Graham Garcia_Portfolio 2023

Bachelor’s Degree of Architecture

GRAHAM GARCIA ARCHITECTURAL PORTFOLIO 2023 COLLECTION

grahamgarciaa@gmail.com 0423083234

CONTACT Phone: 0423083234

Email: grahamgarciaa@gmail.com

EDUCATION UNIVERSITY of AUCKLAND Bachelor of Architectural Studies FEB 2019 - JUL 2022

GRAHAM GARCIA Architecture Graduate

ABOUT ME I am a young designer with a Bachelor’s Degree from the University of Auckland’s Institute of Creative Arts and Industries.

My projects revolve around being a mediator between spaces and people. I use architecture as a medium to celebrate the area and deliver key themes to an important city, while ensuring buildings are humanized as much as possible.

Recognizing the growing importance of sustainability and it's impact in our daily lives, I'm also interested in learning and considering sustainable building practices in my work.

ACADEMIC PAPERS ARCHDES: Design 1-6 ARCHTECH: Environmental Design ARCHTECH: Design Technology ARCHTECH: Sustainability ACHHTC: Postmodernism & Contemporary Design ARCHHTC: Worlds of Architecture ARCHPRM: Professional Studies ARCHDRC: Architectural Media

TABLE OF CONTENTS

SOFTWARE KNOWLEDGE Rhinoceros 3D Grasshopper Revit Adobe Photoshop Adobe Illustrator Adobe InDesign

WORK EXPERIENCE

01

500 Trees

02

Tauranga Moana

03

Gears of Clockwork

PAGE 002 - 012

PAGE 013 - 021

TABLE GAMES DEALER of SKYCity AUG 2021 - FEB 2023

RETAIL SALESPERSON of ECCO Shoes FEB 2020 - JAN 2021

INSURANCE SURVEY CONSULTANT of AURORA Financial JUL 2020 - MAR 2021

001

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500 Trees Type: Brick Bay Competition Paper Leader: Andrew Barrie In collaboration: Miro Sumich Sachi Kapadia Katrina Nielsen A competition that investigates the intersection between sculpture & architecture with temporary structures that intentionally serve no utilitarian purpose.

The site, Brick Bay, was once a home to kauri trees till it was felled in the 19th century in preparation for farming. Paying homage to the constant decline of kauri trees, especially with the kauri dieback disease, our design intentions share the same vision of sustainability as Brick Bay. Our design takes inspiration from the concept of the “hope flower”or more commonly known as dandelion. Brick Bay will be the stem from which the seedlings disperse to different homes in order to grow into healthy, mature kauri trees.

01 002

In architecture, a folly is an ornamental structure that lacks practical purpose.

Our folly seeks to find meaning in a name that inherently defines it as meaningless.

Inspired by the impermanence of a dandelion, our design mimics the same nurture and disperse phases. It acts as a harbourer of kauri seedlings.

After the exhibition’s two-year lifespan, the seedlings disperse, ready to be planted, while the structural materials are recycled and returned. The structure dissapears, leaving behind a legacy of forest rejuvenation.

What if the building is just a by-product?

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The folly shares a moment within the lifecycle of a kauri tree. It comes together using re-used pallets that are found at Brick Bay and are recycled afrer the duration of the folly.

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Sharing Brick Bay’s vision of sustainability, materials that are found in abundance within Brick Bay -pallets, fence posts and bolts are redefined. Coming together to create dandelion-like units.

M12 BOLTS

PALETTES

TIMBER POLES

KAURI UNITS

PLAN

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Dandelion units configured together to form the following floor plan. Pallet shelves inserted to incubate kauri seedlings in green. The tessellated arrangement forms a forest canopy of sorts that provides shelter and protection for the young seedlings.

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The folly shows it’s age as it acts as a transitional space in the Kauri’s life while they mature to plantable size.

