TRIBHUVAN UNIVERSITY

INSTITUTE OF ENGINEERING
THAPATHALI CAMPUS

REPORT ON MEMORIAL ARCHITECTURE

By:
EVANGELINA MAHARJAN (THAO74BAR017)

Submitted to:
Dr. Shree Hari Thapa
Ar. Barsha Shrestha

DEPARTMENT OF ARCHITECTURE,
THAPATHALI CAMPUS

1 JULY, 2022
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

ACKNOWLEDGEMENT
I express sincere gratitude to Dr. Shree Hari Thapa and Ar. Barsha Shrestha for proper
guidance. I am also indebted to Mr. Purna Shakya for insightful interaction and providing
useful information of the site.
Yours Sincerely,
Evangelina Maharjan (074/BArch/517)

1
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

ABSTRACT
“Time alters understanding and blurs memory; architecture remains.”
-Cohn, David. “Between earth and sky”
Remembering is a vital activity that gives identity to our past and defines our present. Memory is
of selective nature: a complex system between oblivion and memory. Personal and social
memories are always subject to construction and negotiations. They are blurred and imperfect,
not permanent. In modern societies collective memory is negotiated in the values, beliefs, rituals
and institutions of the social body.
“There is always a constant battle between memory and forgetting: what most terrifies us about
death is not the loss of future but the loss of past.”1 May be because of this reason the people in
the past came up with the concept of the memorial. And from the beginning architecture has
been the preferred medium to memorialize the past events.
From the construction of huge Pyramids in Egypt to Stupas in Nepal all has been constructed in
memory of their beloved ones or as a sacrilegiously. These memorials make the visitors see, feel
and experience about the past. They are there for generations to come and thus convey their
message till it stands. In order to gain and explore more about the memorials this research has
been performed.
Keywords: Memory, Experience, Death, Symbolism, Monumentality, Stupas

1
Edwin Heathcote, Monument Builders, Academy editions (1999)

2
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

INTRODUCTION
Memorialization as a representation of remembering past experiences bridge the relation
between memory and architecture. Memorial architecture provides the stage in which it brings
people together to unite individual memories into a collective memory.
In Nepal there are some structures which are connected with memorial architecture. Those
structures mainly deal with the honoring of beloved persons or persons who sacrificed his life for
the good of the society. But these memorials have lot to offer to the society. It is a kind of
recognition of one’s past history and which should be taken forward for generations to come.
The memorial has some elements that play a major role to symbolize the ones to be remembered
for. So, the study will be mainly dealing with finding and knowing out those elements that plays
their part in the completion of the memorial. The main objective of this study is:
To explore and understand memorial architecture
The scope of this research is related with the study and analyzing of existing memorials as per
the literature review done. Also, during the study, the various elements of memorial architecture
will be sought and analyzed on the cases taken.

MEMORIAL ARCHITECTURE
A memorial is a structure erected to commemorate persons
or events. The memorial in fact is an object which tries to
focus on a memory of some particular thing. The history,
philosophies and doctrines of a society are all stored in a
memorial. Memorials are generally built to link the present
with the past (Rai, 2011) .As we know that a memorial is
an intangible thing so in memorial it becomes a tangible
thing that can be looked upon Figure
and where those
1 Martyrs memories
Memorial in Niamey.
Source: Adjaye Associates
good or bad can be experienced by the present generation.
So, in the memorial all those experiences can be captured.
Memorials have been the part of the human society ever since the civilization has come into
being. They have been existing in terms of one or the other built form. The build of huge
pyramids in Egypt, the beautiful Taj Mahal in India, various megalithic monuments are all
memorials. They all try to grab the memory of some beloved ones, the occurrence of some
wonderful or devastating events in the history.
Memorials are also linked with architecture. Architecture has long been the preferred medium
with which to publicly memorialize any events or persons. The memorials are associated and
attached with emotions and sentiments that belong to particular event. And a memorial tries to
address such emotions and sentiments felt by the people.
Memorials are spaces that store the significant aspect of
the past of a society to act as a reference for the future

3
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

generations. They are the link between the past and

future. Present is where they exist and reflect the ideas,
beliefs and history of the society.

