Suspended in the center of the Imaret’s prayer hall lies a deconstructed architectural model of the monument itself. If, in architectural theory, the model traditionally constitutes a “promise” for the future—a scaled utopia awaiting its realization—here, both temporality and purpose are inverted.

The work functions as a mechanism for the compression of space and time. The viewer’s entry into the model’s interior requires a performative gesture of bowing, alluding to a ritual entry into a sacred space. This “micro-choreography” constitutes an act of initiation. By penetrating the shell, the subject sheds the status of a mere observer and assumes the role of a participant within a dual-natured space.

Through this deliberate deconstruction, the model ceases to be a closed universe and transforms into an optical filter, a viewing frame that re-contextualizes the environment. The soundscape, combined with light and optical fragments, maps a path that transcends linear narrative, becoming a navigator of memory.

The installation in the prayer hall functions as the neural core—the brain and heart of the project. It is interconnected with a series of artistic gestures that diffuse throughout the Imaret, weaving the sonic narrative of the central piece into the surrounding physical space. This transforms the historic monument into a unified, architectural-scale performative installation.

The model is not merely a time-displaced representation, but the key that reveals the unseen aspects and the “hidden rooms” of the Imaret’s memory.