Boudhanath Stupa: Reflections on Living Architecture

Unit: SRR711 Research Thesis, Young

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Deakin University

School of Architecture and Built Environment

Faculty of Science Engineering and Built Environment

Title:

Boudhanath Stupa: Reflections on Living Architecture

SRR711, Trimester 1, 2014

Author:

Thomas Oliver Stewart Young

Student Number:

500178866

Supervisor:

Phillip B. Roös

Key Words:

Buddhist Architecture, stupas’, Living Structure, Patterns, Order

Research Question:

Does Boudhanath Stupa support Christopher Alexander’s Fifteen Fundamental Properties as outlined in The

Nature of Order and is this the reason why it is ‘alive’?

Date: 26th May 2014


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“I believe we can understand how ‘life’ is made in buildings, and I offer… a language within which we can begin

to describe this phenomenon” – Christopher Alexander, 1980, The Nature of Order


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Contents

Title: ....................................................................................................................................................................... i

Contents .............................................................................................................................................................. iii

List of Figures ...................................................................................................................................................... iv

1. Abstract ........................................................................................................................................................ 1

2. Introduction ................................................................................................................................................... 1

3. Research Problem ........................................................................................................................................ 1

4. Research Question ....................................................................................................................................... 2

5. Research Design .......................................................................................................................................... 2

6. Introduction to Literature Review ................................................................................................................. 3

7. Literature Review ......................................................................................................................................... 4

7.1 Living Qualities in Nature ...................................................................................................................... 4

7.2 Dead Architecture ................................................................................................................................. 4

7.3 Living Architecture ................................................................................................................................. 5

7.4 Christopher Alexander's Principals in Question .................................................................................... 7

8. Case Study……………………………………………………………………………………………………………7

8.1 Boudhanath Study: The History ............................................................................................................ 7

8.2 Architectural Features of the stupa ....................................................................................................... 8

8.3 Stupas: Benefits and Meaing in Buddhist Philosophy ......................................................................... 10

8.4 The 'Living' Qualities of Boudhanath Challanged ................................................................................ 11

8.5 Scientific Reasoning using Christopher Alexander's Fifteen Fundamental Properties ....................... 12

9. Literature Review Conclusion……………………………………………………………………………………..13

10. Methodology ................................................................................................................................................ 13

11. The Fifteen Fundamental Properties in Relation to Boudhanath Stupa ...................................................... 14

11.1 Levels of Scale .................................................................................................................................... 14

11.2 Strong Centres .................................................................................................................................... 15

11.3 Boudaries ............................................................................................................................................ 16

11.4 Alternating Repetition .......................................................................................................................... 16

11.5 Positive Space .................................................................................................................................... 17


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11.6 Good Shape ........................................................................................................................................ 18

11.7 Local Symmetries ................................................................................................................................ 19

11.8 Deep Interlock & Ambiguity ................................................................................................................. 20

11.9 Contrast ............................................................................................................................................... 21

11.10 Gradients ............................................................................................................................................. 22

11.11 Roughness .......................................................................................................................................... 23

11.12 Echoes ................................................................................................................................................ 23

11.13 The Void .............................................................................................................................................. 24

11.14 Simplicity and Inner Calm ................................................................................................................... 25

11.15 Not-Separateness ............................................................................................................................... 26

12. Findings……………………………………………………………………………………………………………….27

13. Conclusion ................................................................................................................................................... 28

14. Bibliography…………………………………………………………………………………………………………..29

List of Figures

Figure 1. Research Diagram (Young, 2014)…………………………………………………………………………….2

Figure 2. An example of dead architecture. Suburb in Brisbane, Queensland. (Courier Mail, 2014)………….…5

Figure 3. Saudi Flag Ghandrung Village And Annapurna South Nepal Himalaya (Wallsave,

2014)…………………………………………………………………………………………………………………….…..6 Figure 4. The Eight Great Deeds of the Buddha, represented in stupa form (Source: Kunzang Palyul Choling,

2014)………………………………………………………………………………………………………………………...8

Figure 5. Architectural features of the stupa and its meaning. (Source: Shambhala Mountain, 2014)…………..9

Figure 6. Boudhanath Stupa. This photo portrays the structures three terraced plinths, the drum, dome,

harmika box and jewel pinnacle on top. Photo was taken on recent field trip in November 2013. (Source,

Authors own photo)……………………………………………………………………………………………………….10

Figure 7. Early morning kora (circling the stupa in a clockwise direction) at Boudhanath (Source,

stowawaymag.com)………………………………………………………………………………………..…………….14

Figure 8. Boudhanath Stupa from above showing its strong centres (Source, B.P Dhangana)……….………..15

Figure 9. Boudhanath Stupa and its boundaries, particularly the circular pathway that both connects and

separates the stupa to the Kathmandu Valley (Source, Google Maps)………………………………………...….16

Figure 10. Mandala painted on the ceiling of Boudhanath Stupa (Source, Mandalas at Work)…………………17

Figure 11. Piazza Navono, Rome (Left) and Boudhanath Stupa, Kathmandu (Right), both example of positive

urban plans (Source, courses.psu.edu and Google Maps)…………………………………………………………..18


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Figure 12. Public housing development in Oranga, Auckland. An example of a negative urban space (Source,

World Press)………………………………………………………………………………………………………………18

Figure 13. Boudhanath Stupa is made up of good shapes (ie. Shapes that have strong shapes within

themselves). This is outlined in this diagram where we see the strong shapes that make up the crown of the

Stupa. (Source, Magic Photographer and Author’s own sketch)……………………………………………………19

Figure 14. The plans of the Alhambra, Spain (left) and the Renaissance Centre, Detroit (right) (Source,

learn.columbia.edu & howardmodels.com)…………………………………………………………………..………..20

Figure 15. The path that circulates Boudhanath Stupa (right) feeds off into the alleyway and roads that lead

into the sacred site, much like the way veins run out from the heart into the rest of a human body (left).

(Source, crdoctors.com and Google Maps)……………………………………………………………………………21

Figure 16. The image on the left depicts one aspect of Boudhanath, busy and active, contrary to this is the

image on the right, the passive and quiet aspect of the stupa. (Source, Heart of Kathmandu, left and Bertrand

de Camaret, right)………………………………………………………………………………………………………...22

Figure 17. A Nautilus shell (left) and Boudhanath Stupa in the 1970’s (Source, Imagexia and Maya Travels)..22

Figure 18. The saffron coloured lotus petals (left) and its application technique (right). (Source, Authors own

and Roger Roger)…………………………………………………………………………………………………….......23

Figure 19. Early Boudhanath Stupa sketch. (Source, Christoph Cuppers and Philip Pierce)……………………24

Figure 20. Plan and elevation of the Great Stupa at Sanchi, built by emperor Ashoka in 3rd century BCE

(Source, Art and Archaeology)………………………………………………………………………………………….25

Figure 21. Boudhanath Stupa in the 1970’s (left) and today (right). These images show the generated growth

around the structure and show the interconnectedness with its surroundings…………………….………………26

Figure 22. Boudhanath Stupa rating of Fifteen Fundamental Properties (Source, Authors own, 2014)………..27


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1. Abstract

From an ecological, scientific perspective all phenomena found in nature posses both form and function, hence

being labelled as having ‘living’ qualities. Some, if not many man-made structures lack this quality and there is

scientific evidence conducted by Christopher Alexander that state the reasons why this is so. As architects we

must pay attention to this issue so we can avoid past mistakes and strive to create buildings and structures

that are architecturally ‘alive’. This research is vital because as architects we play a key role in shaping the

built environment, and this can have either a positive or negative effect on the surrounding environment and

community. The aim of this research is to test Christopher Alexander’s principles to see whether he holds the

key in decreasing the gap between nature and the built environment, using Boudhanath Stupa Kathmandu as

a case study. The structure of the research will be based on the scientific, explanatory and analytical method.

