Inspired by the mythical “Homā Bird” of Iranian legends, “Homā’s Phantom” establishes a new connection. This bird, renowned in tales, is said to never come to rest, living its entire life flying invisibly high above the earth, and never alighting on the ground.

In this surreal construct, the labyrinth house soars above the sky, carrying within it the intangible essence of Homā, intricately woven into its very being.

Engineered through modular designs and techniques, the mansion weaves together patterns and compositions reminiscent of the tapestry of Persian architectural legacy. Yet, these elements converge in a digital labyrinthine arrangement that defies convention.

While Jeffrey Shaw’s 1983 creation predominantly hinged on spatial navigation—a testament to the novelty of its era—Homā’s Phantom redirects the focal point of navigation toward the temporal. This tactile engagement with the courtyard house immerses users in windcatchers, alleys, pools, and the intrigue of asymmetric arches and vaults. The endeavor appears centered on the experience of traversing labyrinthine pathways, championing introspection over the quest for a conclusive end.

This movement along the concealed thread within Homā’s labyrinth harkens back to Ariadne’s thread, yet distinctively intertwines with the very maze itself, a metaphorical echo of interconnectedness.