My interpretation of Xenophilia reflects to be a vertical farm where visitors could pick up a land and plant their own food. Food displays as an item that all human around the world could communicate without culture and language barriers represents
a large extent of sharing and democratic ideas. The concept behind vertical farm is to create a multi-functional building that merges residential and farming land. It on the one hand increases the population density for local suburb, on the
other hand bring land back to city and arouse the desire of growing.
The concept of xenophilia is grounded in the notion of the guest and host, a relationship between strangers. Within a contemporary urban context public architecture must serve to become a host to its most important guest, the individual within
the city. The city can be viewed as a ‘forum for action,’ as well as ‘a place for things,’ and therefore public architecture must embrace this duality, its role must be to educate people in both the spiritual and rational. My building seeks
to develop the introverted and extroverted aspects of each of Aristotelean knowledge; Episteme, Techne, Phronesis, Sophia and Nous through formal and spatial relationships. The building embodies xenophilia through program, spatial and formal
elements, inviting the public into an oasis within the urban fabric for self development through education.
Entry and Collonade
Ground Floor Plan
Sectional perspective of the sweeping theatre
The project is an experiment in relation to the constrained site and the visual cinematic unfolding. a single curving surface with a bent visual axis is teased off centre, off balance. Vision is eroticized, the hostage of the ‘desiring gaze‘.
The entrance of the theatre is a “sweep” curve. The entrance façade, a front opening that is 0.8m wide and 6m high, is a theatrical gesture, a portal adjacent to the public seating, indoor seating deflects downward to become a roof, evokes the
idea of zooming in the aperture, leading the spectators upwards to the ‘celestial heaven’. By emphasizing the kinship of the aperture curve, the logic of the spaces just un-wrap themselves from the decelerating curve. The theatre maintains continuous
construction and re-construction of space: dynamic and static, conflicted and coherent, imaginary and concrete.
The sweeping frontage
Sculptural stair tread
A welcoming frontal facade facing the lane way
A theatrical entrance of the theatre
The curation of a fleeting moment can create a monumental desire to interact and engage. These choreographed moments, anchor the attraction of individuals in the theatre of everyday life. A deeply comforting and perfectly manipulated backdrop
is created when time, space and movement collide seamlessly. The attraction of an individual is framed when light, space and objects marry in harmony. Using a library as a backdrop, the building subverts the concept of reading as an individual
activity by defining the book as a transitional object and means of social interaction. The building addresses how architecture must adapt to changing social contexts by redefining the common perceptions of places designed for social interaction.
Perspective of a framed moment
1:100 Short Section
Perspective of a framed moment
Lee Fook Hong Timothy
Perspective view from Oxford Street
not able to communicate fluently. Through communication to learn who you are by understanding yourself more. The significance of communication between people equates the significance of language - the most important means of communication.To
disentangle from this discomfort on cultural difference is to confront with more interaction / communication. By proposing a language hostel intermix, the ultimate goal is to be in a disguise of cultural center that cherish the value of diversity
under the common values and mutual respect.
Laneway Youth Centre proposes a continuum of binding the old and new by activating the existing laneway at 31-33 Oxford St, Surry Hills. The combination of street art builds on the layers of the heritage building and explores street art and graffiti
as a signifier for the city and youth. By responding to xenophilia it provides a gift to the community through its the ability to capture the spatio-social interactions between the placing of people and the ways in which they ultimately inform
their spaces. The architecture is able to provide a material background for street art and its writing and a historical and political context that is constantly changing the image and meaning of particular urban spaces. The interior of the building
is comprised of a variety of different pods of all different sizes and materials creating a mini city at a child-scale and ultimately allowing for the youth of Sydney to make their own mark on the city and the public space.
Oxford Street Visualisation
Unjai Jay choi
I am talking about Xenophilia in relation to the Co-operative sector that sits within the co-working and collaborative environment, focusing on the discourse that exists around Hybrid economy which values both material and non-material ties.
I am proposing shared network around the edge city for co-working communities. I utilized porosity as the key driver for design process to evaluate the public possibility of a private environment. The network of system elevates programmatic
ties between the previously individuated buildings by eliminating social and physical division. Thus, it facilitate social integration, fostering public exchange by blurring land appropriation and re-inventing civic infrastructure.
