Kathryn Tablada

The Selected Works

Kathryn Tablada B Arch

Table of Contents

1

Instantiated Skins and Adhesive Blockages

2 Escape the Streets: High Sierra Living 3 Hapa Cultural Center 4 Multi-Family Housing and Construction Documents

KATHRYN TABLADA

PROJECT 03

8/9

Adhesive Skins and Instantiated Blockages

Prosthetic Development Studio

Course Site Operations and Tectonic Systems

This course will emphasize the design

Instructor Alex Neyman

process and rule driven design methodol-

Site Dog Patch, San Francisco

ogy. Students will develop two and three

Team Kathr yn Tablada, Robert Villanueva, Bobby Wijaya, Sara Berting

dimensional drawings and experiment with model-making techniques based on specific methods of design. Focus will be placed on understanding the behavioral aspects of space and structure

KATHRYN TABLADA

8

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 3

9

KATHRYN TABLADA

10

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 3

11

KATHRYN TABLADA

12

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 3

13

KATHRYN TABLADA

14

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 3

15

KATHRYN TABLADA

16

B. ARCH

2015-2020

THE COLLECTED WORKS

PROJECT X

17

KATHRYN TABLADA

18

B. ARCH

2015-2020

THE COLLECTED WORKS

PROJECT X

19

KATHRYN TABLADA

20

B. ARCH

2015-2020

THE SELECTED WORKS PROGRAMS:

8AM

10AM

12PM

2PM

4PM

6PM

8PM

PROJECT 3

Program Diagram

10PM

DENSE: Audience members come together to collaborate on new ideas for prosthetics.

STUDIOS BACKSTAGE

^ƚƵĚŝŽ ƐƉĂĐĞƐ ĂůůŽǁ ĨŽƌ ƚŚĞ ĐŽůůĂďŽƌĂƟŽŶ ďĞƚǁĞĞŶ ƉƌŽƐƚŚĞƟƐƚƐ ĂŶĚ ƚŚĞ ĂƵĚŝĞŶĐĞ ǁŚŝĐŚ ĂůůŽǁƐ ĨŽƌ ƚŚĞ ŐƌŽǁƚŚ ŽĨ ŶĞǁ ŽƉƉŽƌƚƵŶŝƟĞƐ ŝŶ ƉƌŽƐƚŚĞƟĐ ĚĞƐŝŐŶ ĂŶĚ ĐŽŶƐƚƌƵĐƟŽŶ͘ dŚŝƐ ĚĞŶƐĞ ĂƌĞĂ ĂůůŽǁƐ ĨŽƌ ĂŶ ŝŶƟŵĂƚĞ ƌĞůĂƟŽŶƐŚŝƉ ďĞƚǁĞĞŶ speakers and audience members.

EXPANDED: As new ideas form, members extend outward throughout the structure to spread these ideas.

CONTROL ROOM LOBBY

Congestion to Dispersement

THERAPY ROOMS WƌŝŵĂƌLJ ĐŝƌĐƵůĂƟŽŶ ƉĂƚŚǁĂLJƐ ĚŝƌĞĐƚ ĂƵĚŝĞŶĐĞ ŵĞŵďĞƌƐ ĨƌŽŵ ƚŚĞ ůŽďďLJ͕ ƚŽ ƚŚĞ ƐƚƵĚŝŽƐ͕ ĂŶĚ ƚŽ ƚŚĞ ƚŚĞƌĂƉLJ ƌŽŽŵƐ͘ ^ĞĐŽŶĚĂƌLJ ƉĂƚŚǁĂLJƐ ďƌĂŶĐŚ Žī ŽĨ ƚŚĞ ƉƌŝŵĂƌLJ ƌŽƵƚĞƐ ůĞĂĚŝŶŐ ĨĂĐƵůƚLJ ƚŽ ƚŚĞ smaller programs within the building.

PRODUCTION LAB DESIGN LAB PRIVATE OFFICES

Congestion 80%

RESTROOMS

Congestion 60%

STORAGE UTILITY NUMBER OF PEOPLE

0

PROGRAM ACTIVITY

0%

10%

20%

30%

40%

0

1

2

3

4

50

100

150

200

250

300

50% 60%

400

350

70%

80%

7

8

90% 100%

Congestion 100% PROGRAM IMPORTANCE

6

5

9

ERASURE

ORIGINATION

A: What if the edges of the building housed the more secluded ƉƌŽŐƌĂŵƐ ĂŶĚ ĚĞǀĞůŽƉĞĚ Ă ƐƚƌƵĐƚƵƌĂů ŐƌĂĚŝĞŶƚ͍ ͗ tŚĂƚ ŝĨ ƚŚĞ ĐŽůůŝƐŝŽŶ ďĞƚǁĞĞŶ ƚŚĞ ŝŶĨĞĐƚĞĚ ĂŶĚ ĞdžŝƐƟŶŐ ƐƉŝŶĞ ĐƌĞĂƚĞĚ Ă ƐĞĐŽŶĚĂƌLJ ƐŚŽƵůĚĞƌ͍

͗ tŚĂƚ ŝĨ ĞĂĐŚ ĞŶƚƌĂŶĐĞ ƚŽ ƚŚĞ ďƵŝůĚŝŶŐ ĂůůŽǁĞĚ ĨŽƌ ǀĞƌLJ ƐƉĞĐŝĮĐ ĞdžƉĞƌŝĞŶĐĞƐ ĚĞƉĞŶĚŝŶŐ ŽŶ ƚŚĞ ĐŝƌĐƵůĂƟŽŶ ƉĂƚŚǁĂLJ͍ ͗ tŚĂƚ ŝĨ ƚŚĞ ŝŶĨĞĐƚĞĚ Ăƌŵ ĐŽŶƟŶƵĞĚ ƚŽ ŐƌŽǁ ĂůŽŶŐ ǁŝƚŚ ƚŚĞ ĞdžŝƐƟŶŐ Ăƌŵ ĚĞǀĞůŽƉŝŶŐ ƚŚĞ ďĞŐŝŶŶŝŶŐ ŐƌŽǁƚŚ ŽĨ Ă ŶĞǁ ďŽĚLJ͍

The concept of open, bulging space would be ŵŽƌĞ ĞǀŝĚĞŶƚ ĂůůŽǁŝŶŐ the building to be used more as a place to ĐŽŶǀĞƌƐĞ ĂŶĚ ĐŽůůĂďŽƌĂƚĞ ǁŝƚŚ ŽƚŚĞƌ ĞŶƟƟĞƐ͘

+

The structure would ĚĞǀĞůŽƉ Ă ŵŽƌĞ ŐƌĂĚƵĂů change from public to ƉƌŝǀĂƚĞ ďLJ ĂůůŽǁŝŶŐ certain areas to be more prominent and spacious while others are more ƟŵŝĚ ĂŶĚ ĐŽŵƉĂĐƚ͘

B, not A A and B

-

+

Neither A nor B A, not B

The structure of the ďƵŝůĚŝŶŐ ǁŽƵůĚ ďĞ ǀĞƌLJ consistent throughout each program and no new feelings could be ŐĞŶĞƌĂƚĞĚ ĂƐ ŽŶĞ ŵŽǀĞƐ from one area to another.