The research will outline Christopher Alexander’s Fifteen Fundamental Properties and exploring whether there

is evidence of these properties within Boudhanath Stupa. This research will be backed with recent on-site

analysis and architectural, religious and structural information. The qualitative research method will also be

employed within the research as it aims to gather an in-depth understanding of the stupa and its surrounding

environment. The research initially will be hypothesis testing as I will be testing Alexander’s theory against the

Boudhanath Stupa, however, I am aware that this may also be hypothesis generating as further research is

conducted by opening up and revealing questions along the way. If the Fifteen Fundamental Properties are

evident in the stupa, this may prove Alexander’s theory as being valid, and if this is the case, we can learn from

Alexander’s principles in order to create more examples of ‘living’ architecture.

2. Introduction

As architects we have the enormous responsibility of designing the built environment in which we live. We

must create buildings that are ‘alive’ in both their order and function, such as The Great Boudhanath Stupa,

situated in the Kathmandu Valley, Nepal. Although there seems to be a lack of academic research conducted

on the stupa, Boudhanath is very important monument in the Buddhist tradition and a place known to be

brimming with life. But what creates the ‘life’ in a building and can we gauge this aspect? Christopher

Alexander believes we can. In his four-part text, The Nature of Order (1980), he outlines a list of properties that

are all evident in buildings that are ‘alive’. In the following paper, I am going to put this theory to the test to see

whether these properties are evident in the stupa. The paper will strive to understand whether the ‘living’

qualities of the stupa are due to possessing Alexadner’s Fifteen Fundamental Properties or whether it is due to

the stupas major significance in the Buddhist religion.

3. Research Problem

In nature we experience a ‘living’ quality in things. Some, if not many man-made structures lack this ‘living’

quality and there is scientific evidence conducted by Christopher Alexander that state the reasons why this is

so. As architects we must pay attention to these issues so that we can avoid past mistakes and strive to create

buildings and structures that are ‘alive’.


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4. Research Question

Does Boudhanath Stupa support Christopher Alexander’s Fifteen Fundamental Properties as outlined in The

Nature of Order and is this the reason why it is ‘alive’?

5. Research Design

Figure 1. Research Diagram (Young, 2014)

Research will commence with studying the ‘living’ qualities of phenomena and aiming to define this paradigm.

The three avenues of research will then be:

1. Christopher Alexander’s principles, focusing mainly on his Fifteen Fundamental Properties as outlined

in his Nature of Order series. These principles will be researched and literature that both supports and

questions Alexander’s principles will be reviewed.

2. Buddhist philosophy regarding stupas will then be reviewed which will include sputa’s meaning and

importance to the religion. Again, the literature review will include research that both supports and

questions these beliefs in order to obtain non-biased report.

3. Boudhanath Stupa, in the Kathmandu valley of Nepal will then be used as a case study.

Fifteen Fundamental

Properties

Tibetan Buddhist

Philosophy

Boudhanath Stupa

Living Quality


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Being a current example of ‘living’ architecture, the research will use the qualitative research method along

with thorough on-site field research to determine whether the sputa’s ‘living’ qualities are due to its religious

significance or because it possess Alexander’s Fifteen Fundamental Properties. If it is found that Alexander’s

principles are valid, designers can look into adopting these principles in the designs in order to create more

‘living’ designs ie. designs that possess both form and function for the benefit of the environment and

community at large.

6. Introduction to Literature Review

Research into literature began by studying Christopher Alexander’s work, firstly his infamous A Pattern

Language (1977). This text provided a different perspective into how we view buildings and what effect they

have on the environment around them. A Pattern Language provided a framework into how to create buildings

that processed more life, but what was needed was more of the theory behind this reasoning. Research then

went into Alexander’s four part follow up to A Pattern Language, title The Nature of Order (1980) which

outlined principles that where evident in all buildings that processed ‘life’ ie. buildings that worked in both form

and function. These principles where condensed into what Alexander calls the Fifteen Fundamental Properties.

These properties where perfect in that they provided a framework that could be worked with in order to find

reasons why some buildings have life and others don’t.

Alexander’s Fifteen Fundamental Properties was a result of a twenty-year study where he made thousands of

comparisons of objects such as buildings, furniture and paintings. He then asked the questions: Which one has

more life? And what are the common features of the examples that have most life? The Fifteen Fundamental

Properties was the result. (Alexander, 1980)

Researches into Alexander’s ‘living’ architectural principles lead the author to investigate the concept of ‘living’,

or ‘organic’ architecture more thoroughly. This opened up research into ‘the father of organic architecture’

Frank Llyod Wright (Rattenbury, 2000). Many books and academic articles were found on this great American

architect and the way his designs strove to becoming one with nature and its surrounding environment. These

theories gave depth to the concept of organic structure in relation to Boudhanath Stupa.

The literature review also included reading positive and negative reviews of Christopher Alexander’s principles.

The reviews that challenged Christopher Alexander’s work (Saunders, 2002) helped in seeing the broader

picture in that obviously his theories on architecture where not support by everyone in the field. Research then

went into academic papers where a similar practice was conducted in using Alexander’s Fifteen Fundamental

Properties as a framework to describe the qualities in other designs (Bovill, 2010). This article also provided an

academic framework and structure that could be adopted.

The literature review also looked into Boudhanath Stupa where little academic research was found. Once the

research was broadened to look into stupas in general, more sources were found particularly from Buddhist


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websites and texts (Somerville, 2014 & Zopa, 2010). These sources provided reasons why stupas poses

‘living’ qualities from a Buddhist perspective.

7. Literature Review

7.1 Living Qualities in Nature

The term living is synonymous with the term organism, which is defined as an individual animal, plant or single-

cell life form (Oxford Dictionary, 2014). Alexander goes beyond this definition and states that everything in

nature, including waves, sand, rocks and forests are ‘living’. (Alexander 1980, p.xiv).

Alexander (1980, p. 64) suggests that there are varying degrees of life in all phenomena, and this scale of life

is evident in all of our surroundings. Alexander contends that in many primitive cultures such as the Aboriginal

tribes of Australia, it is common for objects or surroundings to posses more life or spirit than others. In The

Nature of Order, Alexander states:

“We seem to have a fundamental observation- so far unexplained- that among pairs of events, bits of space,

places, and particles of existence, we can usually judge that one has a greater degree of life and the other

less, at least according to our feeling”. (Alexander 1980, p.77)

In stating this, Alexander (1980, p.77) is contending that the degree of life of different things and places is

purely objective, not subjective from the individual’s point of view.

