West elevation, Neville Bonner Building, Brisbane

Riverside Expressway building, Expressway on right.

West elevation, Neville Bonner Building, Brisbane

William St building, facing Riverside Expressway. Landscaped courtyard space in foreground.

West elevation, Neville Bonner Building, Brisbane

William St building, facing Riverside Expressway.

Sunshading fins, Neville Bonner Building, Brisbane

Steel shading structure to East elevation of Riverside Expressway building. William St building and main entry area in background.

Windows, Neville Bonner Building, Brisbane

North elevation, Riverside Expressway building.

Facade articulation, Neville Bonner Building, Brisbane

Detail of precast concrete sunshading panels to freeway (West) elevation.

South elevation, Neville Bonner Building, Brisbane

William St building, as seen from across Riverside Expressway off-ramp.

Main entry, William St, Neville Bonner Building, Brisbane

William St building-Riverside Expressway building junction.

Facade articulation, Neville Bonner Building, Brisbane

Detail of precast concrete sunshading panels to freeway (West) elevation.

North elevation, Neville Bonner Building, Brisbane

As seen from Queens Wharf Road.

Kidosaki redux: Trans-cultural trans-location

This paper concerns a collaborative experiment in architectural design teaching and thinking developed during a workshop held at The University of Queensland in 2000. The programme explored the possibilities and the consequences of relocating location-specific architecture to a different context - a 'Trans-Cultural Trans-Location'. The project involved the careful study by Australia-based students of a house designed for a Japanese family in a dense part of Tokyo by the eminent Japanese architect Tadao Ando, and the subsequent translocation of the ideas that underlay the building to a suburban location in Brisbane, for a theoretical equivalent Australian family. This experimental project examined the universality of architectural concepts, their appreciation and the pedagogical setting. The project raised questions of: - How well do students from one culture comprehend architecture designed specifically for another – which are the areas of misunderstanding and understanding? - How can students transpose architectural ideas from one social and physical context to one that is almost entirely the opposite? - What are the limits of collaboration and exchange in design teaching and how do they reveal similarities, inconsistencies and the unexpected in the aims of the teacher and of the student? These questions suggest that in order to comprehend a design, we must understand the culture within which it originated, and that we must understand the cultures within which we work in order to design. This paper is written in two parts. The first part establishes a framework for discussing the contrast of the cultural settings studied. The second part considers the nature, conduct and results of the Studio Workshop itself.

Entrance, Agriculture and Entomology Building, Brisbane

View to entrance.

Stair, Agriculture and Entomology Building, Brisbane

View to circulation stair from exterior.

Entrance, Agriculture and Entomology Building, Brisbane

View to entrance.