The roundness of the temples, the architectural organisation and their situation in the landscape condition certain kinds of movements and thus perception. We might think of this as a relationship – a felt process of being in the world – an encounter between rock, landscape and body.
The temples as records in stone were designed to be places for performance. The actions required to move through the chambers – the specific gestures of crouching, stepping up, leaning forwards, touching surfaces, and encountering others is not only a way of moving through the temple. These gestures also create a ritual performance of the temple environment and an enactment of past performances.
Attention focusing devices in the structuring of openings, passageways and marked doorways along with confined internal spaces reinforce the significance of these ritual enactments – as an expression of the liminal and an articulation of cosmological belief systems.
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- Trilithon entrance with lintel to South temple
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- The small porthole entrance to the intra-mural chamber in the South Temple
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- Flagstone towards inner chamber, East temple – pitting on standing blocks
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- The small niche in the wall of the South temple
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- Entrance to back of the South temple
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- Porthole doorway requiring stooping
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- Monumental arrangement of orthostats to the sea
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- Small steps leading into the side chamber South temple
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- Medium size pitted doorway