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2 year

300MM

1000MM

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1000X1200MM RECYCLED, STRINGER CLASS DOUBLE FACE, NON-REVERSIBLE 2-WAY REUSABLE, NEW MANUFACTURE PALLETS

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M12X150MM GALVANIZED HEX BOLT & NUT 800MM TTT MULTIPOLE WITH M12 CONNECTOR

M12X540MM GALVANIZED HEX BOLT

Ø25MM

900MM

275-300MM KIWI TIMBER HEXAGONAL POLE HS

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100MM

BARK/MULCH TOP FILL

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GRAVEL BOTTOM FILL

500MM MANUFACTURED SQUARE STEEL PLATE 500MM

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1000MM

Over the two-year exhibition period, the Kauri seedlings will grow to be about 350-400mm tall, at which point they will be ready to be planted out in the various locations we found.

210MM TALL, GRADE 1 LP KAURI SEEDLINGS IN 1L POTS

M12X450MM GALVANIZED HEX BOLT & NUT

RECYCLED 1000X1200MM STRINGER-CLASS. DOUBLE-FACED, NON-REVERSIBLE, 2-WAY, REUSABLE, NEW MANUFACTURE PALLETS

The 2-way pallets are orientated to protect the seedlings from wind and gain from sunlight. The implementation of a hosing system leading from the garden at Brick Bay ensures the seedlings get enough water. As they can grow to be over 50m high and 13m in diameter, it is essential to avoid overcrowding when replanting the seedlings in nature.

SCALE 1:5 @ A3

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HOW TO PROPAGATE A KAURI

Collect seeds from a kauri cone

Plant seeds with wing poking out of soil and water until sprouted

A month later at 30mm in size plants are ready to be potted

Potted in 1L pots and ready for the folly

HOW TO BUILD A FOLLY

Components are pre-fabricated in workshop to site specifications

1000mm holes are dug on site

Steel plate foundation is inserted and laser leveled

Substrate layer (gravel-mulch) added and compacted

Crane used to connect timber pole onto pile system

Pallet canopy head connected to timber pole

Side pallets are fixed using M12 bolts at 400mm ctrs

Pallets are fixed using triangle connecting elements to create a structurally sound canopy

Our folly has 3 major components; the top pallet unit, the wooden pole and the steel base. Constructing our design is akin to that of planting a kauri seed in where you; dig on site, root the steel base onto the ground, insert the stalk pole with the pallet leaves thereafter.

010

HOW TO PROPAGATE A KAURI

Kauri saplings have reached maturity after 2 years

Saplings are packaged and transported to their specific location

Hole is dug using spade ensuring it is deep enough to bury all roots

Sapling is planted and propped up using stakes, growing ever larger

HOW TO BUILD A FOLLY

Pallets are removed from main pole

Pole is unbolted and removed from pile system

Pallets and poles are transported back to source

In a familiar sense, deconstructing the folly could be interpreted similarly with transplanting kauri trees toward a forest. You remove the plant unit, deliver them to its natural place for it to serve its purpose. The construction-deconstruction of our design resonates strongly with that of a dandelion spreading its seeds.

011

Substrate is excavated and steel plate footing is removed

Materials re-enter the cycle

The land is filled in and left unchanged from its original form

Following the concept of a dandelion, Brick Bay will be the stem from which the seedlings disperse. The following locations around the north island will be homes for the seedlings to grow into healthy, mature kauri

Pallets are removed from main pole

We seek a permanent impact through an impermanent structure

two seeds, one purpose

012

Tauranga Moana Type: Paper Leader:

Architectural Design 6 Lama Tone

Adapting to the customary Pacific (including Māori architecture and concepts to contemporary situations with the use of new types of formalism, concepts, materials and other technologies.

This paper hopes to culminate all aspects conceptual, formal, material, tectonic, environmental, structural- of architectural design within the context of a larger network of infrastructural services showcasing the building as both an active “machine” and a place for human comfort.

Inspired by a canoe, the design mimics the different intricacies within it to conjure and create articulating spaces that speak to us architecturally. It imitates two canoes lashed together with paddle-like columns holding the hull as it seemingly floats above water.

02 013

In the past, Māori used waka (canoes) just as we use cars today. New Zealand’s waterways were like roads, running along the coast and up rivers.

