- Wright Studies
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Lockridge Medical Clinic,
Whitefish, Montana (1958) (S.425) |
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Little has been published concerning
this Wright building. Designed in 1958, construction began in
1961 after a Whitefish carpenter visited Taliesin to
familiarized himself with Wright’s methods. The 5,000 square
foot clinic, designed on a four foot grid, opened in 1963
and functioned as a clinic for one year until Dr. T. L. Lockridge passed away in
1964. The clinic was designed as a medical clinic for Drs.
Lockridge, McIntyre and Whalen, upon Dr. Lockridge’s insistence.
Rumor has it that the other two doctors were unhappy with
the design. One complaint was that the halls were to narrow,
not allowing wheelchairs to navigate corners |
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restricting entrance into
the examining rooms. This might explain why the clinic vacated
the property after Lockridge’s death. First State Bank made
major revisions to the building and occupied it until 1980.
Since 1980 many other changes have altered the building. In 2002
the building was purchased and remodeled by Frank and Sharon
Morrison, and Sean and Diane Frampton for the law firm of
Morrison & Frampton. While cost and practicality inhibits
restoration to its original design, I appreciate the effort
the Morrisons & Framptons have taken to maintain and
open
the building to visitors.
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Historic Images |
H1: Wright's original conceptual presentation drawing. H2: Detail of Wright's original conceptual presentation drawing. H3: This photograph was taken in the mid to late 60s. Photograph appears in the historical plaque. H4: Detail of the photograph. H6: Detail of the waiting room.
H1: Wright's original conceptual presentation drawing.
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Images May 2008 |
1: The classic horizontal feel with the vertical windows remain. Floor to ceiling windows. Decorative cast concrete fascia. 2: Front side, north end. This end remains as designed, the classic horizontal feel with vertical windows. 3: Detail of one of the vertical windows. 4: The upper parapet which as designed for flowers has been capped. The round twenty four foot semi-circular planter was replaced by two smaller semi-circular planters. The white plastic orb was removed. 5: A second front door on this north side of the waiting room was added. 6: Mitered glass corners, appear on the two outside corners of the waiting room. The classic horizontal feel with the vertical floor to ceiling windows. 7: Detail of the mitered glass corners. 8: Verticals are set on four foot centers. 9: Mitered glass corners, appear on the two outside corners of the waiting room. The classic horizontal feel with the vertical floor to ceiling windows. 10: Detail of the mitered glass corners. 11: Floor to ceiling front door was replaced. 12: Six inch wide vertical glass windows just to the right of the front door, are imbedded in the brick on the right side. 13: Detail of the glass windows imbedded in the brick on the right side. 14: Six inch wide vertical glass windows are repeated on the second set of double doors in the vestibule, and are imbedded in the brick on the right side. 15: Detail of the glass windows imbedded in the brick on the right side. 16: Detail of the interior mitered glass corner in the vestibule. 17: Detail of the vestibule. 18: Detail of the mahogany trim. 19: Detail of the mahogany trim. Notice the screws holding the trim in place. 20: The massive brick fireplace is stunning. 21: Detail of the fireplace grate. 22: The double clerestory windows have mitered glass corners. 23: Detail of the clerestory windows. 24: Interior brickwork clearly shows the raked horizontal joints and tinted mortar. 25: The red tile appears in the photographs from the late 1960s. 26: Historic plaque added by the Stumptown Historical Society and the Whitefish Community Foundation. 27: The mortar is raked one-quarter of an inch on the horizontal joints, and flush on the vertical joints. 28: The mortar is tinted pink, almost light purple, consistent with rock that is native to the area. The interior mortar has been spared the elements and seems to be a darker reddish purple. 29: Decorative cast concrete fascia. 30: Decorative cast concrete fascia. 31: Clerestory windows repeat glass corners. 32: The entrance today. The right side of the roof was extended twelve feet or three sections. It originally was the same length as the north side. An additional large window was added on the right side. The square planter was added as-well-as the corner post support. The long horizontal front stairs that originally extended toward the center of the building to the round semi-circular planter were removed. The round semi-circular planter was replaced by two smaller semi-circular planters. 33: The stress fracture indicates where the original fascia ended. 34: Detail of the stress fracture. 35: The bank added a drive-in window and carport roof, as well as the post supports. 36: The back of the building shows an addition that was added to the center of the building. 37: The length of the fireplace chimney is seen from the back of the building. 38: Back side, north end. This end of the building remains as designed, but the roof line has been altered. A pitched roof was added, I suspect to deal with any leakage problems. This precipitated the addition of the strip of wood capping the decorative cast concrete fascia. 39: North end. Detail of the altered roof line as well as the damage to the decorative cast concrete corner.
1: The classic horizontal feel with the vertical windows remain. Floor to ceiling windows. Decorative cast concrete fascia.
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Text and Photographs by Douglas M. Steiner,
Copyright 2008 |
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Some of the exterior changes include: The floor to ceiling front
door was revised. A second set of front doors on the north side
of the waiting room was added. The right side of the roof over
the entrance was extended approximately twelve feet or three
sections. It used to be the same length as the left side. The
bank added addition windows, a drive in and carport roof. At the
same time, the square planter was added as well as the corner
post support. The upper parapet which was designed for flowers
has been capped. The long horizontal front stairs that extended toward the center of the building to the round
semi-circular planter were removed. The round semi-circular
planter was replaced by two smaller semi-circular planters. The
white plastic orb was removed. The trim, which originally
was natural Philippine mahogany, had been painted a dark grey
has been painted Cherokee red, which is closer to the original
intent. A pitched roof was added, I suspect to deal with leakage
problems. An addition was added to the back of the building. It
was surprising to see the red tile. It appeared in the
photographs from the late 1960s. Wright would give these to the
buildings |
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that met with his personal approval. The
construction was started after his death.
But many of Wright's
details remain on the outside. And they are classic Wright
details. Mitered glass corners, which appear on the two outside
corners of the waiting room as-well-as the clerestory windows.
The six inch vertical glass windows just to the right of the
exterior and interior front doors, are imbedded in the brick on
the right side. These are reminiscent of many Wright buildings.
The classic horizontal feel with the vertical windows. Floor to
ceiling windows. Decorative cast concrete fascia. The mortar is
raked about one-quarter of an inch on the horizontal joints,
and flush on the vertical joints. The mortar is tinted pink,
almost light purple, consistent with rocks that are native to
the area. The interior has suffered extensive remodeling over
the past forty five years. Little remains of Wright’s design,
but what has remained is classic. The massive brick fireplace is
stunning. The double clerestory windows with mitered glass
corners opens up what is left of the waiting room. |
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- Related Books
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"Frank
Lloyd Wright Monograph 1951-1959", Text: Pfeiffer, Bruce
Brooks;
Edited and Photographed:
Futagawa, Yukio, 1990, page 352. |
| “The Frank Lloyd Wright Companion”,
Storrer, William Allin, 1993, page
457. |
| "Frank
Lloyd Wright: The Western Work",
Legler, Dixie, 1999, page
106-109. |
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"The
Vision of Frank Lloyd Wright"
Heinz, 2000, page 355, 356. |
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