+

The audience would be ĂďůĞ ƚŽ ĞdžƉĞƌŝĞŶĐĞ ƚŚĞ ŝŶŝƟĂů ƉƌĞƐĞŶƚĂƟŽŶƐ ĂŶĚ knowledge put forth in ƚŚĞ ƉƌŝŵĂƌLJ ƐƚƌƵĐƚƵƌĞ while also being able to ŶĂǀŝŐĂƚĞ ƚŚƌŽƵŐŚ Ă ƐĞĐŽŶĚĂƌLJ ƐƚƌƵĐƚƵƌĞ ƚŚĂƚ ŚŽƵƐĞƐ ŶĞǁ ĚĞǀĞůŽƉ-

ĂĐŚ ĂƌĞĂ ŽĨ ĐŝƌĐƵůĂƟŽŶ would be as unique as ƚŚĞ ŶĞdžƚ ĂŶĚ ǀŝĞǁĞƌƐ would be able to encounƚĞƌ ĐŚĂŶŐŝŶŐ ƐŝƚƵĂƟŽŶƐ ĂƐ ŶĂǀŝŐĂƟŽŶ ƚŚƌŽƵŐŚ ƚŚĞ ďƵŝůĚŝŶŐ ĐŽŶƟŶƵĞĚ͘

B, not A A and B Neither A nor B A, not B

-

dŚĞ ďƵŝůĚŝŶŐ ǁŽƵůĚ ĞdžŝƐƚ ĂƐ ŽŶĞ ůĂƌŐĞ ĞŶƟƚLJ ǁŝƚŚ ƐŵĂůůĞƌ ĐŝƌĐƵůĂƟŶŐ ƉĂƚŚǁĂLJƐ ƚŚĂƚ ƐŝŵƉůLJ ƌĞĚŝƌĞĐƚ ĂŶĚ ƌĞĐLJĐůĞ throughout the current ďƵŝůĚŝŶŐ͘ƚŚĂƚ ƐŝŵƉůLJ ƌĞĚŝƌĞĐƚ ĂŶĚ ƌĞĐLJĐůĞ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ current building.

There would be a greater ĚŝīĞƌĞŶĐĞ ďĞƚǁĞĞŶ ŽƉĞŶ and closed space which allows for a more ĞdžƚĞŶƐŝǀĞ ĚĞƐĐƌŝƉƟŽŶ ŽĨ program within those ƐƉĞĐŝĮĐ ĂƌĞĂƐ͘

-

TRANSFORMATION

MIGRATION A: What if the main studios were located near the entrance ƐŽ ƚŚĞ ǀŝĞǁĞƌƐ ĂƌĞ ŝŶĨŽƌŵĞĚ ŽĨ ƚŚĞ ďƵƐŝŶĞƐƐ ďĞĨŽƌĞ ĞŶƚĞƌŝŶŐ ƚŚĞ ŵĂŝŶ ůŽďďLJ͍ B: What if the infected spine started to consume the neck and ŚĞĂĚ ĐĂƵƐŝŶŐ ƚŚĞ ĞdžŝƐƟŶŐ ďŽĚŝůLJ ĞŶƟƟĞƐ ƚŽ ŶĂǀŝŐĂƚĞ ĚŽǁŶ ƚŽǁĂƌĚƐ ƚŚĞ ĂďĚŽŵŝŶĂů ĂƌĞĂ͍

-

+

dŚĞ ĐŝƌĐƵůĂƟŽŶ ƚŚƌŽƵŐŚout the structure would ďĞ ŵŽƌĞ ĐŽŵƉůĞdž ĂŶĚ ŝŶǀŝƟŶŐ ĂƐ ǀŝĞǁĞƌƐ ĞdžƉĞƌŝĞŶĐĞ ŵƵůƟƉůĞ ƚLJƉĞƐ ŽĨ ĂƌĞĂƐ ǁŝƚŚŝŶ ƚŚĞ ŵĂũŽƌ ĂŶĚ ŵŝŶŽƌ programs.

B, not A A and B Neither A nor B A, not B

ŝƌĐƵůĂƟŽŶ ǁŽƵůĚ ĨĞĞů ŵŽƌĞ disconnected throughout ƚŚĞ ƐƚƌƵĐƚƵƌĞ ďLJ ĂĚĚŝŶŐ ŵŽƌĞ ƐĞƉĂƌĂƟŽŶ ďĞƚǁĞĞŶ ƉĂƚŚǁĂLJƐ ĂŶĚ ůĂƌŐĞƌ ƌŽŽŵƐ while also keeping the ĐŝƌĐƵůĂƟŽŶ ǀĞƌLJ ůŝŶĞĂƌ͘

ŝƌĐƵůĂƟŽŶ ǁŽƵůĚ ĂůůŽǁ ĨŽƌ Ă ŵŽƌĞ ŝŶĐůƵƐŝǀĞ ĂŶĚ ŝŶǀŝƟŶŐ ĨĞĞůŝŶŐ ĂƐ ǀŝĞǁĞƌƐ ŵŝŐƌĂƚĞ ĨƌŽŵ Ă ƐŵĂůůĞƌ ƉĂƚŚǁĂLJ ŝŶƚŽ Ă more monumental space.

