The Inward House engages with the concept of déjà vu—in the sense that, unlike nostalgic or ideological approaches to history, déjà vu does not establish a fixed, one-to-one relationship with the past. Instead, it encompasses a spectrum of possibilities and simultaneously points to different, even contradictory, references. From this perspective, the project can appear at once introverted and extroverted, domed and orthogonal; it can employ a column-and-beam structure while at the same time being categorized as a form of vaulted construction.
This is a kind of ambiguous attachment to the past—one whose very existence is uncertain, leaving you unsure whether it is a product of imagination or a familiar condition that truly exists. If a nostalgic reference to memory is limiting and conclusive, déjà vu becomes the starting point of imagination. For this reason, in the design of the Inward House, the central void—while striving to generate a new spatial event—can simultaneously evoke elements such as the traditional central courtyard.