1986

Alan Hess, The Origins of McDonald's Golden Arches (Journal of the Society of Architectural Historians, March 1986).

Pierre de la Ruffinière du Prey on, Sir John Soane, Architect (Journal of the Society of Architectural Historians, March 1986).

Paul F. Norton on, The Correspondence and Miscellaneous papers of Benjamin Henry Latrobe (Journal of the Society of Architectural Historians, June 1986).

August E. Sarnitz, Proportion and Beauty--the Lovell Beach House by Rudolph Michael Schindler, Newport Beach, 1922-1926 (Journal of the Society of Architectural Historians, December 1986).

Christian Goedicke, Klaus Slusallek and Martin Kubelik, Thermoluminescence Dating in Architectural History: the Chronology of Palladio's Villa Rotunda (Journal of the Society of Architectural Historians, December 1986).

Mary Taliaferro Boatwright on, Hadrien et l'architecture romaine (Journal of the Society of Architectural Historians, December 1986).

Alberto Pérez-Gómez on, J.N.L. Durand 1760-1834, De l'imitation à la norme (Journal of the Society of Architectural Historians, December 1986).

Franklin Toker on, Biographical Dictionary of Philadelphia Architects: 1700-1930 (Journal of the Society of Architectural Historians, December 1986).

David M. Sokol on, Latrobe's View of America, 1975-1820: Selections from the Watercolors and Sketches (Journal of the Society of Architectural Historians, December 1986).

A.C. Papadakis, Architectural Design (London: Academy Editions, vol. 56 no. 3, 1986).
James Gowen:
Mies van der Rohe Centennial
Arata Isozaki:
Phoenix Government Center
Rick Mather:
New Building at U.E.A.
Terry Farrell:
Royal Opera House Extension

A.C. Papadakis, Architectural Design (London: Academy Editions, vol. 56 no. 4, 1986).
Ahrends Burton & Koralek:
Thames Centre Project
James Gowen:
House at Temple Hill, Hampstead
Bruno Minardi:
Restoration of Gatteo Castle
Sidell Gibson Partnership:
Grand Buildings, Trafalger Square
Leon Krier:
An Architecture of Desire

A.C. Papadakis, Architectural Design (London: Academy Editions, vol. 56 no. 5, 1986).
Geoffrey Jellicoe:
Italian Gardens of the Renaissance
Briones Dalmau & marques:
Industrial conversion in Villarreal, spain
James Stirling, Michael Wilford & Associates:
No. 1 Poultry, London EC4

A.C. Papadakis, Architectural Design (London: Academy Editions, vol. 56 no. 6, 1986).
O.M. Ungers:
The Janus Face of Architecture
Catherine Cooke:
Ivan Leonidov: Vision and Historicism
Heinrich Klotz:
Revision of the Modern -- Vision of the Modern
Rob Krier:
Freiburg Pavilion
James Stirling, Michael Wilford & Associates:
Tate in the North

Venturi, Rauch and Scott Brown, Lewis Thomas Molecular Biology Laboratories (Princeton, NJ: Princeton University, 1983-86), images: 2000.03.05.

Three-Dimensional Graphic Model of Center-City Philadelphia
Stephen Lauf
"It would quickly be seen that the tools that man has made for himself, . . . and which till now have undergone only slight modifications in a slow evolution, have been transformed all at once with an amazing rapidity. These tools in the past were always in man's hands; today they have been entirely and formidably refashioned and for the time being are out of our grasp. The human animal stands breathless and panting before the tool that he cannot take hold of; progress appears to him as hateful as it is praiseworthy . . . This is a great but critical period, . . . we must create the state of mind which can understand what is going on . . . we will see that things have changed: and changed for the better."
The above excerpt, written in 1923 and taken from the opening paragraph of "Architecture or Revolution," the concluding chapter of Le Corbusier's Towards a New Architecture, almost prophesies the arrival of graphics computers in the world of architecture, and, more specifically, their arrival in the world architectural drawing. The graphics computer is indeed a new drawing tool, one that has not "refashioned" the old tools as much as it has replaced them. Pencils, triangles and parallel rules are simply no longer necessary to produce a drawing. However, the heart of the issue is that the graphics computer has also eliminated the need for manual skill, that is, the graphic dexterity of the architect/delineator. Until now, an architect's drawing could be appreciated for both the idea that is manifested and the dexterity with which the idea is presented. It has always been the combination of mind and hand that has made architectural drawings very appealing. The question now is whether a drawing generated with the aid of a computer can be appreciated in the same way.
The 3-D graphic model of center city, commissioned by the Philadelphia City Planning Commission, is a prime example where the capabilities of the machine, in this case Intergraph, far outweigh the capabilities of a delineator or any number of delineators. The model extends from the Delaware River to the Schuylkill River, and from Spring Garden Street down to South Street. On the overall street map are projected, into three dimensions, the general mass of buildings. Since the nature of a 3-D "drawing" allows one to view the subject isometrically from any angle and offers the ability to draw perspectives from any vantage point, the Philadelphia City Planning Commission uses the 3-D model to view and compare the effect of zoning recommendations as well as study the effect of proposed development in center city.
In addition to the infinite number of drawings and views that can be produced through a 3-D graphic model, the computer also offers the chance to view the city dynamically, directly on the screen monitor, as if the city were floating and rotating in space, and the ability to set up a series of selected perspectives to simulate what a person might see walking down a given street.

Stephen Lauf, Drawing Toward Building: Philadelphia Architectural Graphics 1732-1986 (Philadelphia: University of Pennsylvania Press, 1986), p. 263-4.



Stephen Lauf, Battery Park City (New York, NY: schematic site plan, 1986.10.06).

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