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Oku (theory)

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Oku (奥) is a spatial theory or concept that involves to the idea of inwardness. It is peculiar to Japan and is an integral part of the urban space formation in the country.[1] The term entails several abstract connotations such as profundity and can be used to describe not only physical but also psychological depth.[1]

Origin

The term oku is both used in Japanese and Chinese languages and share three literal meanings: 1) private, intimate, and deep; 2) exalted and sacred; and, 3) profound and recondite.[2][3] In Japan, oku is also often used as in adjective form. Some of the usage that are relevant to the notion space includes, oku-dokoro (inner place), oku-sha (inner shrine), oku-yama (mountain recesses), and oku-zashiki (inner room).[1]

In traditional Japanese culture, oku became a principle to signify "the inner" or "inward".[4] This idea is traced back to the emergence of rice cultivation and the environmental separation of villages from the mountains.[5] In this view, the environment is considered a realm that is sacred and lofty, hence forbidden. It is separated through spatial configurations from the Japanese communities, which had relatively high densities since the ancient times.[6]

Concept

As a Japanese concept, oku specifies an idea of spatial configurations, which implies a relative distance or an impression of it at a given space. It is not limited to this kind of configuration as it also expresses psychological depth and an a priori image scheme when approached from the Kantian perspective.[5] A broad conceptualization described it as an invisible middle point.[4] For example, in the case of a building, the principle of oku seeks to bring what is distant closer so that the interior and exterior are unified. It is also described as a concept that signifies relative or a sense of distance within a space.[1]

Oku is demonstrated in the architecture of the Shimane Museum of Ancient Izumo. It features a steel wall that run along the approach to the museum while the landscaping that dominates the scene does not establish a focus.[7]

The principle of oku is a primary consideration in constructing buildings and spaces. According to Japanese architect Fumihiko Maki, oku can be distinguished from the so-called "center demarcation" to building spaces in Western culture.[8] In addressing the relationship between center and boundary, the latter follows a layout oriented towards the attainment of the climax. Oku, on the other hand, works to embed drama and ritual in the process of the approach itself so that instead of going out of a route, the movement is all about searching or roaming.[9]

The principle of oku can also be applied in other fields such as art, literature, and individual behavior.

Boundaries

Oku or an impression of it is achieved through the creation of multi-layered boundaries that some scholars call spatial creases.[8][5] These boundaries are built and interrelated with several elements such as topography, roads, and fences, among others.[5] It is suggested that these boundaries are analogous to a wrapping and serves as a structural principle that adds to the value in a structural analysis that demonstrates the value of illusion.[10]

References

  1. ^ a b c d Marshall, Richard (2003). Emerging Urbanity: Global Urban Projects in the Asia Pacific Rim. New York: Spon Press. p. 44. ISBN 0415256232.
  2. ^ Li, Dan. "The Concept of "Oku" in Japanese and Chinese traditional paintings, gardens and architecture" (PDF). Kyushu University. Retrieved June 8, 2020.{{cite web}}: CS1 maint: url-status (link)
  3. ^ Rizzardi, Pier Alessio; Hankun, Zhang (2018). The Condition of Chinese Architecture. TCA Think Tank. p. 465. ISBN 978-1-9164537-0-8.
  4. ^ a b Bergmann, Sigurd (2003). God in Context: A Survey of Contextual Theology. Burlington, VT: Ashgate Publishing, Ltd. p. 133. ISBN 0-7546-0615-5.
  5. ^ a b c d Greve, Anni (2016). Sanctuaries of the City: Lessons from Tokyo. Routledge. ISBN 978-1-317-05955-4.
  6. ^ Altman, Irwin; Low, Setha M. (1992). Place Attachment. New York: Plenum Press. p. 172. ISBN 978-1-4684-8755-8.
  7. ^ Buntrock, Dana (2013). Materials and Meaning in Contemporary Japanese Architecture: Tradition and Today. Oxon: Routledge. p. 199. ISBN 978-1-134-72501-4.
  8. ^ a b Chervenkova, Velizara (2017). Japanese Psychotherapies: Silence and Body-Mind Interconnectedness in Morita, Naikan and Dohsa-hou. Singapore: Springer. p. 22. ISBN 978-981-10-3125-0.
  9. ^ Janson, Alban; Tigges, Florian (2014). Fundamental Concepts of Architecture: The Vocabulary of Spatial Situations. Basel: Birkhauser. p. 87. ISBN 978-3-0346-0892-3.
  10. ^ Hendry, Joy (2016). An Anthropological Lifetime in Japan: The Writings of Joy Hendry. Leiden: BRILL. p. 410. ISBN 978-90-04-30286-0.
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