Architecture Portfolio: Ally Galang

ALLY GALANG

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TABLE OF CONTENTS

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PREFACE, ALLY GALANG RESUME

QUALIFICATIONS & REFERENCES

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1919 MASSACHUSETTS AVE, NW

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500 17th St NW 20006

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WATER St, NW

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WASHINGTON, DC 20006

WASHINGTON, DC 20036

HAND DRAWING PROJECTS WASHINGTON, DC

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PREFACE I am a graduate from The Catholic University of America, with my Bachelor’s of Science in Architecture in addition to a minor in Sustainability. Detail-oriented in design projects from start to finish. Offers an attention to accuracy. Skills range from a variety of software programsCAD, Revit, Adobe Suite, etc. Teamwork and communication abilities are strong.

Experienced in both traditional and modern architectural design through school.

Quick learner, passionate about creativity, finding solutions and seeking an entry level architecture position.

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ALYSSA GALANG

ARCHITECTURE & SUSTAINABILITY GRADUATE CONTACT 626-418-2141 alyssamgalang@gmail.com www.linkedin.com/in/alyssa-galang Los Angeles, California

EDUCATION Bachelor of Science in Architecture Minor in Sustainability The Catholic University of America Washington, D.C. 2023

ACHIEVEMENTS ARCHITECTURE SCHOOL: My Experience in Architectural Undergrad Presentation UNDERGRADUATE RESEARCH DAY 2023: Designing a Cultural Identiy, Embassy of Spain UNDERGRADUATE RESEARCH DAY 2022: Bridging Habitats SENIOR RESEARCH DAY 2019: Architecture, a Healing Field GIRL SCOUT GOLD AWARD PROJECT 2018: Taking Sustainable Action

ACTIVITIES • • • • • •

Student Philanthropy Council (Graphics Liaison) Architecture School Ambassador Cardinal Closet Co Founder Program Board (Graphic Designer) Filipino Organization of the Catholic University Students (F.O.C.U.S) Freshman Retreat Team

WORK EXPERIENCE Woodshop Worker and Lab Technician The Catholic University of America Washington, D.C.

December 2022-May 2023 • Maintaining, repairing, and calibrating tech equipment such as computers and printers • Operating and maintaining woodshop machinery such as saws, sanders, and drills • Assisting with the setup and cleanup within the woodshop • Ensuring a safe and clean work environment

Teaching Assistant for ARPL 241/641 The Classical Language of Architecture The Catholic University of America Washington, D.C.

August 2022-December 2022 • Leading small groups of students in critiques • Providing individualized support to students who need extra help • Grading assignments and providing feedback to students • Preparing and communicating with the Professor so that the lesson plan is ready

Architectural Student Internship CallisonRTKL Washington, D.C.

July 2022 - September 2022 • Worked on various stages of commercial projects based on tasks from my supervisors.

• Gained and strengthened CA skills through submittals.

• Worked on stages of large scale 3D renderings for commercial projects.

REFERENCES Christopher J. Howard, RA, NCARB

Assistant Professor at The Catholic University of America; Principal Architect at C.J. Howard Architecture Office Phone: 703-850-6806 Email: howardcj@cua.edu

James McCrery, II AIA, NCARB

Associate Professor & Director of Studies in Classical & Traditional Architecture at The Catholic University of America; Principal Architect of McCrery Architects, PLLC. Email: mccrery@cua.edu

Ana Maria Roman Andrino

Assistant Professor, Associate Dean for Undergraduate Studies at the Catholic University of America Email: romanandrino@cua.edu

SKILLS • • • • • • • •

BEGINNER

INTERMEDIATE

ADVANCED

Adobe Suite Apps AutoCad Revit Sketchup Organizational Skills Time Management Leadership + Teamwork Strong Communication

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The Spanish Embassy The Architecture of Diplomacy in Washington, D.C. 1919 Massachusetts Avenue NW, Washington, D.C. 20036

“Designing for Cultural Identity”: The Architecture of Diplomacy in Washington, D.C. Professor Palladino; 3 Month Project; 2 Person Team As the Capital of the United States, the District of Columbia, is known to host more than 185 embassies, which assist citizens and visitors with travel, work, and education. Washington, D.C. is one of the most important diplomatic cities; with its embassies promoting peace and stability among the nations that it hosts.

Exhibits and events that take place in an embassy directly represent the visiting culture. While architecture expresses them in a symbolic manner, some of the primary things to consider when designing an embassy beyond building codes are the precedents of other diplomatic missions throughout the world, cultural historical attributes, and the connection of the other embassy in the city.

