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For we have his own words to describe the aspects of human nature that interfere with the descent of a building which in his vision embodies a ‘living centre’. 

  ‘It is very hard to allow the wholeness to unfold. To do it, we must pay attention, all the time, only to the wholeness, which exists in what we are doing. That is hard, very hard. If we allow ourselves the luxury of paying attention to our own ideas, we shall certainly fail… The things which can and do most easily get in the way, are my own idea, my thoughts about what to do, my desires about what the building “ought” to be, or “might” be, my striving to make it great, my concern with my own thoughts about it, my exaggerated attention to others people’s thoughts. All this can damage the building, because it replaces the wholeness which actually exists at any given stage with some “idea” of what it ought to be.
  ‘The reason why I must try and make the building as a gift to God is that this state of mind is the only one which reliably keeps me concentrated on what is, and keeps me away from my own vainglorious and foolish thoughts.’ (The Nature of Order, Book 4, p.304) 

            We know that the architects and the community involved with the Matrimandir were not in the poise Christopher Alexander describes during the execution of the construction. Alexander states that it is hard to hold on to this ‘state of mind’. But isn’t that what could and should have been done when these instruments were given this unique gift by the Mother? Christopher Alexander emphasises time and again in the last Book of his magnum opus, The Nature of Order, that the builder must execute in this poise: ‘The core of this necessary state of mind is that you make each building in a way which is a gift to God. It belongs to God. It does not belong to you. It is made to serve God, to glorify God. It is not made to glorify you…’ (Ibid, p. 304)
           This was not written by a yogi or a follower of any known path, much less the Mother’s. It is based on his own experience, his discoveries of the true nature of architecture and the poise the builder must maintain for something divine to imbue the creation. Throughout his writings one hears echoes of the Vedic Age. His description of those centres as ‘blazing ones’, ‘blazing furnaces’ is a purely Vedic seeing. This western architect, with no connection to the Mother or Sri Aurobindo, has experienced the essence of the Vedic Agni, not as a concept or a philosophical formulation, but as a living truth. He is not Indian and therefore cannot be said to be mouthing a tradition he has inherited but not earned. Yet this western professor emeritus at the University of California at Berkeley has lived the Vedic experience.
            The question one may legitimately ask is why the Mother did not draw into her entourage such a person? After all, it was in the 1970s and 80s that most of his philosophy of architecture was formulated – the very time that the new cosmology took shape which provided the keys of Knowledge to understand the Mother’s creation. And let us not forget that those were the years when a ‘distilling’ process was in effect to ‘sort out the people’ who could build her temple, once her entourage had refused to comply. Surely Christopher Alexander was feeling the effects of that specialised action of the Supramental Shakti precisely in his field of endeavour, though unbeknown to him.
            But in India this was not meant to be; her action was deflected. Instead we had to bear time and again mocking, scoffing, ridicule, and bad will, on the part of those handling Matrimandir matters;

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