Architectural Design Collection of G.R. Hass
Welcome to the catch-all documentation destination for the Design Projects of George R. Hass.
Meet the Designer
George R. Hass is a Graduate of the University of Michigan - Taubman College of Architecture and Urban Planning, having received their M. ARCH degree in May of 2024.
Hass received a Bachelor of Architecture Degree in Environmental Design (With an Art & Architectural History Minor) from Texas A&M University in May of 2022.
Hass’ interests and research aims lie in anthropology, cultural restoration, and historical preservation, specifically highlighting the presence and prominence of Indigenous groups and Underrepresented identities within Architectural Contexts. Utilizing an interdisciplinary approach toward Fabrication and Narrative Building (Via Illustration, Product Design, Textile Work, Fashion, and Performance) Hass works to ensure their briefs can be understood through multiple mediums.
An afro-indigenous creator themself, Hass vies for representation and activism within those spheres, encouraging and participating in dialogues, and raising awareness of visible and invisible diversity.
By clicking on any of the images below, you will be brought to a menu of the various projects I completed while attending both institutions. My work beyond school has taken a more graphic and tactile turn, with forays as a freelance designer into Graphics, Branding, Product Design, Textile Work, and Social Media Management. Those projects can be seen in the “Most Recent Works” section below this.
Lower Level Undergraduate Works
(2018-2020)
Upper Level Undergraduate Works
(2020-2022)
Graduate Works
(2022-2024)
Most Recent Projects
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Scarab Beetle Bug Bag (2024)
Custom Upcycled Material Bag made to resemble a Scarab Beetle.
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(Fa)Brick - Vessel Exploration (2025)
Upcycled Bags Utilizing Interior Design Samples sewn in the style of Bricklaying Patterns, bringing a softness to an otherwise hard profession. Ongoing Textile Project.
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Weaponized Charm - Laser Cut Acrylic Project
Anything But Studio - Independent Work Submission
Spun into the Current Iteration of March Hare Designs Acrylic Charm Shop, where Nostalgic Properties are being consolidated into wearable accessories and artworks.
The Sanctuary of Perpetual Indulgence: Trans-forming Religious Spaces through the Act of Drag
M. Arch Thesis Project by G. R. Hass
Millions of Queer individuals suffer from rejection of their identities. Whether it be a failure to uphold certain oppressive binaries or an attraction to something deemed taboo. In many cases, religious belief is cited as a source of contention and eventual fracture, often resulting in lasting religious trauma.
To combat that reality, there exists an order called the Sisters of Perpetual Indulgence (1979), a non-religiously affiliated group of “Nuns” who don habits and other paraphernalia in their mission to destigmatize the conventual figure while performing selfless acts for those in need. These individuals utilize drag to differentiate themselves, exercise self-expression to the utmost degree, and spread the message of unconditional love and devotion to the betterment of all.
In situating where the Sisterhood may perform its works, The Antiguo Templo de San Agustin (1541) in Mexico City was chosen - Due in part to its long-standing conventual tradition and as a direct foil to the attitude of “Machismo” within the region. Each iteration of the space previously retained an educational element, from an Augustinian Monastery to a Holy College, even serving as La Biblioteca Nacional from 1861 to 1979. In 2019 INAH archaeologists determined the space to be culturally rich and worth preserving.
With the structure’s educational legacy in mind, this zone, staffed by activists and serving the excluded, could act as a ground zero for healing religious trauma while addressing communal concerns, providing a space of sanctuary for all forms of expression (a third-gender third space) where acceptance abounds. Transformation, on the bodily scale of drag (with its exaggerative and illusionary quality) and the building scale of retrofitting ecclesiastical space for performance and interfaith/intergenerational dialogue, creates a welcoming and adaptable area in which those who enter can have their identities validated, concerns addressed, and differences celebrated. The venue serves as an amplifier of the Sisterhood’s message, flying in the face of traditional reticence and embracing indulgent expression in all facets.