-

dŚĞ ŶĞdžƚ ůĂƌŐĞƐƚ ƐƉĂĐĞ ǁŝƚŚŝŶ ƚŚĞ ďƵŝůĚŝŶŐ ƉƌŽŐƌĂŵ ŝƐ ƚŚĞ ƉƌŽĚƵĐƟŽŶ ƐƉĂĐĞ ǁŚĞƌĞ ŶĞǁ ƉƌŽƐƚŚĞƟĐƐ ĂƌĞ constructed. This needs to be one of ƚŚĞ ůĂƌŐĞƌ ƐƉĂĐĞƐ ƐŽ ĐŽŵƉůĞƟŽŶ ŽĨ ƉƌŽĚƵĐƚƐ ŝƐ ŵŽƌĞ ĞĸĐŝĞŶƚ ƚŚƌŽƵŐŚ ƚŚĞ ŵĂŶLJ ŵĂĐŚŝŶĞƐ ĂŶĚ ƐƚĂī͘

The large area that consumes the sporadic form in the center ƌĞƉƌĞƐĞŶƚƐ ƚŚĞ ĨƵŶĐƟŽŶ ƚŚĞ ůŽďďLJ ƐĞƌǀĞƐ ǁŝƚŚŝŶ ƚŚĞ ƐƚƌƵĐƚƵƌĞ͘ dŚĞ ůŽďďLJ ĂĐƚƐ ĂƐ ƚŚĞ main gathering space for the ĂƵĚŝĞŶĐĞ ƐƟŵƵůŝ ĂƐ ƚŚĞLJ ĚĞǀĞůŽƉ ĂŶĚ ĞdžĐŚĂŶŐĞ ŶĞǁ ŝĚĞĂƐ ĨŽƌ ƚŚĞ ƉƌŽƐƚŚĞƟĐ ďƵƐŝŶĞƐƐ͘

Congestion 10%

-

͗ tŚĂƚ ŝĨ ĐŝƌĐƵůĂƟŽŶ ƉĂƚŚǁĂLJƐ ĚĞǀĞůŽƉĞĚ Ă ůŝŶĞ ƚŽ ƐƵƌĨĂĐĞ ĨƵŶĐƟŽŶ ĂŶĚ ĞdžƉĂŶĚĞĚ ĂƐ ŝƚ ŵŽǀĞĚ ƚŽǁĂƌĚƐ ŵĂũŽƌ ƉƌŽŐƌĂŵƐ ŽĨ ƚŚĞ ƐƚƌƵĐƚƵƌĞ͍ ͗ tŚĂƚ ŝĨ ƚŚĞ ŵƵƚĂƟŽŶ ĐĂƵƐĞĚ ƚŚĞ ĂďŶŽƌŵĂů ŐƌŽǁƚŚ ŽĨ ƐŵĂůů ĞŶƟƟĞƐ ĂĐƌŽƐƐ ƚŚĞ ďŽĚLJ͛Ɛ ƐŬŝŶ͍

The structure would ŝŶĐůƵĚĞ ŵŽƌĞ ƉƌŝǀĂƚĞ ŝŶƐƚĂůůĂƟŽŶƐ ƚŽ ĂĚŚĞƌĞ ƚŽ ŵĂũŽƌ ƉƌŽŐƌĂŵƐ͕ ƚŚƵƐ allowing all programs to ƐƚĂLJ ĐŽŶŶĞĐƚĞĚ ǁŚŝůĞ ĚŝīĞƌĞŶƟĂƟŶŐ ďĞƚǁĞĞŶ ƉƵďůŝĐ ĂŶĚ ƉƌŝǀĂƚĞ͘

^ŵĂůůĞƌ ĞŶƟƟĞƐ ŶĞƐƚ ǁŝƚŚŝŶ ƚŚĞ ƐLJƐƚĞŵ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ ƌĞƉƌĞƐĞŶƟŶŐ ŝŶƟŵĂƚĞ ƚŚĞƌĂƉLJ ƌŽŽŵƐ͘ ůŝĞŶƚƐ ĂŶĚ consultants collaborate to create ƉƌŽƐƚŚĞƟĐ ĂƌŵƐ ƚŚĂƚ ĂĚŚĞƌĞ ƚŽ ƚŚĞ ƉĂƟĞŶƚ͛Ɛ ƉĞƌƐŽŶĂů ŶĞĞĚƐ͘

Congestion 30%

+

The intertwining within the building would be more disconnected and separate certain ƉĂƚŚǁĂLJƐ ĨƌŽŵ ŽƚŚĞƌƐ͕ ƚŚƵƐ ƉƌĞǀĞŶƟŶŐ ĐĞƌƚĂŝŶ ĞdžƉĞƌŝĞŶĐĞƐ ĨƌŽŵ ƚŚĞ audience.

10

dŚĞ ĚĞǀĞůŽƉŵĞŶƚ ŽĨ Ă ŵĂƐƐŝǀĞ ƐƚƌƵĐƚƵƌĞ ǁŽƵůĚ begin at an earlier stage thus allowing a more rapid growth of other ĞŶƟƟĞƐ͘

+

-

+

Viewers would be introduced to the purpose of the program thus allowing for a stronger basis to build new ideas from.

B, not A A and B Neither A nor B A, not B

The growth would ĐŽŶƟŶƵĞ ĚĞǀĞůŽƉŝŶŐ ůĞƐƐ ĚƌĂƐƟĐ ƚŽƉŽŐƌĂƉŚLJ ĂůŽŶŐ the site while allowing ĨŽƌ Ă ǀĞƌLJ ƐƚƌĂŝŐŚƞŽƌǁĂƌĚ ĐŝƌĐƵůĂƟŽŶ throughout each program

UNITS:

SPATIAL CONDITIONS:

PROGRAMS:

USERS:

PROGRAM SUMMARY:

STUDIO

2,000 SF

BLOCKING

BACKSTAGE

1,000 SF

LINE TO SURFACE

500 SF

SUBSTITUTION

LOBBY

4,000 SF

NESTING

STUDENTS CLIENTS ACTORS PRESENTERS CRITICS TEACHERS SCIENTISTS DESIGNERS

dŚĞ ĐĞŶƚƌĂů ƉƌŽŐƌĂŵƐ ǁŝƚŚŝŶ ƚŚĞ ďƵŝůĚŝŶŐ ĂƌĞ ƚŚĞ ŵĂŝŶ ƐƚƵĚŝŽ ƐƉĂĐĞƐ͘ dŚŝƐ ĚĞƉĂƌƚŵĞŶƚ ŚŽůĚƐ ĂďŽƵƚ ϵϬй ŽĨ ƚŚĞ ĂĐƟǀŝƚLJ ďĞĐĂƵƐĞ ŝƚ ŚŽƵƐĞƐ ƚŚĞ ŵĂŝŶ ƐƚĂŐĞ ĂŶĚ ƉƌĞƐĞŶƚĂƟŽŶ ƐƉĂĐĞ͕ ĐŽŶƚƌŽů ƐĞĐƚŽƌƐ͕ ĂŶĚ ĂƵĚŝĞŶĐĞ ƐƟŵƵůŝ͘ ůů ŽĨ ƚŚĞƐĞ ĂĐƚŽƌƐ ĂƌĞ ďƌŽƵŐŚƚ ƚŽŐĞƚŚĞƌ ŝŶ ŽŶĞ ƐƉĂĐĞ ĨŽƌ ƚŚĞ ƉƵƌƉŽƐĞ ŽĨ ƐŚĂƌŝŶŐ ĂŶĚ ƉƌĞƐĞŶƟŶŐ ŶĞǁ ŝĚĞĂƐ ĨŽƌ ƚŚĞ ĨƵƚƵƌĞ ĚĞƐŝŐŶ ŽĨ ƉƌŽƐƚŚĞƟĐ ƌŽƚĂƟŽŶ ĂŶĚ ŵŽǀĞŵĞŶƚ͕ ƚŚƵƐ ĐƌĞĂƟŶŐ ƚŚŝƐ ŵĂƐƐ ǁŝƚŚŝŶ ƚŚĞ ĐĞŶƚƌĂů ƉŽƌƟŽŶ ŽĨ ƚŚĞ ďƵŝůĚing.

