Imbalance of the 5 Elements of nature is the cause of most diseases The Law of Nature demands these elements to be in balance. The “Prana” (vital force) in the human body is also directly connected to these 5 elements. Space is the most subtle of all elements and is present in the hollow cavities of the body in the form of radio frequencies, light radiation, cosmic rays, etc. Air is responsible for all movement including expansion, contraction, vibration, and suppression. Fire forms hunger, thirst, sleep, the vision in the eyes and complexion of the skin. Water forms saliva, urine, semen, blood, and sweat. These give structure and strength to the body. Each element is responsible for different structures in the body.Įarth forms solid structures such as teeth, nails, bones, muscles, skin, tissues, and hair. Usually, the percentages of the first four elements remain constant but the percentage of Ether can be enhanced. 72% water, 12% earth, 6% air, 4% fire and the rest is Ether. The Human body is also the product of these 5 elements in different proportions. The Elements in the Human Body are closely related to the 5 elements of natureĪll of the creation is made up of the five elements in different proportions. Ether is the mother of the other elements and is the basis of higher spiritual experiences. Fire is that part of Nature that transforms one state of matter into another. Solid matter is classified as the “Earth” element. These are also called the “Panch Mahabhoot.” Knowledge of these five elements helps us understand the laws of nature.Įach of the five elements represents a state of matter in nature. Earth, Water, Air, Fire” by Josep Lluis Mateo & Florian Sauter (Eds.A lot of ancient philosophies around the globe classify the composition of the Universe into 5 elements: Earth, Water, Fire, Air and Ether (Space). This text, an extract from the book “The Fourth Elements and Architecture. This is a book produced in the warmth of the teaching experience, which uses this ephemeral (and, for the student, initial) encounter with the project as a material which, divested of the anecdotal, can be elevated to category. In the Romantic tradition (on which all of this argumentation is based), the ruin and, in general, the expressive value of the unfinished, of what has been undone yet is still to be done, also emerges as a possibility… At the other extreme, the fragile tent of the nomad (remember Buckminster Fuller and the dabblings of the 1960s). Having ruled out modernization as the uncontrolled application of the tired old prototypes of the metropolis, the intelligent, sensible manipulation of the elements provides the basis for specific projects that are, at once, rooted and globally comprehensible.Īt an initial stage of project development, the relation with the elements as the origin of the project refers us to archetypes: pure protection, the bunker (echoes of Paul Virilio) or the cave. In the present-day state of globalization, in which the identity-modernity equation is appearing in a new light, the elements reproduced in all cultures as an initial moment with which human construction activity is related form part of a general vocabulary of common arguments. Our activity, at a primitive, archaic but present level consists in modelling the earth to geometrize its surface or piercing it to build foundations, erecting walls and roofs that protect us from rain and snow, and using the energy of fire as light and heat that make the resulting space habitable. The elements save our activity from the pure mathematic abstraction on which technology is based. The elements relate us to nature as a physical phenomenon that can be experienced with the senses and is therefore directly connected with architecture, which, as we know, addresses the real construction of the world, the alchemic operation that turns concepts into material. In this context, a vindication of the presence of the four elements (earth, water, air, fire) by means of which the pre-Socratic philosophers envisaged humankind’s relation with nature seems extremely useful to the discipline today. It is a frequently abstract, formless argument with religious overtones (appealing more to faith than to reason), utilizable in political verbalism and which drifts easily towards engineering technocracy. Sustainability as an economic but also a moral and political argument is clearly a consensus in our societies. Whereas in our recent past the paradigm by which architecture was measured was the city, now, the collective reference surrounding our design activity is the relation with nature.
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