7.2 Dead Architecture ‘Dead’ architecture is architecture that is fails in form and function and lacks usage. Recent criticism of this

type of architecture includes Christine Outram’s article, What Starbucks Gets that Architects Don’t (2013). In

her article, Outram states that many (not all) architects today fail to listen to people when designing buildings,

relying mainly on ‘rules of thumb and pattern books’ (Outram 2013, p.2). Outram refers to Starbucks in her

article and refers to their strategy in interviewing hundreds of coffee drinkers and asking them what they

wanted in a coffee shop which lead to the design of the Starbucks cafés we see today. Outram pleas to

architects to design based more on what people want, rather than designing buildings that lack function.

Evidently, buildings that fail in both form and function can create neglected, derelict spaces that can cause

urban decay (McDaniel 2008, p.iii). In his paper, Strategic Intervention: Parasitic Architecture, McDaniel states

that communities are like living organisms in which stronger ones are more immune to harmful factors that lead

to urban decay, whilst weaker ones will become contaminated and diseased (McDaniel, 2008).


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Christopher Alexander states that in the past century we have produced non-living structure due to the process

of being able to conceive, design, make and manufacture (Alexander 1980, p.xiv), whereas in the past,

primitive society builders created dwellings that possessed ‘living’ qualities.

In the built environment, it seems that this ‘aliveness’ or ‘living’ quality is sometimes missing, hence creating

buildings that lack meaning and usage (Alexander 1980, p. 108). As architects, Alexander states that we guide

the building process based on a mental ‘picture’ of the situation, according to schemata, rules and ideas.

There are more recent texts to support these claim, such as David Orr’s book Earth In Mind (1994). Orr states:

“When human artefacts and systems are well designed, they are in harmony with the larger patterns in which

they are embedded. When poorly designed, they undermine those larger patterns, creating pollution, higher

costs, and social stress in the name of a spurious and short-term economizing. Bad design is not simply an

engineering problem, although better engineering would often help. Its roots go deeper”. (Orr 1994, p.105)

Figure 2. An example of dead

architecture. Suburb in Brisbane,

Queensland. (Courier Mail, 2014)

Figure 1 is an example of dead architecture. David Orr states that one of the reasons why bad designs such as

this exist is due to the fact that while energy and land were cheap and the world relatively ‘empty’, we simply

didn’t need to master the discipline of good design. There is no evidence of a generated approach to the

design of this suburb, instead looking like it has been dropped in with no regard to the surrounding landscape.

There is barely any vegetation around buildings, and all the buildings lack individual character, all looking like

they have been designed and built by a volume builder. Due to all the buildings seeming like they have been

built during the same time, the suburb also lacks the history of forming in a generated way over time.

7.3 Living Architecture

Living architecture, or organic architecture as it is sometime called is described by John Rattenbury as a way

of designing that creates beautiful structures that serve our needs, improve our lives and lift our spirits whilst

also being in harmony with the natural environment. In his book, A Living Architecture (2000), Rattenbury

heralds Frank Llyod Wright, the great American architect, as the ‘father of organic architecture’ (2000, p.11).


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Wrights motivation for his work and subsequent architectural school was to build buildings that were in

harmony with nature and inspired people to become better human beings. Wright also emphasized the need to

make positive contributions to future civilizations (2000, p. 12).

Christopher Alexander’s views are very much inline with Wright in this regard. When explaining the need for a

generated approach to design, Alexander states:

“Living structure in buildings can only be generated. It cannot be created by brute force in designs. It can only

come from a generative program- hence from a generative process existing in the production process of

society- so that the building- its conception, plan, design detailed layout, structural design and material detail

are all unfolded, step by step in time”. (Alexander 1980, p.177)

More recent research into living architecture have included research into Fractal geometry and its link with

nature and architecture. Fractal geometry is a ‘recursive mathematical derivation of form that possesses a self-

similar structure at various levels of scale or detail and, if the number of recursions is large, results in a dense

structure that challenges dimensional qualification’ (Harris 2012, p.3). Harris states that that fractal geometry

provides a foundation for understand qualities in nature that can then be reproducing into our built

environment, which he argues as being essential as our association with nature is a human requisite affecting

our mental, emotional, and consequently our physical health.

Figure 3. Saudi Flag Ghandrung Village And Annapurna South Nepal Himalaya (Wallsave, 2014)

Figure 3 depicts a village in the Annapura mountain range, Nepal. Contrast to Figure 2, this village an example

of organic, living architecture. The village is the right scale, expresses simplicity and shows an efficient use of

resources. It also portrays elements of durability and resilience, and blends in perfectly with the natural

surroundings.


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7.4 Christopher Alexander’s Principles in Question

There have been a number of academics to question Alexander’s work. Alexander himself states that he

experienced ‘almost violent opposition’ to his ideas and principals (Grabow 1983, p.ix). William Saunders

questions Alexander’s principles in his article Ever more popular, ever more dogmatic: The sad sequel to

Christopher Alexander’s work (2002). In the article Saunders states that Alexander’s The Nature of Order is:

“a self-deceptive, sloppy, ill-informed, and numbingly repetitious book full of contradictions, foggy generalities,

and extreme and unsupported assertions”. (Saunders, 2002).

Saunder’s article, although sometimes scathing, has relevant points. In it he makes note of Alexander’s

previous works such as A Pattern Language calling it a ‘great service’ in helping to ‘reveal how certain qualities

of experience are encouraged by certain environmental structures’ (Saunders, 2002). However he does not

view all of Alexander’s ideals in such a positive light, and goes on to state that Alexander’s quality of life values

are not valued by everyone (Saunders, 2002).

Saunders (2002) states that while Alexander presents ideals to increase personal freedom, it does so in an

authoritarian way. He goes on to suggest many of Alexander’s governing design guidelines are ‘repressive’

and contradictory.

8. Case Study

In testing Christopher Alexander’s principles, Boudhanath was chosen as a case study. This structure was

chosen due to it being a current example of organic, ‘living’ architecture. Boudhanath is situated in the

Kathmandu Valley in Nepal, surrounded by the Himalayan mountain range.

8.1 Boudhanath Stupa: The History

In his article, The Stupa of Boudhanath: A Preliminary Analysis of the Written Sources, Ehrhard states that

there are is very few academic articles and journals written on Boudhanath Stupa.

The story of Boudhanath Stupa varies from different sources. Ehrhard suggests that it was built by Prince

Manedeva, following the command from his father King Vikmant to kill a man who possesses the 32 traits of a

universal ruler. In order to spare his son, the King sacrifices himself. The Prince then seeks the counsel from

the goddhess Mani-Yogini of Sankhu who directs the Prince to build a temple in commemoration of his father.

