Architecture is harder than rock

March 3, 2012

Rock musicians and award-winning actors need better homes

1. Old School thinking — Rock’n Roll and homes in conflict

Rock musicians, ICT millionaires and award-winning actors have usually to choose between pompous and rediculous and pathetic houses. Either they can buy old droppings of other musicians and actors or they ask some mediocre architects to design a stupid and inconvenient house for themselves.

Picture: ”Why best music has pompous homes?” (Juhani Risku, architect, acoustician, 2012). There is an enormous conflict between best music, musicians and their homes. Why does Sting live in a Yummy-yummy castle? Is Elton John really happy in a Chicken Dance apartment? We must help our best musicians to get good homes.

Artists, musicians, actors, ICT billionaires and celebrities choose usually mediocre and boring and pompous houses. In fact, there are two criteria which judge the value of human beings: the way you live and the way you die. Between those two criteria there are more sub-criteria: how you spend your millions, how you sleep, how you make love, how you treat your friends, what you eat and do you understand this. Let’s have a look:

Michael Jordan, bouncing balls Michael Jordan, ball man

Cindy, a face Cindy Crawford, a woman´s face

Madonna, an oldish woman Madonna, a bit oldish woman

Elton John-home Monstrous homes of celebrities.

Proletarian Finnish sauna and Michael Strahan, and his $US million investment. Michael Strahan and  $16 million sauna.

Those pompous buildings are not homes, especially for creation of rock music or any art and innovations. Monstrous houses of musicians, artists and celebrities are from the era of intellectual stagnation, life of dead [wo]man walking and mental death. We have to do something before they kick the bucket. Architecture can save Rock’n Roll, art, innovation and business.

2. Architecture helping Rock’n Roll

Artists, musicians, actors, celebrities and business people need trusted architects to design rock hard houses for themselves. In an architectonicl house your life is better, you can feel youself closer to nature, you have better sex and you can luxuriate in drink and food.

Picture:  ”Best musicians need proper homes!” (Juhani Risku, architect, acoustician, 2012). Contemporary Rock’n Roll is so good that it challenges architects to create architecture of the same kind. Rock musicians would certainly understand heavy rock architects. But where are they, I mean heavy rock architects and their companions, rock artists?

But where to find those architects? What is architecture? Is it that simple, just google for them? No, there are seven (7) architects always out there, if one dies one pops up. It´s zero sum game, there is room for just seven coeval architects. Most of them are on the lam. But there are thousands of humbugs at your service.

This is a site for musicians and celebrities to find plans and forms for better homes and strongholds for Rock’n Roll creation.

ArchitectureRock homes are also  profitable investments because there is a limited number of realized ones. Serie 47/47 is closed in two years and continued with Serie ƒ(mist).

3rd Mar 2012,  Juhani Risku, architect, acoustician, Helsinki Finland

_______________________________________________________________________

2. Architecture, design, concepts – Juhani Risku

This is a brief collection of architect SAFA Juhani Risku´s architecture, design, concepts and proposals.

_________________________..________________________

1

Tuulisiipi café, restaurant, gas station, Laukaa, Lievestuore 1989

.

_________________________..________________________

2

Chapel, St-Petersburg

.


Chapel proposal to St-Petersburg. 2013, Juhani Risku

_________________________..________________________

3

Performance Theater, New-York

Dedicated to Claude-Nicolas Ledoux by Juhani Risku.

Finnish: Tanssin talo, performanssiteatteri, konsepti New York 2016, Juhani Risku

_________________________..________________________

4

Art Gallery, Shekou Shenzhen China

Art Gallery plan to Shekou Shenzhen China. 2012, Juhani Risku

_________________________..________________________

5

Contemporary Dance Studio London UK

Contemporary Dance Studio concept to London.

Finnish: Tanssin talo, nykytanssistudio, konsepti Lontoo 2015, Juhani Risku.

Sadetanssistudio

_________________________..________________________

6

Chamber Music Hall, Besançon France

Chamber Music Hall, 2013, Juhani Risku.

