2023 Portfolio

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CONTACT https://issuu.com/ggrgaghgagm/docs/issuu_small Digital Portfolio Link CLICK ME!

Phone: 0423038234 Email : grahamgarciaa@gmail.com

EDUCATION UNIVERSITY of AUCKLAND

FEB 2019 - JUL 2022

Bachelor in Architectural Studies

AUCKLAND UNIVERSITY of TECHNOLOGY

FEB 2018 - OCT 2018

Bachelor of Spatial Design

WORK EXPERIENCE

GRAHAM GARCIA

Architecture Graduate

TABLE GAMES DEALER of SKYCity AUG 2021 - FEB 2023

Conducted gambling games mainly with dice & cards, following all applicable rules & state regulations -

Exchanged paper currency for playing chips Inspected cards & equipment to be used in games to ensure that they were in good condition Paid winnings & collected losing bets as established by the rules & procedures of the specific game Acknowledged disputes & reported them appropriately

RETAIL SALESPERSON of ECCO Shoes

ABOUT ME Achieving TOP 5 in the Brick Bay Folly Competition back in 2022; a design-build competition that investigates the relationship between sculpture & architecture within temporary structures, I had the opportunity to design spaces that engaged users to perceive architecture in a different context, blurring the distance between art & materials.

My role included maximizing certain patterns of information & creating abstract connections between seemingly unrelated data to project soul-engaging spaces for creativity & knowledge to inhibit.

FEB 2020 - JAN 2021

Prioritized daily workflows, including all inbound calls, quotes & sales-related inquiries -

Answered customer’s questions regarding products, prices & availability Emphasized product features based on analysis of customers’ needs Described merchandise & explain use, operation, & care of merchandise to customers Maintained friendly & professional customer interactions at all times

INSURANCE SURVEY CONSULTANT of AURORA Financial JUL 2020 - MAR 2021

Responsible for prospecting new clients to generate new businesses & expand the organization’s customer base -

Gathered & analyzed key customer data to reccomend best suited programs Reviewed customers’ existing plans to make appropriate judgement decisions

SOFTWARES Rhinoceros3D Grasshopper Adobe Creative Suite Revit

INTERESTS Volleyball Basketball Music Gym

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C O N T E N T S 500 trees

p03-p22

tauranga moana

p23-p36

the coghouse

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500 Trees TYPE: Brick Bay Competition PAPER LEADER: Andrew Barrie IN COLLABORATION WITH: Miro Sumich Sachi Kapadia Katrina Nielsen BRIEF:

The Brick Bay Sculpture Trust invites emerging architects to submit concepts for the annual Brick-Bay Folly; a competition that investigates the intersection between sculpture & architecture with temporary structures that intentionally serve no utilitarian purpose.

APPROACH: The site was once a land that housed kauri forestries that stretched right down to the beach till it was felled to be prepared for farming in the 19th century. In hopes of reinvigorating the kauri tree forestries decline due to the kauri dieback disease, we have decided to spread it’s awareness through our design. Sharing Brick Bay’s vision of sustainability, materials that are found in abundance within Brick Bay; pallets, fence posts & bolts are redefined to create dandelion-like units that enable incubation shelves for kauri seedlings over the folly’s 2 year lifespan. Following the concept of a dandelion, Brick Bay will be the stem from which the seedlings disperse to different homes in order to grow into healthy, mature kauri trees.

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500 TREES | 2022 | Brick Bay Competition

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In architecture, a folly is an ornamental structure that lacks practical purpose. Our folly seeks to find meaning in a name that inehrently defines it as meaningless.

Inspired by the impermanence of a dandelion, our design mimics the same nurture & 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 byproduct?

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Brick Bay Competition | 2022 | 500 TREES

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500 TREES | 2022 | Brick Bay Competition L

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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 after the duration of the folly.

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Brick Bay Competition | 2022 | 500 TREES

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500 TREES | 2022 | Brick Bay Competition

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Brick Bay Competition | 2022 | 500 TREES

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500 TREES | 2022 | Brick Bay Competition

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Brick Bay Competition | 2022 | 500 TREES CONFIGURED FLOORPLAN

SCALE 1:50@A3

Dandellion 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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500 TREES | 2022 | Brick Bay Competition S

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1:50@A3

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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Brick Bay Competition | 2022 | 500 TREES

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500 TREES | 2022 | Brick Bay Competition

100 clas 2-w pal

M1 &n

800 con

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bar

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500 ste

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Brick Bay Competition | 2022 | 500 TREES

DANDELION UNIT DETAIL SECTION SCALE 1:10@A3

00x1200MM recycled, stringer ss double face, non-reversible, way reusable, new manufacture llets

12x150MM galvanized hex bolt nut

0MM ttt multipole with M12 nnector

12x450MM galvanized hex bolt

5-300MM kiwi timber xagonal pole hs

rk/mulch top fill

avel bottom fill

0MM manufactured square eel plate

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500 TREES | 2022 | Brick Bay Competition T

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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.