Meeting Room Section Detail
Gallery of Debate; a new social and political space that provides a platform for public opinion.
The Peoples House is a direct reaction to both the enduring conflict of democracy and the current social and political climate. Evident in recent international events, public debate has evolved to rely less on articulate argument rather thriving
on the spectacle of ‘untruths’ and ‘fake-news’. It favours the hounding of those with whom we disagree and suppresses the voice of unpopular opinion. It is in this disfiguration of public discussion, we find ourselves headed toward a fractured,
xenophobic society. The Peoples House is a primarily public space that supports the education and practice of discourse. Toeing the line between Sydney's formal and informal democratic spaces, the architecture observes the merging of classical
and contemporary forms, spaces, and materials to create environments that are concurrently tensive yet familiar. The voices of a diverse nation are played out in a new forum - The Peoples House.
Archive for dangerous literature; Providing the public the oportunity to observe ideas considered contentious in mainstream society.
Theatre of debate: Formal public theatre for open discourse.
Theatre for People Watching: A platform for the observation of the city and its inhabitants.
House of Discourse: Formal public forum for open discourse.
A project that does not only hoping to engage the community but also strangers together through the interaction of each other. Through this social construction, it does not only allow them to get to know each other but also to exchange knowledge,
skills and fresh food products between each other, which act as a sharing economy. The idea was inspired by the imbalance of the location of the farms in Australia would induce the wastes due to the packaging of food. Wastes could be reduced
with education for recycling, changes of habits as well as a change of ways of packaging. Change of location of local farms could help to reduce unnecessary use of waste.
Huu Khanh Le
I believe that a xenophobic discourse only makes things worse by reminding people to find the easiest scapegoat for their troubles and look no further. On the other hand, xenophilia is the result of the integration process of an individual to
the other to learn, to understand and to familiar to the unfamiliar. Godzillian Tower is named after the destructive monster Gojira from Japan, lately it has become a citizen of Japan serve as tourism ambassador. Godzillian Tower is the children
centre with small scaled kid’s library and plantery research centre. Children is reminded of the key of connection, they are as an cell that bring people together. The purpose of this tower is to tackle on the racism and challenge to the the
site’s context. The tower carried 17 storeys constructed from voronoi structure. Each voronoi cell is combined load bearing capacities, structure and enclosure opportunities in one. Furthermore, this is efficient form of construction that using
less material than current conventional post and beam construction systems.
Entrance on Norman st.
Responding the notion of Xenophilia, the first approach in this project is a remix of programs, including performance space, pub and restaurant, residential and a capsule hotel. The second one is making a Xenia theatre. The name Inhabitable Theatre
first refers to the residential programs in this building, but also the transformation of the theatre itself. It’s an encouragement of space that can be anyplace for everyone. The theatre uses a flexible floor slabs arrangement and elevatable
seating boxes to transform, which eventually allows the whole space to be empty. The possibility to start a blank page allows the maximum creativity for art directors take place, as well as using the space for other purposes (events, soundstage
etc.) Using the hand of the architect, to essentially remove the hand and trance of an architect, is the state of balance between the designer and users that this project is trying to reach.
Theatre box office
All reality is constructed as an expression of mentality, there is no common realm of things under the observation, and the objects are essentially personal to the observer. So is space. Smoking alley is constructed by the muscular sensations
of our body and the spatial creation in our mind. When experiencing the journey, the body is rolled into the building. Meanwhile, the body becomes center of space. The sense of space changes according to the density of smoke and the light diffraction.
It is a place for the celebration of smoking, and to explore the relationship between body and space.
Underground Resting Area
Ji Hoon Hon
The project is looking into how autonomous vehicle technology and shared economy would change the urban context in near future and proposing a way to convert existing spaces into Xenophilic place. Many studies predict there will be less cars
in the city in next few decades which will lead to more empty car parks. The project is addressing existing a mixed-use apartment building on 23-25 Pelican St Surry Hills and Poplar street. It is proposed to convert streets and car parks which
are currently dominated by cars into urban indoor farming centre and community garden which encourage human interaction and foster city’s environmental sustainability.