Boudhanath Stupa was the outcome. (Ehrhard 1990, p.3)

Lama Zopa Rinpoche, the co-founder of the FPMT (Foundation of the Preservation of the Mahayana Tradition)

one of the largest Buddhist organization in the world, states that the story of the stupa beings with a Nepalese


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mother named Jadzima. Jadzima longed to build a stupa and request the King of Nepal to grant her wishes,

which to everyone’s astonishment he did. (Zopa, 2014)

The mother passed away before the completion of the stupa. Once it was completed, her four sons made

prayers in front of the stupa which were all actualized, and all the buddhas absorbed into the structure, which is

why the name of the stupa is also ‘All-Encompassing’. (Zopa, 2014)

To highlight the importance of Boudhanath Stupa, Lama Zopa Rinpoche states that one of the brothers prayers

which was actualized was to become ‘a powerful yogi when there are obstacles to spreading Dharma in Tibet’

(Zopa 2014). This brother became Padmasambhava, who brought Buddhist from India into Tibet. Therefore,

Lama Zopa Rinpoche suggest that Mahayana Buddhism in Tibet and its spread into western civilization can all

be lead back to Boudhanath Stupa. This is hugely significant when reflecting the benefits that this structure

brought to the Buddhist world.

8.2 Architectural Features of The Stupa Stupas that have been built in the Tibetan Buddhist tradition are representations of the Buddhas Eight Great

Deeds, in memorial of the most significant actions carried by the Buddha during his life. These are outlined in

Figure 4.

Figure 4. The Eight Great Deeds of the Buddha, represented in stupa form (Source: Kunzang Palyul Choling,

2014)

Sylvia Somerville (2006) states that every architectural feature of a stupa represents a facet of the Buddhist

spiritual path. The five geometric shapes of a stupa correspond to the five elements that in turn correspond to

attributes of a fully awakened being. (Somerville, 2006) Seen from above, sputa’s create a mandala that

represents a pure distillation of the universe (Somerville, 2006)


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Figure 5. Architectural features of the stupa and its meaning. (Source: Shambhala Mountain, 2014)

Figure 5 outlines a typical stupa and the meaning behind each architectural feature. From the base up:

1. Three Steps: represent three jewels (Buddha, Dharma and Sangha)

2. Four Steps: represent four immeasurables (Love, compassion, joy and equanimity)

3. The Bumpa: represents the Buddhas chest, or the seven elements of enlightenment: mindfulness,

discrimination, exertion, joy, pliancy, Samadhi, equanimity.

4. The Harmika: represents the eyes of the Buddha and the Eight Fold Noble Path (right view,

understanding, speech, action, livelihood, effort, mindfulness and samahi)

5. The Spire, Thirteen Rings: represent the Ten Levels of the Mahayana Path

6. The Parasol: represents compassion (karuna)

7. Moon: represents compassion (masculine principle)

8. Sun: represents wisdom (Feminine principle)

9. Jewel: represents Enlightenment (Source: Kunzang Palyul Choling, 2014)


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In his book, Power Places of Kathmandu, Keith Dowman highlights the architectural features of Boudhanath

Stupa. Dowman indicates the stupa has three terraced plinths, upon which a drum and dome are built. The

height of the first plinth is approximately seven feet, while the upper plinths are both around six feet. All three

are ‘twenty-corner’ plinths, ‘gated’ to indicate doorways into the mandala. The drum, about four feet high, upon

which stands the dome, is unadorned except for an added terrace with one hundred and eight niches filled with

stone deities. The dome of the stupa is one hundred and twenty feet in diameter, upon which sits the harmika

box and the thirteen steps of the spire covered by gilt copper sheets. A textile apron falls around the top of the

harmika, ‘fringing the powerful eyes of the stupa’ (Dowman 1995, p.35). A large lotus surmounts the spire,

upon which a jewel pinnacle caps the beautiful structure.

Figure 6. Boudhanath Stupa. This photo portrays the

structures three terraced plinths, the drum, dome,

harmika box and jewel pinnacle on top. Photo was taken

on recent field trip in November 2013. (Source: Authors

own photo)

8.3 Stupas: Benefits and Meaning in Buddhist Philosophy

Although there has been relatively few articles and journals written on Boudhanath Stupa itself (Ehrhar 1990,

p.1), there are more sources relating to the benefits and meaning of the stupas. This information comes mainly

from Tibetan Buddhist teachers, or lamas who have a strong religious standpoint on the structures.

Tulku Sang-ngag Rinpoche (2014, Sacred Stupas) states that a stupa represents an outward expression of the

Buddha’s enlightened body, speech and mind. Rinpoche contends that the Buddhas mind has 32 qualities of

enlightenment, which include the ten powers and ten states of fearlessness that make up all the attributes of

the enlightened mind of a Buddha. When these 32 qualities outwardly manifest, they are said to manifest as

the 32 characteristics of a physical stupa. (Sang-ngag, 2014).


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Tulku Sang-ngag Rinpoche outlines that in the Tibetan Mahayana tradition, there are what is known as the

eight principle stupas. Follow the Buddhas cremation, his relics were divided into eight piles and given to eight

different kings who then made stupas for the different relics. These eight principal stupas commemorate the

great deeds of the Buddha’s life. (Sang-ngag, 2014) Tulku Sang-ngag Rinpoche goes on to state that all

problems in life can be remedied through the medium of the stupa. There are stupas that remedy diseases,

plagues, famines and poverty.

Tulku Sang-ngag Rinpoche states that building stupas benefits the energy of the environment immensely due

to the fact that is addresses peoples wishes and they come true. He states ‘it can be a blessing for those who

come in contact with it. It can harmonize. It can smooth out rough energy’. (Sang-ngag, 2014). This statement

is inline with Lama Zopa Rinpoches.

Sylvia Somerville (2014) furthers these statements stating the stupas are symbols of the enlightened mind.

She contends:

“In the East stupas are viewed as spiritual treasures, visited by people from near and far who are looking for

healing themselves and loved ones, solace from sorrows, good fortune, long life, help for the dying or

deceased and most especially for the ultimate goal of enlightenment.” (Somerville 2014, p.1)

Somerville (2014) goes on to explain some stories of healing the stupas can provide. People with AIDS, cancer

and also sick animals have all been healed and received benefit from visiting stupas (Somerville, 2014).

According to Tibetan Buddhist philosophy, this is because when people visit stupas their mind is purified, and

in Buddhist philosophy, when the mind is purified, all outer conditions such as sickness can also be purified

and cleansed. As Lama Zopa Rinpoche states ‘true healing comes from the mind, and a stupa is a sublime

object of purification’ (Somerville 2014, p.2).

These views are all coming from Buddhist teachers that are all well and good if you believer of the Buddhist

philosophy, but what about others? Somerville, in her article Stupas: Symbols of Enlightenment (2006) states

that it is hard for most westerners to grasp that a stupa has inherent spiritual value or can function like an

architectural blueprint for enlightenment. (Somerville, 2006). Somerville goes on to state that our ‘culture and

architectural iconography has not prepared us to understand stupas as a living presence that can call forth our

potential for enlightenment’. (Somerville, 2014)

8.4 The ‘Living’ Qualities of Boudhanath Challenged

The question to this research topic is: Does Boudhanath Stupa support Christopher Alexander’s Fifteen

Fundamental Properties as outlined in The Nature of Order and is this the reason why it is ‘alive’? But this can

be challenged, and the obvious argument is what if the stupa doesn’t seem alive to everyone who visits the

holy site? The notion the structure possess these qualities can be argued as being completely subjective.


