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The Architecture of Happiness par [Botton, Alain de]
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The Architecture of Happiness Format Kindle

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Longueur : 280 pages Word Wise: Activé Composition améliorée: Activé
Page Flip: Activé Langue : Anglais
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Description du produit

Extrait

I. The Significance of Architecture

1.

A terraced house on a tree-lined street. Earlier today, the house rang with the sound of children's cries and adult voices, but since the last occupant took off (with her satchel) a few hours ago, it has been left to sample the morning by itself. The sun has risen over the gables of the buildings opposite and now washes through the ground- floor windows, painting the interior walls a buttery yellow and warming the grainy-red brick façade. Within shafts of sunlight, platelets of dust move as if in obedience to the rhythms of a silent waltz. From the hallway, the low murmur of accelerating traffic can be detected a few blocks away. Occasionally, the letter-box opens with a rasp to admit a plaintive leaflet.

The house gives signs of enjoying the emptiness. It is rearranging itself after the night, clearing its pipes and cracking its joints. This dignified and seasoned creature, with its coppery veins and wooden feet nestled in a bed of clay, has endured much: balls bounced against its garden flanks, doors slammed in rage, headstands attempted along its corridors, the weight and sighs of electrical equipment and the probings of inexperienced plumbers into its innards. A family of four shelters in it, joined by a colony of ants around the foundations and, in spring time, by broods of robins in the chimney stack. It also lends a shoulder to a frail (or just indolent) sweet-pea which leans against the garden wall, indulging the peripatetic courtship of a circle of bees.

The house has grown into a knowledgeable witness. It has been party to early seductions, it has watched homework being written, it has observed swaddled babies freshly arrived from hospital, it has been surprised in the middle of the night by whispered conferences in the kitchen. It has experienced winter evenings when its windows were as cold as bags of frozen peas and midsummer dusks when its brick walls held the warmth of newly baked bread.

It has provided not only physical but also psychological sanctuary. It has been a guardian of identity. Over the years, its owners have returned from periods away and, on looking around them, remembered who they were. The flagstones on the ground floor speak of serenity and aged grace, while the regularity of the kitchen cabinets offers a model of unintimidating order and discipline. The dining table, with its waxy tablecloth printed with large buttercups, suggests a burst of playfulness which is thrown into relief by a sterner concrete wall nearby. Along the stairs, small still-lives of eggs and lemons draw attention to the intricacy and beauty of everyday things. On a ledge beneath a window, a glass jar of cornflowers helps to resist the pull towards dejection. On the upper floor, a narrow empty room allows space for restorative thoughts to hatch, its skylight giving out onto impatient clouds migrating rapidly over cranes and chimney pots.

Although this house may lack solutions to a great many of its occupants' ills, its rooms nevertheless give evidence of a happiness to which architecture has made its distinctive contribution.

2.

Yet a concern for architecture has never been free from a degree of suspicion. Doubts have been raised about the subject's seriousness, its moral worth and its cost. A thought-provoking number of the world's most intelligent people have disdained any interest in decoration and design, equating contentment with discarnate and invisible matters instead.

The Ancient Greek Stoic philosopher Epictetus is said to have demanded of a heart-broken friend whose house had burnt to the ground, 'If you really understand what governs the universe, how can you yearn for bits of stone and pretty rock?' (It is unclear how much longer the friendship lasted.) Legend recounts that after hearing the voice of God, the Christian hermit Alexandra sold her house, shut herself in a tomb and never looked at the outside world again, while her fellow hermit Paul of Scete slept on a blanket on the floor of a windowless mud hut and recited 300 prayers every day, suffering only when he heard of another holy man who had managed 700 and slept in a coffin.

Such austerity has been a historical constant. In the spring of 1137 the Cistercian monk St Bernard of Clairvaux travelled all the way around Lake Geneva without noticing it was even there. Likewise, after four years in his monastery, St Bernard could not report whether the dining area had a vaulted ceiling (it does) or how many windows there were in the sanctuary of his church (three). On a visit to the Charterhouse of Dauphiné, St Bernard astonished his hosts by arriving on a magnificent white horse diametrically opposed to the ascetic values he professed, but he explained that he had borrowed the animal from a wealthy uncle and had simply failed to register its appearance on a four-day journey across France.

3.

Nevertheless, such determined efforts to scorn visual experience have always been matched by equally persistent attempts to mould the material world to graceful ends. People have strained their backs carving flowers into their roof beams and their eyesight embroidering animals onto their tablecloths. They have given up weekends to hide unsightly cables behind ledges. They have thought carefully about appropriate kitchen work-surfaces. They have imagined living in unattainably expensive houses pictured in magazines and then felt sad, as one does on passing an attractive stranger in a crowded street.

We seem divided between an urge to override our senses and numb ourselves to our settings and a contradictory impulse to acknowledge the extent to which our identities are indelibly connected to, and will shift along with, our locations. An ugly room can coagulate any loose suspicions as to the incompleteness of life, while a sun-lit one set with honey-coloured limestone tiles can lend support to whatever is most hopeful within us.

Belief in the significance of architecture is premised on the notion that we are, for better or for worse, different people in different places - and on the conviction that it is architecture's task to render vivid to us who we might ideally be.

4.

We are sometimes eager to celebrate the influence of our surroundings. In the living room of a house in the Czech Republic, we see an example of how walls, chairs and floors can combine to create an atmosphere in which the best sides of us are offered the opportunity to flourish. We accept with gratitude the power that a single room can possess.

But sensitivity to architecture also has its more problematic aspects. If one room can alter how we feel, if our happiness can hang on the colour of the walls or the shape of a door, what will happen to us in most of the places we are forced to look at and inhabit? What will we experience in a house with prison-like windows, stained carpet tiles and plastic curtains?