MEMORIAL TYPOLOGY
David Todd Norman, in his research paper, has classified
memorials into three groups which are listed below:
Form and Symbolism
Figure 2 Vietnam Veterans Memorial
The memorials of this type are characteristics of form and illustration. Source:
https://www.loc.gov/resource/ds.09692/
symbolism. These types of monuments use symbols which
may be simple to chaotic. The meanings reflected by the
elements create a sense of monumentality. Various forms
like walls, pillars, arches might be used to create a sense of
monumentality and conveying message to the general
public. The memorials may also use inscriptions and also
graphic method to transfer the meaning. Sites that utilize
unifying and recognizable markers that embody important
meanings are monumental. Visitors to the Vietnam
Memorial in Washington, D.C. recognize it as and refer to
it as the Wall. This long black reflective marble Wall is the Figure3: Vietnam Veterans Memorial
illustration. Source:
core element of this site and has 58,226 names inscribed https://www.loc.gov/resource/ds.09692
within it.
Landscape
The landscapes create the narrative journey. There are
paths, waypoints, monuments, symbols, and many other
features, that have got the meanings. The landscapes, thus
created give the glimpse of narrative journey. The
landscape creates the series of events. These landscape
forms tend to go further than non-landscape monuments in
facilitating a range of perceptual experiences and
consequently of moods at one memorial site. To the visitor, Figure 4 PIA Memorial Park. Source:
the landscapes evoke different emotions and associations. Author

The PIA Memorial Park is an example of this type.

Historical Marker
The third type of the memorial is a historical marker.
These sites exist at a site of primary importance to the
person or events being memorialized. Thus, there is
respect to the site as the site itself speaks about the past
and the lost ones. The ruins, the fragments, of the past tell
a story about that. A visitor can easily get the information

Figure 5 Audey Murphy Monument. Source: 4

https://trailjournals.com/journal/photos/20803/
1095364/559761
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

through these real artifices. Those fragments may be the

ruins of the walls or even the house or the natural elements
like trees, the open field, and so on; those have really seen
those events.
The Audey Murphy Monument exists at the site where his
plane crashed.

SYMBOLISM
According to Illustrated Oxford Dictionary symbolism is “The use of symbols to represent
ideas, an artistic and poetic movement or style using symbols and indirect suggestion to
express ideas, emotions etc.” The above definition of symbolism tries to explain various
thoughts, ideas and feelings through various medium that may be in the form of artistic, poetic
and others. The words: symbol, symbolic and symbolism are all inter-related with each other.
Cassirer in ‘The Philosophy of Symbolic Forms ‘, he comprehensively classifies man as a
symbolic animal who needs to provide meaning to “whatever is given to it,” with the very
structure of the human mind constituted to perceive in a symbolic way. Thus, meaning becomes
a necessary, fundamental, and immanent requirement of humanity. (Rimmer, 1997). “The
human mind takes “images” from a construct, and through the symbolic forms of the mind,
provides meaning to them. Thus, every construct is inherently symbolic. And if every construct
is inherently symbolic, then to make something blatantly representative is absurd, since it
becomes an artificial, one-dimensional caricature of a multi-dimensional form.” 2 if a
representation of a construct is given, then a supposed “meaning” is already presented and the
individual is precluded from imparting meaning to it. The effect is that the human mind cannot
be properly engaged since one’s judgment is not made active; and subsequently, the human spirit
is diminished. Thus, Cassirer states that persisting or imposing meaning into a form is not
symbolizing it rather than those interpretations done by an individual of an object itself is
symbolizing some degree of their own interpreted form.
According to philosopher Cassirer “All forms must pass through two intermediate stages of
development before they become symbolic- the mimetic and then the analogical.” 3 (The
Philosophy Of Symbolic Forms. Volume One: Language, 1955) At the time of mimetic stage,
the imitative representation of nature and human behavior in terms of art and literature is
performed and then it gets expressed in some sort of symbolism.
SYMBOLISM IN MEMORIAL ARCHITECTURE
As memorial is constructed in the memory or honor of a person or an event, a proper symbolism
needs to be erected or produced in order to show the feeling that is desired. The symbol created
should be related with the feeling of the memory for which it was constructed. Symbolism which
we see around has been attained by use of various techniques mainly by use of various materials,

2
Scott Rimmer, The Symbolic Form of Architecture (1997), 5
3
Kant, Hegel, and Cassirer, The Origins of the Philosophy of Symbolic Forms (Northwestern University
Press,2011),

5
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

sculptures, scale and proportion of the form constructed etc. Certain symbolism is needed to be
provided to memorial due to the fact that it becomes some kind of unique feature may be in
terms of mass or some another kind of feature which the people will see and easily remember.
Generally, the memorial tries to symbolize the meaning related to history of an event or a person.
In architecture too, symbolism provides some kind of meaning to the built form and it has got its
own place within memorial architecture. A form in architecture which is expressed through
spatial, temporal, physical and material means tries to evoke some kind of meaning which in a
long run becomes some kind of symbolism. An example of the symbolism of the Stupa/ Chorten
and its’ analogies of symbolism of stupa are:

