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Elements of the square, however, such as the surrounding structures, individual monuments, and fountains, are subjected to the flux of time; some may vanish, be destroyed or razed, others may be replaced and new ones added. These three factors that produce the final three-dimensional effect may vary in themselves: the surrounding structures may be of uniform height, proportion, and design, or they may differ; they may be more or less coherent.The floor, an equally important factor for the appearance of the square, may be homogeneous in expansion and texture (pavement), or it may be articulated by slopes, steps, different levels, and so forth. The appearance of each individual square represents a blend of intrinsic lasting factors (topographical, climatic, national) and of changing influences (stylistic, period-born), i.e., of static and dynamic forces. It is this combination of objective and subjective factors which makes the same square appear different to each generation.The large variety of impressions received from an identical reality is evidenced by descriptions in travel diaries. The correlation of these principal elements that confine a square is based on the focal point of all architecture and city planning: the contrast awareness of the human scale. With the twentieth century, as a consequence of new beginnings in architecture, the awareness of spatial relations and of the possibilities of their architectural expression returned. Although squares of certain types prevail in certain periods, general space-volume relations are independent of particular historical forms. Its appearance may change for two reasons: physically, through the erection of new buildings and the alternation or destruction of old ones, through a modification of the building line, and so forth; psychologically, through the different way in which each generation experiences and reacts to given proportions and distances, and through the new approach by which it interprets spatial relations.