South elevation, Carpenter Hall House, Wilston, Brisbane

As seen from street.

Sunshading to exterior, Carpenter Hall house, Wilston, Brisbane

As seen from exterior.

North elevation, Carpenter Hall house, Wilston, Brisbane

View through house to landscape beyond during construction.

Holiday house, Judge House, Camp Island

View from ocean to holiday house pavilions.

Holiday houses, Judge House, Camp Island

As seen from hill behind.

Covered walkway, Judge House, Camp Island

View past bedroom pavilions, through the covered walkway to living room pavilion.

Judge House, Camp Island

Caretakers house in foreground, holiday house and ocean beyond.

Covered walkway, Judge House, Camp Island

View down covered walkway with kitchen pavilion on the left and the living room pavilion on the right.

Judge House, Camp Island

Caretakers house in foreground, holiday house and ocean beyond.

Owner's residence and guest house, Judge House, Camp Island

View over owner's residence to holiday house pavilions and ocean beyond.

North-West elevation, Smeeton Residence, Buderim

Street (North-West) elevation.

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.