Selected Works in this Section
Gary R. Hilderbrand, FAAR 1995, FASLA “Almost Nothing” u.d. In Exhibition: CMYK on Matte Paper "Almost Nothing" was published in Composite Landscapes: Photomontage and Landscape Architecture (2015). Hilderbrand is the Hornbeck Professor in Practice at the Harvard GSD.
Gary R. Hilderbrand, FAAR 1995, FASLA “Glass House Reflections 2” u.d. In Exhibition: CMYK on Matte Paper “Glass House Reflections 2” was published in, Composite Landscapes: Photomontage and Landscape Architecture (2015). Hilderbrand is the Hornbeck Professor in Practice at the Harvard GSD. Gary R. Hilderbrand, FAAR 1995, FASLA
Rosetta Sarah Elkin, PhD, FAAR 2018, Garden Club of America Rome Prize “Formation of the Italian Stone Pine” (2018) (Pinus pinea) Descriptive Drawing, Rome Graphite on Vellum 40 in. x 47 in. From the Collection of The Arnold Arboretum, Harvard University
“Ostia Nuova Antica - Section at Fish Farms,” 2008 Digital Drawing, Rome, (2009) 14 in. x 25 in. (CMYK on Matte Paper) Similar to Ted Shelton and Tricia Stuth, during their residency at the Academy, Ursula and Michael spent a significant portion of their time working on an theoretical architectural proposal for an actual site – a tactic that’s a relatively new trend among fellows.
Gary R. Hilderbrand, FAAR 1995, FASLA "Striata” (1995) (Original Size: 11 3/16 in. x 10 in.) Cut paper on watercolor paper In Exhibition: CMYK on Matte Paper
Gary R. Hilderbrand, FAAR 1995, FASLA “Vegetus” (1995) 11 3/16 in. x 10 in. Cut paper on watercolor paper In Exhibition: CMYK on Matte Paper
Kiel Moe, FAAR 2010 “Baths of Caracalla: Solar Reconstruction Study” Digital Drawing, Rome, (2014) 36 in. x 36 in. (CMYK on Matte Paper) Drawing produced during Visiting Residency in 2014 for his Moe’s book: Insulating Modernism: Isolated and Nonisolated Thermodynamics in Architecture, Birkhauser, 2015. Moe is currently the Gerald Sheff Chair in Architecture at McGill University, Montreal, Canada.
Ted Shelton, AFAAR, FAIA & Tricia Stuth, AFAAR, FAIA, 2016 “Seven Provocations for Testaccio” Digital Drawing, Rome, (2016) 49 ¼ in. x 36 in. (CMYK on Matte Paper) Shelton and Stuth are two of four Affiliated FAARs among the UTK School of Architecture faculty, the others being Thomas K. Davis (1984) and, Hansjoerg Goeritz (2015). Testaccio is the 20th rione of Rome with a fascinating history. Long before the Tiber was canalized and was still navigable for small ships, clay amphorae filled with olives, oils, and other goods, were offloaded in this area. Once emptied and considered useless the amphorae were smashed on the ground, slowly building up the area from the shards of broken earthenware. The name is a conflation of testa (head) and coccio (clay shard) – as the process ultimately created Monte Testaccio.
Caroline B. Constant, FAAR 1979 “Nolli’s Chiesa of S. Dorotea at Trastevere” (1979) 9 ½ in. by 12 ¾ in. (Sketch done in situ.) “Bramante's Ninfeo at Gennazzano,” (1979) 8 3/4 in. by 11 ½ in. (Sketch done in situ.) The sketchbook is one of several from Constant’s fellowship year. Immediately prior to her residency, Constant worked in Michael Graves’s office where she contributed large portions to such seminal texts as “The Necessity of Drawing: A Tangible Speculation”.
Thomas Leslie, FAAR 2014, FAIA “Sketch section of Kursaal Ostia, Pier Luigi Nervi” November, 2013. Sketch in ink on Cartridge Paper, Sketch 140Lb 4 ¼ in x 6 in. As with Mark Schimmenti, Leslie was a Mid-career Fellow. On faculty for most of his career teaching in the graduate architecture program at Iowa State University, Leslie’s research has focused on the material and technical aspects of an architect’s productive task – from his book on Louis Kahn to his more recent work on Pier Luigi Nervi.
James Timberlake, FAAR 1983, FAIA “Pazzi Chapel,” Florence Sketch Graphite on cardstock (1982) 8 in. x 10 in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. “Palazzo Massimo,” Rome Sketch Conte’ crayon on plate stock (1982) 16 3/4 in. x 22 3/4 in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia.
James Timberlake, FAAR 1983, FAIA “Baldacchino, S. Giovanni in Laterano,” Rome Drafted Drawing (1 of 5 part series), Graphite on Tracing Paper (1983) 24 ½ in. x 36 ½ in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. The baldacchino of S. Giovanni in Laterano represents one of five constructed drawings paired with final drawing Timberlake made during his1982-83 Fellowship Year. Five baldacchino were drawn: S. Giovanni in Laterano; S. Clemente; S. Maria Cosmedin; S. Silvestro; and S. Maria Maggiore. “Calcs” (short for “Calculation Drawings”) were a particular drawing type customary in the office of Venturi, Scott Brown, where Timberlake worked for about a decade prior to his AAR Fellowship. In short, they were what, in the Florentine Renaissance, be called a “Preparatory Drawing” or Preparatory Painting.” Timberlake created the calcs for all five baldacchini in his AAR studio, based on his hand sketches with general scale markers made in situ. During the calc process, Timberlake made reference to photographic slides he had made on site, and published postcards he had collected. Upon completion of the calc layer – other layers replaced portions of the drawing (redone/remade) while creating the underlay. Once completed, a new second drawing was re-drafted on final toothed paper using #2 Ticonderoga pencils. The layered “calc” on tracing paper and the re-drafted final version on toothed paper established a final pairing for later exhibition at the academy.
Steven Kieran, FAAR 1981, FAIA “Palazzo Canossa,” Rome Analytical Sketch Felt tip pen and pencil on card stock (1981-82) 13 ½ in. x 28 in. “San Andrea della Fratte,” Rome Analytical Sketch Felt tip pen and pencil on card stock (1981-82) 13 ½ in. x 28 in. Private Collection of James Timberlake & Marguerite Rodgers, Philadelphia. During his Fellowship Kieran realized photographic documentation of sites would be to expensive. Desiring to remember each and everything he visited, he purchased 3.0 x 5.0 cards on which he documented his analysis of numerous buildings and spaces throughout Italy. During his fellowship he made on average about a dozen of these cards every day. The over 3500 cards include: site plans, architectural plans, vertical sections, critical details, and textual notations about the places. The Palazzo Canossa and San Andrea della Fratte exhibits are from this collection. The cards were auctioned at an AAR Benefit in the mid 1990s, which is when they were acquired by James Timberlake and Marguerite Rodgers as part of their collection.
Mark Schimmenti, FAAR 1998 “Piazza Augusto Imperatore I and II, Rome,” u.d. Oil Crayon, Graphite, Color Pencil, Ink on Hot Pressed 140Lb Watercolor Board 14 1/8 in x 17 1/8 in There are many ways of being a “Fellow” of the AAR; Schimmenti was a Mid-career Fellow. Schimmenti is currently a Professor Emeritus from the UTK School of Architecture and is one of four Fellows and Affilliated Fellows from from the UTK Architecture Program whose work is represented in in this exhibition.
Photos from the Gallery