CONTROL ROOM

STUDIOS (2) BACKSTAGE (2) CONTROL ROOMS (2) LOBBY THERAPY ROOMS (5) PRODUCTION LAB DESIGN LAB PRIVATE OFFICES (30) RESTROOMS (20) STORAGE UTILITY

ANCHORS:

AGENTS:

LOBBY STUDIOS THERAPY ROOMS PRODUCTION LAB

BACKSTAGE CONTROL ROOMS PRIVATE OFFICES DESIGN LAB

THERAPY ROOMS

1,000 SF

REDUCTION

PRODUCTION LAB

4,000 SF

TRANSFORMATION

DESIGN LAB

1,000 SF

CONGESTION OF TISSUE

PRIVATE OFFICES

3,000 SF

DEFERRAL OF INTERIORITY

RESTROOMS

3,000 SF

SURFACE TO LINE

STORAGE

1,000 SF

STUFFED SKIN

UTILITY

200 SF

SURFACE TO LINE

CIRCULATION

5,800 SF

SPREADING

dŚŝƐ ĐůŽƫŶŐ ŽĨ ƐƟŵƵůŝ ĂůƐŽ ŽĐĐƵƌƐ ǁŝƚŚŝŶ ƚŚĞ ŵĂŝŶ ůŽďďLJ ĂŶĚ ŐĂƚŚĞƌŝŶŐ ƐƉĂĐĞ͕ ǁŚŝĐŚ ŝƐ ĂŶ ĂƩĂĐŚŵĞŶƚ ŽĨ ƚŚĞ ŵĂŝŶ ƐƚƵĚŝŽ ƐƉĂĐĞ ƚŚĂƚ ŚĂƐ Ă ǀĞƌLJ ŚŝŐŚ ĐĞŝůŝŶŐ ƚŽ ŐŝǀĞ ŝƚ Ă ŵŽƌĞ ŽƉĞŶ ĂŶĚ ďƵůďŽƵƐ ĨĞĞů͘ ĞĨŽƌĞ ĂŶĚ ĂŌĞƌ ƚŚĞ ƐŚŽǁ͕ ĂƵĚŝĞŶĐĞ ŵĞŵďĞƌƐ ĐŽŶŶĞĐƚ ĂŶĚ ĐŽůůĂďŽƌĂƚĞ ŽŶ ŶĞǁ ŝĚĞĂƐ ĂŶĚ ĨŽƌŵƐ ĨŽƌ ƚŚĞ ďƵƐŝŶĞƐƐ͘ Ɛ ƚŚĞLJ ĐŽŵŵƵŶŝĐĂƚĞ ǁŝƚŚŝŶ ƚŚĞ ĞdžŝƐƟŶŐ ŵĂƐƐ͕ ƚŚĞLJ ƐƉƌĞĂĚ ƚŽ ŽƚŚĞƌ ƐƟŵƵůŝ ĂŶĚ ĨŽƌŵ ŶĞǁ ƉƌŽƚƌƵƐŝŽŶƐ ǁŝƚŚŝŶ ƚŚĞ ĨĂďƌŝĐ ŽĨ ƉŽƚĞŶƟĂů ŝĚĞĂƐ͘ dŚŝƐ ǀŽůƵŵĞƚƌŝĐ ƐƉĂĐĞ ŵƵƐƚ ďĞ ůĂƌŐĞ ĞŶŽƵŐŚ ƚŽ ĐŽŶƚĂŝŶ ŵĂƐƐĞƐ ŽĨ ƐƟŵƵůŝ ƚŚĂƚ ĂƌĞ ĐŽŶƐƚĂŶƚůLJ ŐƌŽǁŝŶŐ ĂŶĚ ƐƉƌĞĂĚŝŶŐ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ ƉƌŽŐƌĂŵ͘ ŽŶƐƵůƚĂŶƚƐ ǁŝƚŚŝŶ ƚŚĞ ďƵŝůĚŝŶŐ ŵĞĞƚ ǁŝƚŚ ƐƉĞĐŝĮĐ ĐůŝĞŶƚƐ ĂŶĚ ĚĞĮŶĞ ƚŚĞ ŶĞĞĚƐ ŽĨ ƚŚĞŝƌ ĐƵƌƌĞŶƚ ĚĞǀĞůŽƉŵĞŶƚ ŝƐƐƵĞƐ͘ ůŝĞŶƚƐ ĂƌĞ ŐƵŝĚĞĚ ƚŚƌŽƵŐŚ ĐŝƌĐƵůĂƟŶŐ ĐŽŶŶĞĐƟŽŶ ƉĂƚŚǁĂLJƐ ƚŚĂƚ ůĞĂĚ ƚŽ ƉƌŝǀĂƚĞ ƚŚĞƌĂƉLJ ƌŽŽŵƐ ǁŚĞƌĞ ƚŚĞLJ ĐĂŶ ĐŽůůĂďŽƌĂƚĞ ŽŶ ƚŚĞ ďĞƐƚ ĐŽƵƌƐĞ ŽĨ ĂĐƟŽŶ͘ dŚĞƐĞ ƐŵĂůůĞƌ ƌŽŽŵƐ ĚŝƐƉůĂLJ ŵĂŶLJ ƚLJƉĞƐ ŽĨ ƉƌŽƐƚŚĞƟĐ ĂĚĚŝƟŽŶƐ ƚŚĂƚ ĂƌĞ ĐƌĞĂƚĞĚ ĂŶĚ ĐƵƐƚŽŵŝnjĞĚ ǁŝƚŚŝŶ ƚŚĞ ĨĂĐŝůŝƚLJ ĂƐ ǁĞůů ĂƐ ůĞĂĚ ƚŽ ƚŚĞ ŵĂũŽƌ ƉƌŽĚƵĐƟŽŶ ƐƉĂĐĞ͘ dŚŝƐ ŝƐ ŽŶĞ ŽĨ ƚŚĞ ůĂƌŐĞƐƚ ĂƌĞĂƐ ƚŽ ĂůůŽǁ ĨŽƌ ƚŚĞ ŵŽƐƚ ƐƉĂĐĞ ƚŽ ƉƌŽĚƵĐĞ ƚŚĞƐĞ ǀĞƌLJ ƉĞƌƐŽŶĂů ĂƉƉůŝĂŶĐĞƐ͘

