Imagine arriving there: a flat plane splits into tessellated tiles, each a different hue of teal and magenta, and hovering above them are wireframe shapes — triangles, prisms, Möbius riffs — rotating with patient, mechanical grace. The air buzzes faintly, as if the angles themselves were humming a tone when they align. Every tile carries a faint numerical glyph; step on the right sequence and the floor rearranges, revealing secret corridors of acute corridors and obtuse alcoves. It's a place that treats Euclid like a mischievous set of playground rules.