Ingerid Helsing Almaas<\/p>\n
<\/p>\n
Ingerid Helsing Almaas: V\u00a0zahrani\u010d\u00ed panuje obecn\u00fd dojem, \u017ee tradi\u010dn\u00ed i sou\u010dasnou norskou architekturu ovliv\u0148uj\u00ed hlavn\u011b dv\u011b v\u011bci \u2013 \u00fazk\u00e9 sep\u011bt\u00ed s\u00a0panenskou p\u0159\u00edrodou a velmi dob\u0159e zvl\u00e1dnut\u00e9 um\u011bn\u00ed stav\u011bt ze d\u0159eva. M\u00e1te pocit, \u017ee to sed\u00ed? <\/strong><\/p>\n Sverre Fehn: Norsk\u00e1 p\u0159\u00edroda je skute\u010dn\u011b divok\u00e1, nedot\u010den\u00e1 lidskou \u010dinnost\u00ed. T\u00edm se li\u0161\u00edme od v\u011bt\u0161iny jin\u00fdch zem\u00ed, v\u00a0nich\u017e p\u0159evl\u00e1d\u00e1 obd\u011blan\u00e1 p\u016fda. T\u00e9m\u011b\u0159 v\u0161ude jinde v\u00a0Evrop\u011b jsou skoro v\u0161echny stromy um\u011ble vysazen\u00e9, zato u n\u00e1s si dokonce i v\u00a0Oslu m\u016f\u017eete postavit vilu na panensk\u00e9 p\u016fd\u011b \u2013 p\u0159\u00edkladem je t\u0159eba Villa Schreiner. Tohle je na norsk\u00e9 p\u0159\u00edrod\u011b \u00fa\u017easn\u00e9. Na druhou stranu si nemysl\u00edm, \u017ee jsme v\u00a0tomhle ohledu b\u016fhv\u00edjak origin\u00e1ln\u00ed. Kdy\u017e si \u010dlov\u011bk chce postavit d\u016fm, nap\u0159ed vyk\u00e1c\u00ed stromy, pak zaseje tr\u00e1vu, zasad\u00ed p\u00e1r \u0161vestek (sm\u00edch) a pod\u00e9l z\u00e1kladov\u00e9 zdi nejsp\u00ed\u0161 z\u0159\u00edd\u00ed z\u00e1hon s\u00a0tulip\u00e1ny. Jako byste zasadili strom do kv\u011btin\u00e1\u010de uprost\u0159ed divok\u00e9 p\u0159\u00edrody. Vlastn\u011b mi to p\u0159ijde dojemn\u00e9 \u2013 v\u00a0n\u011b\u010dem je to skv\u011bl\u00e9 (sm\u00edch). Na druhou stranu nen\u00ed tahle pr\u00e1ce s\u00a0prost\u0159ed\u00edm zrovna vzorem n\u00e1paditosti.<\/p>\n Vezm\u011bte si takov\u00e9 Japonsko \u2013 tam p\u0159\u00edrodu po\u0159\u00e1d n\u011bjak vylep\u0161uj\u00ed. Tu useknou p\u00e1r v\u011btv\u00ed, tu je r\u016fzn\u011b oh\u00fdbaj\u00ed a svazuj\u00ed, dovedou stromy zv\u011bt\u0161it nebo zmen\u0161it, jak se jim zachce. Vlastn\u011b se d\u00e1 \u0159\u00edci, \u017ee tu p\u0159\u00edrodu m\u00e1lem mu\u010d\u00ed.<\/p>\n IHA: Znamen\u00e1 to, \u017ee jsou Norov\u00e9 k\u00a0p\u0159\u00edrod\u011b laskav\u011bj\u0161\u00ed? \u017de jim sta\u010d\u00ed jen vysadit p\u00e1r \u0161vestek?<\/strong><\/p>\n SF: Ne, to v\u00a0\u017e\u00e1dn\u00e9m p\u0159\u00edpad\u011b, jsou jenom naivn\u00ed. Nebo je mo\u017en\u00e1 na\u0161e p\u0159\u00edroda natolik drsn\u00e1, \u017ee se ze v\u0161ech sil sna\u017e\u00edme, aby vypadala romanticky a hezky na pohled. Z\u00a0architektonick\u00e9ho hlediska tu ov\u0161em nic vysloven\u011b n\u00e1padit\u00e9ho nenajdete. Vezm\u011bte si t\u0159eba tu v\u00e1\u0161e\u0148 pro tradi\u010dn\u00ed sruby a dal\u0161\u00ed