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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 colored 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 extinction, that it would vanish when winter came, like all human beauty and all the beauty that men have created or may create'.

Freud was unsympathetic; for him, the capacity to love anything attractive, however fragile it might be, was a hallmark of psychological health. But Rilke's stance, though inconvenient, helpfully emphasizes how it can be those most in thrall to beauty who will be especially aware of, and saddened by, its ephemeral character. Such melancholic enthusiasts will see the moth hole beneath the curtain swatch and the ruin beneath the plan. They may at the last moment cancel an appointment with an estate agent, having realized that the house under offer, as well as the city and even civilization itself, will soon enough be reduced to fragments of shattered brick over which cockroaches will triumphantly crawl. They may prefer to rent a room or live in a barrel out of a reluctance to contemplate the slow disintegration of the objects of their love.

At its apex, a passion for architecture may turn us into aesthetes, eccentric figures who must watch over their houses with the vigilance of museum guards, patrolling their rooms in search of stains, a damp cloth or sponge in hand. Aesthetes will have no choice but to forgo the company of small children and, during dinner with friends, will have to ignore the conversation in order to focus on whether someone might lean back and inadvertently leave a head-shaped imprint on the wall.

It would be pleasant to refuse in a muscular spirit to lend stray blemishes genuine significance. However, aesthetes force us to consider whether happiness may not sometimes turn on the presence or absence of a fingerprint, whether in certain situations beauty and ugliness may not lie only a few millimeters apart, whether a single mark might not wreck a wall or an errant brush stroke undo a landscape painting. We should thank these sensitive spirits for pointing us with theatrical honesty towards the possibility of a genuine antithesis between competing values: for example, an attachment to beautiful architecture and the pursuit of an exuberant and affectionate family life.

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

6.

Architecture is perplexing, too, in how inconsistent is its capacity to generate the happiness on which its claim to our attention is founded. While an attractive building may on occasion flatter an ascending mood, there will be times when the most congenial of locations will be unable to dislodge our sadness or misanthropy.

We can feel anxious and envious even though the floor we're standing on has been imported from a remote quarry, and finely sculpted window frames have been painted a soothing grey. Our inner metronome can be unimpressed by the efforts of workmen to create a fountain or nurture a symmetrical line of oak trees. We can fall into a petty argument which ends in threats of divorce in a building by Geoffrey Bawa or Louis Kahn. Houses can invite us to join them in a mood which we find ourselves incapable of summoning. The noblest architecture can sometimes do less for us than a siesta or an aspirin.

Those who have made architectural beauty their life's work know only too well how futile their efforts can prove. After an exhaustive study of the buildings of Venice, in a moment of depressive lucidity, John Ruskin acknowledged that few Venetians in fact seemed elevated by their city, perhaps the most beautiful urban tapestry in the world. Alongside St Mark's Church (described by Ruskin in The Stones of Venice as 'a Book of Common Prayer, a vast illuminated missal, bound with alabaster instead of parchment, studded with porphyry pillars instead of jewels, and written within and without in letters of enamel and gold'), they sat in cafés, read the papers, sunbathed, bickered and stole from one another as, high on the church's roof, unobserved, 'the images of Christ and His angels looked down upon them.'

Endowed with a power that is as unreliable as it often is inexpressible, architecture will always compete poorly with utilitarian demands for humanity's resources. How hard it is to make a case for the cost of tearing down and rebuilding a mean but serviceable street. How awkward to have to defend, in the face of more tangible needs, the benefits of realigning a crooked lamppost or replacing an ill-matched window frame. Beautiful architecture has none of the unambiguous advantages of a vaccine or a bowl of rice. Its construction will hence never be raised to a dominant political priority, for even if the whole of the man-made world could, through relentless effort and sacrifice, be modeled to rival St Mark's Square, even if we could spend the rest of our lives in the Villa Rotonda or the Glass House, we would still often be in a bad mood.

7.

Not only do beautiful houses falter as guarantors of happiness, they can also be accused of failing to improve the characters of those who live in them.

It seems reasonable to suppose that people will possess some of the qualities of the buildings they are drawn to: to expect that if they are alive to the charm of an ancient farmhouse with walls made of irregular chiseled stones set in light mortar.

Copyright © 2006 by Alain De Botton.

Tags: Happiness

About the Author

Alain de Botton has published four non-fiction books: Status Anxiety, The Art of Travel, How Proust Can Change Your Life, and The Consolations of Philosophy. In February 2003, de Botton was made a Chevalier dans l'Ordre des Arts et des Lettres, one of France's highest artistic honours. In November of the same year, he was awarded the Prix Européen de l'Essai Charles Veillon. In 2004, Status Anxiety was awarded the prize for the Economics Book of the Year by the Financial Times, Germany. Cambridge-educated, de Botton now lives in London.