 The Seed of Highest Enlightenment, also depicted as a Tongue of Flame (Bindu) to be

realized above the double symbol crowning Chorten.
 The double symbol of Sun and Rising Moon is an emblem of the Twin-unity of the
Absolute Truth (of the sphere beyond normal comprehension) and the Relative Truth (of
the worldly sphere).
 The stylized Parasol (Chattra) symbolically giving protection from all evil.
 The thirteen Steps of Enlightenment, i.e., the first ten Steps of Enlightenment (Dasha-
Bhumi) and the three higher levels of supra consciousness (Avenika-smrityupashthana).
 The dome, corresponding to the primeval mound, as Receptacle of Relics or
offerings (Dhatu-Garbha)
 The base (Parishada) is square and four-stepped, its sides facing the four directions.
Analogous to the underworld.

Figure 6 Symbolism of Stupas. Source: buddhanet.net( http://www.buddhanet.net/stupa.htm)

BUDDHIST MEMORIAL MONUMENT

The first and most fundamental of Buddhist architectural monuments, the Buddhist stupa (aka
dagoba, chorten, pagoda) serves as a marker for a sacred space, a symbolic representation of the
Buddha’s burial mound.

6
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

The Indian Prototype: Sanchi Stupa

The Great Stupa at Sanchi, in central India, is one of the earliest stupas; it served as an
architectural prototype for all others that followed. The world-famous stupa was first constructed
by the 3rd-century-BCE Mauryan ruler Ashoka in brick and was later expanded to twice its
original size in stone.
In the most basic sense, as an architectural representation of a sacred burial site, a stupa is no
matter where it is located in the world or when it was built, has three fundamental features.

Figure 7 Sachi Stupa Source:

https://www.approachguides.com/blog/bu
ddhist-stupa-architecture-symbolism/

1. A hemispherical mound (Anda or Garbha): The Anda’s domed shape recalls a mound
of dirt that was used to cover the Buddha’s remains. It has a solid core and cannot be
entered. Consistent with their symbolic associations, the earliest stupas contained actual
relics of the Buddha; the relic chamber, buried deep inside the Anda, is called the Tabena.
Over time, this hemispherical mound has taken on an even grander symbolic association
representing the mountain home of the gods at the center of the universe.
2. A square railing (Harmika): The harmika is inspired by a square railing or fence that
surrounded the mound of dirt, marking it as a sacred burial site.
3. A central pillar supporting a triple-umbrella form (Chattra): The Chattra, in turn, was
derived from umbrellas that were placed over the mound to protect it from the elements.
Just as the Anda’s symbolic value expanded over time, the central pillar that holds the
umbrellas has come to represent the pivot of the universe, the axis mundi along which the
divine descends from heaven and becomes accessible to humanity. And the three circular
umbrella-like disks represent the three Jewels, or Triantha, of Buddhism, which are the
keys to a true understanding of the faith:
a. Buddha;
b. Dharma (Buddhist teachings or religious law);
c. Sangha (monastic community).
Around these three core building blocks were added secondary features.

7
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

1. Enclosure wall with decorated gateways (Toranas) at the cardinal directions the wall
with its trademark three horizontal stone bars surrounds the entire structure.
2. A circular terrace (Medhi) The terrace surrounded by a similar three-bar railing
supports the Anda and raises it off the ground; it is likely served as a platform for ritual
circumambulation.

Figure 8 Plan and Elevation of Sachi Stupa. Source:

https://www.approachguides.com/blog/buddhist-
stupa-architecture-symbolism/

8
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

CASE STUDY: SHANTIGHAT

CHAITYA
The Mahachaitya of Kathmandu metropolitan city
ward no. 28, which is located in Shree Gha Bahal
and having historical and cultural value is the white
domed, Shree Gha Chaitya. The presence of
Shantighat near Chaitya has made its name
Shantighat Chaitya. It is also known as
Katheswayambhu
This stupa is built in Lichhchavi period around 600
years ago. The Chaitya’s style, shape and form is
similar to Swayambhunath Stupa. It was made as a Figure 9 Shree Gha Chaitya. Source: Author
symbol and in the memory of Swayambhunath Stupa after
its destruction by Sultan Shamsuddin; a Muslim Invader in
the valley.
It is also said that the Chaitya was made in the
Kathmandu as the locals here could not travel to
Swayambhu easily. There are also legends of how
Tantric Bak Bajracharya flew the Chaitya from Kashi
performing Tantric rituals. No matter the legends or
reasons for its existence, it has now become one of
the important places for the Buddhist pilgrims. There
are three types of Bihar in the Shree Gha Bahal due to
the Chaitya. They are of Hirayana, Mahayan and
Therbadi type. (Tamrakar, 2014) Thus, the structure
now holds a complex social and religious construct
for Buddhism as different disciples of Buddhism
worship the same monument and live together.

