Blessed by the four elements The Indian stone temple also included, in its architectural form, the means for being blessed by the four elements—earth, wind, water, fire. Before entering the temple gates, one removed one's shoes to touch and be blessed by the earth. Then upon passing through the temple gateway, one is blessed by the air with a gust of wind. A blessing by water is obtained by bathing in the temple tank, or at least descending its steps to touch the water. Finally, on entering the cool interior of the sanctuary, the worshipper is given a mark on the forehead with ashes taken from a sacred flame by an attendant priest. Even this blessing by fire has a slight cooling sensation to it. Perhaps it is only coincidental that each of these four blessings is associated with a cooling sensation; and yet, the use of forms and materials that inevitably create coolness is quite remarkable. Lisa Heschong, Thermal Delight in Architecture Avatar: The Last AirbenderThe Legend of KorraA hierarchical system of sense elements
A hierarchical system of sense During the Renaissance, the five senses were understood to form a hierarchical system from the highest sense of vision down to touch. Vision was correlated to fire and light, hearing to air, smell to vapour, taste to water, and touch to earth. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses Avatar: The Last AirbenderPrometheusBlessed by the four elements fireelementssenses
Avatar: The Last Airbender A Series The Legend of KorraBlessed by the four elementsA hierarchical system of sense spiritelements
The Legend of Korra A Series If you look for the lightWhen we hit our lowest point Avatar: The Last AirbenderBlessed by the four elements spiritelements
The drop press The virtue of thin sheet metal in giving the greatest glitter for a grain of gold was exploited in the earliest days of metallurgy. However, before the days of rolled sheet and drawn wire, most metal objects were made by hammering and were basically three-dimensional in form. [In contrast] look at the simple drop press — it’s unmodulated blow striking in a single direction symbolizes much of nineteenth-century mechanized production. To make multiple stampings, stacks of very thin metal sheets were superimposed under the hammer, and the final profile with moderately high relief was gradually achieved as finished sheets were removed from the bottom and new ones added at the top. When the drop press was used to shape large areas of thin sheet metal, the aesthetic qualities of the surface became divorced from the underlying substance, and decoration became independent of the body needed to support it. In any object there is a natural relationship between the surface and the bulk, that is, between its one-, two-, and three-dimensional aspects. The fakery involved in applying gold or silver playing on a solid copper object is quite different from the deception of an ornately stamped piece of thin sheet brass. Compare a magnificent ormolu furniture fitting or even a gilded plaster picture frame with a cheap lamp base embossed in thin sheet brass. In the former, the surface is simply and honestly applied for its optical effect alone; in the latter the fakery is fundamental for it is dimensionally misleading. Cyril Stanley Smith, A Search for Structure Separation of surface and structure