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There are few literature sources that support this claim, so research was conducted noting reviews of

Boudhanath Stupa from tourists around the globe on Trip Advisor, some of the comments that oppose

Boudhanaths special qualities are as follows: ‘interesting but nothing spectacular’, ‘I had high expectations for

this experience that weren’t quite met’, ‘if you are going there to admire the architecture then its not all that

great’, ‘to touristy’, ‘nothing special’ and ‘disappointed’. (Trip Advisor, 2014)

These views vital in the research as they oppose the very fact the stupa possess living qualities, perhaps

outlining that it is not the actual structure that has an ‘aliveness’ but the views mind that perceives the structure

itself. This view is supported by academics such as James Blumenthal in his article The Not-So-Inherent

Power of Holy Objects (2010). These views can also be linked to Saunders views on Alexander’s work where

he states we all see things in a different way.

8.5 Scientific Reasoning Using Christopher Alexander’s Fifteen Fundamental Properties

In order to determine whether there was scientific reasoning behind why Boudhanath is ‘alive’, it seemed

appropriate to used Christopher Alexander’s Fifteen Fundamental Properties as this seemed to the most

straightforward and logical approach. The Fifteen Fundamental Properties were are result of over 30 years of

research into nature and the built environment that included empirical modelling, mathematical testing as well

as built projects to test his theories.

Using this method on Boudhanath Stupa, each property can be outlined systematically, one by one, to see

whether each element related to Boudhanath Stupa. Alexander states that the ‘life’ of an object or building can

be linked back to this list, which is made up of the following:

1. Levels of Scale 2. Strong Centres 3. Boundaries 4. Alternating Repetition 5. Positive Space 6. Good Shape 7. Local Symmetries 8. Deep Interlock and Ambiguity 9. Contrast 10. Gradients 11. Roughness 12. Echos 13. The Void 14. Simplicity and Inner Calm 15. Not-separateness (Alexander 1980, Book 1 p.144)

Alexander came up with these qualities based on thousands of comparisons, finding features and elements

that correlated to the degree of wholeness which existed in objects and buildings (Alexander 1980, Book 1

p.144). Alexander states that his task was ‘a simple scientific one: to find out what I could about the structural

correlates of life by making observations and distilling them.’ (Alexander 1980, Book 1 p.144).


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This method gives the research a clear and relatively simple method in which to determine whether

Alexander’s principles are valid in regards to Boudhanath Stupa.

9. Literature Review Conclusion

The literature review provided appropriate information in which to solve the research question does

Boudhanath Stupa support Christopher Alexander’s Fifteen Fundamental Properties as outlined in The Nature

of Order and is this the reason why it is ‘alive’? After the completing literature review, my initial point of view as

to why Boudhanath Stupa is ‘alive’ has been strengthened. My point of view is tending toward the reason the

structure is ‘alive’ is due to a combination of both its religious meaning and the fact is possess key scientific

properties found in all organic, ‘living’ architecture. This notion will be further validated the Fifteen Fundamental

Properties are outlined and related directly to the stupa.

10. Methodology

The structure of the research will be based on the scientific, analytical and explanatory method, by outlining the

following:

Scientific- research into Alexander’s principles and mathematical paradigms.

Analytical- conducting comparisons between Alexander’s principles and Boudhanath Stupa and note the

relation between the variables.

Explanatory- the research will strive to build a logical chain of evidence to support the argument. (Boontharm,

2013)

The research initially will be hypothesis testing as I will be testing Alexander’s theory against the Boudhanath

Stupa, however, I am aware that this may also be hypothesis generating as further research is conducted by

opening up and revealing questions along the way.

The research will be carried out by outlining Christopher Alexander’s Fifteen Fundamental Properties and

exploring whether there is evidence of these properties within Boudhanath Stupa. Data collection will be

obtained from recent field research to Boudhanath and include drawings, observation and photographic

evidence. Photographs from this field trip are littered throughout the research paper. Literature data will be

obtained through documents, theories, key texts, journal articles and websites.

The analysis of the data will be include the following methods:

Graphic- diagrams, sketches and photographs

Critical discourse- arguments, logic and reasoning

Mathematical- stupa diagrams

The qualitative research method will also be employed within the research as it aims to gather an in-depth

understanding of the stupa and its surrounding environment.


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11. The Fifteen Fundamental Properties in Relation to Boudhanath Stupa

The reason Alexander’s Fifteen Fundamental Properties were chosen for the method in testing why

Boudhanath Stupa is ‘alive’ was purely due to the fact that it provides a simple, straightforward method for a

quite a complex hypothesis. If it can be proven that Boudhanath is ‘alive’ due to Alexander’s Fifteen

Fundamental Properties, this may prove the theory valid and solve the contention as to why some designs

possess living qualities and why some do not. The structure of the method, where each property has its own

sub heading and most relevant direct quote, is based on Carl Bovill’s paper Using Christopher Alexander’s

Fifteen Properties of Art and Nature to Visually Compare and Contrast the Tessellations of Mirza Akbar (2012).

11.1 Levels of Scale

“The appearance of scale is widespread throughout natural systems. The tree: trunk, limbs, branches, twigs.

The cell: cell walls, organelles, nucleus, chromosomes. The river: bends in the river, tributaries, eddies, pools

at the edge.” (Alexander, p. 246)

Alexander’s first property highlights the need for ‘centres’, or focal points on a variety of scales. This range of

scales then forms a continuum, which binds a form together and gives it ‘life’. As he states, ‘if you compare any

two things, one with more life and one with less, it is very likely that that one with more life will have better

levels of scales in it’. (Alexander, p.146)

Figure 7. Early morning kora (circling the stupa in a clockwise direction) at Boudhanath (Source:

stowawaymag.com)


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Figure 7 depicts the different levels of Boudhanath Stupa. On the lowest level is the path that circulates the

stupa. This aspect of the layout is significant in the fact it allows people to do kora; where Tibetans, Nepalese

and visitors circumambulate the stupa in a clockwise direction. This practice is said to move people along the

path of enlightenment (Yowangdu, 2014). The stupas next levels are the three terraced plinths, then the drum,

dome, harmika box, thirteen steps of the spire and on top, the jewel pinnacle. All these levels create different

‘centres’ or focal points in the structure that are all interconnected and help to create a ‘living’ aspect to the

stupa. This property arises ‘only when each centre gives life to the next one’ (Alexander, p. 146) and this is

evident in Boudhanath were we notice each level having the function of providing the base for the next level.

11.2 Strong Centres

“Every strong centre is made of many other strong centres, a multiplicity of centres. Like levels of scale, the

concept of a strong centre is recursive; but due to the fact that at a great variety of scales, in a thing which is

alive, we can feel the presence of a centre, and that it is this multiplicity of different centres, at different levels,

which engages us” (Alexander, p. 156)

Figure 8. Boudhanath Stupa from above

showing its strong centres (Source: B.P

Dhungana)

Figure 8 depicts Boudhanath Stupa from above and outlines its strong centres. The entry point to the terraces

lead the visitor through a system of layers which eventually arrive at the inner terrace or ‘sanctum’. Many

pilgrims with start their kora, or circumambulation, on the ground level and then enter the first terrace,

circumumbulate, then enter the second terrace, circumumbulate, then finally the third terrace. Once you enter

the first terrace from the ground level it seems the outer layer of the structure is stripped away, bring you closer

to the central focal point. In a Buddhist philosophical context, this could also been seen as getting closer to

enlightenment or our true nature. This hierarchy of centres creates a deep potency and energy to the centre of

the stupa.