d\u0159ev\u011bn\u00e9 stavby. V\u0161echny ty farmy a stodoly zab\u00edraj\u00ed hrozn\u011b moc m\u00edsta, byl by \u00fapln\u00fd nesmysl sna\u017eit se tenhle trend rozv\u00edjet d\u00e1l. Je to jist\u00e1 forma romantismu, ze kter\u00e9 jsme nedok\u00e1zali nic po\u0159\u00e1dn\u00e9ho ud\u011blat \u2013 up\u0159\u00edmn\u011b \u0159e\u010deno, s\u00a0t\u00edm d\u0159evem jsme nic moc nedok\u00e1zali obecn\u011b.<\/p>\n IHA: D\u00e1 se tedy \u0159\u00edci, \u017ee se Norov\u00e9 chovaj\u00ed k\u00a0p\u0159\u00edrod\u011b bezohledn\u011b? <\/strong><\/p>\n SF: Ano. Ano, to by se \u0159\u00edci dalo.<\/p>\n <\/p>\n P\u0159\u00edroda jako metafora <\/u><\/em><\/p>\n IHA: Architekti se obecn\u011b mus\u00ed hodn\u011b sna\u017eit, kdy\u017e maj\u00ed svou pr\u00e1ci vysv\u011btlit b\u011b\u017en\u00fdm lidem. K\u00a0nejsnadn\u011bj\u0161\u00edm zp\u016fsob\u016fm pat\u0159\u00ed r\u016fzn\u00e9 odkazy na p\u0159\u00edrodu. Kontakt s\u00a0p\u0159\u00edrodou skoro v\u0161ichni vn\u00edm\u00e1me pozitivn\u011b, a\u0165 u\u017e jde o p\u011bkn\u00fd v\u00fdhled, nebo u\u017e\u0161\u00ed sep\u011bt\u00ed s\u00a0krajinou a m\u00edstn\u00edm prost\u0159ed\u00edm. V\u00a0Norsku je jednodu\u0161\u0161\u00ed vysv\u011btlovat architektonickou koncepci na p\u0159\u00edkladech z\u00a0p\u0159\u00edrody, p\u0159\u00edpadn\u011b pou\u017e\u00edvat nejr\u016fzn\u011bj\u0161\u00ed p\u0159\u00edrodou inspirovan\u00e9 metafory \u2013 d\u016fm se d\u00e1 p\u0159irovnat t\u0159eba k\u00a0ledovci nebo pta\u010d\u00edmu hn\u00edzdu. Nen\u00ed to ale a\u017e p\u0159\u00edli\u0161 zjednodu\u0161uj\u00edc\u00ed? <\/strong><\/p>\n SF: To ano, ale vztah lid\u00ed k\u00a0p\u0159\u00edrod\u011b je tady v\u00a0Norsku aktivn\u00ed \u2013 ut\u00edk\u00e1me do p\u0159\u00edrody, kdykoli je k\u00a0tomu p\u0159\u00edle\u017eitost. Nem\u016f\u017eete nav\u00e1zat kontakt s\u00a0Bohem, pokud nely\u017eujete, nejl\u00e9pe ka\u017ed\u00fd t\u00fdden (sm\u00edch). Tak\u017ee na tom prov\u00e1z\u00e1n\u00ed architektury s\u00a0p\u0159\u00edrodou n\u011bco opravdu bude, u n\u011bkter\u00fdch staveb je to z\u00e1kladn\u00ed princip. Logick\u00fdm vy\u00fast\u011bn\u00edm jsou pak projekty typu Muzea ledovc\u016f, co\u017e je v\u00a0podstat\u011b jeden velk\u00fd pomn\u00edk p\u0159\u00edrod\u011b. V\u00a0n\u011bm m\u016f\u017eete p\u0159\u00edrodu uct\u00edvat a naj\u00edt v\u00a0n\u00ed Boha. Ale tenhle n\u00e1pad zat\u00edm nikdo moc nerozv\u00edjel.