Community Garden Entry/Ramp
Dementia should be treated as a social problem rather than disease, where the awareness and attention from the public was constantly missing that they have to live in isolated and enclosed places. And then the social bonds between the elderly
and the public would lost to make them feel being abandoned, isolated or social marginalised. Therefore, the atmosphere of the space should be warm and gentle, both to the elderly and the others, to make them feel comfortable to communicate.
They can share the facilities, environment, even feelings and memories in this place, to have active lifestyle for both groups and bridge the gap between normal and dementia, young and old.
Every host is a performer, every guest is a participant, and every public space is a theatre. Each space becomes a ‘stage’ whereby the curtain, which distinguishes a performer from the audience, is non-existent. Becoming an emancipated spectator
begins when we understand that spectating is also an action that selects, interprets, participates and acts. Theatre is an act of story telling. It is a narrative. The narrative is about the inhabitants’ movements creating opportunities for
receptive exchanges. This sense of organised spontaneity within the division of spaces is explored. In a way, architecture and theatre are sister acts.
Riley Street Elevation
Cleansing Room Section
Contemporary culture has pushed death to the periphery where it is ignored as a manageable inconvenience of life. This sanitized, safe version of death starts to crumble when we understand its psychological and environmental impacts. Cremation
accounts for approximately 11577 tonnes of CO2 in Australia annually. Traditional burial uses 2.4 million liters of embalming fluid containing toxic chemicals such as formaldehyde per year. This project investigates how Katrina Spade’s Recomposition
model, in which human corpses are composted in a compact urban structure, could be implemented in Sydney whilst creating a secular sacred space which addresses a new relationship with death.
Wentworth Avenue Elevation
Render of Outside View
When people think about cities, they tend to think of certain things. They think of buildings and streetstand skyscrapers, noisy cabs. But when I think about cities, I think about people. Cities are fundamentally about people, and where people
go and where people meet are at the core of what makes a city work. So even more important than buildings in a city are the public spaces in between them. However, how to design a good public space? What attracts people to successful public
spaces, and what is it about unsuccessful places that keeps people away? no matter the citizens or the visitors.
Render of Inside View
The Foundry of Ideas
Today, we are challenged and empowered by a new industrial revolution. With the rise of 3D printing, smart materials, virtual reality, crowd-sourcing and an economy of sharing, new industries emerge and empower individuals to pursue creative
ideas uninhibited by the restrictions of before. Nigh is the age of the entrepreneur, the thinker and the creator. Creativity while quite personal, is made more fruitful in the finding of kindred spirits of complimenting ideals and characters.
Thus, the new architecture should facilitate such meetings, first of body, then of mind, and facilitate the symbiosis of minds and cocoon the joint creative process.
Concept Exploration : Fluid Connections
Jennifer Yung Chun Su
View of laneway and park
From the Ancient Greek principle of Xenia and the term ‘Xenophilia’ there is an underlying concern and drive towards encounters. These encounters are not merely what is ‘welcoming’, but also encounters with the strange, the unfamiliar that forces
us to bring ourselves outside of our comfort zone. The proposed project is for a ‘Co-Laboratory for the Arts’ that will provide the facilities to spur the transdiciplinary collaboration of artists, writers, filmakers, cultural creators in their
exploration of new, unfamilar knowledge areas. Interventions in to the existing built fabric of the city will be made in the form of incisions and insertions in such a way that ordinary, familiar buildings are rendered as ‘other’ from what you
come to expect of it.
Sectional Perspective of proposal
View of Co-laboratory and park
The proposal for a xenophilia architecture is to create a transformative pathway, a fusion of spaces. The proposal aims at creating a place where two different types of lifestyle can be blended together. A mix of everyday life and party night
life, a fusion of different spaces. In a way the design can be shifted into different modes for different function, thus a transforming architecture. And the pathway is a welcoming gesture towards the public and also a useful tool for the transformation.
The idea of mixed spaces create a space of opportunities, a shelter for new experiences where the freedom of identity can be celebrated without worrying about exposure. The insecurities of walking into new area of life can be diminished under
the disguise of a familiar field of life. The chaos of life is fully illustrated and the various possibilities of life is then fully opened to the public.