Reversed acoustical sound field,

_________________________..________________________

7

Villa Paletti, Längelmäki Central Finland 1989

Site plan

Scale model

Scale model

Section

Facades S+N

Façades W+E

Plan, 1st floor

Plan, base

View from NW

Interior, 1st floor

Interior

More information: PDF page 460.

_________________________..________________________

8

Pavilion Meritori, Helsinki 1988

_________________________..________________________

9

Nokia Innovation Center, Näkkälä Lapland Finland 1986, 2008

              

Nokia Innovation Center, PDF

_________________________..________________________

10

Atelier, Studio and Workshop, Lake Inari Lapland Finland 2011

_________________________..________________________

11

Stone Chapel, Saint Birgitta’s Chapel, Vivamo Lohja Finland 1994-2025

_________________________..________________________

12

Exhibition “Two Architectonic Universes” 1998, Museum of Finnish Architecture, Jorma Mukala and Juhani Risku

The Mukala-Risku exhibition was simultaneous with Zaha Hadid’s exhibition in the Museum of Finnish Architecture. Director Severi Blomstedt called Risku’s part of the exhibition “Ghost Train”.

_________________________..________________________

13

Dream House 12/47 For my Muse, Sierre Suisse 2009

_________________________..________________________

14

Maison Björk, Latrabjarg Island Iceland 1990

_________________________..________________________

15

Maison de la Beaute, Inuvik Canada, Dream House 2011

_________________________..________________________

16

Maison d’Etoile, Hvallatur Iceland Island 1992

_________________________..________________________

17

Rankkasauna, Aurillac France, Dream House 1992

_________________________..________________________

18

Sauna, Karkkila Dream House, Finland 2000-2002

_________________________..________________________

19

Stormy Wind, Ullapool Scotland, Dream House 2011

_________________________..________________________

20

Villa Aigne, Annagh Head Ireland, Dream House 2008

_________________________..________________________

21

Villa Mysterious, Lake Inari, Dream House 2011

_________________________..________________________

22

Villa Runo, Villa Dream, Mehamn Norway 2011

====================================================

Arctic Typologies

_________________________..________________________

23

Arctic Composition 1 to Inari, Inarin kunta taajama, Juutuankoski, Dream House 2011

_________________________..________________________

24

Arctic Composition 2 to Inari, Inarin kunta taajama, Juutuankoski, Dream House 2011

_________________________..________________________

Selkäsaunari, Kirakkaniemi, Kärppäsaari, Inari, Ivalo

_________________________..________________________

25

_________________________..________________________

26

_________________________..________________________

27

_________________________..________________________

28

_________________________..________________________

29

_________________________..________________________

30

Design Center Tourula, Jyväskylä, Central Finland

_________________________..________________________

47/47 Houses, Architectural Concepts 2003, Exhibition Pisaroita, Karkkila Högfors

   

Architectonics (Architectural concepts, drawings, scale models, theoretical basis)

  • 22/47 Casa Capriccio, Canal Grande, Venezia, Venice (reserved for Madonna)
  • 24/47 Villa Loisto, Porkkala, Suomi, Finland (reserved for Chisu)
  • 26/47 Chalet Mont Aigu, Bleau France (reserved for Juliette Katz)

3rd Mar 2012,  Juhani Risku, architect, acoustician, Inari Finland

abstractionshift..new-nokia..criticismcritique..kritiikkiblogi..keynotes..


Garden City is a scalable ecocity

January 19, 2012

Arctic Garden City is an application of the generic Garden City concept by Claude-Nicholas Ledoux, Ebeneser Howard and Juhani Risku (1775, 1902, 1995, 2013). The Ledoux-Howard-Risku Garden City is ecological, economical and ethical model for next generation urban planning and construcion of new cities.

14_Arctic-Garden-City-urban-town-planning-design-Center-Juhani-Risku-Ledoux-Howard-Architecture-47-Ivalo-ecocity

Graph: The Ledoux-Howard-Risku Garden City is scalable, dynamic and applicable in different cultures, geographical locations and interests of trades and activities.

The Ledoux-Howard-Risku Garden City offers methods and procedures for envisioning, planning, concepting, design, organising and execution.