These wakas would be paddled along them, carrying people and goods.

It signifies the arrival in New Zealand of Māori ancestors from a place most often called Hawaiki, carrying motifs such as conflicts before departure, voyaging at sea, landing, inland and coastal exploration, and the establishment of settlements in new regions.

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The idea is to implement these kind of symbols, ideas and motifs, and giving them form creating this sense that architecture is no more an aesthetic and firm thing but rather something that transforms, something alive, something new and poetic.

These designs adapt in time capturing an instant, highlighting architectural poetry of the built environment.

On occasions when the tide is low, users are invited towards the lower floor to experience a whole new atmosphere of the design

015

It remains a strong concept of symbolism that is important to the identity of Māori. Whakapapa (geneological links) back to the crew of founding canoes served to establish the origins of tribes, and defined relationships with other tribes.

They not only explain origins but also express authority and identity, define tribal boundary and relationships. They merge poetry and politics, history and myth, fact and legend.

Wakas were usually moved with wooden paddles or poles with sails made of raupo (a reed) or flax and stones tied with rope as anchors Most vessels structurally consisted of a -hiwi (hull) which made up the body, tauihu (prow) the front, taurapa (stern) the back, and the rauawa (gunwales) the upper edges along the side

016

The idea stemmed from hanging canoes within a museum backed with a strong desire to showcase the canoe within it’s natural environment. It expands our design to go beyond the horizon (land) and rethink our approach as architects acting as a mediator between the relationship of people and the built environment.

The proposed design showcases the museum artifacts (past), looking through the never-ending horizon (present) and the endless possibilities the freedom of architecture gives us to express our ideas and beliefs (future).

An atmosphere where the past is celebrated within the present to eagerly await what the future brings.

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HIGH TIDE LOW TIDE

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VERTICAL - BRIDGE ENTRANCE PATHWAY DETAIL SCALE @ A3

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“GILTRIP ECOGLO” STRIP INSERT “GILTRIP ECOGLO” STAIR NOSING PRECAST CONCRETE STAIRS STEEL REINFORCING BARS STEEL HAND RAIL STEEL PIPES STEEL RAIL ANGLE CONNECTOR 60MM “POWERBUILT” ROBERTSON SCREW 160 UNIVERSAL BEAM STEEL MESH REINFORCING

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M10 “SESTO” SCREWBOLT M10 “SESTO” WASHER SHEAR CONNECTOR PRECAST CONCRETE LANDING M20 “SESTO” SCREWBOLT M20 “SESTO” WASHER SPRINKLER MAIN PIPE STEEL ANGLE STEEL ANGLE WELDING INTO RHS RECTANGULAR HOLLOW SECTION SPRINKLER HEAD

VERTICAL - BRIDGE ENTRANCE HANDRAIL DETAIL SCALE @ A3

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60MM “POWERBUILT”ROBERTSON SCREW STEEL PANEL 5MM NEOPRENE PADDING ALUMINUM COATED STEEL PANEL STEEL PLATE IN BETWEEN SILICONE SEALING PLASTIC WEDGE WELDING INTO STEEL PLATE PARALLEL FLANGE CHANNEL CONCRETE IN-FILL M2O “SESTO” WASHER M20 “SESTO” SCREWBOLT M10 “FORTRESS” WASHER 150 UNIVERSAL BEAM “GIB GRABBER”HIGH THREAD PINUS RADIATA TIMBER CAP STEEL BRACKET “VIRIDIAN”TOUGHENED LAMINATED GLASS CARPET UNDERLAY “GIB GRABBER”HIGH THREAD PLYWOOD STEEL REINFORCING MESH STEEL REINFORCING BAR IN-SITU CONCRETE 160 UNIVERSAL BEAM SHEAR CONNECTOR M10 “FORTRESS”BOLT

The proposal was designed with intent to perceive the multi-sensory nature of the human mind to further indulge its users about the spatial qualities and atmospheric interactions one shares with a building.

