The Appendix: A Geddessian Hyperscraper
Agata Wozniczka

What is the White City 011

The Appendix:  A Geddessian Hyperscraper

Agata Wozniczka

06.11.2025 

Curator: Arch. Sabrina Cegla

Opening: Thursday, 6 November 2025, 19:30

In the eleventh exhibition at the Liebling Haus Project Room, celebrating 100 years of the Geddes plan, Arch. Agata Woznizka presents an installation that envisions what Sir Patrick Geddes, Tel Aviv's legendary city planner (1925), would think of the White City's modern development and how he would address it.

The eleventh exhibition at the Liebling Haus Project Room, celebrating 100 years of the Geddes plan for the city of Tel Aviv, presents an installation by Polish architect Agata Woźniczka that exercises radical conservation of the White City and its unique spatial characteristics.

Through a vibrant architectural speculation, Woźniczka examines the encounter between Sir Patrick Geddes’s vision for Tel Aviv and one of the city’s most characteristic features today — the high-rise. In doing so, she asks how we can bridge, connect and make a systemic update between the conservation of the “green” and humanistic values that Geddes embedded into his 1925 plan and the accelerated urban development of the 21st century.

In Woźniczka’s proposal, all the air rights of the White City’s 4,000 buildings are allocated to a 12,000–floor tower — a hyperscraper — built as a solitary totem in Sde Dov in the north of the city, meeting all the needs of the community residing within it. In the three sections of the hyperscraper, displayed in a sky-like space, she offers a glimpse into life in the clouds, inviting visitors to imagine it with her.

Woźniczka translates Geddes’s Hierarchy of public life into a vertical axis, interwoven with housing for diverse populations of humans, plants and animals, opportunities for communal living, energy sufficient infrastructure, quiet flower gardens and crop-growing beds, neighborhood terraces, commercial and leisure activities, cultural and gathering spaces, and more.

Each segment (which is part of the totem) presents, on one side, a cross-section of the hyperscraper and, on the other, an elevation accompanied by illustrations of life within. In the legend, Woźniczka details the systems and principles supporting each part of the hyperscraper, and in an illustrated explanatory scheme, she unfolds the thought process that led to the installation. The proposed design is visualized through architectural apparatus — drawings, sketches, and physical models — making the idea enticing, if not entirely feasible.

Woźniczka echoes the history of speculations about the modern skyscraper as a potential platform for social, urban, and ecological life — from Le Corbusier’s Housing unit, through the megastructures of the 1960s, to manifestations of contemporary environmental discourse. She harnesses these into an imaginative design, based on values of benevolent conservation and adaptation to the history of local urban planning.

Woźniczka’s hyperscraper enables, through the realization of the White City’s air rights, a continuation of a certain corporate capitalist economy, while simultaneously seeking to harness it and the race to build upward to a spectacle of ecological and social imagination. The hyperscraper in this proposal becomes a vertical infrastructure of stories, voices, and collective memories. Each level grows out of human, environmental, and communal needs, challenging the forces that operate and shape the spaces we live in. Serving as a sentinel of the city’s historical layer, this new design perpetuates the legacy of forward-thinking urban planning by adding a new, complementary overlay, inviting us to imagine the “White City” in the next hundred years.

The Appendix: A Goddessesian Hyperscraper is the eleventh exhibition showing in the Liebling Haus Project Room. The space encourages creatives of all disciplines to take an active role in a critical investigation of the question, “What is the White City?” as part of alternative, collaborative and ongoing research that approaches the White City as a platform for contemporary discourse on conservation, urbanism, identity, and culture in the city. The Project Room is the open end of the permanent exhibition in the Liebling Haus, telling the tale of the White City as a point of departure for a story in the making. It is an opportunity to invite the creative community to address the current challenges the city faces, both locally and globally, and to present different perspectives and alternative narratives.