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only to discover now, in this time of convergence, that there is at least one architect in the world who can perhaps understand.
            Christopher Alexander writes about the effects of a wrong poise in a manner that closely resembles our own experience regarding the Matrimandir: ‘All of this might make me famous as an architect, but it damages the building. It will make me replace care and humble concern for doing just what is required with a frame of mind which wants to shout, just slightly, at each moment, while the design is unfolding. This problem potentially affects every single one of the 100,000 steps which I go through to make the building. So it will infect it very deeply, change its character not in a subtle way, but altogether…’ (Ibid, p.304-5)
            The Matrimandir Action Committee, particularly this author and convenor, were continuously criticised and maligned (CIC 4, for example) for insisting that every detail of the Mother’s plan must be respected in the interests of its unity – what Alexander calls ‘wholeness’. When this is contravened he writes, ‘The effect is tiny, but its impact is enormous.’ (Ibid, p.305)
            What would Christopher Alexander have to say about the not-so-tiny alterations in the Mother’s design, about what the totally altered ‘stand’ introduced; or the transparent ‘crystal’ in lieu of a translucent globe; or the 23m diameter instead of 24, as she requested time and again; or the altered entrance from a 15-step rise into the Chamber to two doors piercing the walls? One after another the builders imposed their ‘ideas’ and brought into the design not only ‘tiny’ deviations from the true inspiration that Christopher Alexander describes, but major, fundamental changes while all the time knowing that the Mother insisted there should be ‘no changes’.
            What is far worse – and which certainly an architect of Christopher Alexander’s calibre could never fathom – is that the builders and administration insisted throughout the construction process that what they were building was ‘the Mother’s original’. This, by far, is the truly unbelievable aspect of the saga. In view of what MAC has brought to light, would there be any legitimate reason to continue pouring energy and money into that shadow building? Ignorance of the facts can no longer be claimed.
            Be that as it may, the question that remains is why the Mother would not draw into the endeavour an architect such as Alexander with whom no such problems would have arisen, as was the case when she constructed the Ashram guest house, Golconde. In Update 9 this question was partially answered. Indeed, the distortions and unpleasantness that resulted provided the right field to bring down the Knowledge and to thus allow the Third in the Solar Line to fulfil her role of ‘bridge builder’ between the old and the new.
            The Mother never explained how her architectural plan could further the ‘future realisation’ – nor did anyone ask; after the 18-day confrontation, she dropped the matter. It was clear that another way would have to be found, beyond the confines of that old creation, - indeed, a new way.
            And thus it came to pass that with the Mother’s inspired and unique legacy in hand all the contours of the New Way were revealed. This is the work of the third stage of the Descent, without which we would be left with nothing but shadows in place of light.

Inadequacy of the Old Responses
It would be simplistic to reply that ‘the world was not ready’ for the Mother’s creation to take its place in Auroville. This explanation would be part and parcel of the old way.

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