+

The audience would be ĂďůĞ ƚŽ ĚĞǀĞůŽƉ ƚŚŽƵŐŚƚƐ based on the process ĞĂƌůŝĞƌ͕ ƚŚƵƐ ŐŝǀŝŶŐ ƚŚĞŵ ŵŽƌĞ ŽĨ ĂŶ ĂĚǀĂŶĐĞĚ ŝŶƚƌŽĚƵĐƟŽŶ ŝŶƚŽ ƚŚĞ product.

-

PROGRAM:

&ƌŽŵ ŚĞƌĞ͕ ŶĞǁ ĚĞƐŝŐŶƐ ĂŶĚ ŝĚĞĂƐ ƉƌŽĚƵĐĞĚ ĨƌŽŵ ƚŚĞ ĐůŝĞŶƚ ĂŶĚ ƚŚĞ ƉƌŽƐƚŚĞƟƐƚ ĂƌĞ ĐŽŶƐƚƌƵĐƚĞĚ ŝŶ Ă ĚĞƐŝŐŶ ůĂď ůŽĐĂƚĞĚ ďĞƚǁĞĞŶ ƚŚĞ ƚŚĞƌĂƉLJ ƌŽŽŵƐ ĂŶĚ ƚŚĞ ŵĂŝŶ ƐƚƵĚŝŽƐ͘ dŚŝƐ ĐŝƌĐƵůĂƟŽŶ ĂůůŽǁƐ ƚŚĞ ƉƌŽĚƵĐƚ ƚŽ ŇŽǁ ĨƌŽŵ ƚŚĞ ƉƌŽĚƵĐƟŽŶ ƐƉĂĐĞ ƚŽ ƚŚĞ ƉƌĞƐĞŶƚĂƟŽŶ ƐƉĂĐĞ͘ ĞƚǁĞĞŶ ƚŚĞƐĞ ƚǁŽ ƐƉĂĐĞƐ ĂƌĞ ƚŚĞ ĨƌŝŶŐĞĚ ŽƵƚ ƐƟŵƵůŝ ǁŚŝĐŚ ŝŶĐůƵĚĞ ƚŚĞ ƉĂƚŚƐ ĨŽƌ ƚŚĞ ƉĂƌƟĐŝƉĂŶƚƐ͘ dŚĞƐĞ ĞŶĐĂƉƐƵůĂƚĞ ƌĞƐƚƌŽŽŵƐ͕ ƐƚŽƌĂŐĞ͕ ƉƌŝǀĂƚĞ ŽĸĐĞƐ͕ ĂŶĚ ƵƟůŝƚLJ ƌŽŽŵƐ͘ dŽ ĚŝƐĐŽŶŶĞĐƚ ĨƌŽŵ ƚŚĞ ĐŽŵŵŽƟŽŶ ŽĨ ƚŚĞ ƉƵďůŝĐ ƐƉĂĐĞƐ ƵƟůŝnjĞĚ ďLJ ƉĂƌƟĐŝƉĂŶƚƐ ĨƌŽŵ ƚŚĞ ƐƚƵĚŝŽ ĂƵĚŝĞŶĐĞ͕ ƚŚĞƌĞ ĂƌĞ ƉƌŝǀĂƚĞ ƉĂƚŚǁĂLJƐ ƚŚĂƚ ĚĞĨĞƌ ĂǁĂLJ ĨƌŽŵ ƚŚĞ ŵĂŝŶ ƉĂƚŚƐ ƚŚĂƚ ĂůůŽǁ ĨŽƌ ĞĂƐŝĞƌ ĂĐĐĞƐƐ ďĞƚǁĞĞŶ ŵĂŝŶƚĞŶĂŶĐĞ͕ ĐŽŶĨĞƌĞŶĐĞ ƌŽŽŵƐ͕ ĐŽŵƉƵƚĞƌ ƌŽŽŵƐ͕ ĂŶĚ ƉƌŝǀĂƚĞ ĨĂĐŝůŝƟĞƐ ;ůƵŶĐŚ ƌŽŽŵƐ ĂŶĚ ďƌĞĂŬ ƌŽŽŵƐͿ ƐƉĞĐŝĮĐĂůůLJ ŵĞĂŶƚ ĨŽƌ ĨĂĐƵůƚLJ ŵĞŵďĞƌ ƵƐĞ ŽŶůLJ͘ dŚŝƐ ƐĞĐŽŶĚĂƌLJ ĐŝƌĐƵůĂƟŽŶ ŝƐ ĐŽŶĚĞŶƐĞĚ ĂŶĚ ƉƌŽũĞĐƚĞĚ ƚŽǁĂƌĚƐ ŵŽƌĞ ŽīͲĐĞŶƚĞƌ ƉĂƌƚƐ ŽĨ ƚŚĞ ƐƚƌƵĐƚƵƌĞ͕ ďƵƚ ƵůƟŵĂƚĞůLJ ĂůůŽǁ ĨŽƌ ƉĞƌƐŽŶŶĞů ƚŽ ƌĞĂĐŚ ƚŚĞ ƚĞĐŚŶŝĐĂů ĂŶĚ ŵĞĐŚĂŶŝĐĂů ĂƐƉĞĐƚƐ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ͘

21

KATHRYN TABLADA

B. ARCH

2015-2020

Exoskeletal IdenƟty DIagram

The arrows represent the current moƟon and Ňow of the foundaƟon and surrounding landscape.

The building, being comprised of mainly structural beams, sits on the site, sƟcking out and not uƟlizing the elements of the surrounding area.

As the landscape becomes more manipulated and stretched out, the arrows show the process of how the land gets pulled up and around the structure.

The landscape gets pulled and stretched over the structural beams, begining the process of creaƟng a canopy that has been derived from the landscape.

