The Architecture of Happiness

Fascinating book on how architecture affects our minds. Easy to read with images to prove the points. This book runs in the same vein as Robert Venturi's Complexity and Contradiction in Architecture, but from a different perspective. It shows the range between simplicity and complexity that resonates with us. The balance of it is in the hands of the architect.

To read De Botton is to go on a journey to places at once unexpected yet familiar; for example, one point is supported by reference to a diagram of nose shapes and sizes. His books teach rather than exposit; they do not lack for a direct thesis--they make arguments and reach conclusions. In this book on architecture the point is made that we have a responsibility to create something that is worthy of the natural surroundings that will be altered by the creation. We have the ability and resources to transcend mere engineering concerns and the argument is made in this book that we have a duty to do so. Obviously we cannot live the modern life stuck out in a meadow, no matter how beautiful the scenery--but our author argues that is equally difficult (or pointless) to live in a community of soulless boxes, that architecture which fails to honor aesthetic ideals is a failure even if it keeps the weather out. Good architecture is the result not of adherence to classical ideals, budget measures or engineering goals but of a balance achieved among the almost infinite range of available architectural choices. The author understands that in order to bring his reader to an appreciation for balance in architecture that he must provide a context--he has to demonstrate when things are out of balance. De Botton excels in providing just the right amount of history, pictorial evidence, contemporary example and discussion--in fact, his presentation is itself artfully balanced and perfectly suits his theme. There may be disagreements about the thesis; however, I think that the quality of the writing is worthy of any superlatives. Anyone familiar with Michael Palin's travelogues knows that they can't be missed regardless of the destination--Mr. Palin is unfailingly respectful of tradition but never misses an opportunity for a witty remark. So likewise are Mr. De Botton's books. Regardless of his chosen subject, he has earned my trust--I'll read whatever he chooses to print. Highest Recommendation

I had never read anything by Botton before picking up this one, so it was not only an architectural journey, but a stylistic one in terms of writing, as well. It starts off with pessimistic, albeit realistic views of architecture and its limits. It sounds so pessimistic in tone at first that you wonder where the book's title comes from, which draws you into it more. The ideas presented in this book are substantiated with plenty of real life proof, from Le Corbusier's mishaps to Frank Gehry's playful escapes. I wish the author would have been more direct in his language, as his ideas are not in need of pompous language to get across. I also would have liked to see at least one allusion to a work of Frank Lloyd Wright. None of the arguments in the book are earth-shattering, and they shouldn't be. De Botton's ultimate purpose of the book is to convert the "non-believers" of architecture who believe that the profession is nothing more than fanciful, unnecessary ornament. It successfully proves why we need architecture in a very gradual way: first, if you believe that who you are depends on external forces (not a very demanding concept for even the most cynical), then you can come to believe that who you are depends on where you are, followed by who you are depends on the built environment around you as much as the people in your life. After he adds this concluding link in his chain of persuasion, de Botton provides a list of five virtues that any happy structure should reflect: order, balance, elegance, coherence, and self-knowledge.

Alain de Botton's Architecture of Happiness is a humanist's guide to understanding built environments. Finding room to appreciate both classical and contemporary architecture, de Botton resolves the quarrel between the ancients and the moderns by suggesting that every architecture strives to provide the conditions for happiness. "What works of design and architecture talk to us about is the kind of life that would most appropriately unfold within and around them. They tell us of certain moods that they seek to encourage and sustain in their inhabitants." (72) Although the book is dedicated to the pursuit of happiness, its best moments are shot through with midlife melancholy. De Botton reflects on the ache inspired by an eighteenth-century ornament: "The ceiling is a repository of the qualities the man would like to have more of in himself: it manages to be both playful and serious, subtle and clear, formal and unpretentious ... it has a profound unsentimental sweetness, like that of a smile breaking across a child's face" (148-9). The book itself is founded on the double premise that our surroundings affect our moods and modes of living, yet "will only ever constitute a small, and imperfect protest against the state of things" (25). De Botton, that is, believes deeply, very deeply, that architecture matters, but he does not suffer from the self-importance of the professional architect. Phew. What excites me most about de Botton's work, however, is his ability to weave design, literature, and philosophy into a mode of discourse that speaks with an eye to illumination, not obscurity. The writing is too beautiful to be reduced to a set of "take-aways," the emerging tin standard for public speech, yet de Botton uses page breaks and illustrations to escape the mesmerizing movement of his own syntax. Could this be ... the typography of happiness?

De Botton goes ahead and quotes thinkers and poets and scientists and writers like Maria Rilke, Le Corbusier, Freud, etc. He talks about art and more specifically architecture and design with a very poetic and philosophical approach. He asks questions like the meaning and value of beauty, how buildings talk, the moral messages behind design and how architecture “renders vivid to us who we might ideally be”. He also guides the reader through the “journey” of architecture and all the different movements and styles, which always end up being influenced by the social context of the era (so it’s full of worthy information, facts, theory and history). I will quote a paragraph that I really liked because it perfectly explains not only the importance but the urge to put all of our hearts and minds into designing beautiful things: “To describe a building as beautiful therefore suggests more than a mere aesthetic fondness; it implies an attraction to the particular way of life this structure is promoting through its roof, door handles, window frames, staircase and furnishings. A feeling of beauty is a sign that we have come upon a material articulation of certain of our ideas of a good life.” De Botton never fails to touch my heart so it's no surprise this book definitely did it.

