Foreignness as a mean for architectural design offers a vehicle for constructing cultural identity that simultaneously beseeches and overrules history. FENCE|OFF positions itself at the intersection of binary oppositions: between the global-generic and the local-specific, between craft and the readymade; the monument and the courtyard house; the self and the other. Through the logic of Gestalt within a tropical mat typology, the thesis undermines the established unity of collective singularity by placing assimilarity at the center and in-betweens. It offers an architectural language—responsive to social and environmental climates of Havana—capable of constructing togetherness by blurring spatial and social boundaries. It settles questions of origin by posing that that which disturbs the established order arrives from the system itself, that the foreigner is a cultural construct that comes from within, and that the “other” is just another version of the self. FENCE|OFF ultimately proposes unrehearsed spaces for the production and display of collective learning.