In the Įnal outcome, the landscape gets draped over the the structure, creaƟng a skin like canopy.

This helps the the building to become more integrated into the site and appear less seperated.

22

THE SELECTED WORKS

PROJECT 3

Backstage IdenƟty Diagram

Atrium

Pier

Lobby

Studio

Studio

Privacy: 0% Opacity: 100%

Lobby

Privacy: 40% Opacity: 60%

Atrium

Privacy: 70% Opacity: 30%

Pier

Privacy: 30% Opacity:70%

SURVEILLANCE In each major occupied space such as the studio, the lobby, the atrium, and the pier, there is a certain amount of privacy that is implemented in each locaƟon. Such as the studio, you get the least amount of privacy because it has the most cameras and surveillancewithin the main space and in the backstage area. the lobby is slightly less surveilanced, yet you are sƟll being watched becaues the lobby is where you begin to have access to all parts of the building.

The atrium is by far the least surveillanced because it is the direct route to the Ramp, which is a very public area and open to anyone to come into. The pier, however, is at about the same privacy level as the studio because of it being open to both visitors and staī. You want to be able to know how the staī interacts with the clients and visitors to the building.

23

KATHRYN TABLADA

24

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 3

25

KATHRYN TABLADA

26

B. ARCH

2015-2020

THE COLLECTED WORKS

PROJECT X

27

KATHRYN TABLADA

PROJECT 04

32/33

Escape the Streets, High Sierra Living

Urban Spaces Studio

Course Site Culture and Integral Urbanism

This course explores the role of architec-

Instructor Doron Serban, Sameena Sitabkhan

ture within the context of evolving urban

Site San Francisco

environments. It unearths the history,

Team Kathr yn Tablada

currency, and culture of our urban terrain while developing a mindful discipline for articulating a stance and conceiving a responsive program within the parameters of a specific site

KATHRYN TABLADA

32

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 4

33

KATHRYN TABLADA

34

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 4

35

KATHRYN TABLADA

B. ARCH

2015-2020

Golden Gate Ave.

Kitchen

A

Elevator

ING

A

Ground Floor Plan 36

Market St.

THE SELECTED WORKS

First Floor Plan

PROJECT 4

T 37

KATHRYN TABLADA

B. ARCH

Second Floor Plan 38

2015-2020

THE SELECTED WORKS

PROJECT 4

Third Floor Plan 39

KATHRYN TABLADA

40

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 4

41

KATHRYN TABLADA

PROJECT 07

46/47

HAPA Cultural Center

Cultural Integration Studio

Course Tectonics and Structure

This course posits new ways to

Instructor Karen Seong, Eric Reeder

inhabit large urban structures through a

Site Mission, San Francisco

process-driven methodology. By

Team Kathr yn Tablada

challenging type-driven formulaic structural responses, conflicts between architectural priorities and structural efficiencies are celebrated as the starting point of a dialogue that instigates structural adaptations creating rich tectonic expressions, complex spatial configurations, new program relationships.

KATHRYN TABLADA

46

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 7

47

KATHRYN TABLADA

48

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 7

49

KATHRYN TABLADA

50

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 7

51

KATHRYN TABLADA

B. ARCH

'ƌŽƵŶĚ &ůŽŽƌ Ϭ͛ 52

2015-2020

THE SELECTED WORKS

PROJECT 7

^ĞĐŽŶĚ &ůŽŽƌ ϮϬ͛ 53

KATHRYN TABLADA

B. ARCH

ŝĂŐƌĂŵƐ

'ƌĂLJƐƉĂĐĞ

2015-2020

ŝƌĐƵůĂƟŽŶ DŽĚŝĮĂďůĞ ^ƉĂĐĞ

KƉĞŶ ^ƉĂĐĞ WƵďůŝĐ &ŽŽƚƉĂƚŚƐ WƌŝǀĂƚĞ &ŽŽƚƉĂƚŚƐ

dŚĞ ĚŝĂŐƌĂŵƐ ĂƌĞ ĂŶ ĂĐĐƵŵƵůĂƟŽŶ ŽĨ ŐƌĂLJ ƐƉĂĐĞ͕ ĐŝƌĐƵůĂƟŽŶ͕ ƉƌŽŐƌĂŵ͕ ĂŶĚ ƐƵŶ ŽƌŝĞŶƚĂƟŽŶ͘ tŝƚŚŝŶ ƚŚŝƐ ƉƌŽũĞĐƚ͕ Ăůů ĨŽƵƌ ŽĨ ƚŚĞƐĞ ĚŝĂŐƌĂŵƐ ĂƌĞ ĞdžƚƌĞŵĞŵůLJ ŝŵƉŽƌƚĂŶƚ ŝŶ ƚŚĞ ƉƌŽĐĞƐƐ ŽĨ ůĂLJŝŶŐ ŽƵƚ ƚŚĞ ďƵŝůĚŝŶŐ ĂƐ ǁĞůů ĂƐ ŚŽǁ ƚŽ ŝŶĐŽƌƉŽƌĂƚĞ ƚŚĞ ŽǀĞƌĂůů ŵĞĂŶŝŶŐ ĂŶĚ ŐĞƐƚƵƌĞ ŽĨ ƚŚĞ ĐĞŶƚĞƌ͘ dŚŝƐ ŚĞůƉƐ ƚŽ ƉŝŶƉŽŝŶƚ LJŽƵ ƚŽǁĂƌĚƐ ƚŚĞ ĚĞƐŝŐŶ ŵŽǀĞƐ ƚŚĂƚ ƌĞůĂƚĞ ďĂĐŬ ƚŽ ƚŚĞ ŝŶŝƟĂů ƐƚƵĚLJ ĂƐ ǁĞůů ĂƐ ƚŚĞ ĐƵůƚƵƌĂů ďĂĐŬŐƌŽƵŶĚ ŝŶŇƵĞŶĐŝŶŐ ƚŚĞ ďƵŝůĚŝŶŐ͘