Definition of Architecture by Juhani Risku

January 3, 2012

Architecture is…

Laïa Karelïa, alias architect SAFA Juhani Risku, Ivalo Nokia architecture design criticism, critique

This is a collection of the theoretical bases of Laïa Karelïa’s, alias architect SAFA Juhani Risku‘s, architecture and design principles.

Architecture is αρχι- (archi-) + τεκτων (tekton), the superior and prior + master of any art (author, creator, planner, carpenter, builder).

To reach architectural qualities when concepting, designing and constructing a building the creation process and architectonic entities has to be on αρχι- and τεκτων level. This means:

  • that none of the practical efforts (concepting, designing and constructing) can be mediocre (but αρχι- and τεκτων)
  • that the creation process and architectonic entities can´t be mediocre (but αρχι- and τεκτων)
  • Any other construction activities except architecture – is art of building – Baukunst (Ger.), byggnadskonst (Swe.), byggekunst (Nor.), bouwkunde (Ned.), rakennustaide (Fin.), ehituskunst (Est.), or even lower level construction like rapid resettlement, styling, prettification, pictorial and visual design of buildings. The lowest level of construction is violent construction. See table (only in Finnish).

Architecture is very rare and exceptional (apprx. 0,0001 % of annual total construction -> every 10000th house may fairly reach 70-80 % of architectonic criteria).

Formula: Architectonic Coefficient = [(αρχι- and τεκτων buildings) : (whole personal building portfolio) added with + (plus) if the architect has an identified written or interpreted theory and fundamentally original and unique architectural ideas and concepts].

_________________________..________________________

Definitions by Juhani Risku

1. Degree of Freedom = Human Sovereignty = Power

Human Sovereignty

Image 1. Dimensions of Human Freedom – Human Sovereignty and Power. Human being can be free and responsible and have power on four simultaneous and Functional. The i-factor defines the complexity and fuzziness of reality. The idea of theory and praxis is to diminish the influence of i-factor, not to cocoon in architectural confusion and artistic disarray or design jihad. Factors i and Dis in the Formula of Beauty is an enlargement of sole i-factor. i in Power is equivalent for i and Dis of Beauty.

If some dimensions are rudimentary or faint the person´s profile becomes malformed. If the Erotic dimension is wanting, art, beauty, harmony, sensuality, sexual initial vigour and aesthetic appeal are missing or disappered from the person. Erotic dimension has been replaced with Seven deadly sins: Envy, Gluttony, Greed, Lust, Pride, Sloth, Wrath as forces of insticts and intetions create present hostile art, architecture and design community atmosphere. Compete, copy, compare and contend.

  • Ethical = Truth = trueness
  • Erotic = Beauty = creation, ideas
  • Spiritual = Goodness = will, inner
  • Functional = Diligence = skills, craft

_________________________..________________________

2. Basic Instincts – Human Need Palette

Basic Instincts - Human Need Palette, Laia Karelia, Juhani Risku, architect Ivalo Nokia

Image 2. Hierarchy of Needs (Risku a.k.a. Laïa Karelïa). Human needs come from basic instincts which are built-in structures in human beings. Instincts are survival, intention to be Primum Mobile – unique and causa prima cognisance, artistifying and consummating, take over space and context, togetherness and concealment of purest and sanctified. Needs are dimensions with no overlap but independent domains. A dimension defines an imperative domain (math) without common factors (overlap). If some dimensions are rudimentary or faint or inbalanced the person has to strive towards balance. All values are based on deficiencies in need dimensions (like heed of money = lack of money).

Problems in Maslow’s hierarchy of needs:

  • Safety and Physiological needs have overlapping and inconsistency –> should follow Survival and subsistence
  • Self-actualization and Esteem are from same sources –> slightly touching Artistifying and partly touching Firstness.

Maslow´s theory has only three levels and it´s missing fundamental drives like Take possession of context and Secrecy and hiding.