This book asks a question that has interested me for a long time -- what makes some buildings beautiful? Unfortunately, the author does not provide much in the way of answers. He does discuss some interesting ideas, notably the fact that ideas of beauty in architecture change over time. But he passes over this to go on to more timeless issues -- balance, elegance, etc. It all sounds very nice -- Mr. De Botton's prose in unfailingly elegant, sometimes irritatingly so. It just doesn't add up to much.

Alain is a great writer and this is a must read for anyone who has ever questioned " Do architects really care " Erudite / Wonderful / Superb. I use several books to explain GOOD system design to clients ( Don Normans The Design of Everyday Things, called the coffee pot book ) ( Alan Coopers The Inmates Are Running the Asylum: Why High Tech Products Drive Us Crazy and How to Restore the Sanity - the jail book ) and now this classic. Good design leads to happiness. De Botton makes a great case and his history checks on this theory are very good I especially liked the instance with Le Corbusier's first major client screaming at him that her house is leaking like a sieve and her son in in hospital as a result, with pneumonia, and he responds " But MADAM the design was so well received in the architectural press " I nearly fell of my seat laughing. Thank you Alain for a great contribution to man and his understanding of how things SHOULD work. I have now ordered ALL of his other works

Alain sees our appreciation of buildings as a window into our values and ideals of the world. Do you want a simplified and calm existence outside of the rush of the world? Do you want kindness and relationships in a high competitive world and thus a warm reminder through softness and roughness to your personal spaces. This book made me think about how I can used art in my spaces to remind and direct me towards things I value and seek when sometimes the world seems quite contrary. A great read to consider how we see beauty and encourage ourselves to follow our goals and values each day.

The book enthralled, and excited me like never before. At almost every page I was made to reminisce and appreciate so many emotions and thoughts that I often took for granted. A beautiful read and thoroughly enjoyable and relatable!

i'm still reading it, but enjoying it a lot, it's philosophy about te themes related to architecture, very interesting indeed

The title obviously alludes to a previous book by the charismatic author entitled 'The Consolations of Philosophy'. But I aspire that this review is a little more than word play, resonance and allusion. One is impressed with the literacy, sophistication, refinement and discriminating taste of the author. He moves with ease in time, Geography and discipline to collate the arguments in support of his points and pronounces virtually in every paragraph profound truths and thoughts with disarming simplicity. The book is lavishly graced with elegant black and white photographs exquisitely illustrating the points made by the author in the text; in fact these photographs along with their accompanying footnotes comprise an excellent summary of the book. But the book itself is difficult to summarize because there are simply so many original, beautiful, elegant, subtle and refined thoughts and ideas about buildings and Architecture. One can only aspire to give a flavour of the content of the book by providing fragments of information. The author introduces the book in a philosophical mood. In a walk on a brilliant summer day in a pastoral landscape the psychoanalyst Sigmund Freud and the poet Rainer Maria Rilke reflect on the trancience of beauty. In another point the author suggests that we are more appreciative of beauty when in sad mood while he reminds us of the cruel truth of the powerless of beautiful buildings to change the evil side of human nature. The author discusses the evolution of the concept of beauty in Architecture. There was certainty in what comprises beauty in Architecture which with intermission lasted for a thousand years. It developed in classical Greece exemplified by the columnated temples with their friezes and pediments and harmonic proportions, evolved in Rome and revived in Rainessance. Then tastes changed and the gothic and mixtures of styles were introduced in houses. In the modern era beauty was ostensibly abandoned altogether and the new credo was function. Buildings and constructions should be functional not beautiful. But this was more of an illusion rather than fact. Modern Architecture was beautiful and gave a promise for the future. We often describe a building as beautiful when it evokes aspects of happiness. As Stendahl aptly wrote 'Beauty is the promise of happiness'. But he wisely refrained from specifying any particular type of beauty but instead commented that there are as many styles of beauty as there are visions of happiness. Buildings we call beautiful often contain in a concentrated form those qualities in which we are deficient. In this regard we feel sacred architecture exemplified in Gothic cathedrals is beautiful because it is uplifting our souls. We like order in buildings but only when it is combined with complexity. We like an adequately contextual building which we might define as one which embodies some of the most desirable values and the highest ambitions of its era and place-a building which serves as a repository for a workable ideal. Finally our views on beauty and aesthetics are often moulded by culture. An extreme example is exemplified by the perceptions of beauty respectively in Western Europe and Japan in Architecture, artefacts and man made landscape.

Leitura complexa, porém muito poética e bonita. Enriquecedor!!