džƉĂŶƐŝŽŶ

'ƌĂLJ ^ƉĂĐĞ ŝŶ ǀĞƌLJ ŝŵƉŽƌƚĂŶƚ͘ /Ŷ ƚŚŝƐ ĐĂƐĞ͕ ŝƚ ŝƐ ĂŶ ĞdžƚĞŶƐŝŽŶ ƚŚĂƚ ďĞŐŝŶƐ ƚŽ ĚĞĮŶĞ ƚŚĞ ƉƌŝǀĂƚĞ ĂŶĚ ƉƵďůŝĐ ŽƵƚĚŽŽƌ ƐƉĂĐĞƐ ǁŝƚŚŝŶ ƚŚĞ ďƵŝůĚŝŶŐ ůĂLJŽƵƚ͘ dŚĞ ŵĂŝŶ ƐƉĂĐĞƐ ĂƌĞ Ăůů ĞdžƚĞƌŝŽƌ͘ dŚŝƐ ŝƐ ǁŚĞƌĞ ŵĂũŽƌŝƚLJ ŽĨ ƚŚĞ ĂĐƟǀŝƚLJ ďĞŐŝŶƐ ƚŽ ƚĂŬĞ ƉůĂĐĞ͘ /ƚ ŚĞůƉƐ ƚŽ ĚĞĮŶĞ ĂŶĚ ŵĂŶŝƉƵůĂƚĞ ƐƉĂĐĞƐ ĂĐĐŽƌĚŝŶŐ ƚŽ ƚŚĞ ĐƵƌƌĞŶƚ ŶĞĞĚ ŽĨ ƚŚĞ ƵƐĞƌ͕ ŝĞ͗ ƚŚĞƌĂƉLJ ƐƉĂĐĞ͕ ŐƌŽƵƉ ĂĐƟǀŝƟĞƐ͕ Žƌ ƉĞƌĨŽƌŵĂŶĐĞ ƐƉĂĐĞ͘

WƌŽŐƌĂŵ

dŚŝƐ ĚŝĂŐƌĂŵ ďĞŐŝŶƐ ƚŽ ƐŚŽǁ ƚŚĞ ƐĞƉĞƌĂƟŽŶ ĂŶĚ ŝŶƚĞƌĂĐƟŽŶ ďĞͲ ƚǁĞĞŶƚ ŚĞ ƉƵďůŝĐ ĂŶĚ ƉƌŝǀĂƚĞ ƉƌŽŐƌĂŵƐ͘ KŶ ƚŚĞ ŐƌŽƵŶĚ ŇŽŽƌ͕ ǁĞ ƐĞĞ ƚŚĞ ŵŽƌĞ ƉĞƌƐŽŶĂůŝnjĞĚ ĂŶĚ ƉƌŝǀĂƚĞ ƉƌŽŐƌĂŵƐ ůŽĐĂƚĞĚ ŽŶ ƚŚĞ ďĂĐŬ ƐŝĚĞ ŽĨ ƚŚĞ ƉƌŽƉĞƌƚLJ͘ dŚĞLJ ĂƌĞ ŵŽƌĞ ŝƐŽůĂƚĞĚ ǁŚĞƌĞ ĂƐ ƚŚĞ ƉƵďůŝĐ ŝƐ ŵŽƌĞ ŽƉĞŶ͘ dŚĞLJ ďĞŐŝŶ ƚŽ ŵŝdž ĂŶĚ ŝŶƚĞƌĂĐƚ ǁŝƚŚ ŽŶĞ ĂŶŽƚŚĞƌ ĂƐ ƚŚĞLJ ĐŝƌĐƵůĂƚĞ ƚŚƌŽƵŐŚ ƚŚĞ ĐĞŶƚĞƌ͕ ĐƌĞĂƟŶŐ Ă ĐŽŵŵŽŶ ŐƌŽƵŶĚ ĨŽƌ ďŽƚŚ ƵƐĞƌ ŐƌŽƵƉƐ͘

^ŽůĂƌ KƌŝĞŶƚĂƟŽŶ

WƌŽŐƌĂŵ >ŝƐƚ

ŽŶŐƌĞŐĂƟŶŐ ^ƉĂĐĞ

^ƚĂŐĞ Ͳ ϭϲϬϬ ^ƋƵĂƌĞ &ĞĞƚ

WƵďůŝĐ WƌŽŐƌĂŵ

ZĞƐƚĂƵƌĂŶƚ Ͳ ϱϬϬϬ ^ƋƵĂƌĞ &ĞĞƚ

WƌŝǀĂƚĞ WƌŽŐƌĂŵ

ůĂƐƐƌŽŽŵ Ͳ ϭϬϮϱ ^ƋƵĂƌĞ &ĞĞƚ 'ĂůůĞƌLJ Ͳ ϭϱϬϬ ^ƋƵĂƌĞ &ĞĞƚ DƵƐŝĐ ZŽŽŵ Ͳ ϮϱϬϬ ^ƋƵĂƌĞ &ĞĞƚ 'ƌŽƵƉ ĐƟǀŝƚLJ ZŽŽŵƐ Ͳ ϭϯϱϬ ^ƋƵĂƌĞ &ĞĞƚ ĂĨĞ Ͳ ϭϰϬϬ ^ƋƵĂƌĞ &ĞĞƚ ZĞƚĂŝů Ͳ ϭϱϬϬ ^ƋƵĂƌĞ &ĞĞƚ ^ƚŽƌĂŐĞ Ͳ tŝƚŚŝŶ WƌŽŐƌĂŵ ĂƚŚƌŽŽŵƐ Ͳ ϭϬϬ ^ƋƵĂƌĞ &ĞĞƚ

dŚĞ ĚŝĂŐƌĂŵƐ ĂƌĞ ĂŶ ĂĐĐƵŵƵůĂƟŽŶ ŽĨ ŐƌĂLJ ƐƉĂĐĞ͕ ĐŝƌĐƵůĂƟŽŶ͕ ƉƌŽŐƌĂŵ͕ ĂŶĚ ƐƵŶ ŽƌŝĞŶƚĂƟŽŶ͘ tŝƚŚŝŶ ƚŚŝƐ ƉƌŽũĞĐƚ͕ Ăůů ĨŽƵƌ ŽĨ ƚŚĞƐĞ ĚŝĂŐƌĂŵƐ ĂƌĞ ĞdžƚƌĞŵĞŵůLJ ŝŵƉŽƌƚĂŶƚ ŝŶ ƚŚĞ ƉƌŽĐĞƐƐ ŽĨ ůĂLJŝŶŐ ŽƵƚ ƚŚĞ ďƵŝůĚŝŶŐ ĂƐ ǁĞůů ĂƐ ŚŽǁ ƚŽ ŝŶĐŽƌƉŽƌĂƚĞ ƚŚĞ ŽǀĞƌĂůů ŵĞĂŶŝŶŐ ĂŶĚ ŐĞƐƚƵƌĞ ŽĨ ƚŚĞ ĐĞŶƚĞƌ͘ dŚŝƐ ŚĞůƉƐ ƚŽ ƉŝŶƉŽŝŶƚ LJŽƵ ƚŽǁĂƌĚƐ ƚŚĞ ĚĞƐŝŐŶ ŵŽǀĞƐ ƚŚĂƚ ƌĞůĂƚĞ ďĂĐŬ ƚŽ ƚŚĞ ŝŶŝƟĂů ƐƚƵĚLJ ĂƐ ǁĞůů ĂƐ ƚŚĞ ĐƵůƚƵƌĂů ďĂĐŬŐƌŽƵŶĚ ŝŶŇƵĞŶĐŝŶŐ ƚŚĞ ďƵŝůĚŝŶŐ͘

