Aunty Agnes Shea High School Design Story
We thank CK Architecture for the following information.
CK Architecture worked closely with Richie Allen from TOAC (Traditional Owners Aboriginal Corporation) to design a school that reflect the rich Ngunnawal history.
The first inhabitants of the lands around Gungahlin were the Ngunnawal people, believed to have had a connection with the land for over 65,0000 years. Conservationists by nature, the nomadic lifestyle of being hunter-gatherers who followed a six season calendar is still used by First Nations people today. The six seasons - Pre Summer, Summer, Autumn, Pre Winter, Winter, Spring represent the seasonal changes we see across the Landscape of Canberra.
Architectural Expression
Response to designing with Country
Through collaboration with TOAC, CK Architecture has developed an approach to design with country to translate an indigenous inspired design scheme.
This site within Ngunnawal Country was characterised by grassy woodlands with a network of natural springs and waterways. There are tangible remnants nearby such as One Tree Hill, indigenous scar trees, ring trees and natural springs.
The design scheme for Aunty Agnes Shea High School is summarised as ‘a layering of changing patterns translating the seasonal changes of colour, texture and density of the native grassy woodland landscape of this area within Ngunnawal Country while framing views through sculptural forms and framed openings.
External Materials
A layering of changing patterns translating the seasonal changes of colour, texture and density of the native grassy woodland landscape of this area within Ngunnawal Country while framing views through sculptural forms and framed openings.
Architectural Precedents
A layering of changing patterns translating the seasonal changes of colour, texture and density of the native grassy woodland landscape of this area within Ngunnawal Country while framing views through sculptural forms and framed openings.
Cladding Pattern
The panelised cladding is a repeated, large scale pattern which is translated from the natural changing patterns of the native grassy landscape of this area within Ngunnawal Country. The shifting colour and textures around the building tranlates the seasonal changes of colour, density and texture of the grasses of country
Interior approach
Response to designing with Country
Through collaboration with TOAC, CK Architecture has developed an approach to design with country to translate an indigenous inspired design scheme.
The Interior approach builds upon the seasonal changes that can be observed from the surrounding Ngunnawal country, using people, palette and place to translate the ideas and stories shared into the built form. The interior layers the distinctive colours and textures found within the landscapes natural seasonal palette, whilst drawing upon the characteristics of the local fauna to inform and define activities within the broader settings. We are proposing a number of locations within the design that offer opportunities for local engagement for integrated artwork and wayfinding.
Art and its Integration
Spring
Bek Weddell
https://www.facebook.com/ginyaangart
Spring, 2023
Acrylic on Canvas
The days become warmer and the bursting blooms of the wattle and magpies building their nests, are an indication of seasonal change - represented literally in this work. The circles at the top represent sunlight, warmth, and energy and life source. The eucalyptus leaves and seed pods are representative of Country, and symbolise growth - a fundamental goal for educational institutions. Eucalyptus trees also cleanse the spirit and clear negative energy, provide medicine and are symbolic of wellbeing. The male magpie on the left and the female on the right - represent balance and harmony. The magpie prints represent knowing Country, but also walking lightly across Country, always remembering and honouring where you are. The oval shapes with various lines and marking on them are representative of families and communities that surround the school and nurture its students. The Brindabella's, standing strong and true to the west - representing Ngunnawal Country.
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Spring is found in the General Learning Areas (English, Maths and Humanities).
To activate the space between general spaces a series of seating and desking is proposed to both within and outside these spaces. These areas are again defined by colour blocking. The pattern and contrast displayed within the magpies feathers provides inspiration for signage and wayfinding.
Pre-Summer
Bek Weddell
https://www.facebook.com/ginyaangart
Pre-Summer, 2023
Acrylic on Canvas
The creamy candles are represented from a bird eye view in the creamy coloured circles. The eucalyptus indicate wellbeing, place and a clear spirit, open and ready for learning. The bogong moths represent the migration up to the mountains and represent place and seasonal indicators. The bogong moth festival was a meeting and gather place of local mobs and aligns with the concept of this being in meeting places.
