Agoraphorum



Year   2025
Site   Ann Arbor, MI
Prof   Peter Halquist

*selected by faculty for 2025 Student Show





An agoraphobic is often pictured as a window watcher, someone who prefers distance to participation. In Ann Arbor and Detroit, blind windows mark facades where interior life has been replaced by surface, voids disguised as views. Agoraphorum builds from that condition, using the false frame as part of a larger movie set that restages the city. The facades perform rather than function. Each one carries the residue of an urban fiction, producing streets that feel both familiar and wrong, like a film paused between takes.

The theater is dismantled and scattered into a miniature city. Screens, alleys, and thresholds replace the single dark room. The flaneur becomes the audience, moving through a sequence of cinematic fragments. Every wall becomes both backdrop and prop. Film becomes a way of walking. The set becomes the city.


In summer, people spill into the plaza, watching films that mirror the life unfolding among them. The space blurs fiction and occupation until the difference disappears. In winter, snow covers the ground, and only footprints remain, tracing quiet routes between the same walls. The set persists, half-abandoned, still running the same script beneath the cold light.

At night, the place shifts into performance. Light pools under doorways, and shadows stretch across painted brick. A projector hums in the distance. The air feels staged, slightly artificial, as if waiting for someone to call action. By morning, the scene resets. The facades return to silence, ordinary again but never entirely real.


Agoraphorum constructs an urban condition suspended between architecture and cinema. It performs the city as image, scene, and memory. It more of a film left on loop, where every act of looking becomes a line of the script. 

The theater is dismantled and scattered into a miniature city. Screens, alleys, and thresholds replace the single dark room. The flaneur becomes the audience, moving through a sequence of cinematic fragments. Every wall becomes both backdrop and prop. Film becomes a way of walking. The set becomes the city.