It is to prevent the possibility of permanent anguish that we can be led to shut our eyes to most of what is around us, for we are never far from damp stains and cracked ceilings, shattered cities and rusting dockyards. We can't remain sensitive indefinitely to environments which we don't have the means to alter for the good - and end up as conscious as we can afford to be. Echoing the attitude of Stoic philosophers or St Bernard around Lake Geneva, we may find ourselves arguing that, ultimately, it doesn't much matter what buildings look like, what is on the ceiling or how the wall is treated - professions of detachment that stem not so much from an insensitivity to beauty as from a desire to deflect the sadness we would face if we left ourselves open to all of beauty's many absences.

5.

There is no shortage of reasons to be suspicious of the ambition to create great architecture. Buildings rarely make palpable the efforts that their construction demands. They are coyly silent about the bankruptcies, the delays, the fear and the dust that they impose. A nonchalant appearance is a frequent feature of their charm. It is only when we try our own hand at construction that we are initiated into the torments associated with persuading materials and other humans to cooperate with our designs, with ensuring that two pieces of glass will be joined in a neat line, that a lamp will hang symmetrically over the stairs, that a boiler will light up when it should or that concrete pillars will marry a roof without complaint.

Even when we have attained our goals, our buildings have a grievous tendency to fall apart again with precipitate speed. It can be hard to walk into a freshly decorated house without feeling preemptively sad at the decay impatiently waiting to begin: how soon the walls will crack, the white cupboards will yellow and the carpets stain. The ruins of the Ancient World offer a mocking lesson for anyone waiting for builders to finish their work. How proud the householders of Pompeii must have been.

In his essay 'On Transience' (1916) Sigmund Freud recalled a walk he took in the Dolomite Mountains with the poet Rainer Maria Rilke. It was an exquisite summer's day; the flowers were in bloom and brightly coloured butterflies danced above the meadows. The psychoanalyst was glad to be outdoors (it had been raining all week), but his companion walked with his head bowed, his eyes fixed on the ground, and remained taciturn throughout the excursion. It wasn't that Rilke was oblivious to the beauty around him; he simply could not overlook how impermanent everything was. In Freud's words, he was unable to forget 'that all this beauty was fated to extinc...

From Publishers Weekly

With this entertaining and stimulating book, de Botton (How Proust Can Change Your Life) examines the ways architecture speaks to us, evoking associations that, if we are alive to them, can put us in touch with our true selves and influence how we conduct our lives. Because of this, he contends, it's the architect's task to design buildings that contribute to happiness by embodying ennobling values. While he makes no claim to be able to define true beauty in architecture, he suggests some of the virtues a building should have (illustrated by pictures on almost every spread): order combined with complexity; balance between contrasting elements; elegance that appears effortless; a coherent relationship among the parts; and self-knowledge, which entails an understanding of human psychology, something that architects all too often overlook. To underscore his argument, de Botton includes many apt examples of buildings that either incorporate or ignore these qualities, discussing them in ways that make obvious their virtues or failings. The strength of his book is that it encourages us to open our eyes and really look at the buildings in which we live and work. A three-part series of the same title will air on PBS this fall. (Oct. 3)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 20606 KB
  • Nombre de pages de l'édition imprimée : 280 pages
  • Editeur : Penguin; Édition : New Ed (29 mars 2007)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B002RI99F0
  • Synthèse vocale : Activée
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  • Word Wise: Activé
  • Lecteur d’écran : Pris en charge
  • Composition améliorée: Activé
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
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Dans la lignée des ouvrages de De Botton. Agréable à lire, mais on ne sait pas toujours où l'auteur veut en arriver ...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.1 étoiles sur 5 127 commentaires
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Superb Read 19 décembre 2016
Par KY Hylbilly - Publié sur Amazon.com
Format: Broché Achat vérifié
After buying and reading this book, I did something I've never done before: ordered a copy sent to a lifelong friend who, like me, is not an architect, but has an appreciation and abiding interest in topics and writings that are so well developed and imaginative as to take the topic to a new or higher level. I told my friend that this little book is worth reading in itself on at least three separate levels of interest and enjoyment: 1) the marriage of function and beauty revealed in good architecture, 2) the soaring, imaginative range of vocabulary the author uses to make his thesis, and finally, 3) the exquisite humor he inserts, when least expected, to lighten (and enlighten). In short, this is a wonderful little book to send your spirits soaring, get a frequent laugh, and even discover new meaning and beauty in the man-made structures around us.
9 internautes sur 9 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 More Manner That Matter 1 décembre 2012
Par Anne Mills - Publié sur Amazon.com
Format: Broché Achat vérifié
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.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Architectural must-read 16 septembre 2015
Par christopher burger - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
Botton captures the essence of why we build what we do and dives into the reasoning of where our most treasured landmarks come from. This is a must read for anyone connected with the field of architecture and certainly a page turner for those who wish to be.

The writing is very well articulated but can get a little dense at times. Not bad, just a lot of information. I found it best to take this book section by section with periods of contemplation between allowing myself to digest the content better. In my opinion, this is not a book to pick up for a quick read and easy discard. There are some very well thought out concepts within these pages and it is well worth the time to read it more than once.

This book has found a place on my small shelf of essential reading.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Refreshing take on beauty in architecture 28 septembre 2016
Par Tim Williams - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
This book approaches architecture from outside the field and begins to answer questions that architects have recently forgotten to ask. (What is beauty in architecture? What is style and in which should one build?)

Required reading for architects and anyone considering buying or constructing a building.
4 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Cynics of Architecture, Read This 12 mai 2012
Par Benjamin T. Payne - Publié sur Amazon.com
Format: Broché Achat vérifié
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.
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