空间定义的元素和开口描述了空间关系的类型，以及空间保持自主或或多或少与其他空间相联系的程度。我们可以找出两种基本类型:并置和相互渗透。
The elements of spatial definition and the openings characterize the types of spatial relationships, indeed the degree to which the space remains autonomous or is more or less linked to other spaces. We can pick out two basic types: juxtaposition and interpenetration.
并置
并置强调自主性。我们的语言中包含了大量的术语，这些术语在原则上只适用于一个相对明确和封闭的空间：房间、卧室、单间、大厅、走廊，所有这些都与“隐私”和排斥其他空间的概念有关。与其他邻近空间的联系是由门窗、狭窄且受控的通道构成的。角落完好无损。这样的空间，如何安排或分配空间成为一个重要的结构因素：一系列的房间，单或双边走廊，中央大厅等。
过去几个世纪的建筑方法，通常是基于承重墙系统或其他利用材料抗压的方法，通常导致具有明确限定的并置空间。
Juxtaposition insists on autonomy. Our language includes a large number of terms which are, in principle, only applied to a relatively well-defined and closed space – room, bedroom, cell, hall, corridor – all linked to an idea of ‘privacy’ and of exclusion from other spaces. The connection with other neighbouring spaces is made by doors or windows, narrow and controlled passages in a wall. The corners are intact. Such a space, the way in which to order or distribute the spaces then becomes an important structuring factor of the whole: a succession of rooms, uni- or bilateral corridor, central hall, etc.
The methods of construction of past centuries, which were more often based on a system of loadbearing walls or of other ways of making materials work by compression, have generally led to cellular groupings with an explicit definition of juxtaposed spaces.
融合
空间的相互渗透创造了从一个空间到另一个空间的连续性。一些重要元素，比如墙壁，天花板，地板，似乎属于两个或更多的空间。
将一个空间与另一个空间分隔开的平面就不那么实体，并产生一种隐式的分隔。隐式围合是通过高度的模糊性和最少的手段，如门楣、柱子、大玻璃开口的框架、墙的顶部、表面或物体的纹理的差异。各种手段的作用产生了空间的不同穿插。
空间连续性的主题唤起了一种动态的原则，引导我们思考隐藏与可见、现在与未来之间的模糊性，我们将会得到怎样的结果。
Spatial interpenetration creates continuity from one space to the other from the moment when an important element of definition, a wall, ceiling, floor, appears to belong to two or more spaces.
The plane which separates one space from the other is then less substantial and produces an implicit division. The conditions for implicit closure are achieved with a relatively high degree of ambiguity and a minimum of means such as a lintel, a column, the framing of a large glazed opening, the top of a wall, the difference in texture of a surface, or object. The role played by the various means gives rise to different interpenetrations of the space.
The theme of spatial continuity evokes a dynamic principle, of passages and stops with planes which guide and lead us to wonder what is to follow by the use of ambiguity between the hidden and the visible, the present and the future .
动态融合与静态融合
上述对立概念可能导致这样一种看法，即过去的建筑师并没有挑战传统承重系统的结构限制，也从未试图利用隐含的限制和空间的相互渗透。然而，在纪念性建筑的建造中，尤其是在礼拜场所中，他们确实以相互渗透的思想来构成空间。但是，与现代运动的连续创新，引入了空间动态(“自由平面”)相反，他们选择了一个基于层次的相当静态的相互渗透。
例如，帕拉第奥可以通过一个中间区域来划分房子的主要房间，这个中间区域由墙壁、四根柱子和它们的门楣来界定，但是这个空间将保留一个房间概念。
The above-mentioned opposition could lead to the belief that architects in the past did not defy the constructional limits of traditional load-bearing systems and never tried to work with implied limits and spatial interpenetration. They did, however, for the construction of monumental buildings, especially for places of worship, compose spaces with the idea of interpenetration. But contrary to the successive innovations of the Modern Movement, which introduces a spatial dynamic (‘plan libre’), they chose a rather static interpenetration based on hierarchy.
Palladio could, for example, demarcate the principal room of a house by an intermediary zone, defined by the walls, four columns and their lintels, but the space would remain that of one room.
第一次空间解放：巴洛克
巴洛克比任何其他时期都“嘲笑”建设的局限性，以达到其审美和精神的目的。它导致了第一次“空间解放”。它是一种自由，不受空间静态、初等几何、甚至室内外对立的规则和惯例的束缚。它的手段是在凹凸、连续性和断裂之间的连续和复杂的游戏，使空间结构超出其适当的限制。为了达到这一效果，巴洛克风格的建筑师们破除了墙壁和屋顶的概念。这些元素不再被认为是具有双面性的“实体”。在概念上，有时甚至在构造上，有两个表面，一个是内部的，一个是外部的，每个表面都能够响应特定的形式需求。只有在开口处，两个表面才通过窗口凹槽的处理重新缝合在一起，没有任何明显的不连贯。
巴洛克空间特别突出，因为“它能够以多种方式显示出空间单元在前后左右的相互依赖，不是每个单元都作为一个碎片出现，而是一个完美的统一”。
More than any other period Baroque ‘mocked’ constructional limitations in order to attain its aesthetic and spiritual ends. It led to the first ‘spatial liberation’. It is a freedom from rules and conventions from the static state of space, elementary geometry and even from opposition between interior and exterior. Its means are the continual and complex play between convexity and concavity, continuity and break which structure the space beyond its proper limits. To achieve this effect the architects of the Baroque de-composed walls and roofs. These elements are no longer considered as ‘solids’ with two faces. Conceptually, and sometimes even constructionally, there are two shells – one internal and one external – each one able to respond to particular formal requirements. It is only at the openings that the two shells are stitched together again by the treatment of the window recesses, without any apparent incoherence.
Baroque space has particularly distinguished itself because ‘it has been able to show, in numerous ways, the interdependence of cells or niches at the front, at the back and on the sides without each one of them appearing as a fragment, but by giving them a perfect unity’.
第二次空间解放
19世纪末发展起来的技术手段为第二次“空间解放”做出了贡献。钢和钢筋混凝土使空间向更接近人类活动和意志特征的方向突变成为可能。 正是在对这种新自由的掌握中，我们发现了二十世纪伟大的空间和建筑发明。
弗兰克·劳埃德·赖特为了将建筑融入景观，他消解了的方盒子的角落。年轻的密斯和荷兰风格派，痴迷于独立的平面空间设计，在无限的空间里为特定的事件定义出特定的空间。 勒·柯布西耶 ，以画家的视觉，寻找压缩、重叠和惊人的透明度。所有这些都是20世纪动态和非对称建筑空间的先驱。
The technical means, developed towards the end of the nineteenth century, contributed towards the second ‘spatial liberation’. Steel and reinforced concrete have made possible the mutation towards a space more closely fitted to the characteristics of man’s activity and will. It is in the mastery of this new freedom that we find the great spatial and architectural inventions of the twentieth century.
Frank Lloyd Wright, with his destruction of the box by the dissolution of the corner in order to anchor his buildings in the near and distant landscape, the young Mies van der Rone and the Dutch de Stijl movement, obsessed with independent planes defining a portion of space as a sort of special event in infinite space, Le Corbusier, with his painter’s vision, searching for compression, superimposition and the phenomenal transparency of space – all figure amongst the inventor-pioneers of dynamic and asymmetrical architectural space in the twentieth century.
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