54

ŽŶŐƌĞŐĂƟŶŐ ^ƉĂĐĞ

dŚĞ ƉŽƐŝƟŽŶŝŶŐ ŽĨ ƚŚĞ ƐƵŶ ŝƐ ŝŵƉŽƌƚĂŶƚ ĂƐ ǁĞůů͘ ĞĐĂƵƐĞ Ăůů ŽĨ ƚŚĞ ƉƵďůŝĐ ƉƌŽŐƌĂŵƐ ĂŶĚ ƐƉĂĐĞƐ ŶĞĞĚ ƚŽ ďĞ ƐĞĞŶ ĂƐ ŽƉĞŶ ĂŶĚ ŝŶǀŝƟŶŐ͕ ƚŚĞLJ ŶĞĞĚ ƚŚĞ ŵŽƐƚ ƐƵŶ ĞdžƉŽƐƵƌĞ͘ WůĂĐŝŶŐ ƚŚĞŵ ĂůŽŶŐ DĐĐŽƉƉŝŶ ĂůůŽǁƐ ĨŽƌ ƚŚĞ ŵĂdžŝŵƵŵ ŽĨ ƐƵŶ ƉĞŶĞƚƌĂƟŽŶ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ ĂŌĞƌŶŽŽŶ ĂŶĚ ĞǀĞŶŝŶŐ͘ dŚĞ ŵŽƌĞ ƉƌŝǀĂƚĞ ƐƉĂĐĞƐ ĂƌĞ ŚƵƐĞĚ ŝŶ ƚŚĞ ŶŽƌƚŚĞƌŶ ƉĂƌƚ ŽĨ ƚŚĞ ƐŝƚĞ͕ ƐƟůů ŐĞƫŶŐ ƐŽŵĞ ůŝŐŚƚ͕ ďƵƚ ŵƵĐŚ ƐŽŌĞƌ ĂŶĚ ŶŽƚ ĂƐ ĚŝƌĞĐƚ͘ dŚŝƐ ŐŝǀĞƐ ƚŚĞ ŝŵƉƌĞƐƐŝŽŶ ŽĨ Ă ŵŽƌĞ ŝŶƟŵĂƚĞ ƐƉĂĐĞ͘

THE SELECTED WORKS

PROJECT 7

^ŝƚĞ WůĂŶ ϭ͟ с ϱϬ͛ 55

KATHRYN TABLADA

56

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 7

Residential Clustering Around Schools 3D Map

Within the Mission District along the roads of Mission and Valencia, there is a concentration of housing surrounding two private K-7 schools. From these center points, we see an outward expantion away from the schools, beginning to thin and become less dense the farther they are from the school.

Newer Apartment Buildings

There is a trend surrounding the congregation of multi-family housing around schools. Two examples of this are Galileo Academy (9-12) and Urban School of San Francisco (9-12).

Victorian Style Apartment Buildings

Galileo Academy

Urban School of SF

School Buildings

Roads and Sidewalks (Connections)

Public Plazas and Open Space

The expantion of the map shows the different elements within the grid. Each series is connected and has relation to the schools. The housing is seperated based on type, but all have connections back to one another as well as the schools and plazas through the roads and sidewalks.

Model shows the main dwellings that reside within these school districts. These are the closest in proximity as well as those that congregate around a central area.

57

KATHRYN TABLADA

58

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 7

^ĐĂůĞ͗ ϭ͟сϮϬϬ͛

59

KATHRYN TABLADA

PROJECT 08

64/65

Multi-Family Housing and Construction Documents

Multi-Use Housing Studio

Course Housing & Comprehensive Design

This studio is taken concurrent with ARH

Instructor Bradley Sugarman, Goet z Frank

440, and requires students to conceive

Site Dog Patch, San Francisco

and execute a comprehensive design

Team Kathr yn Tablada, Sara Berting

proposal for an urban housing complex.

Students will examine space at the scale of a module, and its role in shaping a larger entity that relates to context.

Students will research housing typologies and their role in shaping the urban fabric

KATHRYN TABLADA

64

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 8

65

KATHRYN TABLADA

South Elevation

66

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 8

67

KATHRYN TABLADA

68

B. ARCH

Section A

2015-2020

THE SELECTED WORKS

PROJECT 8

EL. 66’ Roof EL. 56’ Sixth Floor EL. 46’ Fifth Floor EL. 36’ Fourth Floor EL. 26’ Third Floor EL. 16’ Second Floor EL. 8’ Second Level Parking EL. 0’ First Floor EL. -6’ Parking Pit

69

KATHRYN TABLADA

East Elevation

70

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 8

71

KATHRYN TABLADA

72

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 8

73

KATHRYN TABLADA

74

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 8

75

KATHRYN TABLADA

76

B. ARCH

2015-2020

THE SELECTED WORKS

PROJECT 8

77

Acknowledgements

To...

Jennifer Asselstine, Carol Burhman, Eva Chiu, Alex Neyman, Doron Serban, Sameena Sitabkhan, Karen Seong, Reic Reeder, Goetz Frank, Bradely Sugarman, Mini Chu, Philip Ra, Braden Engel, and Greg Grundstrom. Thank you for supporting me and pushing me to be the best I can be through these long five years.

Mom, Dad, Mason, Andrea, Lola, and Jerrica. Thank you for standing by me through the thick and thin and all of my breakdowns My Art U team and family. You know who you are. Thank you for standing by me, making me laugh, and giving me something to look forward to throughout my time in the athletic department. I wouldn’t be where I am without you.

Colophon

1

School Academy of Art University School of Architecture

2

Course Senior Portfolio Mary Scott

3

Book Binder Blurb

4

Photography Katie Tablada

5

Paper Cover Stock Image Wrap Matt Finish

6

Text Stock, Mohawk Superfine Eggshell, Ultrawhite 100lbs, 148 gsm

7

Fonts Athelas Regular, Bold Acumin Pro Light, Regular

8

Contact 559-593-5523 katietablada10@gmail.com

https://katietablada10.wixsite.com/kathryntablada