<\/p>\n IHA: Jsou tyhle zku\u0161enosti s\u00a0p\u0159\u00edrodou k\u00a0n\u011b\u010demu dobr\u00e9? P\u0159in\u00e1\u0161ej\u00ed n\u011bjak\u00fd hlub\u0161\u00ed vhled? <\/strong><\/p>\n SF: P\u0159\u00edroda je v\u00a0z\u00e1sad\u011b krut\u00e1. A lidsk\u00e1 n\u00e1tura tak\u00e9 nen\u00ed zrovna holubi\u010d\u00ed, a kdy\u017e se j\u00ed d\u00e1 voln\u00fd pr\u016fchod, m\u016f\u017ee to m\u00edt dosti zl\u00e9 n\u00e1sledky. Tomuto aspektu p\u0159\u00edrody p\u0159itom p\u0159\u00edli\u0161 nerozum\u00edme. Na\u0161e sou\u010dasn\u00e1 kultura n\u00e1s odv\u00e1d\u00ed \u00fapln\u011b jinam \u2013 t\u0159eba kon\u011b \u00fapln\u011b p\u0159est\u00e1v\u00e1me vn\u00edmat jako zv\u00ed\u0159ata, kter\u00e1 t\u00e1hnou pluh nebo slou\u017e\u00ed jako v\u00e1le\u010dn\u00e9 n\u00e1stroje. Zredukovali jsme je na ryze estetickou \u00farove\u0148, kdy p\u00e1d\u00ed dokola na dostihov\u00e9m ov\u00e1lu a cel\u00e9 je to takov\u00e1 kr\u00e1sa, \u017ee by z\u00a0toho \u010dlov\u011bk omdlel. Nic dal\u0161\u00edho u\u017e ale nejsou \u2013 a\u010dkoli je k\u016f\u0148 s\u00e1m o sob\u011b fantastick\u00e9 stvo\u0159en\u00ed, kter\u00e9 inspirovalo spoustu technick\u00fdch vyn\u00e1lez\u016f. Znamen\u00e1 to, \u017ee se v\u00a0na\u0161\u00ed kultu\u0159e p\u0159\u00edrod\u011b neust\u00e1le vzdalujeme. P\u0159edev\u0161\u00edm to plat\u00ed pro p\u0159\u00edrodu jako prost\u0159ed\u00ed, kter\u00e9 dok\u00e1\u017eeme n\u011bjak vyu\u017e\u00edvat.<\/p>\n Tyto trendy se projevuj\u00ed i v\u00a0architektu\u0159e. To ale z\u00e1rove\u0148 znamen\u00e1, \u017ee se \u010dasem m\u016f\u017eeme p\u0159ibl\u00ed\u017eit t\u0159eba Japonc\u016fm, kte\u0159\u00ed p\u0159\u00edrodu zkultivovali ve vztahu k\u00a0dom\u00e1cnosti. Vezm\u011bte si ty jejich posuvn\u00e9 dve\u0159e, d\u016fraz na v\u00fdhled z\u00a0okna, zp\u016fsob, jak\u00fdm na\u0161lapujete na zem, kameny poskl\u00e1dan\u00e9 p\u0159ed prahy dve\u0159\u00ed apod. Skrze sv\u00e9 n\u00e1bo\u017eenstv\u00ed pozdvihli vyu\u017e\u00edv\u00e1n\u00ed p\u0159\u00edrody na filosofii, a v\u00fdsledkem je velmi specifick\u00e1 architektura. Kdy\u017e se ale o n\u011bco podobn\u00e9ho pokus\u00edte v\u00a0Norsku, jako jsem se pokusil j\u00e1 s projekty Villa Busk a Villa Schreiner, \u017e\u00e1dn\u00fd velk\u00fd \u00fasp\u011bch to nem\u00e1. V\u00a0podobn\u00fdch p\u0159\u00edpadech fungujete v\u00a0\u00fazk\u00e9m sep\u011bt\u00ed s\u00a0p\u0159\u00edrodou a sna\u017e\u00edte se naj\u00edt zp\u016fsob, jak vytvo\u0159it vztah se stromy, kter\u00e9 u\u017e na m\u00edst\u011b stavby rostou. P\u0159esn\u011b o to jsem se sna\u017eil, ale \u00fapln\u011b se mi to nepovedlo. Jen\u017ee se po\u0159\u00e1d nach\u00e1z\u00edme v\u00a0Evrop\u011b, do jej\u00ed\u017e tradice pat\u0159\u00ed i Le Corbusier, jeho skeletov\u00e9 stavby a \u00fapln\u011b odli\u0161n\u00fd zp\u016fsob pr\u00e1ce. P\u0159i projektov\u00e1n\u00ed t\u011bch dom\u016f jsem myslel i na n\u011bj. V\u00a0Norsku ov\u0161em zat\u00edm nestoj\u00ed mnoho budov, kter\u00e9 by vztah mezi p\u0159\u00edrodou a architekturou n\u011bjak reflektovaly.