THE ARCHITECTURE OF HAPPINESS ALAIN DE BOTTON PDF
The Architecture of Happiness. Home · The Architecture of Author: Alain De Botton Architecture Principles: The Cornerstones of Enterprise Architecture. Alain de Botton specializes in the philosophical-light approach to many of the of beauty in our life and it connection to our well-being and ultimate happiness. The Achitecture of Happiness is a dazzling and generously illustrated journey through the philosophy and psychology of architecture and the indelible.
|Language:||English, Spanish, Japanese|
|ePub File Size:||15.87 MB|
|PDF File Size:||17.10 MB|
|Distribution:||Free* [*Regsitration Required]|
The Architecture of Happiness by Alain de Botton, , available at Book Depository with free delivery worldwide. 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. Request PDF on ResearchGate | On Feb 13, , LARRY SHINER and others published The Architecture of Happiness by de botton, alain.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime. Upcoming SlideShare. Like this presentation? Why not share! A buddhist contempoorary architectu Embed Size px. Start on. Show related SlideShares at end.
WordPress Shortcode. InhatJqEvz Follow. Published in: Full Name Comment goes here.
Are you sure you want to Yes No. Christopher H. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide.
It's a modest ambition, a very, very important ambition, but a modest one. And I think many, especially younger people who are studying architecture, sometimes want to remake the world through architecture. And I think, you know, to some extent you can, but you have to be modest about it as well. Because sometimes, you know, you can be in the most beautiful building in the world, but if you've got a headache that headache will wipe out any advantage that the building might have been able to provide.
Our number: E-mail: talk npr. And Pat joins us on the line from Buffalo in New York. And, you know, it's kind of all the artwork and just when you walk in it kind of has the spiritual sort of uplifting effect on you, you know, not only the architecture itself but a lot of the artwork inside. And I just wanted to comment on how, you know, coupled with being there for mass, it just kind of has a surreal, almost spiritual feeling and effect on -and I think that building has affected me more than any other, you know, building I've stepped in before.
I think that churches and religious buildings generally teach us a lot about architecture. They really teach us a very basic lesson, which is we don't think the same way wherever we are, that there are certain buildings that put us in certain frames of mind.
You know, a well decorated, a beautiful church will put us into a mindset where we're more receptive to dwelling on certain issues. And, you know, a supermarket will direct our thoughts in other ways. And that's why religions have, perhaps more than any other entity, been very aware of the power of architecture.
Because we're not the same people wherever we are. And if we get the buildings right, we'll end up, according to certain religions, we'll end up being the sort of people that these religions want us to be. Is it one of those gothic structures with sweeping curves that lead your eyes upward? PAT: Yeah, it's a very gothic basilica built around, you know, the turn of the century. And it's got a huge dome and arches. And it's got a, you know, a lot of angel statues on the inside and on the outside.
It's very intricate and, you know, very sophisticated. PAT: Father Baker, who's trying to get into sainthood early, his advocates are, it was his dream and it finally came to reality. And it's been kind of a focal point of, you know, the religious in this area.
There's a lot of Catholics in the city of Buffalo and Buffalo area, so unintelligible. PAT: I will, thanks. It's interesting.
Alain de Botton
He's talking about a gothic building, and you write a lot in the early part of your book about how there was once a consensus amongst architects on what we describe - how we define a beautiful building.
A consensus that collapsed. I mean if you look at architecture all over the West, you know, right from, I don't know, San Francisco to St. Petersburg, there was a consensus for hundreds of years that a beautiful building, especially a courthouse or an important building, should be a classical building. You know, classical buildings still around in an awful lot of places. But that consensus starts to break down in the 19th century and then on into the 20th. And suddenly a lot of different styles come about: the gothic style, the Jacobean style, the Islamic style.
Suddenly you get a new choice in architecture. And whereas choice is a wonderful thing in many areas of life, when it comes to architecture, if you have a city or a town where all the buildings look different, they all seem like they're in a way having an argument among themselves.
That can be very disorienting and confusing. And among many architects for really a hundred years or so, there's been a search to try and find some style which would win everyone over so that we wouldn't have chaos in our cities, and that search is ongoing.
CONAN: You point, for example, to the city of Bath in England which is beautifully designed, unifiedly designed, and presents an incredible impression when you come upon it that was not built at much greater expense or much greater trouble than a lot of places which are considerably less distinguished. I mean there are some wonderful kind of showpiece avenues, but on the whole it's just a repetition of a basic kind of structure. And some of the nicest cities in the world are really quite simple.
