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“This is the most complex of my designs yet,” the celebrated designer said to the inspecting client and entourage.  “There are five peripheral sections in addition to the central motif giving us six ‘rooms’ within the labyrinth.  The challenge has been to give each of these rooms a different theme through plantings and ornaments while maintaining a cohesive whole.”

“So, that’s all of these marble statues and what-not I’ve been paying for?”  The client was not a gardening man.  He’d been advised that the grounds of his new house and headquarters required a feature and Mr Gabbordo had been recommended as the man of the moment.  Overall he’d been impressed by the man’s business-like attitude and drive.

“Yes and absolutely essential to the tone and timbre of the piece, Mr Ainsley,” the designer replied.  “Additionally because we commissioned original works by rising artists I believe the collection will appreciate in value.”

“Indeed, sir,” put in one of Mr Ainsley’s assistants, “we’ve already been approached by the State Art Gallery to consider allowing one of the pieces to be included in a six month exhibition.”  As she finished speaking they entered a space centred on a sundial.

“This,” explained Mr Gabbordo whose flair was variously explained as Italian or West African, “is the first of our central areas and it is here that we begin to see the cohesive theme of the overall design.”

“Which is?”  The accountant was actually enjoying the tour.

“A belief from my homeland that the centre of every labyrinth is a doorway.”

“A doorway?”

“Yes, a doorway,” Mr Gabbordo smiled sadly, “and you’re about to show me where this one goes.”

He moved his hands and the air behind the group pulled on them.

“I need the one that takes me home.”