87indefinite, leads to no clear centre. Such folded structures flow
instead into indeterminate depths, while nonetheless offering
a tremendous enrichment of spatial depth, even in relatively
confined spaces. With reference to the traditional Japanese
house or the layout of the historic section of Tokyo, Fumi-
hiko Maki characterizes this phenomenon with the principle
of oku. Here, in contrast to the decisiveness with which the
relationship between centre and boundary is shaped in Euro-
pean culture, the attainment of the goal does not represent a
climax; drama and ritual are instead embodied in the process
of approach itself. Movement is not the goal-directed tracing
out of a route, but instead searching, > roaming. Through the
prolonged, impeded, and indefinite approach into a virtually
unattainable distance, the goal acquires the significance of
spiritual depth or of a secret and concealed space.
Literature: Gosztonyi 1976; Maki 1979> concept (architectural), theme (architectural)Nowhere in architecture is the central problem of the assem-
bly of various parts and the expression of their respective
roles for the whole present more clearly than in the detail.
An integral detailing is a particularly visible expression of
logic and consistency in architecture. It allows the totality to
be reflected in the smallest elements, and allows overarching
constructive relationships to be intelligible and perceptible on
the > scale of detail.
In architecture, a detail is not simply any arbitrary, indi-
vidual feature, but more specifically the separate shaping of
those places where constructive elements are finished off or
joined together with others so as to articulate the total struc-
ture. This includes, for example, frames, > thresholds, mould-
ings, > bases, and connections between materials. Places that
are touched by users receive special detailing.Design / Design process
Detail