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11.3 Boundaries

“Early in my studies I noticed that living centres are often- nearly always- formed and strengthened by

boundaries. You may see this strengthening in traditional architecture, and lack of it in contemporary

buildings.” (Alexander, p.158)

Alexander also states that the purpose of a boundary is two-fold, first it focuses attention on the centre and

thus helps to produce the centre (Alexander, p.158) Boudhanath has many boundaries, starting from the inner

focal point; the central jewel pinnacle, boundaries are formed moving outward by the harmika box, the dome,

drum, and three terraces. The pathway surrounding the structure then forms a thick boundary of the entire

structure. This boundary adheres to Alexander’s views that the boundary must be distinct from the centre being

bounded, and keep this centre distinct and separate from the world beyond it, whilst also having the capacity of

uniting the centre with the world beyond the boundary (Alexander, p. 159) This is evident in the pathway

circulating Boudhanath, as it separates the main structure from Kathmandu’s winding and noise streets whilst

also connecting the structure to Kathmandu by linking all the access roads and pathways to it, as shown in

Figure 9.

Figure 9. Boudhanath Stupa and its boundaries, particularly the circular pathway that both connects and

separates the stupa to the Kathmandu Valley (Source: Google Maps)

11.4 Alternating Repetition

“One of the ways that centres help each other most effectively is by their repetition. Centres intensify other

centres by repeating. The rhythm of the repeating centres, slowly, like the beat of a drum, intensifies the field

effect.” (Alexander, p. 165)


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Alexander states that the repetition creates a satisfying harmony within a form, and that the sense of order in

an object comes from the fact that elements are repeated over and over again. In Boudhanath Stupa, repetition

is obvious when we view the Stupa from above, when it is seen as a mandala (Figure 10.)

Figure 10. Mandala painted on the ceiling

of Boudhanath Stupa (Source: Mandalas

at Work)

The mandala that is formed when we view Boudhanath from above is also painted on the ceiling of the stupa,

as seen in Figure 10. The word mandala derives from the words for essence and container; and so is akin to

the definition of a stupa, which is seen as a container of religious essence (Fisher, 1993). Fisher states that

mandalas represent the cosmos in a diagram that gives order to the vast universe. The mandala depicted in

Figure 10 can be seen a 2D plan for the stupa itself, and comprises of many repetitions including the square

terrace levels, and the four opening to each cardinal direction.

The inner terraces, or square boundaries as seen in figure 8, that boarder the central dome, are repeated as

they ripple away from the central focal point, much like the ripple created by dropping a stone in a lake. The

first square boundary is strengthened and intensified by the second, which is strengthened and intensified by

the third, and so on.

11.5 Positive Space

“In the case of living design there is never any left over space. Every distinct piece of space is a whole.”

(Alexander, p.176)

What Alexander is implying in this property is that every section of space in a design should essentially be a

centre in itself, and never a leftover from the adjacent space. This will therefore lead to designs having ‘living’

qualities in all areas and no ‘dead’, leftover spaces. In outlining this theory in The Nature of Order, Alexander

uses the Nolli plan of Rome for an example (as shown in Figure 11).

When we compare the Nolli plan of Rome to Boudhanath Stupa we can see the similarities. Both their plans

are seen to have focal points (one being the Piazza Navona and the other the Stupa) and the streets and


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alleys that feed into these spaces have been formed organically, in a generated way (ie. They have been

formed over time).

Figure 11. Piazza Navono, Rome (Left) and Boudhanath Stupa, Kathmandu (Right), both example of positive

urban plans (Source: courses.psu.edu and Google Maps)

Many urban spaces built today are not formed in this organic way. With new developments, all aspects of the

development are instantly formed, leaving out opportunities for natural formation. This negative urban plan is

depicted in Figure 12, a public housing development built in 1947 in Oranga, Auckland.

Figure 12. Public housing development in

Oranga, Auckland. An example of a

negative urban space (Source: World

Press)

11.6 Good Shape

“A good shape is a centre which is made up of powerful intense centres, which have good shape themselves…

every visible part of the design, at every level, must be a good figure or a strong entity.” (Alexander, p.181)

This property seemed to have little relevance at first glance, as the term good is a subjective word and one

hard to distinguish. However, upon reading Alexander’s explanation he states that good shape relates to


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centres and that a shape we view as good shape is due to it having multiple centres. Alexander outlines this

property by breaking apart designs he sees as having good shape into separate shapes. This method is used

for Boudhanath Stupa as outlined in Figure 13.

Figure 13. Boudhanath Stupa is made up of good shapes (ie. Shapes that have strong shapes within

themselves). This is outlined in this diagram where we see the strong shapes that make up the crown of the

stupa. (Source: Magic Photographer and Author’s own sketch)

The shapes that make up this section of Boudhanath are all geometrically relatively simple shapes, and act as

powerful pieces of local geometry. Alexander argues that it is important for a design to be made up of simple

shapes in order to ‘create potential for much more complex systems of cross relationships in space’

(Alexander, p.183). He then goes on to state elements that are most common in good shape, an I have

highlighted in bold those elements found in Boudhanath Stupa: ‘square, line segment, arrowhead, hook,

triangle, row of dots, circle, rosette, diamond, S-shape, half circle, star, steps, cross, waves, spiral, tree,

octagon’ (Alexander, p.183)

11.7 Local Symmetries

“The presence of a strong centre in the field depends, to a great degree, on various interlocking and

overlapping local symmetries… However, perfect symmetry is often a mark of death in things, rather than life.”

(Alexander, p.186)

Here we find a property that doesn’t relate to Boudhanath Stupa. What Alexander is stating here is that perfect

symmetry in a design does not tend to create organic order within a design. For this property, Alexander

compares the Renaissance Centre in Detroit with the Alhambra in Spain.


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Figure 14. The plans of the Alhambra, Spain (left) and the Renaissance Centre, Detroit (right) (Source:

learn.columbia.edu & howardmodels.com)

Alexander argues that the Alhambra’s plan has no overall symmetry at all, but a large number of minor

symmetries, that hold within limited pieces of design allowing the whole to be organic, flexible and adapted to

the site. The Renaissance Centre, on the other hand, is argued to ‘arise from conceptually imposed order, not

from natural adaptations within a whole’ (Alexander, p.187)

It seems that Boudhanath Stupa; with its perfect, mandala symmetry, may fall in the same category as the

Renaissance Centre. The symmetry is quite obvious when viewing the structure from above and seems to be

rather imposed and regulated.

11.8 Deep Interlock and Ambiguity

“Living structures contain some form of interlock: situations where centres are “hooked” into their

surroundings.” (Alexander, p.195)

Alexander states that this ‘hooked’ effect makes that design difficult to disentangle from its surroundings,

making it become more unified with the world and the centres near it (Alexander, p. 195). This property could

be argued either way when related to Boudhanath. As highlighted in the property Boundaries (11.2), the stupa

has a large circular boundaries around it that separate’s the main structure to the surrounding neighbourhood.