The void centre floor amplifies our senses to feel, hear, smell and almost taste the building within its particular surrounding promoting social, cognitive and emotional attachments one experiences within.

It hopes to distinguish the relationship between sensory atmospheres and environmental cues above the visuals, projecting a stronger sense of reconciliation between ourselves and the world.

021

Gears of Clockwork Type: Paper Leader:

Spatial Design Paper 4 Sue Gallagher

The WW AUT Building has been standing for generations as a pillar of education for its students. Although old, the board of committees have decided to preserve its antiqueness and allowed for a refurbishment and repurpose of the building to accomodate students a place to relax and unwind from their academical approaches, hence a bathhouse.

Highlighting the site’s main weakness - it’s old age - rather than finding a way to counter it, the design proposal aims to embrace and use it as a tool utilizing it’s weakness as it’s main strength.

The gradually increasing gentrification of the city led to a realization towards the importance of old buildings and the decline of preserving and refurbishing projects involved within the urban plan.

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Thoroughly inspired by movement in the creative arts showing the influence of depictions towards the future produced in an earlier era, Gears of Clockwork explores the themes of tension between past and future, and between the alienating and empowering effects of technology.

From a period characterized by its intense and rapid technological change, it serves as a history of an idea, or a system of ideas - an ideology as the future does not exist except as an act of belief or imagination.

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The design proposal incorporates two overlapping trends which may be summarized as the future as seen from the past and the past as seen from the future.

These futuristic visions are refurbished and updated for the present, and offer a nostalgic, confectual image of what the future might have been, but is not.

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VERTICAL - STEAM DIFFUSER POLE DETAIL SCALE @ A3

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BATTERY BOX SMALL WIND TURBINE STEAM CHASM DISPERSER CONTROLLABLE STEAM DISSIPATOR WATER-STEAM CONVERTOR WATER COLLECTOR WATER TANK

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The reconstruction of the AUT WW Building will alleviate itself from it’s surroundings, highlighting it’s uniqueness & individuality amongs the environment. It offers a great contrast similar from learning and relaxation to urban and rural qualities.

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From ancient times, thermae spaces have always been a place of cleanse and had significant religious relevance, especially in Roman cities. It is viewed as a popular form of therapy, a method of cleansing, and a place of relaxation during the Victorian era.

It provided for the needs of ritual ablutions but also provided for general hygiene in an era before private plumbing and served other social functions such as offering a gendered meeting place for men and for women.

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EXPLODED - INTERACTIVE COLUMN DETAIL SCALE @ A3

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WATER PIPE “FORTRESS” BOLT WATER DISPENSER INTERACTIVE WHEEL SURFACE CAPPILARY FOR WATER FIXED COLUMN POWER SUPPLY “POWERBUILT” ROBERTSON SCREW

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BATTERY TEMPERATURE REGULATOR SCREW FIXER RING STEAM CHASM COLUMN TO WALL CONNECTOR CHASM FRAMING WATER PIPE FOR CHASM EXCESS WATER PIPE

In many ways, baths were an ancient equivalent to community centres. Because the bathing process took long, conversation was necessary. It was used as a place to invite their friends to dinner parties, and many politicians would go to the baths to convince fellows to join their causes.

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One important function of the baths was their role as what we could consider a “branch library”. Many in the general public did not have access to grand llibraries and so as a cultural institution, the baths served as an important resource where the common citizen could enjoy the luxury of books.

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EXPLODED - SHOWER HEAD DETAIL SCALE @ A3

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SHOWER HANDLE & HEAD INNER SOFT RUBBER MOULDING WITH NOZZLES LARGE 86X2MM NITRILE SEAL METAL SHEEN ROSE FACE A2 STAINLESS STEEL SCREW PLASTITE 20MM

VOLUME CONTROL VALVE

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The spatial characteristics sensibly recall the older but still modern eras in which technological change seemed to anticipate a better world, one remembered as relatively innocent of industrial decline.

It invites us towards historical imagination and invites us to roll up our sleeves and get to work re-shaping our contemporary world.