Adopting a phenomenological approach and drawing upon Gaston Bachelard’s theoretical framework in *The Poetics of Space*, the present study examines the representation of the home in the urban novel *The City That Died Beneath the Cedar Trees* by Khosrow Hamzavi—a work selected through purposive sampling following a review of literary critics' perspectives.In this study, the house is viewed not merely as a geometric structure but as a space reflecting the emotions, memories, and identities of its inhabitants; consequently, the significance of elements such as the basement, windows, closets, and plants is examined in relation to the characters' lived experiences. The research findings reveal a profound sense of identification between the human and the house within the novel.The characters' fates and states of mind are reflected in the description of the house; contrary to the common perception of a home as a tranquil sanctuary, Jarir’s house resembles a prison or a slaughterhouse—though for Kian, the protagonist, it occasionally retains its function as a refuge. The basement is linked to the dark recesses of the human psyche, while the window is associated with liberation and hope.The author also constructs the narrative atmosphere of the house by engaging the five senses, particularly smell and sight. Furthermore, the house reflects traditional Iranian culture and class disparity, while the connection between the cupboard and memory—and between plants and the residents' psychological well-being—is also revealed. These findings confirm the applicability of Bachelard’s model to the analysis of lyrical Persian fiction.