We delight in complexity to which genius has lent an appearance of simplicity.

How wise were the ancient philosophers in suggesting that we exclude from our visions of contentment anything that might one day be covered by a lava or blow down in a hurricane, succumb to a chocolate smear or absorb a wine stain.

The creation of beauty, once viewed as the central task of the architect, has quietly evaporated for serious professional discussion and retreated to a confused private imperative.

Sculptures and buildings were to assist us in bringing the best of ourselves to the fore. They were to embalm our highest aspirations.

We respect a style which can move us away from what we fear and towards what we crave.

Just as we cannot appreciate the attractions of safety without a background impression of danger, so, too, it is only in a building which flirts with confusion that we can apprehend the scale of our debt to our ordering capacities.

To speak of home in relation to a building is simply to recognise its harmony with our prized internal song.

Architecture should have the confidence and the kindness to be a little boring.

The only problem with unrestricted choice, however, is that it tends not to lie so far from outright chaos.

Bestselling author Alain de Botton considers how our private homes and public edifices influence how we feel, and how we could build dwellings in which we would stand a better chance of happiness. In this witty, erudite look at how we shape, and are shaped by, our surroundings, Alain de Botton applies Stendhal’s motto that “Beauty is the promise of happiness” to the spaces we inhabit daily. Why should we pay attention to what architecture has to say to us? de Botton asks provocatively. With his trademark lucidity and humour, de Botton traces how human needs and desires have been served by styles of architecture, from stately Classical to minimalist Modern, arguing that the stylistic choices of a society can represent both its cherished ideals and the qualities it desperately lacks. On an individual level, de Botton has deep sympathy for our need to see our selves reflected in our surroundings; he demonstrates with great wisdom how buildings — just like friends — can serve as guardians of our identity. Worrying about the shape of our sofa or the colour of our walls might seem self-indulgent, but de Botton considers the hopes and fears we have for our homes at a new level of depth and insight. When shopping for furniture or remodelling the kitchen, we don’t just consider functionality but also the major questions of aesthetics and the philosophy of art: What is beauty? Can beautiful surroundings make us good? Can beauty bring happiness? The buildings we find beautiful, de Botton concludes, are those that represent our ideas of a meaningful life. The Architecture of Happiness marks a return to what Alain does best — taking on a subject whose allure is at once tantalizing and a little forbidding and offering to readers a completely beguiling and original exploration of the subject. As he did with Proust, philosophy, and travel, now he does with architecture.

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History

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Society, Arts & Culture

The Achitecture of Happiness is 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 unmentioned causes of both happiness and misery is the quality of our environment: the kinds of walls, chairs, buildings, and streets that surround us. And yet a concern for architecture is too often described as frivolous, even self-indulgent. Alain de Botton starts from the idea that where we are heavily influences who we can be, and argues that it is architecture's task to stand as an eloquent reminder of our full potential.

ALAIN DE BOTTON

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