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Brick Bay Competition | 2022 | 500 TREES

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500 TREES | 2022 | Brick Bay Competition

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

HOW TO BUILD A FOLLY

components prefabricated workshop to

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are in site

1000mm holes are dug on site

steel plate foundation is inserted & laser leveled

crane used to connect timber pole onto pile system

pallet canopy head connected to timber pole

side pallets are fixed using M12 bolts @400MM ctrs

Brick Bay Competition | 2022 | 500 TREES

C O N S T R U C T I O N

S E Q U E N C E

potted in 1L pots & ready for the folly

substrate layer (gravelmulch) added & compacted

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 & 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.

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500 TREES | 2022 | Brick Bay Competition

D E C O N S T R U C T I O N

S E Q U E N C E

HOW TO PLANT A KAURI

kauri saplings have reached maturity after 2 years

HOW TO DISASSEMBLE COMPO

pallets are removed from main pole

In a familiar sense, deconstructing the folly could be interpreted similarly with transplanting kauri trees towards 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.

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pallets & po transported back

Brick Bay Competition | 2022 | 500 TREES

saplings are packaged & transported to their specific location

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

sapling is planted & propped up using stakes, growing ever larger

substrate is excavated & steel plate footing is removed

the land is filled in & left unchanged from its original form

ONENTS

pole is unbolted & removed from pile system

oles are k to source

materials cycle

re-enter

the

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Tauranga Moana TYPE: Architectural Design 6 PAPER LEADER: Lama Tone BRIEF: This paper offers a multi-cultural response to the bi-cultural architecture (Māori & European) in Aoetearoa.

Adapting to the customary Pacific (including Māori) architecture & concepts to contemporary situations with the use of new types of formalism, concepts, materials & 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” & a place for human comfort.

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TAURANGA MOANA | 2021 | Architectural Design 6

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In the past, Māori used waka (canoes) just as we use cars today.

New Zealand’s waterways were like roads, running along the coast & up rivers. Waka would be paddled along them, carrying people & goods. The canoe (waka in Māori) traditions or stories describe the arrival in New Zealand of Māori ancestors from a place most often called Hawaiki.

They also refer to the construction of canoes, conflicts before departure, voyaging at sea, landing, inland & coastal exploration & the establishment of settlements in new regions.

Waka were usually moved with wooden paddles or poles. Some had sails made of raupo (a reed) or flax.

The anchors were stones tied with

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rope. Most vessels had the same parts - hiwi (hull) which made up the body, tauihu (prow) the front, taurapa (stern) the back, & the rauawa (gunwales) the upper edges along the side. Although canoe traditions cannot always be treated so literally, it is still a strong concept of symbolism that is important to the identity of Māori. Whakapapa (genealogical links) back to the crew of founding canoes served to establish the origins of tribes, & defined relationships with other tribes.

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

Architectural Design 6 | 2021 | TAURANGA MOANA

tauihu (prow) rauawa (gunwales)

taurapa (stern)

hiwi (hull) hoe (paddle)

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TAURANGA MOANA | 2021 | Architectural Design 6

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Architectural Design 6 | 2021 | TAURANGA MOANA

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TAURANGA MOANA | 2021 | Architectural Design 6

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Inspired by the stories & myths about a canoe, the design mimics the different intricacies within it to conjure & create articulating spaces that speak to us architecturally. The design imitates two canoes lashed together with paddle-like columns holding the hull above water as it seemingly floats above water during high-tide. On certain occassions when the tide is low, users can accesss the lower floor to experience a whole new atmosphere within the design that showcases the museum interior through a gap within the flooring of it. The idea stemmed from hanging canoes within a museum, & a strong desire to showcase the canoe within its

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natural environment. The beauty of this design not only enhances the items within the canoe museum as it intertwines with its corresponding environment but also opens up new & innovative approaches towards the freedom of architecture, expanding & engaging our designs to go beyond the horizon (land) & design with different environments. The design showcases, the past, through the museum while looking through the never-ending horizon, which is the present & the endless possibilities the freedom of architecture gives us to express our ideas & beliefs , the future. An atmosphere where the past is celebrated within the present to eagerly await what the future brings.