You know, it's just the same unit that keeps being repeated. And part of the problem with contemporary architecture is the belief that the architect is a kind of lone genius whose task it is to produce something utterly different from what's come before.
And that's led in many cases to streets which are seriously sort of disconnected and are not giving out a coherent message. And your point about money is I think very interesting. You know, many people say, well, surely we need a lot of money to create good architecture. You know, if only it were that simple. Anyone who's ever driven along, I don't know, some of the more unfortunate streets in Beverly Hills or in Bishops Avenue in London will realize that a lot of money does not itself guarantee good architecture.
Just as anyone who's wondering around certain hill villages in Italy, say, will quickly realize that a modest budget never condemns a building to ugliness either.
It's unfortunately about the intelligence of the design. If you'd like to join us, E-mail us, talk npr. We're going to come back after a short break with an update for you on the crash of a small aircraft into an apartment building in New York City, so stay tuned for that. I'm Neal Conan.
We'll get back to our conversation with Alain de Botton in just a moment. He's on the telephone with us from the scene of a plane crash, an aircraft crash, in New York City. Robert, what can you tell us? And it's a story building and there was an impact of some sort of aircraft - I guess they're saying now a helicopter - around the 20th floor. There were reports of flames coming out, an explosion and debris coming down.
But right now it's just a mess here. There's a massive, massive police and fire response. CONAN: We're getting word from the Federal Aviation Administration; it's still too early from their point of view to determine what kind of aircraft was involved or what might have caused this crash.
Obviously, though, there's got to be a lot of speculation. A plane crash is pretty rare, obviously, around here. But helicopters, recently over the last year, they've had a number of different problems, them dumping into the East River.
One, a tourist helicopter about a year ago, and then there was a business helicopter that crashed not too long ago. Now those were minor events and those happened into the water off Manhattan.
But it's sort of good to know that - at least informative to know that these things happened before. I mean there's just an amazing emergency response. Now I see at least 20 ambulances, maybe 30 or 40 fire department vehicles, police vehicles packed with officers.
You know, they're taking no chances around here, but no word yet on who might have been injured or what might have happened. I mean, we do know it was a residential building. There are some business parts of the building that are on the lower floors.
Botton Alain de. The Architecture of Happiness
And it looks like initially from some of the helicopter shots, who have a better view of this than I do, that it was probably five or six apartments, or six units I should say, that looked like they were affected by smoke and fire. CONAN: It looked like flames were gushing out at one point of two apartment buildings, one - two apartments, one on top of the other. And it did look - again, I'm watching this on television from a couple of hundred miles away - it did look as if you could see the hoses of firemen dousing the flames.
You now see continued smoke gushing out of the buildings and obviously staining the building. And certainly other apartments in that building might have been involved. And all the indications we have thus far is no indication that any kind of terrorism is involved in this incident.
Robert Smith, thanks very much for being with us. We'll have more for you later in this program, and stay tuned to NPR News throughout the day. We'll have the latest for you. But let's get back to our conversation with Alain de Botton about his new book, The Architecture of Happiness.
And, Alain de Botton, I realize it's disconcerting to be talking about damage to a high-rise apartment building in New York City and the philosophical principles of architecture, but it is an important point. We were discussing before the break the idea of money, and you say we don't have to put up with mediocrity anymore. I mean I think that some of the problem is that in our education system we get taught a lot about literature, we get taught a lot about pictures, about art.
What we don't ever get taught about is architecture, even though it's the art form - of all the art forms, it's the one that has the greatest influences on us. It's the one that costs the most, and it's the one that really colors our lives. And it sticks around for a very, very long time. So I think it's very important for people to, as it were, educate themselves in architecture so that we'll be less at the behest of property developers who come along and, as it were, abuse our ignorance of architecture by saying, well, you know, no one really knows what's beautiful and what's ugly so, you know, here's a condominium block and, you know, I'm sure you'll like if you looked at it in the right way.
So we're very at the mercy of people telling us what's good and what's bad and often don't trust our own judgments, whereas people's ordinary judgment is often much closer to the mark. This is Elizabeth. Elizabeth calling us from Provo, Utah. ELIZABETH: I was calling because I really kind of agree a little bit with what you just said about how a lot of commercial architects will just make something and, you know, if it's good enough to live there, people will live there.
And right now I'm looking for my first apartment with my husband. And just looking at some of the apartments, some of the ones you can tell they were built in a certain time - like they're a couple of decades old and they're kind of rundown and they're not very attractive.
They're very, very blockish, I guess. And then some of the other ones have a more classical style, the kind of things you would see on a movie or on TV where like a happy family would live, and they almost look like little homes.
