本文將空間形態創作類比為書法文字形符書寫，應用英國倫敦大學(UCL)Bill Hillier (space syntax)之視域分析方法(visibility graph analysis)，藉以檢視平面空間形態之形變歷程中，有關設計者 之視覺感知與使用者空間辨識之關連性。如同書法書寫佈局之風格分析一般，透過十個類比書法文字書寫之空間配置案例，每一個置於書法3 x 3 之九宮格方框。量化詮釋模型之分析結果顯示：(1).二維書法『永』字書體風格之分析結果可略判讀其文字辨識程度。楷書之辨識性（決定係數r-squared）達0.912031，相較於不易辨識之甲骨文與草書（r-squared 分別為0.660356 與0.558361）; (2).三維空間之分析結果顯示，當視覺感知變化強烈之配置形態往往也具有助使用者空間方位認知之視域辨識性 （visual intelligibility）；反之，空間配置視覺感知分析結果變化愈弱，其設計者視覺感知刺激較小且受變形手法影響較低。而對使用者而言，此類配置模糊曖昧形態之空間組構易於成為迷宮。

This research compares the spatial creation to Chinese calligraphy. This research analyzes styles of spatial configuration comparing them to different calligraphic styles and further operates a digital tool in order to clarify the relation between visual perception and visual interpretation in different spatial arrangement. This research applies visibility graph analysis of space syntax to survey spatial form. In total ten types of calligraphic spatial layouts are used. Each type of calligraphic space layout is drawn in a square. This square is subdivided in 9 smaller equal squares (3x3 matrix) that is a Chinese concept that underlies different forms of Chinese design and art. Quantitative interpretation model analysis results show that: (1). The results of two-dimensional calligraphy style analysis of "永" can be slightly read as the degree of its text recognition. R-squared of “Regular script” is 0.912031, which is higher than that of the oracle and cursive script (r-squared: 0.660356 and 0.558361, respectively). (2) The analysis results of three-dimensional space show that, while visual perception of certain types of spatial layout change a lot, it will be helpful for user’s spatial orientation of visual intelligibility. When the range and differences of visual integration are low, that means visual perception will be less affected by the deformation methods. For users, it is easy to become as the maze identified for the spatial configurations of ambiguous shape layouts.