重复与相似
眼睛倾向于将相同类型的事物组合在一起。即使成对使用的元素有所不同，我们也会发现结构上的相似性主导了这些差异。在节奏形式上的重复，就像在音乐和建筑中一样，是一个非常简单的作曲原则，它倾向于给人一种连贯的感觉。此外，所有形式的重复都可能是加法的结果，或者是一个整体的分割，或者仅仅是一个没有一个明确的整体形式的系列。在建筑和城市设计的尺度上，没有一个限制，没有一个开始或一个明显的结束，很容易成为破坏性的;细节的连贯性“没有目标”，或者没有整体的连贯性。
The eye tends to group together things of the same type. Even when the elements taken in pairs are somewhat different, we find that the structural resemblance dominates these differences. Repetition in the form of rhythm, as much in music as in architecture, is an extremely simple principle of composition which tends to give a sense of coherence. All forms of repetition can, moreover, be the result of addition, or of division of a whole, or simply constitute a series without a clearly identifiable overall form. On the scale of architecture and urban design, the absence of a limit, of a beginning or an obvious end, easily becomes disruptive; there is coherence of detail ‘without aim’ or without the coherence of the whole.
当元素是异类时，由于部分共同的特征，例如窗户的比例、它们在墙中的位置以及它们与实体区域的关系，在任何情况下都可以获得分组效果。材料和纹理的统一是部分特征的另一个例子，尽管每个建筑都有自己的个性，但这些特征加强了一致性的趋势。
When the elements are heterogeneous, a grouping effect can in any case be obtained because of the partially common characteristics, as for example the proportions of the windows, their position in the wall and their relationship with the solid areas. Unity of materials and texture is another example of partial characteristics which reinforce the tendency towards coherence in spite of the individuality of each building.
靠近
眼睛倾向于将靠得很近的元素分组，并将它们与相距较远的元素区分开来。这个分组原则非常强大。它可以通过使用小的间隙来创建元素之间的连接，从而将不同的元素连接在一起。这些间隙没有确定的大小，因为内聚取决于元素的相对大小和上下文。当距离大于最小元素的尺寸时，通常采用其他方法(相似、方向等)来加强连贯性。
The eye tends to group elements which are close together and to distinguish them from those which are further apart. This grouping principle is very powerful. It makes it possible to join together that which is different by using small gaps to create an articulation between elements (Figure 33). There is no established size for these gaps, because the cohesion depends on the relative size of the elements and on the context. When the distance is greater than the size of the smallest element, one often resorts to other means (similarity, orientation, etc), to reinforce coherence.
底图
一个围场，一块地，甚至一块地毯，都可以定义一个领域。即使字段中的元素是异构的，字段内包含的内容也与字段外的内容是不同的。 这是我们经常使用的一种非常有效的统一方法。此外，定义附件的元素形成一个单独的子组。
An enclosure, a ground, even a carpet, define a field. What is included within the field is distinguished from what is outside it, even if the elements within are heterogeneous. This is a very effective method of unification which we frequently use. Moreover, the elements which define the enclosure form a separate subgroup.
对齐
眼睛也倾向于将位置相同的元素分组:垂直的、水平的、平行的……
对称就是这个原理的一个特殊例子。它甚至可以促进建筑和自然等根本不同的元素的统一。它们通过与一个轴的关系获得共同的归属，这个轴可以是真实的，也可以是虚拟的。树木沿着公共轴线与建筑分离，成为建筑综合体的一部分。
The eye also tends to group elements which have the same position: vertical, horizontal, parallel elements …
Symmetry is a particular example of this principle. It can even contribute to the unification of such fundamentally different elements as building and nature. These acquire a common belonging by their relation to an axis which may be either real or virtual. Trees set along a common axis with a building detach themselves from the surrounding nature and become part of the building complex.
综合
在大多数组织中，几个因素同时起作用。现实是复杂的，纯粹的情况是罕见的。有时一个因素支配其他因素。九头蛇港的例子显示了一致性因素的强大冗余的力量。由于四种因素(相似、接近、封闭、定向)在不同尺度上的同时作用，这个“整体”虽然仍然是异质的，甚至是不对称的，却被焊接成一个不可分解的整体。一旦这些一致性原则被很好地建立起来，人们就会发现有巨大的变化空间。当然，Rietveld的施罗德别墅很难插入其中，因为它拒绝了正面的原则和有开口的墙壁。但整体的连贯性不会因为卢斯的Moller住宅或勒·柯布西耶的厨师住宅的插入而受到损害。相反，它会丰富和我们可以有乐趣做一个照片蒙太奇作为示范。
In most organizations several factors come into play simultaneously. Reality is complex and pure situations are rare. Sometimes one factor dominates the others. The example of the harbour at Hydra shows the power of a strong redundancy of factors of coherence. Owing to the simultaneous action of four factors (similarity, proximity, enclosure, orientation) which act on different scales, this ‘ensemble’, though still heterogeneous and not even symmetrical, is welded into one indissoluble whole. Once these principles of coherence are well established, one discovers that there is room for enormous variation. Of course, Rietveld’s Schroeder house would be difficult to insert into it, rejecting the principle of frontality and the wall with openings. But the coherence of the whole would not be jeopardized by the insertion of Loos’s Moller house, or Le Corbusier’s Cook house. On the contrary, it would be enriched and we could have had fun doing a photo-montage as a demonstration.
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