1:100 Detail Model
Forbes Street Elevation
The Darlinghurst Observatory encourages a dialogue of communication that increases community connections to the urban context. Situated on the fringe of the national art school, it hovers above with structural supports anchored into the existing sandstone
wall. The design consists of 11 platforms, each varying in size and programme, linked by bridges that act as sequences between the space where the visitor is encouraged to experience, observe and imagine. The proposal acts as a xenophilic host,
activated by its occupants.
Humanity belongs to the daytime. Bestiality belongs to the night. This place is a Hlidskjalf. It is for people who want to see the focuse of life, to explore their internal experience, to reach their extremity, release their excessive engergy.
When people entered into this space, no one needs to suppressed themselves. They are the god Odin of themselves.
Interface / Manifest / Resonate
Humans are born isolated in mind and emotion. What we think, what we feel are individual experiences, tied only by communication. The internet serves as an invisible tie, linking every human being, allowing us to transpose the space between individuals,
project ourselves to the antipodes or respond at relativistic speeds. The neutrality of the internet is as fundamental as the neutrality of light or water. The drips and echoes of shadow and waterfall throughout the building serve to ground
other ephemeral qualities whilst the shadows cast remind users that and remnant of themselves are forever drifting though the internet.
View of the Hydroponic Vineyards
VERTICALIS HORTUS CONCLUSUS Hydroponic Winery and Banqueting Hall for Bacchanalia The growing population and the loss of farmland are placing an immense strain on the world’s food supply system. This fact begs us to consider the issue of sustainability—
how could we supply enough food while still offering the culinary diversity and a commitment to terroir quality presently available without overwhelming the planet? The Hydroponic Winery and Banqueting Hall has been designed with the intention
to provide the public the opportunity to discover and experience the environmentally-conscience and speculative future of food and terroir. The establishment of three volumes into the existing underground carpark are representative of the three
different experiences conceptualised— creating an interactive journey flowing from the vineyards, to the feasting, and the wine-making. Welcome to a futuristic Bacchanalia.
View of the Ablution Room
Axonometric of the Hydroponic Vineyards and Banqueting Hall
Sectional Perspective of the Hydroponic Vineyards
VIEW FROM LIVERPOOL STREET/HYDE PARK
MEDIA CENTRE/DATA HUB The Media distributing news can be purported to play significant role in how communities regard each other. The more comprehensive/accurate the news is, the more comprehensive/accurate recognition of other communities is
attained; the matter which can contribute to transition from XENOPHOBIA to XENOPHILIA. Taking this into consideration, the proposal is a Media Centre comprised of a News Agency embodying a space for in place displaying news along with distributing
it globally through the cyberspace. These are aimed at providing audiences with a new viewpoint of what occurs across the globe and consequently more comprehensive/accurate recognition of it.
HYPERSURFACE ARCHITECTURE- DISPLAY OF NEWS/DATA
CROSS SECTION - EXPLODED 3D
This Xenophilia Design project is called ‘Secondery Food Hub’, and it is a renovation of the heritage building. This project deals with food surpluses, and it offers a way to save food by tackling the confusion of the present social food system.
By improving the food system, this project aims to enhance cities and their residents’ life. The easiest and most direct way to bring people together is through food. However, the proposal is not simply to gather people, but also to provide
a new moral point of view that considers the relationship between food, people and architecture. The project creates a place to stimulate both social interaction between people and people’s interaction with nature and environment. It promotes
social integration by means of exchange of knowledge, and encourages conversation, dialogue and cooperation between the participants in the field activities, who are from different backgrounds and cultures.
public render perspective
The bath house aims to empty the intellect and restore a peaceful tranquility via a sensory journey through the internal spaces. The translucent change room is the beginning of journey, where the exposed nudity becomes the image of the lane.
Bodies come out of change room walk on the lane towards bath. Light, water and spatial heaviness are important sensory elements within this project, which un-dresses the visitor’s thoughts and submerge the body within water. A solid stone wall
distinguishes public and private pools, where small apertures puncture through to generate different views of the other bathers’ body parts. The scheme becomes an interplay of public and private, fluidity and solidity, body and earth.
