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Many demands were made upon the designers of the QSNCC. They were expected to produce a building that was not simply highly functional but cosmopolitan, cost-conscious, gregarious, peaceful, scenic, kaleidoscopic - above all else unmistakably Thai. Visitors to the QSNCC are always aware of being in Thailand.

The QSNCC is bisected by two axes. The first runs north-south, loosely linking public areas that have been created to highlight aspects of Thailand's quite distinct regional cultures -the North, Northeast, Central Plains and the South. Lanna Thai banners, or 'tung' from the North hang from the ceiling of a large Atrium above a traditional pulpit fashioned from teak. The 'tung' were produced by northern folk artists.

Central Plain architectural themes are pick up again inside in the substantial restaurant, which has been decorated to reflect more classical architectural influences, and the cafeteria, which includes turn-of the century influences, such as the gingerbread wooden fretworks on the service pavilions.

The QSNCC's second axis is purely linear, and runs east-west straight through the unique 'Lokuttara' sculpture that illuminates the areas in front of the Center.

The axis continues through an 'axis mundi' in the main reception area, which is marked by a four-head Elephant Post crowned by a Universal Globe that derives its inspiration from ancient Sanskrit mythology. The Elephant Post, or 'Gaja Stampa' was specially created by Thanee Klinkhajorn

The linear axis continues its straight projection through the midpoint of sixteen superbly lacquered doors which provide the main entrance into the Plenary Hall and bear magnificent bronze, 'naga'-shape handles specially created by Paivate Vangbon. During the World Bank/IMF Annual Meeting, the axis on the west wall of the Plenary Hall is marked by the 'Una-lome', a small golden flame similar in some ways to the 'Lokuttara' outside at the front.

This inspirational flame has been mounted on special plenary stage which is to be dismantled for safekeeping after the World Bank/IMF Annual Meetings.

The QSNCC is already one of the largest repositories in the world of Thai art, most of it traditionally inspired but produced specially for the Center. The most important items include two special portraits of Their Majesties the King and Queen painted by Sanit Disatapundh, who has been honored as a National Artist. The paintings hang above the east-west 'cosmic' axis along which most people entering the Plenary Hall must pass.

The final art collection will amount to some 1,500 items. The largest among the dozen most important specially commission pieces is the 'Indrabhisek', a wooden carving depicting the Coronation of Indra. Created by Jaroon Mathanom, it overlooks the main security area in front of the Plenary Hall and is guarded by a giant 'yaksa' of suitably fearsome demeanor. The carving is the product of many thousands of man-hours and covers a phenomenal 140 square meters.

The QSNCC's most widely recognized treasure stands

outside. It is the evocative 'Lokuttara', which can be translated as 'Beyond Worldliness'. This superb gilded piece was specially created by Professor Chalood Nimsamer, a National Artist and retired professor of the Faculty of Painting, Sculpture and Graphic Arts at Bangkok's Silpakorn University.

Themes that the sculpture evokes include a flame, a bundle of lotuses rising above water, and multiple hands joined in a 'wai', the traditional Thai form of greeting. The 'Lokuttara' has been created to exude a positive symbolism and provide a welcoming beacon to arriving visitors as they prepare to pass along an enlightening path.

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