By researching and visiting our site, located in Dupont Circle, my partner and I gained an understanding of the context to develop best design practices within the urban fabric of the neighborhood that we designed. We considered transportation paths, building heights, common facade types, and the social atmosphere. We researched the surrounding embassies in D.C. to understand the typology of an embassy, programmatic elements and cultural attributes.

By delving into the history of the country of choice, Spain, we’ll be able to understand the country’s culture- history, identity, architecture, religion, celebrations, traditions, art,physical land features and what makes it so special to its people.

We are challenged in ARPL 402 to also research and apply the codes required in the practice of architecture.

This project and research will dive into the challenge of designing a building to represent a cultural identity, and the architecture of diplomacy through an embassy.

Process Sketches, Work, Documentation of Progression Spanish Embassy Professor Palladino; 3 Month Project; 2 Person Team Conceptual Sketches

The Alhambra: Granada, Spain

“Revolucionenelpatio”: Malaga, Spain

Casa Batllo: Barcelona, Spain

Notes From Class (Integrated Studio Supplement) Natural Energy Lecture By Brian Donnelly - Art + the business of creating buildings is not divisible into two intellectually seperate parts (structures & mechanical services) a lesson from Corbusier - The winds: Virtuvious... cities will be properly laid out if forsight is employed to exclude winds.

- persistent sources of energy: solar radiation and gravity (what creates wind) -In design, we must think holistically about our approach to elements and intent.

Landscaping Design Idea & Progression

SUN SHADING BAGUETTES

CISTERN

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PUMPED OUTFLOW TO IRRIGATION SYSTEM SUB-SURFACE DRAIN PIPE EDGE RESTRAINT- CONCRETE DEPTH BELOW BEDDING ROCK 4 JOINT ROCK- 1/8” - 3/8” CRUSHED ROCK 5 PERMEABLE PAVING STONE HAS SPACERS OR VOID SPACES TO ALLOW WATER FLOW 6 BEDDING ROCK - 2” THICK LAYER 7 BASE ROCK - DEPTH VARIES 8 SUBBASE ROCK - DEPTH VARIES 9 GEOTEXTILE - FILTER FABRIC FOR FULL PARTIAL EXFILTRATION; LINER FOR NO EXFILTRATION 10 DRAIN PIPE - AS NEEDED FOR PARTIAL OR NO EXFILTRATION 11 NON-COMPACTED NATIVE SOILS

Embassy Context

SITE EMBASSIES

Neighborhood Historical Context

Sun Path

SUMMER

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PERVIOUS PAVERS

SPECIFICATIONS

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SITE CONTRIBUTING NON-CONTRIBUTING

SECTION A: COURTYARD EAST-WEST SCALE: 1/8” - 1’-0” CAFE + OUTDOOR SEATING OFFICE OFFICE OFFICES OFFICES MULTI USE SPACE GALLERY

PENT. FIFTH FOURTH THIRD SECOND FIRST BASEMENT

SECTION B: ATRIUM EAST-WEST SCALE: 1/8” - 1’-0”

SECTION A SCALE 1/8”=1’-0”

AMBASSADOR’S OFFICE OFFICE & CONFERENCE OFFICES GELLERY LOBBY CONSULAR

FIFTH FOURTH THIRD SECOND FIRST BASEMENT

SECTION C: NORTH-SOUTH SCALE: 1/8” - 1’-0”

SECTION B SCALE 1/8”=1’-0”

SECTION C SCALE 1/8”=1’-0”

ALLY GALANG & VICTORIA RIGGLE

MASSACHUSETTS AVENUE ELEVATION

FLOOR PLANS BASEMENT - 3

BASEMENT FLOOR PLAN SCALE: 1/8”=1’-0” 01 HORIZONTAL CIRC. 02 VERTICAL CIRC. 03 CONSULAR 04 SUPPORT 05 MULTI USE SPACE 06 SERVICES

948 SF 716 SF 1599 SF 1344 SF 995 SF 871 SF

TOTAL

6473 SF

FIRST FLOOR PLAN SCALE: 1/8”=1’-0” 01 HORIZONTAL CIRC. 02 VERTICAL CIRC. 03 CLASSROOM 04 MULTI USE SPACE 05 SERVICES

988 SF 728 SF 919 SF 2662 SF 928 SF

TOTAL

6225 SF

SECOND FLOOR PLAN SCALE: 1/8”=1’-0” 01 HORIZONTAL CIRC. 02 VERTICAL CIRC. 03 MULTI USE SPACE 04 OFFICE 05 MEETING ROOM 06 SERVICES

199 SF 729 SF 1415 SF 3069 SF 286 SF 312 SF

TOTAL

6010 SF

THIRD FLOOR PLAN SCALE: 1/8”=1’-0” 01 HORIZONTAL CIRC. 02 VERTICAL CIRC. 03 MEETING ROOM 04 OFFICE 05 SERVICES

326 SF 729 SF 738 SF 4187 SF 312 SF

TOTAL

6292 SF

The Corcoran School of Fine and Performing Arts School and Museum 1919 Massachusetts Avenue NW, Washington, D.C. 20036

In this project we have played with dynamic shapes and glass facades, but all in all, the vision of our structure came first, and the program followed. Form in this case, does not follow function. Rather, function follows excellent architecture as we learned from this implementation of our design intent. My partner and I drew materiality and ideas mainly from the Juilliard School in NY and China, With glass, light wood and clean horizontal lines that later defined its spaces.

