In Translation: Some Loss Is Inevitable, will be on display at the 2019 Cinque Mostre Exhibition at the American Academy in Rome. The collection of artifacts on display is a collaboration between Joannie Bottkol, Allison Emmerson, Karyn Olivier, and Zaneta Hong. Glass unguentaria (perfume bottles) were among the most popular Roman grave gifts. In some cases, mourners poured perfume over the body, then broke the bottles on the ground. In others, the bottles and their contents were deposited whole in the tomb. Perfume was valuable and luxurious, an excellent gift to honor the dead, but its strong scent also helped to mask the very human smells of death, while elevating ritual proceedings beyond the everyday. For this installation, five glass perfume bottles from the AAR Archaeological Study Collection were reinterpreted into six materials—beeswax, dirt, hair, plaster, paper pulp, and resin. These materials were selected for their corporeal ties to the human body and in their traditions of use in conservation, archaeology and construction.Read More
Join us for an open studio presentation of recent research at the American Academy in Rome on Monday January 28th @ 6pm. We will be exhibiting a collection of investigations of marble and it’s material ecology from the Carrara/Massa region of Tuscany, Italy. American Academy in Rome: Via Angelo Masina 5, 00153, Roma ITALIARead More
Zaneta Hong curated a collection of photographs from the Harvard Universities photography collection which examine the ways scientific instrumentation records its environment. The collection is part of her course of visualization and landscape architecture taught at the Graduate School of Design.
VIS 2141: Landscape Representation I introduces students to the history, techniques, and conventions of representation used in the field of landscape architecture. Rather than a static description of a design agenda, landscape representation is an active means for building and understanding complexity in design work.
For more information visit the Fogg Art Museum at http://www.harvardartmuseums.orgRead More
The Harvard Graduate School of Design’s Platform exhibition, now in its eighth year, presents a curated selection of work generated in the previous academic year at the school. Each year, a different GSD faculty member is chosen to edit the publication for the Platform exhibition.
Faculty Editor & Lecturer in Landscape Architecture: Zaneta H. Hong.
Exhibition Student Designers: Daniel Carlson, Ambrose Luk, Nina Phinouwong, and Vipavee Sirivatanaaksorn.
GSD Exhibitions Team: Dan Borelli, Raymond Coffey, Anita Kan, Sarah Lubin, Jesus Matheus, Matt Murphy, Joanna Vouriotis, Liz Welch, and David W. Zimmerman-Stuart.
Exhibition Design & Fabrication: Michael Leighton Beaman and Reid Schwartz.
Publication Design: Zaneta Hong, Michael Leighton Beaman, Alexander Louis Cassini, Mikhail Thomas Grinwald, and Vi Vu.
Publication Student Editors: Alexander Louis Cassini, Mikhail Thomas Grinwald, and Vi Vu.
GSD Communications Team: Travis Dagenais, Maggie Janik, Benjamin Prosky, and Ronee Saroff.
Join us for a discussion with Zaneta Hong, lecturer in landscape architecture at Harvard GSD, and this year’s Platform faculty editor, for the launch of Platform 8: An Index of Design and Research. Professor Hong will be discussing the publication, as well as the production and exhibition of Platform 8.
For more information visit the Van Alen Institute WebsiteRead More
The Landformation Catalogue Exhibition Publication is now available. The Landformation Catalogue is an ongoing research agenda that examines the generative methodologies of landform manipulation, revealing correlations between the histories, morphologies, assemblies, materials, and affordances of landscape practice. It analyzes the resulting spatial artifacts of humanity’s larger Earth transformation project.
The publication was made possible through a grant from the Graham Foundation for Advanced Studies in the Fine Arts.Read More
Human Factors examines how anthropocentric data is collected, communicated, and utilized in design processes through a historical, ontological, and contingent construction of bodies and environments. Work from this research course is currently on display at the Woods Gerry Galleries at 62 Prospect St. Providence, RI from Nov. 6th - 22nd.Read More
Reciprocal Artifacts is a series of design investigations focused on generating topological and material reciprocity between anthropocentric and non-anthropocentric spatial ontologies within a single artifact. Expanding on the role of the artifact as both, indexical of and emergent from the circumstances leading to its formation, this research posits that artifacts are more than a vestigial product of expansive processes at work. They are the means by which relationships between these circumstances and processes find expression. Reciprocity, between multiple agents or systems, is the degree to which each can perturb or irritate the environment of another, eliciting transformative responses and adaptations. Reciprocal artifacts are formed through mutual perturbations that generate integrated and co-evolutionary effects.
The subset of findings presented at the 2015 ACADIA Conference is a collection of artifacts produced through the merging of two divergent physiogenic spatial ontologies: spatial enclosure in the form of three-dimensional boundary/edge conditions, and biological (arboreal) continuities derived from their taxonometric morphologies. The resulting artifacts are not singularly anthropogenic in their formation, definition, and material assembly; nor are they centered, motivated, or evaluated by human experience and human affordance. Rather, these studies ground both anthropogenic and non-anthropogenic forms of creativity in a mutually foreign and equally representational computational environment. They explore questions of how design processes built from both human and nonhuman actors develop agency and expression.Read More
Reciprocal Artifacts, an installation and exhibition of research from Beta-field opens today.
The work is part of the "Eco-Diversity" show held at the University of Cincinnati's Aronoff Center from October 22 - December 06, 2015. The exhibition is being held in conjunction with the 2015 ACADIA Conference.Read More
The purpose of the proxy series of installations is to experiment with with the workflow of an entire project, from conception to construction. Though these projects operate at smaller dimensional, programmatic and financial scales, they are always addressing larger issues of design practice by crafting resonance between procedural and material effects.
Bigger Than a Bread Box Exhibition Opens - Beta-field was selected to contribute work from their proxy series in this "installation as research" exhibition. The Exhibition will run from June 17th - October 4th at the Boston Society of Architects / AIA - BSA Space, at 290 Congress st. in Boston MA.Read More
Leighton Beaman and Zaneta Hong’s Proposal for the Boston Society of Architects [ Proxy No. 15 ] was selected as part of the Bigger than a Bread Box exhibition a BSA Space in Boston opening June 17th 2015. The purpose of the proxy series of installations is to experiment with with the workflow of an entire project, from conception to construction. Though these projects operate at smaller dimensional, programmatic and financial scales, they are always addressing larger issues of design practice by crafting resonance between procedural and material effects.
Proxy No. 15 is a lightweight, translucent suspension structure built from recyclable polypropylene and nylon. The installation is derived from the architectonic language, assembly process, manufacturing techniques, and material effects of Proxy No. 10, an installation created for the American Institute of Architects National Emerging Practitioners Exhibition in 2012. No. 10 was designed as an interior pavilion at the AIA Headquarters in Washington, DC using a series of custom-coded digital modeling algorithms to rationalize, structure, and generate all the parts required to build the pavilion in a single day. No. 15was designed by reprogramming those algorithms, inverting many of the original pavilions characteristics; whereas No. 10 is oriented vertically, configured through two minimal surfaces, operating in compression, resting on the floor and rising to a height of 7 feet; No. 15 is a synclining symmetrical landscape, oriented horizontally, operating in tension, and suspended twelve feet above the floor.