_________________________..________________________

3. Architectonic Circle

Architectonic Circle, Laia Karelia, Juhani Risku architect Ivalo Nokia

Image 3. Architectonic Circle – Seven step pattern of creation. Each step has to reach αρχι- and τεκτων level (archi and tekton). This demanding process defines the meaning, quality and value of the entity or task in question. The Circle can be applied in art, architecture, design, drama etc. because creation and formgiving follow consistently same pattern. Every round refines the pattern to wholeness where all seven steps merge together and later it is diffucult or unimportant to recognise the starting point of the current creation process.

If one or more steps are withered or weak the pattern jerks and no viable artefact is created. As architectural examples typically architect´s frailties are lack of thinking (theory), meaningless or stupid ideas, limping genesis process (democratic design, CAD-based formgiving, Building Information Modeling, Object-Oriented Design) as architectonic base, poor craftsmanship on site and no progress in personal planning and design history or thinking.

Some contradictions can be found: Frank Gehry has good buildings but meaningless or no theory at all. Zaha Hadid´s ideas are clumpy but she is admired. Daniel Libeskind and Juhani Pallasmaa are genius theorists but nothing called architecture by them exist.

_________________________..________________________

4. Contextual Drives and Instincts

Contextual Drives and Instincts, Laia Karelia, Juhani Risku architect Ivalo Nokia

Image 4. Drives and Instincts in Context. Inner human drives and instincts follow contextual pattern. Every step cultivates and refines the meaning and achievements. Every round ennobles the actor´s meanings and intentions and rises her maturity and capabilities.

Contextual Drives and Instincts follow Architectonic Circle´s Seven step pattern in human spiritual and functional growth and awareness.

Positive external support is possible during developing skills and self-respect. Human being is sovereign and autonomous in defining higher goals, achieving personal targets, understanding meanings, feeling herself as unique individual and creating ideas and meanings. Training and coaching are the media to support a person.

_________________________..________________________

5. Dimensions of Essence – Tetrahedron of fundamental factors

Dimensions of Essence – Tetrahedron of fundamental factors, MIST UI dimesnions, Laia Karelia, Juhani Risku architect Ivalo Nokia

Image 5. Dimensions of Essence – Tetrahedron of fundamental factors.
Dimensions are minimum number of factors needed to specify an entity. MIST defines fundamental dimensions of phenomena, essence and existence. MIST dimensions can be applied to any process, thing and idea. Dimensions Matter, Idea, Space and Time may need to be transformed to simpler or more specified abstraction level when concepting, structuring content, services or Use Cases.

Example to give structure for contextual User Interface (MIST UI) in mobile phones:

  • Matter = What? = things, lists, needs
  • Idea, Interest = Why? = content, music
  • Space = Where? = location, maps, directions
  • Time = When? = clock, time management

Contextual sensors can sense and sniff the user´s context and adjust the phone to right context and this way ease UI navigation. Now the depth of navigation to certain use cases and services is straight, rather 2 clicks than 7.
Tetrahedron is a fourfold table in 3D.

_________________________..________________________

6. Takete & Malumba (Maluma) also called the Bouba/Kiki Effect

Takete & Malumba (Maluma) also called the Bouba/Kiki Effect, Laia Karelia, Juhani Risku architect Ivalo Nokia
Image 6.
Takete and Malumba are opposite and interacting forces like Jin&Jang, good and bad, 1 and 0, Janus and dialogue, both natures needed to fulfil the entity. Churches Ronchamp, Vuoksenniska and Kaleva by Le Corbusier, Aalto and Pietilä have strong Takete and Malumba in their composition, structure and appearance. Without Takete and Malumba you get meaningless, boring and average construction, normal production. Mechanically composed Takete and Malumba destroys all spirit and sensuality in formgiving.

Functionalism as copycat morphology and industry-limited-formgiving are without Takete and Malumba dimensions. Therefore those morphologies are moredull, violent and boring than newborn vernacular and DIY-art: the hobbyist´s intention and the rookie´s joy are Malumba contexts, the construction and art are Takete contexts. This is the reason that out-of-the-box actors are more original and interesting than the done-it-all-professionals.
Artists and designers know from their past painting and sculpting classes at college that Takete & Malumba is always in the artefact whether it is intended and planned or not. It is weak or stong, it is significant or it is there by accident. If Takete & Malumba is included as basic criteria of the design process (as well as form, materia, structure, size, scale, function, outlook, birth and formgiving) and the counterpoint, contrapunct (punctus contra punctum, lat.) is well composed, has the artefact reached the level of harmonious ensemble.