New Works is a hub for the creative and curious. Dedicated to experimentation, education and production across disciplines, the space houses a public contemporary art gallery and communal working spaces for emerging artists, students and graduates.
In depth participation is encouraged through residences, classes and lectures. Aligned with nearby universities, UTS, UNSW and the University of Sydney, the gallery aims to inject a vibrant culture into the surrounding environment.
Exploded Fabric Workshop
This project is located in the alleys Arnold and Waine behind Oxford Street, which explores possibilities to reconstruct small-scale public building serving to the neighborhood in the xenophilia content. My project is a fabric workshop in the
corner of a residential block, and it includes tie-dye workshop and fabric market free-trade functions. It started with the concept of a “cool” place where small platforms hold visitors up and enclosed by the soft and translucent white textile
to provide them an unavenged feeling of floating in the air. In addition, the extend textile would have a contrast to existing lane facade, which appeals to passerby and livens up the currently “dead” lanes. In order to achieve this, I used
grasshopper to do the parametric design of the hyperbolic fabric and kept existing building structure as a place to attach the anchor points to pull the fabric. The platforms and walkways are in the concept of branches and leaves, echoes to
the organic fabric shell.
In the spirit of xenophilia, the concept aims to provide a sense of community with an introspective yet collective focus: a sanctum and place of contemplation where strangers share the one journey. Constructed as a series of spaces that orchestrate
movement and celebrate light, the building's inward focus offers a brief hiatus from the city. With seven rooms including a prelude, counterpoint, conservatory and cloister, each is experienced consecutively, gradually shifting focus from the
collective to the individual. The path is clear to its users, rather than a labyrinth, using sight lines to encourage exploration not hesitation. Through synchronising movement, this shared experience establishes common ground, inspiring kindness
towards strangers through moments of interaction.
Ground Plan - The Study
The Study Render
View from the ANZAC Memorial (Hyde Park)
This project is a pilot project/prototype, which will spur discussion and discourse in regards to adapting to the future as well as remembrance of the past. The encounter between future and past, is the ‘now’. The interventions propose extending
Hyde Park past its boundaries, through, up and under the site: Provide an urban room/memorial which remembers the indigenous life (bios and zoe) which is often forgotten. Provide a new Urban field for the city. Giving the ground plane back to
the public. Provide a facade which is respectful to the park and the memorials within it, but also rethink outdoor space for the private.
Urban Room of Indigenous Memory
Ground Floor Plan
The proposition reimagines the site of the Australian Federal Police (AFP) station as an urban public room with a plaza and park to the north. There is a constant presence of surveillance around the AFP building and the laneways have become hidden
and narrow, which has resulted in the public domain to feel privatised and unwelcoming. The scheme recasts the public domain to rescue and reclaim the site, which becomes a canvas for people to visit, gather, and express themselves. Reconstructed
as a field condition where a multiplicity of activities can occur the site invites and welcomes all for exploration and play.
Vivid Festival Mode
Project phasing plan shows site penetrations that blur the ground line
Porositic Art Network This project aims to explore the capacity of the site in terms of permeability that will open up potential area to create new networks and modes for new uses. Cities are usually overpowered by capitalism where people build
areas for profitable purposes neglecting the growing need of the consumer, residents and employees for a public space. Due to limited land in the project site, maximising the spaces within and outside the building, land and air space, seems
the new way to open the desired networks. The project also aims to give the public space back to the public using the established connecting network and provide series of space for any type of art i.e. political, abstract, sculpture, local and
contemporary, free for public to see. The artworks were arranged in transition zoning coordinated with the architectural design of the structure creating new way of experiencing art and city with the city. Also this project aims to connect not
just the private and public space but also the people and the social media using the art works as a picture perfect frame to express youth and phenomenal issues of today.
Site porosity study: shows the permeability of the site outside and within the building. This porous areas could open new networks and create overlapping space of public use.
Floor plan: shows the within and outside the existing building penetrations and the programme.
Junction 3 Section
Junction 3 Perspective with the view of the parasitic form in-between the towers.