This could be argued that there is a clear separation between the two; 1. The structure, and 2. The

neighbourhood. Alternatively, one could argue that the path that circulates the structure is also the structure

and therefore feeds off into the alleyways that connect the neighbourhood to the stupa. One can therefore think

the stupa as being the heart of Kathmandu with veins running off into the surrounding neighbourhood.


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Figure 15. The path that circulates Boudhanath Stupa (right) feeds off into the alleyway and roads that lead

into the sacred site, much like the way veins run out from the heart into the rest of a human body (left).

(Source: crdoctors.com and Google Maps)

11.9 Contrast

“The difference between opposites gives birth to something. This is the origin of yin-yang, active-passive, light-

dark…Empty-full, solid-void, busy-silent, red-green, and blue-yellow are all possible forms of contrast.”

(Alexander, p.200)

Alexander states that 'peacefulness and unity’ (Alexander, p. 202) can be created through this property. Harris

states that ‘contrast is the characteristic that creates the energy of the tie between the opposites’. (2012, p.66)

The greatest example of this property falls into the ‘busy-silent’ category Alexander mentions. Boudhanath

Stupa can be extremely busy; full of Buddhists circumambulating, tourists taking photos, people feeding the

birds etc, it can be very overwhelming to some. However, this is only on the pathway that surrounds the stupa,

step into the first terrace of the structure and quiet garden spaces are found, offering spaces for meditation and

contemplation. Both these aspects are integral to the stupa and they give life to each other, much like the ying

and yang. The quiet meditation spaces, where individuals can break free from the busy Kathmandu streets, are

evident in Frank Llyod Wrights designs also. Wright states that ‘quiet, serene, tranquil space is a fitting

environment’ for humans (Wright, 1952). This element of Wrights work is also highlighted by Rattenbury where

he states ‘every individual needs space, quiet and clean air’ (2012, p.72)


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Figure 16. The image on the left depicts one aspect of Boudhanath, busy and active, contrary to this is the

image on the right, the passive and quiet aspect of the stupa. (Source: Heart of Kathmandu, left and Bertrand

de Camaret, right)

11.10 Gradients

“In something that has life, there are graded fields of variation throughout the whole, often moving from the

centre to the boundary, or from the boundary to the centre.” (Alexander, p.207)

Gradients are evident in Boudhanath Stupa, as each terrace repeats itself internally which leads to a stepped

progression towards the jewel pinnacle. This helps orient the eye and we can therefore see and feel the top of

the building coming. This gradient also helps the central jewel pinnacle become more of a focal point. Although

common in nature (see Figure 17), this property is rarely found in the modern built environment (Alexander, p.

208) Figure 17 depicts a Nautilus shell which has a defined focal point, or centre. The spirals increase in size

as they grow out from this central depicting its clear gradients. Boudhanath Stupa, which is depicted on the

right, has a similar clear focal point (the jewel pinnacle symbolizing enlightenment), and the terrace plinths

grow out from this point in a similar way to the Nautilus shell.

Figure 17. A Nautilus shell (left) and Boudhanath Stupa in the 1970’s (Source: Imagexia and Maya Travels)


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11.11 Roughness

“In a man made thing, (an) essential aspect of the property of roughness is its abandon. Roughness can never

be consciously or deliberately created. Then it is merely contrived. To make a thing live, its roughness must be

the product of egolessness, the product of no will.” (Alexander, p.212)

Alexander goes on to state that roughness is a product of abandon, created only whenever a person is truly

free, and doing only whatever is essential ie. No frills. This property is found throughout the stupa, and to the

untrained eye could easily be seen as defects, however, it is these imperfections that help create life in the

structure. Take the application of the saffron water on the vase of the stupa for example. These yellow/orange

arcs represent a lotus petal upon which the Buddha sits, and application is done regularly as is slowly wears

off over time. As Figure 18 depicts, the saffron water is applied by workers filling up buckets and throwing it at

the structure in an arc. This is a prime example of Alexander’s Roughness property, as it is an action that is

free and uncontrived, which helps give life to the stupa. If these lotus petals where painted in a formal and

perfect way it would not have the same effect.

Figure 18. The saffron coloured lotus petals (left) and its application technique (right). (Source: Authors own

and Roger Roger)

11.12 Echoes

“In the course of examining things which have profound life, I have found that there is almost always one vital

characteristic, very hard to describe accurately, and yet crucial. In general terms, there is a deep underlying

similarity among the elements, so deep that everything seems to be related, and yet one doesn’t quite know

why, or what causes it.” (Alexander, p. 218)

This property is the most vague of all the Fifteen Fundamental Properties. What I believe Alexander is trying to

convey in this property is the link of all elements with each other that ties a design together, each element


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working as one with is neighbour. Although hard to measure accurately, I understand this as design that

convey a certain flow, or as Alexander states a ‘single guided feeling’ amongst its elements. (Alexander, p.219)

Harris explains this property as being the repeated angles and proportion that vary in scale and are repeated

throughout the structure (2012, p.66) This property can be linked to Frank Llyod Wright’s designs where he

preached that no elements of a building should be ‘added on, stuck in or unduly exposed’ (Wright, 1952)

Figure 19. Early Boudhanath Stupa sketch. (Source: Christoph Cuppers and Philip Pierce)

As depicted in figure 19, Boudhanath contains angles that are repeated, or echoed throughout the design.

These are shown in the outlined in the terrace plinths below the bump and above, in the thirteen steps that rise

up towards the jewel pinnacle.

11.13 The Void

“Is there a way that the presence of the void arises mathematically, as part of a stable unified structure, or is it

merely a psychological requirement? It is the latter. A living structure can’t be all detail. The buzz finally

diffuses itself, and destroys its own structure. The calm is needed to alleviate the buzz.” (Alexander, p.225)

This void is represented in Boudhanath by the bumpa, or dome, which is the centre of the structure. Although it

is not a space which you can entre into, it acts as the calm, still void surrounded by the energetic buzz that

circulates the stupa. The bumpa is a common element amongst all stupas.


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Figure 20. Plan and elevation of the Great Stupa at

Sanchi, built by emperor Ashoka in 3rd century

BCE (Source: Art and Archaeology)

Figure 20 outlines the plan of the Great Stupa at Sanchi, India, which was built in the third century BCE by the

emperor Ashoka. Alexander states that this emptiness is needed in every centre, large or small. He states that

it is the quiet that draws the centres energy back to itself, and gives it the basis of its strength. (Alexander, p.

225) Much like Boudhanath, The plan of Sanchi included a path around the bumpa that is used for pilgrims to

circumambulate the stupa in order to accumulate virtuous merit. This path would have been a busy and

energized space and is perfectly balanced by the inner void which serves as the calm focal point of the

structure.

