Principles of Form

True labyrinths are not puzzles or traps. They are often intended to provide a meditative, reflective, and/or spiritual experience or a space for community activity or ritual. The path may wind back and forth repeatedly, but there is no intended confusion and usually nothing blocking the view. Some labyrinth patterns, both historical and contemporary, have features outside of the standard form such as more than one opening between the exterior and interior, absence of a center space, intersections and path choices, or dual paths specifically for ceremonies or conflict resolution. Nonetheless, they may still be considered labyrinths, rather than mazes or simply paths, due to the intended use and effect of the design.

• A labyrinth is an enclosed figure within a boundary that separates the interior from the exterior space. This figure typically has one entrance, one center, and a specific pattern of movement  along a single continuous, circuitous path from the entrance to the center and along the same path back out from the center to the entrance. This pattern of movement is often defined by “walls” or may emphasize the path or the center line of the path, depending on how the labyrinth is drawn or constructed.

• The path is unicursal. It typically does not have intersections or dead ends, and does not require any choices to reach the center.

• The path typically changes direction multiple times.

• The path fills the entire interior space through orbital and axial movement relative to the center, but typically traverses circuits or circuit segments out of order through a specific sequence of movement.

• There can be exceptions to these principles of form which still allow for the intention of the experience.

• In English, a distinction is sometimes made between labyrinths (unicursal non-puzzles) and mazes (multicursal puzzles), but the terms are often used interchangeably, and in many languages there is only one term for both.

• One pathway that leads inexorably from the entrance to the goal, albeit often by the most complex and winding of routes.

• Labyrinths with more than one path can exist (intent usually clear from their designs and purpose).

• A labyrinth is a closed, outwardly demarcated figure.

• This has an entrance, a center and a path that leads from the entrance to the center.

• The path must fill the entire area of ​​the figure and can change direction several times.

• However, the path has no crossings, branches or dead ends on the whole route.

A wandering path does not a labyrinth make. A zig zagging pattern through the woods isn't a labyrinth, by my standards. There are my criteria:

• A single path (unicursal) used to enter and exit

• Back-and-forth movement formed by turns

• A center and other possible stopping points

Secondary rules:

• Somewhat contained. If they are too huge labyrinths simply become hiking trails.

• Pattern visible. Hedge labyrinths are am exception.

• Sensible geometry, symmetry and rhythm.

• Sited with a deliberate intention

• Designed appropriately for intended use

The outer line clearly separates the exterior from the interior space. The perimeter has only one opening. This is where the winding unicursal path begins.

The path:

• is not intersected (no choices to make),

• folds on itself, continually changing direction,

• fills the entire interior space by wending its way in the most circuitous fashion possible,

• repeatedly leads the visitor past the center,

• inevitably ends at the center, and

• is the only way back to the entrance.

More or less symmetrical, whether in circular or rectangular form, and composed mostly of parallel lines, the figure has the property of attracting the eye of the beholder to an exterior opening, offering a path to be traced between the lines and leading him ultimately to an interior pocket diametrically opposite the opening. At no point in the path is there any obstacle or any divergence. The path leads infallibly to the pocket and—most remarkably—conducts the viewer's eye or finger—or pencil—through every part of the figure, after several turns around the ends of lines. All the space within the figure is covered in one continuous path.

• Works of artifice [not naturally occurring]

• Conscious design/purpose

• Complexity (the multiplicity of turnings and the extent of the departure from pure geometrical figures such as the meander, the zigzag, and the spiral)

• No absolute symmetry, but a very pleasing appearance of symmetry may be obtained

• Communication between the component parts of the design; in other words, the path must be continuous (closed “islands” may be included, but are not part of the pattern)

• Communication between the interior and the exterior (should use prefix “closed” if there is no opening)

• Unicursal (= “single course” or “once run”) “non-puzzle” (with common-sense used to allow some loops)

• Two-dimensional or three-dimensional

• “Compact” or “diffuse”

• Curved, straight, or mixed paths

• [In reference to mazes, but relevant:] separate classes for those mazes in which there are two or more equivalent routes between the entrance and the goal, those which have two or more entrances, and those in which there is no distinct goal or in which there are two or more equivalent goals