_________________________..________________________

7. Formula of Beauty

Image 7. Beauty is the deepest and most original sensation of reality.

_________________________..________________________

8. Composition Patterns – Design patterns in Art, Design and Architecture

Composition Patterns by Laia Karelia, Juhani Risku

Image 8. Composition Patterns. A selection of Design patterns in Art, Design and Architecture.

_________________________..________________________

9. Laïa Karelïa´s history in architecture

Juhani Risku alias Laïa Karelïa
Laïa Karelïa is architect SAFA who bases his architecture on Architectural Morphology. Morphology is a theoretical system, which consists of creation process, architectonic entities and practical effortslike concepting, designing and constructing.


Architecture designed by Laïa Karelïa is based on his theory of Architectural Morphology. Morphology is continuation from Reima Pietilä´s and Alvar Aalto´s writings and theoretical thoughts. Very crucial influence Laïa has got from architects Matti K. Mäkinen, Alpo Halme, Jorma Mukala and Helmer Stenros. Helmer ignited the passion of architecture with profound and structural attitude to theory, practice and details. Alpo explained architect´s responsibility which is total. Matti K. is person to show the throughgoing meaning of architecture: life, design, power, women, architecture, processes, women and power. With Jorma I had an exhibition of architecture “Two Architectural Universes” year 1988 at the Museum of Finnish Architecture simultaneously with Zaha Hadid‘s having her exhibition in the main hall.

Architect Marcus Vitruvius Pollio, Dom Hans van der Laan, philosophers Friedrich Nietzsche, Immanuel Kant and Sören Kierkegaard have been fundamentally mediating to the Morphology.

Some special persons have influenecd the Theory of Morphology: Desmond Morris, Albert Einstein, Kurt Gödel, Fibonacci (Leonardo of Pisa) and Leonardo da Vinci.

_________________________..________________________

4th Apr 2012,  Juhani Risku, Inari Finland


Art, man and space — on defining art

January 2, 2012

The arts have several common factors

Art has to be defined. It’s the only way for the artist to know what she is doing, otherwise the work of an artist is meaningless running around and waste of efforts.

Chart Art, man and space. Comparison between main (fundamental) arts by human relation to space. The categories follow human need and motivation dimensions. Primitive dimension means that basic needs and desires have to be fulfilled. When approaching the sophisticated dimension human intellectuality is on its highest sensual level.

Chart Hierarchy of needs (by Juhani Risku). Human needs, desires and drives guides an individual in her intents and actions. All plans and decisions are made according to one’s needs, desires and drives. Other structured human need and desire theories are made by e.g. Maslow and Reiss.

Juhani Risku’s definition of art (to be translated)

“Taidetta on ihmistekoinen eli keinotekoinen systeeminen kokonaisuus, ihmisen ylimmän luomisen, ajattelun ja työn tulos, joka edistää elämää ja rakkautta.”

Taide täyttää seuraavat ehdot:

  1. Taide on ihmisen ylintä eettistä, eroottista, henkistä ja toiminnallista vapautta
  2. Taiteella on aina jotain pyhitettävää
  3. Taide edistää elämää
  4. Taide on ihmistekoisuuden ylin taso
  5. Taide on ainutkertaista
  6. Taide syntyy täydellisenä
  7. Taidetta tehdään lahjaksi
  8. Taide on ehdotonta
  9. Taideteos on aina enemmän kuin mitä tekijä ymmärtää
  10. Taidetta ei voi tehdä itselle
  11. Taidetta ei voi tehdä yksin
  12. Taiteessa ei ole aggressiota, uhoa, itseilmaisua, kuvaa, harhaa eikä petosta
  13. Taide ei ole terapiaa
  14. Taiteilija eli taiteen synnyttäjä elää taiteella ja taiteesta
  15. Taiteilija välittää taidetta seuraaville sukupolville.

