In Greek mythology, the Labyrinth () was an elaborate, confusing structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, the monster eventually killed by the hero Theseus. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it.
Although early Cretan coins occasionally exhibit branching (multicursal) patterns, the single-path (unicursal) seven-course "Classical" design without branching or dead ends became associated with the Labyrinth on coins as early as 430 BC, and similar non-branching patterns became widely used as visual representations of the Labyrinth – even though both logic and literary descriptions make it clear that the Minotaur was trapped in a complex branching maze. Even as the designs became more elaborate, visual depictions of the mythological Labyrinth from Roman times until the Renaissance are almost invariably unicursal. Branching mazes were reintroduced only when hedge mazes became popular during the Renaissance.
In English, the term labyrinth is generally synonymous with maze. As a result of the long history of unicursal representation of the mythological Labyrinth, however, many contemporary scholars and enthusiasts observe a distinction between the two. In this specialized usage maze refers to a complex branching multicursal puzzle with choices of path and direction, while a unicursal labyrinth has only a single path to the center. A labyrinth in this sense has an unambiguous route to the center and back and presents no navigational challenge.
Unicursal labyrinths appeared as designs on pottery or basketry, as body art, and in etchings on walls of caves or churches. The Romans created many primarily decorative unicursal designs on walls and floors in tile or mosaic. Many labyrinths set in floors or on the ground are large enough that the path can be walked. Unicursal patterns have been used historically both in group ritual and for private meditation, and are increasingly found for therapeutic use in hospitals and hospices.
This page is automatically generated and may contain information that is not correct, complete, up-to-date, or relevant to your search query. The same applies to every other page on this website. Please make sure to verify the information with EPFL's official sources.
In Greek mythology, the Minotaur (ˈmaɪnətɔːr,ˈmɪnətɔːr , USˈmɪnətɑːr,-oʊ- ; Μινώταυρος miːnɔ̌ːtau̯ros; in Latin as Minotaurus miːnoːˈtau̯rʊs) is a mythical creature portrayed during classical antiquity with the head and tail of a bull and the body of a man or, as described by Roman poet Ovid, a being "part man and part bull". He dwelt at the center of the Labyrinth, which was an elaborate maze-like construction designed by the architect Daedalus and his son Icarus, on the command of King Minos of Crete.
In Greek mythology, the Labyrinth () was an elaborate, confusing structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, the monster eventually killed by the hero Theseus. Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it.
The Minoan civilization was a Bronze Age culture which was centered on the island of Crete. Known for its monumental architecture and its energetic art, it is often regarded as the first civilization in Europe. The Minoan civilization developed from the local Neolithic culture around 3100 BC, with complex urban settlements beginning around 2000 BC. After 1450 BC, they came under the cultural and perhaps political domination of the mainland Mycenaean Greeks, forming a hybrid culture which lasted until around around 1100 BC.
Negative Creep:
Reading Manfredo Tafuri, Today.The course offers a systematic introduction of the architectural historian Manfredo Tafuri's body of work to students in order to ease their reading of
Explores the contrast between avant-garde architecture and urban planning in the Soviet Union, focusing on Manfredo Tafuri and Pier Vittorio Aureli's works.
The motivation of the thesis comes from the frustrations of young engineers confronted with real design problems. The inspiration of the thesis evolved from observations of bridge designers and analys