The architecture of Uxmal is characterized by forms unique to the Northern Lowlands such as the transformation of platform levels into storeys containing rooms (fig. 6), the transformation of rooms giving onto the outside into porticos with collonades (fig. 7) and the transformation of roof crests into friezes by their frontal position. Nevertheless, these transformations don't involve differences of principle in comparison with the basic form (see domestic architecture).

This architecture is more geometrical and symetrical than elsewhere. This distinctive trait of the Puuc style also involves sculpture whose assemblage seems to involve a standardization (figs. 4, 5). We observe a complex interplay of angular shapes expressing an interaction between repetition and variation similar to the insets in the architecture of Tikal. Some have associated this geometrical style to chain work while its meaning is associated to the rattle snake pattern.

Another distinctive trait of Puuc sculpture is the strong resemblance of many shapes and designs with  the style of Central Mexico such as columns and masks. This demonstrates the Toltec influence that becomes obvious during the Postclassic period in the architecture of other cities like Chichén Itza.

Fig. 4: Sculpture on the east building of the Nunnery.

Fig. 5: Sculpture on the west building of the Nunnery.

The sculpture is not only decorative but also symbolic and closely related to the location and function of the buildings. For example, the Nunnery is a representation of the Maya universe: the southern building on the lowest level and aligned with the ballcourt is decorated with symbols of the underworld, the northern building on the highest level is decorated with celestial symbols, the eastern and western buildings on an intermediate level represent respectively creation and death. Each building has a number of doorways equivalent to the domain it represents. There is also a great number of curled nose masks representing the god of rain Chaac.

Fig. 7: Columns