© Peter Clarke

彼得·克拉克

架构师提供的文本描述。现时命名为“天桥廊”的“天桥廊”，过去及现在仍是现有的一楼行人[学生]。

Text description provided by the architects. The “Flyover Gallery” as it is now named, was and still is an existing first floor pedestrian [student & staff] link way between two precincts within Caroline Chisholm College in Braybrook.

 © Peter Clarke

彼得·克拉克

它横跨南面的艺术翼和北面的科学翼之间约21米的距离，最初的状态是一条露天死亡走廊，被三架现有的金属屋顶飞机笨拙地覆盖着。它常常只有学生在课间和课间留下的小吃说唱歌手的残余物居住。学校唯一的要求是：为了让它看起来“好”，似乎极大地削弱了这样一个项目的巨大可能性。这座天桥将是对校园中心现有四合院进行大规模大修的核心部分。

Spanning some 21 metres between the Arts wing to the south and the school`s Science wing to the north, Its original condition was an open-air dead corridor, awkwardly covered by three existing metal roof planes. It was often only inhabited by the remnants of snack rappers left by students during recess and between classes. The school`s only request: to make it look ‘good’, seemed to hugely undermine the vast possibility of such a project. The Flyover was to be the centrepiece of a large overhaul of an existing quadrangle within the heart of the school campus.

 © Peter Clarke

彼得·克拉克

天桥的编程邻接催生了一个相当简单的问题的主干，以推动这个项目-如何创造一个连接艺术和科学的“空间”？

The Flyover`s programmatic adjacencies spawned the backbone of a fairly simplistic question to drive the project – How to create a ‘space’ to link Art and Science?

在加入欧盟委员会之前，最近对欧洲和冰岛的一次访问引发了一系列想法和概念上的参考，这在很大程度上推动了该项目在概念上的“分层”结果。

A recent trip to Europe and Iceland, prior to taking on the commission, sparked a series of ideas and conceptual references that largely drove the conceptually ‘layered’ outcome of the project.

 © Peter Clarke

彼得·克拉克

 Short Sections

短截面

 © Peter Clarke

彼得·克拉克

最初，创造一座桥的想法，导致了人们对去意大利旅行的记忆，特别是对佛罗伦萨的维奇奥桥(PonteVecchio)的思考。在它的例子中，“桥”不仅仅是一种从A到B的方法。这座桥是一座包含空间和程序的建筑。通过分层、阈值和减法来创建空、节奏和构图。

Initially, the idea of creating a bridge of sorts, led to the memory of travelling to Italy and in particular thinking about The Ponte Vecchio in Florence. In its case, the ‘Bridge’ is more than a method of getting from A to B. The bridge is a building encompassing space and program. Created through layering, threshold, and subtraction to create void, rhythm and composition.

同样，冰岛巨大的海冰冰川和丰富对比的地质景观的记忆导致了与科学，特别是地质学的概念联系。

Similarly, memories of vast cavernous ice glaciers and rich contrasting geological landscapes in Iceland led to the conceptual link to Science and in particular Geology. 

 © Peter Clarke

彼得·克拉克

土著洞穴和他们丰富的土著绘画形成了一个更本地的“澳大利亚人”的参照。他们激发了一个机会，把艺术注入到现有的结构中，作为激活空间的一种手段。因此，在概念上，这个空间被认为是一个由艺术注入的地质洞穴-[一个连接艺术与科学的空间]。

Indigenous caves and their rich Indigenous paintings formed a more local ‘Australian’ reference.  They sparked an idea for the opportunity to inject art within the existing fabric as a means of activating the space. Therefore, conceptually, the space is conceived as a geological cave injected by art - [A space to link Art and Science].

 © Peter Clarke

彼得·克拉克

内部空间，大部分是从该部分发展而来的，利用挤压和减法的建筑功能作为主要的发电机，在内部创造出丰富的“雕刻”空间条件。这个空间由五个凹进的艺术盒向一边讲述，这样就可以展示各种艺术的媒介-从绘画到绘画。

The interior space, largely developed from the section uses the architectural function of extrusion and subtraction as primary generator to create a rich ‘carved’ spatial condition within.  The space is narrated by five recessed art boxes to one side, which allow the display of various mediums of art - from drawings & paintings, to sculptural and textile installations.

 © Peter Clarke

彼得·克拉克

中央的“观察点”提供了一个休息的艺术序列。这个空间是从意大利威尼斯多格斯宫的公主阳台上衍生而来的，它为个人用户提供了一个空间内展示艺术的地方。它还创造了丰富的视觉关系，与邻近的轴向朱丽叶塔，以及其他学校精神的偶像，如卡罗琳·奇泽姆雕像和其他宗教偶像创造了丰富的视觉关系。

A central ‘lookout’ point offers a break from the sequence of art. Conceptually derived from the Prince`s Balcony on the Doges Palace in Venice, Italy, this space offers individual users a place to reflect on the art displayed within the space.  It also creates a rich visual relationship with the nearby axial adjacent, Juliet`s Tower, as well as other icons of the schools ethos such as a statue of Caroline Chisholm and other liturgical icons.

 West Elevation

西向立面图

 East Elevation

墙壁、天花板和地板的概念在很大程度上是通过雕刻的内部几何图形而模糊的，这就创造了一个连续照明的机会，一个长天窗形式的自然照明，以及如此长的座位这样的方案元素，使学生能够聚集在一起，甚至可以在空间内上课。一个巨大的水平条形窗口引用自冰岛的一个浴室，创造了一个连续的视野，从空间沿一侧。(鼓掌)

The notion of wall, ceiling and floor is largely blurred through the carved internal geometry, which created opportunities for a continuous lighting pelmet, natural lighting in the form of a long skylight and programmatic elements such a long seat to allow groups of students to gather and even a class to be undertaken within the space. A large horizontal strip window referenced from a bath House in Iceland creates a continuous view from within the space along one side.  

 © Peter Clarke

彼得·克拉克

在外部，立交桥是由一层对比材料，透明和纹理组成的。下面一层漆黑的水泥板被一层锯齿状的外表面所覆盖，其外层为穿孔的球状钢覆层。威尼斯叹气桥上的小圆形屏风激发了设计一种屏蔽外部织物的想法。

Externally the flyover is composed through a layering of contrasting materials, transparencies and textures.  An under layer of black painted cement sheet is shrouded by a zig-zigged outer later of perforated corten steel cladding. The small circular screens on the Bridge of Sighs in Venice sparked the idea for a screened external fabric.

 Section Long

区段长

美国艺术家克里斯托弗·伍尔(ChristopherWool)基于图形的版画的抽象版本，为科学图表的表达提供了一个平衡的、共同的中间地带。

An abstracted version of the graphical based prints of American artist Christopher Wool provided a balanced, common middle ground between the representation of scientific diagrams & dot art [Science and Art] to inform the perforation pattern to the external steel cladding. This pattern was also translated in the form of fritting to the glass skylight within, not only creating a visual internal, external relationship but also using pattern reflections as an artwork in themselves.

 © Peter Clarke

彼得·克拉克

这个项目已经开放了几个月，受到了学生和老师们的欢迎。这是学校社区的一个巨大的讨论点。艺术系的学生们非常自豪地把他们的作品展示在艺术盒里。

The project has been open for a few months now and has been well received by students and teachers alike.  It has been a huge talking point for the school community.  The art students take great pride in displaying their artwork in the art boxes.

Architects Branch Studio Architects

Location 204 Churchill Ave, Braybrook VIC 3019, Australia

Category Extension

Architect in Charge Brad Wray

Area 126.0 sqm

Project Year 2015

Photographs Peter Clarke