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Found in meeting and gathering spaces, including general meeting rooms and presentation stairs. The presentation stair shows the colour blocked to the seating side and wrapping up and around defining the space, along with an opportunity around the top perimeter for integrated artwork. The use of suspended acoustic baffles over presentation stair mimics the layering and texture of the bogong moths when gathered together.
Summer
Jazz Matthews
https://www.wilaydesigns.com/
Summer, 2023
Acrylic on Canvas
This artwork represents summer and the beautiful landscape of Ngunawal Country. The piece features the sun, hills, mountains, waterways, a meeting place with a central fire, bush tucker (native raspberry), animals, reeds, wattle and tracks.
As you walk on Country, take the time to feel the warmth of the summer sun and allow yourself to reflectively wander. Summer is a time to travel quietly, listen, learn together and show respect for all that is Country.
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Summer is found in quiet and reflective spaces. Spaces are set into the interior to create nooks, colour blocked to define and
enhance the space within larger settings. Ripple pattern reflecting distinctive signs of platypus activity within a stream or river used on wall panelling
Autumn
Richie Allan
https://www.ngunnawalart.com/
Autumn, 2023
Acrylic on Canvas
Seasons come and seasons go, the seasons are short and sometimes they are long. In Ngunnawal Country there are six season. Each with its timeline changing every year. With the autumn season we see the beautiful landscape and colours start to change. They flow through the wind like a wave of colours. The change of flow means many cultural changes. From the stories, to the foods. To land, to the waters. Father Sky receives what Mother Earth gives, and when autumn arrives so does the end of changes.
Autumn is a time to replenish and recover.
This artwork tells the story.
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Autumn is found in kitchenettes, food technology and wet areas. Terracotta, earthy tones, connecting food back to land. Patterning and textures from the turtles shell to inspire tiled splashbacks within these spaces.
Pre-Winter
Kristal Matthews
https://www.wilaydesigns.com/
Pre-winter, 2023
Acrylic on Canvas
The blue tones throughout the piece evoke the chilly, windy ambiance - reflecting the season's atmosphere. The presence of kangaroos symbolises resilience and adaptation to changing conditions. Saltbush, with its edible fruits represents the sustenance available during this time.
Our meeting place symbolise this area being a gathering spot, while a second meeting place features traditional tools like the coolamon, shield, spear, and boomerang - all of which are important and vital to the Ngunawal people.
Lomandra plants are included to represent weaving - weaving is an activity done together, so I have included this to indicate gathering, sharing and yarning together.
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Pre-winter is found in collaborative spaces. Spaces are more fluid and spill out from the perimeter colour blocked area. Mobs of kangaroos have set the tone for these areas as they come together in family groups to forage and gather. Locker locations are often paired with collaborative spaces, providing opportunity for integrated artwork through perforations or e
Winter
Leah Brideson
https://www.leahbridesonarts.com.au/
Winter, 2023
Acrylic on Canvas
Winter being one of my favourite times of year, the colour palette, seasonal indicators and the water theme caught my creative eye first. Firstly, I enjoy painting water and its movement, and many of my artworks developed over the years reflects First Nations connection to water. There are several waterways that run through Gungahlin. Depicting these through aerial view in the Winter artwork, adds another layer of learning, connection and curiosity, and tie the artwork to the local context. The Echidna is my totem and from my knowledge, Winter is Echidna mating season. On Ngunnawal Country, you can see Echidnas in large numbers and walking in lines across Country during this time. I have this plant, the False Sarsaparilla, growing in my garden, and I observe the vibrant colours of the flowers, and detail in the leaves and vines, creating their movement. We are connected to flora and fauna in ways that are unseen, and the addition of these concepts in a Winter artwork support deeper understanding of, and connection to, First Nations ways of knowing, being and doing.
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Winter is found in the speciality spaces. Specialty Spaces include Design and Technology, Performing Arts and Sport. Purple pops of colour creating dramatic backdrops to these spaces. Inspired by the physical anatomy of the echidna and its spines, perforated acoustic panels and dowel feature ceilings are proposed.