While we were designing since this is an art school, we wanted to portray that within the school itself as something experiential, mirroring art and the different practices that allow us to experience and celebrate life in different ways. Since the client at the Corcoran mentioned that she envisioned this building to be more public rather than completely for the different majors, we made the northwest portion of the entire building completely public and the south east portion private for studios, classrooms, and rehearsal rooms .

I learned in this project to design differently, that form doesn’t always follow function.

Our design for the Corcoran School of Fine and Performing Arts proves that point, and that if designed well, with the architecture in mind first, we can integrate the program into the design.

The Corcoran School of Fine and Performing Arts School and Museum Professor McCrery; 3 Month Project; 2 Person Team The Corcoran School is currently part of The George Washington University’s Art Department, hosting some of its’ major creative programs. As a studio, we were able to meet with the directors of the department to ask questions and to hear about their needs. It was experience that can be mirrored outside of school, so it was a great learning tool. Our task for this stuidio project was to design an extension for the school to host all of its major creative programs, using the whole plot of land.

After meeting with the client, visiting the site, and analysis, my partner and I started brainstoming.

Goals from Client: 1. Making the corcoran more welcoming to outside majors 2. Add More space for Various Art Programs 3. The importance of the Current Historical Corcoran Building We started drawing out visions of what we can picture in that large scale space. We knew we wanted our building to be non-traditional, to completely separate the traditional corcoran to our extension, while finding a blend where we can connect the two. Our facade had been through many phases, but overall, we wanted that bold connection that intertwined the old with the new. From the final presentation, it’s now known as the imfamous “Tube”.

When it comes to the program, we have preserved majority of the section provided in the school and carefully curated and moved to upper levels to provide more light to the studios. In addition to that, we’ve included areas for performing arts like theater and music.

We strive to achieve the ideal balance of architecture when it comes to massing by combining numerous public and private features into a single component.

The theater, tube, and studio components being the three main parts surround the central lobby which is how its purpose came to be, in addition to its location on the map, being more accessible to students walking over from the GW campus.

Process Sketches, Work, Documentation of Progression Corcoran School of Fine and Performing Arts Professor McCrery; 3 Month Project; 2 Person Team

Programming the Tube

Working on the Plans of the Basement

Continued Progress on Programmatic Development

The main indoor Theater (pictured above & below) uniquely is a multi use theater, entirely made of glass, blurring the lines between the indoors and its surroundings, especially on the west side where Rawlin Park is located. This idea was implemented due to the client mentionig that most of the students hang out in the park during their break.

We chose to visually incorporate this advantage into our design in order to create a relationship between the building and the park because we saw it as a benefit in accordance with our site. In addition, it acts as a central point, bringing different disciplines together to foster a sense of a greater community that fosters creativity, progress, and drive for daily tasks is another essential component of the theater.

Our next component is the tube. The major goal of this manifestation of uniqueness is to establish a landmark and also to arouse curiosity in students coming from GW and visitors looking around for museums or passing by. Our tube stretches, in theory towards the axes that reaches the main George Washington campus and is accessible from the school which is why the main entrance is located along NY Ave. A number of galleries are included within the tube so that visitors can experience both the art and the architecture.

By proposing a café on New York Avenue, the school is able to engage the public, encourage curiosity, and people to learn more about art. This café also activates other outdoor areas, such as an open-air theater that serves as a place for both public and private school residents to interact and also screen event or movies for entertainment purposes.

PRODUCED BY AN AUT

4TH ST

TINGEY ST SE

4TH ST

WATER ST SE

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COSTIA RIVE

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West Elevation

Maritime Museum Museum

Water St NE, Washington, DC 20003

PRODUCED BY AN AUT

Maritime Museum Museum Professor Howard; 3 Month Project; Individual Project

The Doric Order: Theory of the Orders Professor Howard; Ink Wash Project

Stanton Park Elevation: ARPL 201

Professor Howard; Hand Drawing & WaterColor

World War I Memorial Anylatique: Studio 101 Professor Ott; Free Hand Drawing

MLK MEMORIAL ANALYTIC: ARPL 101 Professor Ott; Hand Drawing