I mean those are the places that I want to live because they give me a good feeling just looking at the architecture, you know. Like this is where I want to live. We're going to have a happy family. And, you know, it's not something that ever gets taught in architecture school.
Architects don't get taught to create homely feelings. Unfortunately, what that's done is that it makes generations of people always look towards old buildings as the sort of places they want to live in.
They don't want to live in them because they're old. They want to live in them because older architects, older schools of architecture were much better off than more modern ones at capturing the feelings of homeliness. I mean, my own personal hope is that actually contemporary architects can do good, nice feelings of domesticity just as well as their predecessors could.
They just have to be given a proper chance. So, you know, I don't believe in necessarily always building in a nostalgic way.
And sometimes buildings are as absurd as people who, let's say, love the past and decide to walk around with a wig and garters and speak in Shakespearean English. That's not a good response to loving the past. And I don't think we should always live in houses that are modern but look like they might have been built years ago. But I think if the houses are to be modern, they should also remember some of those lessons from the past. I didn't mean to cut you off. Go ahead. I also had another question.
Because when you were just talking about the city of Bath and how a lot of the streets - the architecture all looks the same. ELIZABETH: I mean do you think that sometimes when architecture is repeated in a row, like on a street, is it poor architecture that gives you a bad feeling when you see something like that?
Because my family moved to a neighborhood when I was a teenager and the houses were all the same. I mean they all looked exactly the same, and I couldn't stand it. I mean, like they were just all the same, and I just couldn't stand the neighborhood.
And I just didn't know if that was because it was poor architecture, because it just didn't give me a sense of comfort. I don't think that buildings being alike on their own will necessarily make it good, but when you have a good design like you do in Bath and like you have in many parts - I mean, many parts of New York City, for example, are very repetitive.
It's the same kind of building type just repeated again and again.
And it looks nice because, you know, the building type is good. And I think one of the things we often seek from our architecture is a kind of calming influence. We don't necessarily want every single building to be different, because that's as irritating and as aggravating as, you know, if people are all shouting at the same time.
So we're often looking for calm, and repetition can be a good quality. All right. Thank you. And there's a fascinating example you give in the book, comparing buildings drawn by two different German architects for two different World's Fairs and how they express absolutely clearly the nature of the governments that built them.
I mean, buildings are extremely - sort of, if you want - eloquent things. They do communicate all sorts of emotions. And whenever architects are asked to design things like embassies - but also kind of parliaments and big civic buildings - they often have to ask themselves, you know, what does my country believe in? What do I want to say about the world through my building? And if you look at the history of German embassies in the 20th century, it's fascinating.
You know, during the Nazi period, you see a building - which even if you take away the Nazi flags, etc. You just - you feel the aggression coming out of the window frames, the roof, the ceiling moldings - everything about it says aggression. And in a way, you get a kind of moral message.
So - and this is true not just of embassies. All buildings, as it were, tell us a story about how their owners see the world. And when we say that a building is beautiful - when we use that word beautiful - really what we're saying is we kind of like the vision of life that's coming out of a building.
So, beauty isn't just a sort of aesthetic word.
It's a word about, you know, how we want to live - which is why it sort of inspired me to give my book the title The Architecture of Happiness, because there's a lovely quote from the French writer Stendhal, where he says to think of something as beautiful is to see in it a promise of happiness.No notes for slide.
Review quote "De Botton has a marvelous knack for coming at weighty subjects from entertainingly eccentric angles. It puts the total well over , Download Hi Res. Families like them, etc. Now customize the name of a clipboard to store your clips.
Unfortunately, what that's done is that it makes generations of people always look towards old buildings as the sort of places they want to live in. And I think, you know, to some extent you can, but you have to be modest about it as well.
- THE LAST VICTIM PDF
- THE DECLARATION GEMMA MALLEY PDF
- ANNA AND THE KING OF SIAM EBOOK
- THE WITCH WITH NO NAME EPUB
- NORTHERN LIGHTS PHILIP PULLMAN PDF
- THE JUNGLE BOOK SOUNDTRACK ZIP
- THE CONTRACT BY MELANIE MORELAND PDF
- JOHN RAWLS A THEORY OF JUSTICE EBOOK
- LEGO AWESOME IDEAS BOOK
- ALBERT CAMUS EPUB
- AN ISLAND TO ONESELF PDF
- EMACS TUTORIAL PDF
- PH?N M?M CHUY?N D?I PDF SANG EXCEL
- FLASH 8 ANIMATION TUTORIALS PDF