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 In Ann Arbor and Detroit, blind windows mark facades where interior life has been replaced by surface, voids disguised as views.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.

Suspended Stills

Year   2021
Site   Detroit, MI
Prof   Allegra Pitera
Team   David Langenburg
       Larissa McCoy

Next to the Detroit Institute of Arts, this Film Institute introduces a façade that behaves like a cinematic membrane. The building is clad in a dense field of thin LED panels. Each panel is rigid enough to hold a precise still and light enough to flutter when the wind touches it. Inside, the institute gathers theaters, projector labs, a media museum, and research offices. The building operates both as a place for the study of film and as an instrument that turns the environment into a kind of moving picture.

The façade becomes a collection of suspended frames. In quiet weather, the panels line up and produce clear sequences across the elevation. In wind, the surface loses alignment and the images shift into soft, luminous blur. The building continuously rewrites itself, its appearance shaped by changing atmospheric conditions rather than mechanical movement.

Heat Maps,
Grease Traps

Year   2025
Site   Las Vegas Plateau
Prof   Perry Kulper

The landscape feeds itself. The plateaus are lifted directly from the casino floorplan case studies in Venturi’s Learning from Las Vegas. Each casino plan becomes a topographic object, a raised surface that absorbs, concentrates, and releases heat. Their forms generate distinct thermal readings: some behave like radiators, others like slow-cooling griddles. These differences register as heat maps, revealing the invisible metabolism of the desert around them.

Placed into an abstracted Las Vegas terrain, the plateaus operate less like architecture and more like energy fields. Their footprints reorganize the ground into zones of production. The heat they emit drives the canola growth cycle; the harvested oil circulates back across the site, completing a loop between illumination, agriculture, and consumption.

The scale is vast, but the logic is small. Each architectural element is scaled up from tabletop: forks become cranes, spatulas become seating, fry baskets become scaffolds. It’s culinary surrealism, rendered infrastructural.

This isn’t just a diner. It’s a system of indulgence and feedback—a greasy loop mapped onto the ground, churning food, power, and delight in equal measure.

Re-Grand Marais

Year   2025
Site   Ann Arbor, MI
Prof   Peter Halquist

       Rhino
       Illustrator

Re-Grand Marais explores the concept of density gradation as a means to celebrate the existing landscape and its temporal qualities, guiding inhabitation and coexistence. The site spans just under 2300ft, with current residental occupancy at less than 10% of its potential capacity. Our strategy for reinstuting density involves the installation of five corridors along the site’s edges, grading between housing typologies.

The edges adjacent to Jefferson Ave, Kercheval St, Eastlawn St, and Newport St feature high-rise towers up to seven stories with arch-like openings marking monumental corridor entries into the reclaimed wetlands. These towers house smaller household units of studio, one-bedroom, and two-bedroom units. The towers’ voids create open-air spaces, accented with green tiling reminiscent of Belle Isle’s aquarium.

At the core of the site are lower density single-family homes and cabins. These are elevated on stilts, to minimize ground contact with a central ‘reclaimed wetlands.’ This wetland honors the swamp, the Grand Marais, which formerly occupied the Jefferson chalmers area. On a macro scale, the corridors are stitched together through a network of hardscapes and softscapes, leveraging existing site conditions to shape pathways and collective space.

Trapezing Cones,
Hard Hat Zones

Year   2025
Site   Ambassador Bridge
Prof   Perry Kulper

Las Vegas doesn’t run on logic. It runs on neon, grease, and spectacle. Set within a reimagined desert terrain carved into casino floorplans, Heat Maps, Grease Traps proposes a closed-loop agro-diner where food production is powered by heat, excess, and performance. Neon signage cooks. Slot machines power irrigation.



The landscape feeds itself. The plateaus are lifted directly from the casino floorplan case studies in Venturi’s Learning from Las Vegas. Each casino plan becomes a topographic object, a raised surface that absorbs, concentrates, and releases heat. Their forms generate distinct thermal readings: some behave like radiators, others like slow-cooling griddles. These differences register as heat maps, revealing the invisible metabolism of the desert around them.

Concealed Command(ment)s

Year   2025
Site   the Nuclear Horizon
Prof   Perry Kulper

Concealed Command(ment)s asks what it means to believe in a landscape structured by secrecy. Nuclear history unfolds not as a single event but as ritual, performed across deserts, archives, thresholds, and bureaucratic interiors. Moving from ignition to inheritance, it traces the Trinity detonation as origin and scripture, test site visitation as ritualized devotion, and nuclear dominion as belief. Drawings act as acts of witnessing, rendering the earth as archive and the desk as altar. Across these evidentiary fields, architecture is revealed as complicit in the staging of power, calibrating what can be seen, recorded, or believed. Concealed Command(ment)s reconstructs the nuclear horizon as both field and faith, where secrecy, authorship, and reverence converge.

 

Townhouse at
Partridge Creek

Year   2019
Site   Partidge Creek
       Clinton Township, MI
Prof   Evva Dossin
       Romeo High School
       Drafting Course                            

A Revit-based construction document set completed as part of my BIM and drafting training. The work reflects competency in building the model, organizing sheets, controlling graphic standards, and producing coordinated plans, sections, and details. This documentation package was recognized with 1st Place Regional and State awards in the M.I.T.E.S. competition.