The model was envisioned as sitting in and at the edge of a cliff, with the lower level covered in earth, and the whole thing facing the sea. Climbing the structure, adventurous visitors can perch in the crown of the Labyrinth.
Chemical processes were used to print the shadow of the model in sunlight.
In this section drawn across both sides of a sheet of semi-transparent mylar, the coolest blues were used where the structure was imagined to be most exposed to wind, and warmer blues where it is more sheltered.
Another double-sided plan/section of the Labyrinth on mylar registers the shadow and footprint on one side and the section and elevation elements on the other. Colours indicate the imagined muscle tension of a climber on different parts of the structure. Near-vertical members, in red, would be the most precarious supports for a climber.
I envisioned a strange and powerful vine-like growth as a ceiling addition.
A perspective rendering in graphite of the ceiling addition/growth
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Labyrinth for the Body
The Labyrinth model was the result of following the vague instruction to make a "Labyrinth for the body" out of "100 sticks", which could be any small, stick-like objects, from Q-tips to chicken bones. I chose to use clothespins. The model was later imaginatively developed through various drawings.