The term "octagon" has often been deployed in literature to evoke images of both striking architectural design and intimate internal spaces. In works like Jules Verne's, it describes the prominent minarets of a bustling coastal town, adding an exotic flair to the landscape [1]. In contrast, Henry Scadding and Jane Austen use octagonal structures to create a sense of solemnity and transformation in passages concerning tombs and rooms, respectively [2, 3]. Meanwhile, authors such as M. E. Braddon, Oscar Wilde, and Nathaniel Hawthorne repeatedly employ octagonal rooms or chambers—ranging from ante-chambers to elegant entries—to underscore both the physical and symbolic convergence of different spatial elements, enriching the narrative with a mix of mystery and ordered beauty [4, 5, 6, 7, 8, 9, 10].