85density than through the convergence of multifarious social
and cultural worlds.A sense of tension that reaches into the depths of a space is
generated via spatial perception. Gaze and movement extend
into depth in order to overcome the distance from objects and
spatial delimitations, and to take hold of space, traversing it
in the imagination (> extension).
In the context of architectural perception and movement
in space, it is the third dimension, i.e. depth, that is decisive,
because it coincides with the accustomed directionality of the
gaze and of movement. Levels (> level) that are expanded in
height and breadth offer the > gaze a planar goal and > move-
ment a boundary, but only in the direction of depth do gaze
and forward movement penetrate into space. August Schmar-
sow characterized movement into depth as the principal mode
of movement for an adequate perception of architecture.
Spatial depth becomes graspable through forms in space.
Strata of buildings and architectural elements that are stag-
gered, one behind the next, and which partially obscure one
another, lead through partial visibility into the depths. In the
process, our spatial imagination can to a certain extent find its
way around obstacles and penetrate the zone of the room that
lies behind. While depth perception is supported when archi-
tectural forms are recognizable as solid, three-dimensional el-
ements, it tends towards abstract planarity when they appear
only as staggered planar levels. The architectural clarification
of spatial depth is served, for example, by the articulation
into more proximate constructive or spatial elements, all of
which are visually graspable, and more remote and progres-
sively distant ones. Depth is also achieved by means of suc-
cessively distant framing devices (> enfilade), views, and view
axes. The formal dynamics of staircases in particularly lead
the gaze into the depths. Moreover, effects of depth can be at-
tained through the interplay of light and shadow, for instanceDepth