The Architecture of Happiness

by Alain de Botton

Book Overview

A dazzling and generously illustrated journey through the philosophy and psychology of architecture and the indelible connection between our identities and our locations.One of the great but often... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0375424431
• ISBN13: 9780375424434
• Release Date: October 2006
• Publisher: Pantheon Books
• Length: 280 Pages
• Weight: 1.39 lbs.
• Dimensions: 0.9" x 6.7" x 8.1"

Customer Reviews

The Accidental Architect

Like Tom Wolfe before him (see "From Bauhaus to Our House"), De Botton has produced one of the finest books of architectural theory and criticism by a non-architect. By that I don't mean that "he did all right for an amateur and a dilletante;" rather I mean that De Botton has written one of the best books of architectural criticism in recent memory, period. The fact that he is not an architect or critic only enhances this book's appeal, because it is written in plain language, with lovely illustrative phrases that allow the reader to inhabit his prose in the imagination. This is not "Architecture for Dummies," by any means, but De Botton's argument is accessible and understandable to architects and non-architects alike. This book is richly illustrated to bring home the salient points, and De Botton seems to have traveled enough to speak with authority about the places he writes of. This charming volume should be read and studied by every architect, would-be architect, architecture student, client, and design review board on the planet. Humanity would be well served if it became a standard text.

The Happiness of Loving a Book about Architecture.

Have you ever read a book that was so good that you flip through it trying to find a representative passage that you would like to share with others, but you end up seeing that you are faced with the dilemna of re-writing the whole thing from page one because all of it is so indispensibly rich and worthy of regurgitation? This is what is happening to me, here at Starbucks, having just finished reading Alain de Botton's The Architecture of Happiness. Oh, such an amazing book. Recently, I met a group of friends at [no surpirise] a Starbucks and because I arrived early, I brought my book in and read for a while. Soon they showed up and I set the book aside. My pal picked it up and read the title, flipped through it a bit, and promptly looked at me as though I had three heads, and all of them were Martian! "What the hell are you reading this for?" he asked. "I am totally immersed in the topic," I said. And went on to explain.... It's not about architecture, as in, how to build things. It's about the appreciation of the art that surrounds the process of all creative effort, architecture included. The author discusses the development of so many things, from teacups to chairs to vending machines. Windows, bridges, water faucets, theatres, entire plans of cities, tables, factories, empty fields... the way we think [or don't think] about all of these things. Of course, buildings, from homes to skyscrapers, being perhaps the most prominent aesthetic consideration in our day-to-day field of vision, these get the most attention. Why do we build as we do? What is the history, the genesis and evolution of what we have now come to consider as architectural norms? Architecturally speaking, in what ways have we progressed? In what ways have we regressed? Or, [most intererestingly] have we done both things? Having defended myself thus, I looked back at my friend as though he had three heads, all of them very architecturally interesting! I cannot help it. I must offer the following excerpt. Here, de Botton was discussing the topic of beauty in strength, or the "elegance" with which so many of our magnificent structures and machines are constructed... "It follows from this that the impression of beauty we derive from an architectural work may be proportionally related to the intensity of the forces against which it is pitted. The emotional power of a bridge over a swollen river, for example, is concentrated at the point where the piers meet but resist the waters which rise threateningly around them. We shudder to think of sinking our own feet into such turbulent depths and venerate the bridge's reinforced concrete for the sanguine way it deflects the currents which tyrannise it. Likewise, the heavy stone walls of a lighthouse acquire the character of a forbearing and kindly giant during a spiteful gale which does its best to pant them down, just as in a plane passing through an electrical storm, we can feel something approaching love for the aerona

The Responsibility of Creation

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

Erudite, colorful, delightful!

[Notabene: this is a review of the Dutch translation of this book.] I have read only one book by Alain de Botton so far, namely his eminently readable but highly imaginative and evocative 'The Art of Travel'. I was so enamoured by that particular book, that I highly anticipated his 'The Architecture of Happiness', and bought it without any doubts as what to expect (and so should anyone else who loved his 'The Art of Travel, I believe ;-) This book is - to my eyes - a pure little gem of often seemingly simple and evident (so often a sign of greatness), but at the same time deep insights into the ways in which architecture reflects (and influences) all of our grandest - and at the same time all of our smallest - aspirations, ideas, hopes, wishes and pleasures. Reading 'The Architecture of Happiness' is ever so often (like his 'The Art of Travel') an 'Aha-Erlebnis': to your feelings and experiences, when reading his book, Alain de Botton's insights and observations could only be so, as it were :-) For example, one of the author's most important observations comes about a quarter on the way, at the end of the second chapter. Forming the basis for the rest of his discourse, is his central statement (in fact his main conclusion) that [NB: following is my own, probably not very accurate translation from the Dutch translation!] "every designed object will give an impression of the psychological and moral standards it upholds", going on to say that "designed objects and architecture essentially tell us about the way of life that would be most appropriate in their vicinity. They tell us about the moods they would like to encourage and strengthen in their users. Except that they keep us warm and that they offer us practical support, they also stimulate us to be a certain kind of people. They speak of certain ideas of happiness." In other words, de Botton stresses the 'values' that buildings propagate, and it is his belief that discussions about 'fitting' architecture should center more around this issue of values (the ways that architecture speaks to us, stimulating and encouraging us), than about any "strictly visual aspects", making the goals of our discussions about what is 'fitting' architecture much clearer. To understand why we love a certain architectural style more than another, we need to understand the psychology behind taste (which is based on psychological needs), thus de Botton. He furthermore stresses the need for a deeper understanding of the many different 'esthetical virtues' (a direct consequence of those psychological needs), to help us in our discussions about 'fitting' architecture. Anyhow, in this book the author displays his enormous gift of relating - in colorful, sometimes almost poetic, prose - all kinds of economical, political, social and artistic developments to architecture, connecting them - interlaced with delightful humorous observations here and there - with philosophical thoughts and associations about the ways architec