11.14 Simplicity and Inner Calm

“This quality comes about when everything unnecessary is removed. All centres that are not actively

supporting other centres are stripped out, cut out, excised. What is left, when boiled away, is the structure in a

state of inner calm.” (Alexander, p. 226)

Alexander is stating here that if a design is complex it does not mean it cannot also be simple. If a design is

complex but every element is essential, then it can have simplicity and inner calm. Tibetan artwork is known for

its complexity, and this is due to the fact that Tibetans in the past lead very simple lives, in big, vast open

landscapes. Therefore, they have the capacity to create and understand very detailed and complex works of

art because their minds where very clear. (Palmo, 2000)


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Boudhanath Stupa is very complex, and simple is not the first quality that comes to mind when viewing it.

However, when we delve deeper it can be argued that ever element in the structure plays a part in the design,

there is nothing superfluous. Wright also highlights simplicity as an important factor in organic architecture, he

states:

“The highest form of simplicity is not simple in the sense that the infant intelligence is simple-nor, for that

matter, the side of a barn. Simplicity in art is a synthetic positive quality in which we may see evidence of mind,

breadth of scheme, wealth of detail and withal a sense of completeness found in a tree or flower” (Wright,

1952)

11.15 Not-Separateness

“What not-separateness means, quite simply, is that we experience a living whole as being at one with the

world, and not separate from it- according to its degree of wholeness” (Alexander, p.231)

This property is possibly the most directly related to Boudhanath Stupa, which is fitting because Alexander also

states that it is ‘the most important property of all’ (Alexander, 231). Boudhanath Stupa is interconnected with

its surroundings, it is one with its surroundings. Buddhist philosophy states that all things are connected to one

another, nothing is independent (Zopa, 2013) but Alexander states there are some designs that are isolated

and stand out in an ‘awkward triumph of egocentricity’ (Alexander, p.231). Figure 21 below depicts Boudhanath

Stupa in the 1970’s, when a small village surrounded the stupa. Contrast to the image on the right,

Boudhanath stupa today, we see this small village has become interwoven with the Kathmandu valley. This is

a prime example of generated structure that Alexander states is necessary in order for a design to possess life.

The design helped form the surroundings, it was not placed into an already existing built landscape and

expected to function.

Figure 21. Boudhanath Stupa in the 1970’s (left) and today (right). These images show the generated growth

around the structure and show the interconnectedness with its surroundings.


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12. Findings It is evident that most of the Fifteen Fundamental Properties are found in Boudhanath Stupa. After researching

each property and relating it to Boudhanath, analysis was made and then given a percentage with 0%

depicting no relation whatsoever, and 100% depicting complete relation, this system of scoring is called the

Percentage Based Scoring System (Mandel, 2004). As with other percentage based scoring systems, 50%<

depicted a pass (indicating that the property was evident in the stupa), whilst 49%> depicted a fail (indicting

that the property was not evident in the stupa. The six properties that were rated the equal highest score (90%)

where Levels of Scale, Strong Centres, Alternating Repetition, Deep Interlock and Ambiguity, Roughness and

Not-Separateness. The five properties that were rated 80% included Boundaries, Positive Space, Contrast,

Gradients and Simplicity and Inner Calm. The three properties that was rated 70% included Good Shape,

Echos and The Void, whilst Local Symmetries score the lowest with 40%.

Properties that were found to have the highest score where intentionally not given 100% even though the

analysis proved they were almost directly related to the property, such as Not-Separateness. This is due to the

fact that no property can be argued as being 100% directly related to Boudhanath Stupa, as there is always

some kind of element that opposes it. This notion is based on the scientific understand that no scientific theory

can be absolutely proven. A theory is still a theory, even a very well substantiated one. (Physics Stack

Exchange, 2014)

Figure 22. Boudhanath Stupa rating of Fifteen Fundamental Properties (Source: Authors own, 2014)


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Overall, when each property score is added up the final percentage rating for Boudhanath Stupa in relation to

the Fifteen Fundamental Properties is 79%, which was what was initially expected (note the property Local

Symmetries brought total score done significant due to scoring only 40%, if this property has scored high, total

percentage rating would have been in the 80% range).

The initial research question was Does Boudhanath Stupa support Christopher Alexander’s Fifteen

Fundamental Properties as outlined in The Nature of Order and is this the reason why it is ‘alive’? This

question can be broken into two parts, 1. Does Boudhanath Stupa support Christopher Alexander’s Fifteen

Fundamental Properties, and 2. Is this the reason why it is ‘alive’?

After scientific analysis we can safely state that the answer to the first question is yes, Boudhanath Stupa does

support Christopher Alexander’s Fifteen Fundamental Properties (see Figure 22). However, the second part to

this question is a more complex one to answer. Alexander states that any phenomena (including in nature and

the built environment) that possess the Fifteen Fundamental Properties are deemed ‘alive’ or ‘living’.

Therefore, given that Boudhanath Stupa is rated at 79%, we can state that this could be one reason for its

living qualities. But this is not to state that this is the only reason.

The importance of Boudhanath Stupa to Buddhism is clear (Zopa, Sang-ngag, Somerville et al.) and this is

another reason why the stupa is seen to have ‘living’ qualities. Buddhist literature on stupa’s highlight that the

importance of the structures do not seem to be due to any of the physical attributes of the structure, rather

what it represents (Blumenthal, 2010). As stupas represent the Buddhas enlightened mind, the mind frames of

people who visit and spend time at these holy sites are generally positive and altruist, which then create a

special ‘living’ peacefulness to the stupa and its surrounding environment (Somerville, 2014). Therefore we can

state that Boudhanath Stupa would still carry a certain ‘living’ element even if the architectural features did not

include Alexander’s Fifteen Fundamental Properties.

The reason Boudhanath Stupa possess living qualities is therefore do the combination of both possessing to a

large degree nearly all of Alexander’s Fifteen Fundamental Properties and also due to its major importance to

the Buddhist religion.

13. Conclusion

As architects and designers we are responsible for the built environment in which we inhabit. In order to create

more buildings that possess ‘living’ qualities, we must learn theories such as Alexander’s Fifteen Fundamental

Properties which help create buildings that are highly effective in both form and function. As the world’s

population is rising and the built environment is expanding at a rapid rate, there has never been more of an

important time to implement theories such as these in order to create more efficient and sustainable buildings

for the future. This research has also exposed the importance of buildings of faith for humanity, which contain

certain qualities that go beyond mere physical features but prove to be integral to communities throughout the


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world. As there is very few academic research into stupas, this paper has highlighted a gap in this field of

research which needs addressing. Holy sites such as Boudhanath Stupa inspire all walks of life and

development and research into this field could prove to be vastly beneficial.

14. Bibliography

Alexander, Christopher, 1980, The Nature of Order, Book One: The Phenomenon of Life, The Centre for

Environmental Structure, Berkeley, USA

Alexander, Christopher, 1980, The Nature of Order, Book Two: The Process of Creating Life, The Centre for


Alexander, Christopher, 1980, The Nature of Order, Book Three: A Vision of a Living World, The Centre for


Alexander, Christopher, 1980, The Nature of Order, Book Four: The Luminous Ground, The Centre for


Blumenthal, James, ph.D, 2010, The Not-So-Inherent Power of Holy Objects, Mandala Magazine, April-June,

Portland, USA

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Boudhanath Stupa: Reflections on Living Architecture

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