Figure 10 East Elevation of Shree Gha Chaitya. Source: Author

9
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

Structure
The base dimensions of the stupa are: 45 ft 45 inch wide at the base, height 59ft 4 inches and
diameter of dome is 107 ft 3 inches. The structure of the Chaitya can be divided into:
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
1.
Garbhagriha: It is made of Earthern mound. It is placed on the base made of brick masonry.
The base of the chaitya has two plinth levels.
2. Harmika: The harmika in the Shree Gha chaitya is mase of gold-plated metals with 13
tiers also made with gold coated metals. Initially, the stupa’s harmika and 13 tiers was
made of wood. Later due to deterioration of wood it was replaced with gold-plated
metals.
3. Chatra: The chatra is supported by the Yasthi (mast). It is a metal structure covered by
decorative curtain

10
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

4. Panchabuddha in the garbha: The Pancha Buddha (Amitabha Buddha (W),

Amoghsiddh (N), Akshobya(E), Bairochana (E), RatnaSambhav (S) are kept in the niches
on the four sides surrounded by 'Taras' and 'Bhairav' in the Garbha.
3. Medhi: The terrace around the Garbha is used for circumambulation.
Materials:
The Chaitya was made during the Lichchhavi period and was made with the resources available
by the devotees. The following building materials were used for its construction: Bricks (Mha
Appa), Stone, Wood for Harmika and Spires for Umbrella later used Gold Plated metals for it,
Surkhi, Sankhwal (white paint for the dome).

Architecture of Stupa
Before Buddhism, great teachers were buried in mounds. Some were cremated, but sometimes
they were buried in a seated, meditative position. The mound of earth covered them up. Thus, the
domed shape of the stupa came to represent a person seated in meditation much as the Buddha
was when he achieved Enlightenment and knowledge of the Four Noble Truths. The base of the
11
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

stupa represents his crossed legs as he sat in a meditative pose (called padmasana or the lotus
position). The middle portion is the Buddha’s body and the top of the mound, where a pole rises
from the apex surrounded by a small fence, represents his head. Before images of the human
Buddha were created, reliefs often depicted practitioners demonstrating devotion to a stupa.
The Stupas were built in the important places relating with Buddha and spread of Buddhism. Its
architecture of it depends on the place it is built, the period, and type of Buddhism the devotees
hold.
Table 1 Contrast between Different type of Stupas

Sanchi Stupa Shree Gha Stupa

Age 3rd century BCE !4th century AD
Memorial Relics of Buddha Swayambhunath, Dharma
dhatu Stupa
Structure Anda, Harmika, Chattri, Garbhagriha, Harmika,
Medhi, Torona, Chattri, Medhi
Values Oldest stupa Pilgrimage Site for three
kinds of Buddhist Pilgrims

12
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

CONCLUSION
Memory has always been the key behind the construction of the memorials. Had there would
have been no memory probably there would have been no need of building a memorial. There
have been different ways of commemorating the lost ones or those who needs to be honored. The
memorials that we see around are mostly related to death and with death there comes the silence
and darkness; its presence may be felt around the site or inside of one’s mind as it tries to express
the sadness, honor and respect to those lost ones.
Memorials should basically be an identity of a place. It should try to depict all those intangible
meanings which should be carried on from generation to generation. Those intangible meanings
are to be symbolized in some form of tangible form. These meanings can be shown in different
levels as per the situation.
The Buddhist Stupas are a type of memorial architecture. They are built for religious purposes
but today they act as a place for people to heal, to question, to understand, to discuss, and to
remember. Taking example of the Shree Gha Chaitya, it has acted as an important pilgrimage
site for the Buddhists as well as other people. A holy place people come to worship Lord Buddha
and to remember their ancestors from the small Chibas around the main Stupa. Thus, memorial
as an architectural building type has proven to be significant architecturally, historically, socio-
culturally and emotionally for the generations and generations of the humankind.

13
Seminar and Directed Studies Evangelina Maharjan (THA074BAR017)

REFERENCES

Bibliography
Rai, Y. P. (2011). Memorial Architecture.
Rimmer, S. (1997). The Symbolic Form Of Architecture.
Tamrakar, R. (2014). Shree Shantighat Bajradhatu Chaitya Mahabihar. Kathmandu.
The Philosophy Of Symbolic Forms. Volume One: Language. (1955). New Haven and London:
Yale University Press.

14