Taiteen pääulottuvuudet ovat teatteri, musiikki ja arkkitehtuuri. Niiden yksilölajeja ja synnyttäjiä ovat runous, kirjallisuus, sävellys, soittotaito ja arkkitehtuurin teoria ja rakentamistaito. Taiteen kolmea ulottuvuutta yhdistää leikki.

Taiteiden johdannaiset, kavennetut taiteet ja aputaiteet sijaitsevat yksilölajeina, terapeuttisina ja viihdyttävinä, kuva- ja ilmaisutaiteina päätaiteiden lähistöillä. Näitä ovat mm. maalaustaide, kuvanveisto, musiikin ja teatterin viihteelliset muodot. Rikos- ja sairausluokituksen mukainen toiminta ei ole taidetta.

___________________________

Taiteen syntytavat

Taide syntyy eriasteisina ja erilaatuisina riippuen sen syntytavasta. Alla taulukko taiteen syntytavoista:

Kaaviossa taiteen syntytapa arvottaa taidetta sisällöllisesti, laadullisesti ja tekijän taitojen ja ymmärryksen suhteen. Kaaviossa ylimpänä oleva rakkaussyntyinen tapa on arvokkain ja laadullisesti täyteläisin. Muut syntytavat tuottavat rajoittuneita ja puutteellisia teoksia. Esimerkiksi kuvataiteiden ns. “kuvaamistehtävä” on voimakkaasti taitelijaa henkilönä korostava, jopa narsistisesti ja eksibitionistisesti jopa yli varsinaisten taiteellisten ajatusten ja taitojen. Alla taiteen syntytapojen laajempi taulukko:

Nihilismisyntyinen tapa ei tuota taidetta lainkaan, mutta koska siinä on kaikki taiteen piirteet, nihilismin elämän kieltäminenkin saadaan näyttämään taiteelta.

Määritelmän mukaisia päätaiteita ovat musiikki, teatteri ja arkkitehtuuri. Muut taidelajit ja -luokat on johdettu päätaiteista niitä kaventaen, heikentäen, vaatimustasoa vähentäen, taidoista, tiedoista, kokemuksesta ja ymmärryksestä tinkien. Kaavio alla:

Jokaisella taiteilijalla on taitelijaksi kehittymisen evoluutiohistoria. Karkeasti arvioituna silloin kun taiteilijoita koulutettiin vähemmän (noin vuodesta 1980 taaksepäin), taiteilijat saivat henkilökohtaisemman, huolehtivamman ja ankaramman kritiikin alaisen koulutuksen. Muutamat saivat jopa mestari-kisälli -tyyppisen koulutuksen.

Kun taidekoulutusta on lisätty alue- ja työllisyyspoliittisesti, kouluttajiksi on otettu laaja keskinkertaisuuksien joukko, joiden liikuttavana voimana on enemmänkin virkasuhteen ylläpito kuin taiteen täydellistäminen.

Samalla taiteen ulkopuolisten opettajien ja tutkijoiden osuus on lisääntynyt taidekoulutuksessa ja -tutkimuksessa. Näin henkilöt, jotka eivät itse osaa eivätkä ymmärrä synnyttää taidetta kuitenkin koettavat vaikuttaa taiteen maailmassa. Taiteen tiedon, taidon ja ymmärryksen hankinnassa pitää olla tiedonhankinnan, taidonhankinnan ja ymmärryksenhankinnan menetelmiä ja lähteitä. Jos ne jakautuisivat omiin kolmasosiinsa, niin ns. taidehistorioitsijalta usein puuttuu 2/3 täysivaltaisen taidetoimijan ominaisuuksista vieläpä niin, että hänen hankkima taidetieto ei ole suorassa suhteessa taiteeseen. Samankaltainen taiteen ulkoinen asema ja siis välitön epäpätevyys taidekoulutukseen vaivaa kuvaamataidonopettajia ja kuvataideopettajia.

