. The way it fits into the mountain landscape and reflect the beautiful and majestic backdrop that is Mt. Hood. The way it was designed and the ideals and motifs reflected by it will last for centuries to come and it will be restored many times over. For ages to come, people will be able to go to Timberline Lodge and experience the old alpine lifestyle of Eastern Europe and at the same time be able to reflect on their own culture that pioneered manifest destiny to the west. Timberline lodge is a beautiful and glorious piece of architecture that will forever be a museum frozen in time for all people, architects and builders alike to come and appreciate for years and years to come. Works Cited
Griffin, Rachael, and Sarah Munro. Timberline Lodge. Portland, Or.: Friends of Timberline, 1978. Print.
The Ironwork of Timberline, Oliver B. Dawson Oregon Historical Quarterly , Vol. 76, No. 3 (Sep., 1975), pp. 258-268
Robbins, William. "Timberline Lodge: The History, Art, and Craft of an American Icon Sarah Baker Munro."Oregon Historical Quarterly, 111.1 (2010): 109-110.
Griffin, Rachael, and Sarah Munro. Timberline Lodge. Portland, Or.: Friends of Timberline, 1978. Print.
The Ironwork of Timberline, Oliver B. Dawson Oregon Historical Quarterly , Vol. 76, No. 3 (Sep., 1975), pp. 258-268