Architectural Design 6 | 2021 | TAURANGA MOANA

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TAURANGA MOANA | 2021 | Architectural Design 6

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Architectural Design 6 | 2021 | TAURANGA MOANA

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TAURANGA MOANA | 2021 | Architectural Design 6

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Going beyond traditional architectural practices, the space was designed with the intent to perceive the multi-sensory nature of the human mind to further indulge its users about the space qualities & atmospheric interactions one has with a building. The void centre floor amplifies our senses to feel, hear, smell, and almost taste the building within its particular surroundings in hopes of developing better spaces for the development of buildings, not only as a place of shelter but also promoting social, cognitive & emotional attachments one experiences within. Although there is an emphasis towards the impact our senses help in strengthening our

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experiences, this design proposal hopes to distinguish the relationship between sensory atmospheres & environmental cues above the visuals. Through this building, I intend to deliver a higher level of experience towards spaces that heightens one’s senses individually & collectively as we strive towards better architecture, which is the art of reconciliation between ourselves & the world (Pallasmaa, 1996). The architect should promote stimulating soul-engaging spaces & study how one immerses themselves within space compared to everyday interactions to further elevate their designs.

The design hopes to engage the user not only physically, but also mentally & spiritually.

Architectural Design 6 | 2021 | TAURANGA MOANA

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TAURANGA MOANA | 2021 | Architectural Design 6

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Architectural Design 6 | 2021 | TAURANGA MOANA

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The Bathhouse TYPE: Spatial Design Paper 4 PAPER LEADER: Sue Gallagher BRIEF:

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The WW AUT Building has been standing for generations as a pillar of education for its students. Although old, the board of committees has decided to preserve its antiqueness and allowed for a repurpose of the building to accomodate students a place to relax & unwind from their academical approaches and tasked us with a redesign of the building as a bath house.

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THE BATHHOUSE | 2018 | Spatial Design Paper 4

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The design paper required us to reiterate & reconceptualize the basement level of the AUT WW Building to accomodate university students, teachers & the greater community a bathing space for relaxation & recreational activities. I highlighted the sites main weakness, its old age, & instead of finding a way to counter the said weakness, I decided to embrace it & use it as a tool, making its main weakness, as its strength. The gradually increasing rural quality of the city led me to realize how “old buildings” are

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getting replaced by newer & more modern buildings. Instead of designing a bath house that would match its gradually developing environment, I decided to use it as a space to embrace & commemorate the past to remind the wider community about the drastic change in technology & development we have achieved today. Not only does this instigate the curiosity of it’s user, mainly the demographic that involves the younger university students but also subconsciously reminds them of the time our predecessors had.

Spatial Design 4 | 2018 | THE BATHHOUSE

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THE BATHHOUSE | 2018 | Spatial Design Paper 4

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The interactive nature of this design allows one to control the density of the mist with the use of the rectangular columns, offering a controlled space within the surroundings subtly changing one’s experience throughtout the whole design.

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Spatial Design 4 | 2018 | THE BATHHOUSE

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THE BATHHOUSE | 2018 | Spatial Design Paper 4

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Spatial Design 4 | 2018 | THE BATHHOUSE

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Due to the design’s approach, the reconstruction of the AUT WW Bulding is bound to stand out from its surroundings, heightening it’s uniqueness & individuality amongst the environment. It offers a great contrast similar from learning & relaxation to urban & rural qualities.

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THE BATHHOUSE | 2018 | Spatial Design Paper 4

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From ancient times, thermae spaces have always been a place of cleanse & had significant religious relevance, especially in Roman cities. The design that permeated its own particular sacred-like moments not noly cleansed the body physically but visually & spiritually too.

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Spatial Design 4 | 2018 | THE BATHHOUSE

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THE BATHHOUSE | 2018 | Spatial Design Paper 4

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Spatial Design 4 | 2018 | THE BATHHOUSE

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The proposed design contributes to creating awareness in society, involving users in its design process, & making them differentiate between their needs & aspirations. This process highlights the effect architecture has towards shaping communities & how it can play an active role in doing so.

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