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.
The “case study?” column was the whole point of the spreadsheet — identifying which projects I still needed to write up for my portfolio — but at this point I looked at the sheet, and thought “This is honestly a better overview of the work I do than any ‘portfolio’ I’ve seen”.
So I tweeted a screenshot, joking/trolling that it WAS my portfolio (I didn’t include any winks or notes that I was still planning a “real” portfolio), but people didn’t respond with the lulz I expected — they got the idea, or took it at face value and said they were going to do their portfolio this way too!