We should note that all of these places of thermal extremes (Finnish saunas, Japanese hot baths, American beaches and mountains) have their opposites close at hand. There are possibly two reasons for having the extremes right next to each other.
The first is physiological: the availability of extremes ensures that we can move from one to the other to maintain a thermal balance.
The second might be termed aesthetic: the experience of each extreme is made more acute by contrast to the other.
Works of art which have great life often have intense contrast within: rough/smooth, solid/void, loud/silent, empty/full. It is the difference between opposites which gives birth to something. Contrast is what often gives other principles their degree of life – the intensity of the boundary, the markedness of the alternating repetition.
Contrast strengthens centers by making each a deeper entity of itself, and thereby giving deeper meaning to both. It is, at its simplest, what allows us to differentiate. But meaningless contrast remains meaningless. It is only when centers are actively, mutually, and meaningfully composed that it acts to deepen the whole.
I cannot get past the fact that any *designer* who throws that phrase around matter-of-factly, as in “of course form follows function”, comes out as a complete ignoramus. An ignoramus who's not just repeating an 1896 “law” without any clues as to what it means but who also, most poignantly, demonstrates to possess no knowledge of what has happened in design and architecture since Sullivan and Adler contributed to inventing the high rise building and, by extension, much of the world we live in.