Page 1

KANE A HASSEBROCK


Pneumatic Archives

5

Hex

25

Fog + Collection

31

Castra Metro Station The Museum of Trade

43

51


4


Pneumatic Archives Project Partners: Megen Zeien | Jake Spangler | Nicholas Raap Professor: Mitchell Squire Our project is an agglomeration of pneumatic structures that spatially invades the entire city of San Francisco. The architecture parallels perceptual conditions of fog - confusion, spatial disorientation, and blurred boundaries. It instrumentalizes these conditions to spatially confront everyone, impeding all functions in the city, and enabling imagination in our current oppressive era. The logics that govern our contemporary society force a singular vision of the world and attempt to stifle all imagination of any alternative. These same logics produce systemic violences like total environmental degradation, complete financialization, or the promise of a good life, resulting in corporations like AirBnb, Uber, or Amazon that feed and profit on aspects of normal, everyday life. We find these practices to be unethical and unsustainable. Our architecture seeks to provide a space that will allow and enable new imaginaries to be had, a space not controlled by these logics, a space to resist. Honorable Mention in the 2018 H. Kennard Bussard Award Nominated for the Substance Forum, April 2019 Nominated for the 2018 CSI Competition Award

5


6


Throughout the semester, our research and design goal has been to explore how space and atmosphere can be architecturalized and instrumentalized in exploratory forms. This has been actualized through our series of pneumatic explorations, atmospheric drawing studies, and research into economies and counter-culture. Production of vagueness and softness, coming from our study of the fog, concurrent with our research into the narrative of Lauren Berlant’s Cruel Optimism and her concept of the Impasse—a mental space characterized by a continual search for meaning after the complete loss of what gave stability to the occupant’s life—led us to seek a confrontation that produced this effect throughout all of San Francisco. Being surrounded by San Francisco’s fog perfectly produces that defining hyperawareness and disorientation, which our proposal takes as a site and a governing logic. Our architecture begins to invade the city concurrently with the fog. Pneumatics are produced by the Factory (a structure located in the Pacific) from plastic ocean garbage, transforming the waste into double-walled membranes which are then embedded with technological and environmental control systems before being superpressurized and launched into the atmosphere. The pneumatics strategically rearrange their pathways to respond to needs present within, relying on the technology to carry out its spatial intentions and revolutionary phenomena.

7


8


9


10


11


12


13


14


15


16


17


18


19


20


21


22


23


24


HEX Project Partner: Colton Howell Professor: Shelby Doyle HEX is a project completed in the ISU Computation + Construction Lab. The project aimed at using digital software to design a stackable facade piece, that could be casted from a 3D printed mold. Our object is a hexagon with protruding geometries on either side in order for the object to balance in equilibrium, resulting in the ability to stack. The piece was casted from a six part mold sealed together. HEX seeks to examine the ways in which technology can be incorporated into new architectural and construction methods.

25


26


27


28


29


Fog + Col l ecti on Project Partners: Jake Spangler Professor: Leslie Forehand Fog + Collection was a studio project that was derived from the research/construction of fog collecting technology and how that technology can be incorporated into a facade for a mixed-use development in San Francisco. California has been recently experienceing a record drought, thus by creating a facade to harness water, consumption of grey water from the city’s stored supply can be reduced. Our site is situated in Knob Hill, a prime area to experience the city’s fog phenomena.

31


Little research outside of MIT’s fog collection research has been completed, and therefore very little working precedents for this type of technology exist. We started by looking into the “Harp� like fog collection system that is employed by the United States Geological Survey. The Harp design uses monofilament line placed centimeters apart to allow fog to condensate on the string, eventually moving downward to combine with other droplets. We used the idea of the monofilament line to begin our own design, experimenting with different gauges, distances between each line and undulation. Water condenses on fishing line, and if placed strategically, the water will move downwards into other condensation droplets, making a heavier bubble of water to travel down the facade. Our mixed-use project was designed to be an active artist residency, offset by providing luxury apartments on the upper floors of the building and using the collected gray water from the facade to contribute to lower utility costs. San Francisco is one of the most expensive cities in the United States, pushing out smaller businesses and artists for large corporate headquarters. Our project was focused on giving back a space for those artists to live and work.

32


33


35


36


37


38


39


40

B1

B2

1

5

6

7


2

8

3

9

4

ROOF

41


42


Castra of Hadrian Project Partners: Jake Spangler | Nicholas Raap Professor: Simone Capra, Consuelo Nunez, Laura Fassio The Metro Station at the Castra of Hadrian workshop was derived from the discovery of the 2nd century Praetorian Guard barracks during the construction of a new subway line in Rome, Italy. These reoccurring types of discoveries have embedded themselves into the current infrastructure of Rome, leading to casual connections to Rome’s residents. Our design intervention seeks to liberate the Castra from this potential future by making the casual connection intentional. The atrium level of the metro station is primarily entered through a pathway that descendes downward below the ruin. Immediately the visitor is confronted at eye-level with the Castra as they descend, activating it as something more than an exibit behind a fence. A second pathway diverts from the initial, created for specifically viewing the Castra. This allows for a specialized area dedicated to further investigation and observation. From the viewing platform, a direct axial connection is created between the Castra and the Aurelian Wall, creating a relation between the two archeological elements on the site. The Castra unavoidably confronts the user when entering the station, but any further investigation of that layer is on the prerogative of that individual. Completed in the Iowa State Study Abroad Rome Program

43


44


45


46


47


48


49


The Museum of Trade

Project Partner: Jake Spangler Professor: Ross Exo Adams Site: Miami Beach Convention Center, Miami, FL The project aims at creating new networks, challenging traditional flows, and promoting critical conversation around the topics of climate change. Through an anamorphic lens, the proposal takes the established ideas of what museums are and uses them in a nontraditional intervention within the Miami Beach Convention Center, as means of encouraging dialogue around the complex carbon trading economy. Competition Winner of the 2017 Nathan & Lisa Kalaher Prize Competition Finalist in the 2017 DLR Group Prize Project + Interview Published on KooZA/rch, February 16, 2018

51


52


53


54


The intervention focuses on the movement of modular units that use real time carbon data toexpose origins of power in relation to global carbon markets. The spatial performance seeks to engage the convention center though shifting modules, complex and unpredictable layouts, and changing social interactions. It is responsive, it shocks visitors, it creates new relations. This project doesn’t pose a solution, but rather exposes a specific category of climate change. This space is intended to operate as a normal convention space would, but also provide opportunities for people to confront the reality of what is happening regarding carbon trading and how they, or their company, relates to the spectacle they are participating in.

55


56


57


58


59


60


61


62


63


64


65


67


Profile for Kane Hassebrock

Kane A Hassebrock 2019 Works  

Kane A Hassebrock 2019 Works  

Advertisement