In the winter of 2001, the labyrinth was created in the southern corner of the Aistear. The entrance to the labyrinth is from the main walk route and through the willow arch. The labyrinth design cut into the grass, with the taller grass forming the boundary paths, was aesthetically pleasing to all.  The nature of the place, its mature trees, the nearby waters of Lough Derg and its location away from the mainstream activity of the park, make it conducive as a quiet area for meditation.         

Following the guidelines from research undertaken on labyrinths and using the influence of the site itself, the entrance to the labyrinth was aligned with the centre from a northeast entry point, then the labyrinth design was drawn in the grass. Initially gravel was laid on the ground to highlight the path. For the first couple of years, the tall grasses surrounding the path remained wild, but were eventually cut and structured to provide clear boundaries. Red roses were planted in the petals of the rose-shaped pattern in the centre while purple flowering winter heathers surround the centre. White heathers were also planted in the labrys. The labrys are the double-headed, axe-shaped symbols, which are located in the quadrants of the labyrinth. Seen from above the labrys form a cruciform.  

A year after the labyrinth was created, a rock, which had been lifted out of Lough Derg during the construction of the harbour, was placed in the rose-shaped centre of the labyrinth. The labyrinth pattern was sculpted into the rock and an ancient crystal heirloom was set in the its centre. The crystal magnifies and amplifies the energy of the labyrinth, giving an added dimension to the wholeness and beauty of the place. 

Almost three years after the creation of the labyrinth, the lunations were added. The lunations are the two third circles that surround the outer circumference of the labyrinth and are known as cusps and foils. There are one hundred and eleven cusps and one hundred and twelve foils which have been created with hornbeam plants. The lunations are unique to the Chartres style of labyrinth.  They are significant to the energy of the labyrinth, as they are inclusive of the feminine, completing the sense of wholeness the Chartres style labyrinth conveys.

Outside the circumference of the labyrinth are trees associated with the solstice and the equinox. Traditionally four festival trees represented the sun’s position throughout the year. The mid-winter solstice on December 21^st is located at the northern circumference of the labyrinth and is marked by a Yew Tree. The spring equinox on March 21^st has a Gorse plant and this is located to the east of the labyrinth. The summer solstice on June 21^st is identified on the southern tip by Heather and the autumn equinox on the eastern side is marked by an Aspen. 

Located below and around the labyrinth are trees intended to represent the ancient Ogham alphabet. These trees have been planted to highlight an important aspect of our heritage, namely the earliest form of Irish writing. Although Ogham originated in Europe, it was developed into a written language only when it reached Ireland. 

The knowledge of Ogham was preserved in the traditional memory of country folk down to the first half of the nineteenth century. The majority of examples which we have are on stones known as Ogham Stone. These are to be found in Kerry and Cork. In the present time, the ancient alphabet is being revived in art and craftwork and is available in many craft shops throughout the country.  

The trees planted in the grove and around the labyrinth include yew, aspen, heather, broom, fir, elder, blackthorn, sloe, reed, ivy, vine, apple, hazel, gorse, oak, whitethorn, ash, willow, alder, rowan and birch.  

In the aftermath of the creation of the labyrinth, it became evident that there was a natural progression from the maze to the labyrinth that incorporated the whole concept of continuity and journey. The labyrinth was being used for meditation and regular contemplative walks at key times  throughout the year.  The experiences of walking the labyrinth warranted further investigation into the real meaning and significance of the labyrinth in the overall context of the Aistear project.

The Significance of the Labyrinth as an Ancient Archetype