GALLERY FOR A TREE. MARCELLIN COLLEGE
Background
The evolution of the idea for this project began in 2013–2015 at Caroline Chisholm College in Braybrook, where we designed the first iteration of a flyover typology for our then and now client, Principal Marco De Cesare. This project became a new and highly celebrated visual identity for the college. It appeared on public billboards in wider Braybrook and Footscray, in school publications, and was published internationally through architectural media. The outcome of the project, together with extensive renovation to the quadrangle landscape, led to increased school enrolments and a new sense of optimism and pride for the college.
Site
The site for the Marcellin Flyover Gallery is an existing open-air walkway bridge between two buildings: a senior school teaching and learning building to the east, the first building on the site, constructed in 1963, and a Year 7 and 8 junior school building to the west.
A spectacular gum tree sits between the two buildings at the end of a bitumen quadrangle. This quadrangle is the primary gathering space for the college.
Tree
The very first image presented to the college was of this tree circled with an ellipse, which, completely serendipitously, came to highlight it as the centre point of the project. It was essential that the new flyover have a direct relationship with this tree.
The design process began by exploring ways to frame the tree. This developed into ways of framing around and encircling it, making the tree the heart of the project. A series of early sketches evolved quite organically, raising questions about the relationship between the organic nature of the tree and the architectural response around it. Rather than creating a parody, the project sought to establish a contrast between formal geometry and the organic geometry of the tree.
Encompassing Ellipse
As an evolution of parts in plan, the starting point was the tree trunk and then an ellipse around the tree. The ellipse is placed around the tree, but to one end. This was a conscious hierarchical and compositional decision within the space. The intention was also to make the tree physically accessible to students, so that they could reach out and touch it. The ellipse is read across various planes of the project.
Ellipse as Garden in the Ground Plane
The project contrasts the geometry of the ellipse with the wildness and freedom of a garden. It also creates the possibility of looking up into the tree canopy and looking down into a colour-filled garden.
Tree Beyond the Ground Plane
A particularly interesting aspect of working in such close proximity to a tree is the other end of the trunk: the root system. The project required careful consideration of how to build without disturbing the roots.
Before any works commenced on site, a tree root scan was undertaken. As a result, the final locations of the four columns had to remain flexible. Footings were dug by hand, and the concrete slab above was designed essentially as a mass beam, allowing the column locations to be adjusted according to where the least damage to the roots would occur during construction.
There was a fairly good idea of where the columns would be located, but flexibility was essential once excavation began, as there was very little tolerance for cutting or removing roots before the tree could be dramatically affected or even die.
Art as Reference
In contrast and in dialogue with the internal ellipse, the edges of the volume are offset and sculpted around the perimeter of the existing building conditions.
As in much of the practice’s design thinking, art was used as a source of inspiration and as a way to investigate ideas. In this case, the project looked closely at geometric minimalist and hard-edged artists such as Ellsworth Kelly, Ted Stamm, and Robert Mangold.
Robert Mangold was a particularly important reference when designing the flyover, both from a formal and spatial perspective and in relation to the idea of a singular material approach.
Specifically, the project drew on the relationships and tensions he creates with and within geometries, such as in his Attic Series 5 from 1990. In that work, moments of tension and contrast are established through a formal geometric language and its relationship to clear space. In the flyover, the external rectilinear form and internal ellipsoid form almost meet, rendered in a singular colour and texture.
Geometry as Spatial Divider
In parallel, the plan of the flyover is formalised as a rectilinear container with an ellipse as a central void. A cranked wall creates a point of tension between itself and the ellipse. Pragmatically, this cranked wall creates a triangle that divides the space, establishing a central point of access from point A to point B, while the space behind it becomes a reflective area.
The tension point between the cranked wall and the ellipse creates a moment of intimacy where one can stop. In one direction, the tree is visible; in the other, art boxes display literal art.
On the other side of the ellipse, an area steps down to a long bench seat. This creates a space for informal class activities and, more generally, a place to sit and admire the tree. One side of the void is sheltered from the weather with glass, while the other is open to the elements. It is a space where one can sit or stand, reach out, touch the tree, and look up into the canopy.
The Inverse
The inverse of the cranked central wall created an opportunity for a reflective space: a place to sit and look out over the adjacent quadrangle.
Where the central point of the wall meets the ceiling, a circular skylight creates changing light throughout the day as the sun moves across the sky.
From this point, it is possible to look across the quadrangle towards the main school chapel, creating a visual dialogue. There are plans for the school to install liturgical text on the wall here, further strengthening this connection.
Spatial Unfolding
A triangular ceiling above the reflective space creates a spatial unfolding and a sectional relationship with the ramping floor.
A ramp was required to meet the adjacent floor levels of the existing buildings and link both buildings together.
A moment of intimacy is created at the point where the ceiling is at its lowest, at the upper end of the ramp. The space then enlarges as one progresses down the ramp, opening up to two large arched windows overlooking the quadrangle.
There is an opening up of proportion as one moves through the space.
Curated Openings
The openings in the overall form were highly intentional and carefully limited, framing views to create enhanced and focused relationships with the surrounding context. It was equally important to create specific and proportional openings without taking away from the internal relationship with the tree.
Historical and Cultural Reference: Subtle Visual Identity
The primary elevation is the most important elevation in the project. The intention was to create something of an emblem for the school, one that spoke about its history and origins.
Having previously designed other projects at the school, references had already been drawn from St Marcellin Champagnat, after whom the school is named, and specifically from his Hermitage in France, where the Marist Catholic faith originated.
The aim was to continue this visual identity within the flyover project as something that could be clearly visible within the wider school environment.
Using the Hermitage in France as a primary reference, one of the earliest buildings on the site after the chapel was a linkway made from local stone, literally carved out of the rock on site. It has two beautiful small archways, unequal in proportion and set at varying heights, which became a particularly interesting reference.
The linkway has a strong visual character and clearly appears to have been made by hand by apprentices. The way the Chapel of Mary sits into the archway was also significant, and was likened to a student standing beneath one of the archways and looking out over the quadrangle.
The rigid steel balustrade at the top, clearly a later addition, was another point of interest, recalling the proportions of a vertical colonnade. The slight fall in the land, which creates a sloping proportional ground line, was also taken from the Hermitage linkway as an important visual cue.
As in many of our projects, references and visual cues are used to tell stories about people, place, and history. These references are intended to appear abstracted and not immediately obvious, revealing themselves gradually through time and story.
This series of references informed the primary elevation of the Marcellin Flyover, where two disproportional archways create openings, one larger than the other. The edge details of the arches are chamfered, as if carved out. A bladed colonnade runs partway across the façade, and the bottom line of the façade slopes from one end to the other.
New Stories Begin
The Flyover, or “Gallery for a Tree” as it has been named, opened for students earlier this week. It was wonderful to see and hear the delight of students as they engaged with their new space for the first time. The school’s art department has already taken pride in showcasing student art in the art boxes, which is fantastic.
We were fortunate to work and collaborate with exceptionally skilled craftspeople on this project, from Hillary at SteelFox on the formed concrete to our exceptional builders, Brenton McLeod and MDC Building Group, who meticulously and beautifully crafted the project in reality.
A very special thanks goes to the principal of Marcellin College, Marco Di Cesare, for his vision, trust, and commitment to the project. These types of special projects can be a real challenge for many school clients, but we have seen in the past what the outcome of projects such as this can lead to. Marco’s unwavering commitment to his students and school community is hugely admirable.
