A second reason to create plastic form is in order to intensify enclosure, to create areas in which the intellectual relation of the observer to the space around him is destroyed but his emotional relation to the space is enhanced. “There is,” as Heinrich Wolfflin pointed out, “a beauty which has its roots just in the not fully comprehensible, in the mystey which never quite unveils its face, in the unassimilable which seems to change at every moment.”