Alla olevassa kaaviossa on esitetty yhden taiteilijan, arkkitehdin, evoluutiopolkuja. Arkkitehdin ammatti-identiteetin kannalta merkittävin vaihe on arkkitehtiopintojen ensimmäiset viisi vuotta. Suomalaisen ja kansainvälisen rakentamisen tasosta päätellen erittäin harva arkkitehtikoulutettu toimii arkkitehdin taidoilla ja taiteilijan intohimolla.

Moni arkkitehti onkin, epäonnistuttuaan vaativissa arkkitehtonisissa tavoitteissaan, joutunut luopumaan arkkitehti-ihanteistaan ja päätynyt ulkoarkkitehtonisiin tehtäviin kouluttajaksi, tutkijaksi ja rakennusalan alistetuksi piirustusten laatijaksi. Osa juhlituista arkkitehdeista, arkkitehtikilpailuvoittajista, on valitettavasti typertynyt sankarin rooliinsa ja tuottaa samaa rakennusta eri muodoissaan vuodesta toiseen.

Taiteen määrittely antaa taidekritiikille pelisäännöt. Riskun taidemääritelmä ja siihen perustuva kritiikki on ankaraa, mutta tuskin niin ankaraa kuin mitä taiteen ostajat, sivistysevoluutio ja kulttuurihistoria konsanaan ovat. Kun taidetta katsova henkilö vähät välittää taideteoksesta saati ostaa sen, hän kritisoi passiivisesti sekä teosta että taiteilijaa. Kritiikki on vieläpä julmempaa, kun henkilö ostaa kilpailevan taiteilijan teoksen. Tätä voidaan soveltaa museoiden ja mesenaattien sisäänostopolitiikkaan ja taiteesta kirjoittaviin journalisteihin. Passiivinen kritiikki on tuhannesti julmempaa kuin suora, avoin ja käsitteellisesti selkeä kritiikki.

Taideteoksen täysi syntyprosessi, arkkitehtoninen kehä

Taideteoksen sisällöllinen ja materialisoituva laatu ratkaistaan syntyprosessissa, synnyn hetkellä. Arkkitehtoninen kehä kuvastaa syntyprosessia:

Taideteoskokonaisuuteen vaikuttavat sen alkuidea, synty, teoksen työstäminen, teos ilmiasuineen, teoksen itsenäistynyt olemassaolo, sen käsitteellinen ja teoreettinen sisältö ja kokonaisvaltaisimpana tekijänä, teoksen olemus.

Taiteilija voi vaikuttaa jokaiseen kehän vaiheeseen täysivaltaisesti. Hyvää taidetta syntyy, kun jokainen vaihe onnistuu ja on sisällöltään ja muodoltaan hyvä. Jos taas yksikin vaihe epäonnistuu, teos ei kuulu taiteen kategoriaan. Esimerkiksi kelvoton idea (vahingollinen, varastettu, vajaa) täydellisesti toteutettuna tuottaa mekanistista mutta hengetöntä taidetta. Hyvä idea huonosti toteutettuna on tavallista taidottomalle, laiskalle ja ylimieliselle taiteilijalle. Tähän liittyen, valtaosa sarjakuvataiteilijoista ei osaa edes piirtää.

Arkkitehtoninen kehä on yleispätevä prosessi jokaisen taiteellisen ja muunkin teon  ja teoksen synnyn yhteydessä, niin hyvässä kuin pahassakin. Heikkolaatuisessa perusrakentamisessa idea ja toteutus ovat huonoja, monella innokkaalla harrastajataiteilijalla (wannabe-taiteilija, Ite-taiteilija) joko idea, synty tai työstö saavuttavat huippunsa kelvottomuudessa, usein onnistutaan jopa koko kehän vaiheet alittamaan ennätyksellisesti. Nopeana esimerkkinä tässä viitataan Museum of Bad Artiin. Rehellisimmillään huono taide on esimerkiksi sitä, että vanhempien pakottama taiteilija ei kerta kaikkiaan osaa piirtää ja ideatkin ovat masentavia – ja taiteilija silti jatkaa eläköitymisen jälkeenkin.

.


Follow

Get every new post delivered to your Inbox.