<\/p>\n IHA: Jak\u00fd to m\u00e1 d\u016fvod? Nem\u016f\u017ee za t\u00edm b\u00fdt skute\u010dnost, \u017ee posledn\u00ed dv\u011b generace v\u00a0Norsku za\u017eily takov\u00fd blahobyt, \u017ee v\u011bt\u0161ina lid\u00ed nemusela prakticky o ni\u010dem moc p\u0159em\u00fd\u0161let? Nebo \u017ee jsme p\u0159edt\u00edm naopak \u017eili v\u00a0tak n\u00e1ro\u010dn\u00fdch podm\u00ednk\u00e1ch, \u017ee jsme nest\u00edhali myslet na cokoli jin\u00e9ho ne\u017e na z\u00e1kladn\u00ed pot\u0159eby? Norsko byla koneckonc\u016f jedna z\u00a0nejchud\u0161\u00edch evropsk\u00fdch zem\u00ed a\u017e do roku 1970, kdy za\u010dala zdej\u0161\u00ed ropn\u00e1 poh\u00e1dka\u2026 <\/strong><\/p>\n SF: Ne, jde sp\u00ed\u0161 o to, \u017ee n\u00e1m chyb\u00ed filosofick\u00fd z\u00e1klad, na kter\u00e9m bychom mohli sv\u00e9 p\u0159edstavy stav\u011bt. M\u00e1me ur\u010ditou koncepci Boha, ale ta m\u00e1 sv\u00e9 p\u0159irozen\u00e9 ko\u0159eny v\u00a0Palestin\u011b a \u017eidovsk\u00e9m sv\u011bt\u011b. A kdy\u017e si zkou\u0161\u00edme p\u0159edstavit Boha tady, v\u00a0na\u0161em prost\u0159ed\u00ed, nezb\u00fdv\u00e1 n\u00e1m ne\u017e se obr\u00e1tit k\u00a0p\u0159\u00edrod\u011b, proto\u017ee v\u00a0n\u00ed nach\u00e1z\u00edme to, co vn\u00edm\u00e1me jako svat\u00e9 a posv\u00e1tn\u00e9. Jen\u017ee norsk\u00fd zp\u016fsob uct\u00edv\u00e1n\u00ed p\u0159\u00edrody znamen\u00e1 hlavn\u011b doj\u00edt co nejrychleji co nejd\u00e1l \u2013 jako by \u0161lo jen o v\u00fdkony. \u010clov\u011bk vyleze na vrchol hory, u\u017e\u00edv\u00e1 si ten fantastick\u00fd v\u00fdhled a tak, ale jako forma v\u00edry je to celkem primitivn\u00ed.<\/p>\n IHA: Jen\u017ee p\u0159\u00edroda sama o sob\u011b neznamen\u00e1 nic. Kdy\u017e stoj\u00edte na vrcholu hory, rozhl\u00ed\u017e\u00edte se do kraje a \u0159\u00edk\u00e1te si, jak\u00e1 n\u00e1dhera to je, ve skute\u010dnosti ta p\u0159\u00edroda n\u00e1dhern\u00e1 nen\u00ed \u2013 p\u0159\u00edroda prost\u011b je. To vy se c\u00edt\u00edte na t\u00e9 ho\u0159e n\u00e1dhern\u011b. <\/strong><\/p>\n SF: P\u0159esn\u011b tak.<\/p>\n <\/p>\n Norsk\u00e1 m\u011bsta <\/u><\/em><\/p>\n IHA: A co na\u0161e m\u011bsta? <\/strong><\/p>\n SF: My \u017e\u00e1dn\u00e1 po\u0159\u00e1dn\u00e1 m\u011bsta nem\u00e1me. No dob\u0159e, n\u011bjak\u00e1 mo\u017en\u00e1 ano, ale sp\u00ed\u0161 jde o takov\u00e1 m\u011bstsk\u00e1 s\u00eddla. V\u00a0Norsku jsou v\u0161echna m\u011bsta mali\u010dk\u00e1.<\/p>\n Lid\u00e9 ve m\u011bst\u011b jsou si hodn\u011b bl\u00edzko, co\u017e vy\u017eaduje vz\u00e1jemnou l\u00e1sku. Je nutn\u00e9, abyste m\u011bli r\u00e1di sv\u00e9 boty, kab\u00e1t a \u010depici, mus\u00edte se st\u00e1t ve sv\u00e9m prost\u0159ed\u00ed v\u00fdraznou postavou. Tak\u00e9 mus\u00edte m\u00edt r\u00e1di pohled na jin\u00e9 lidi \u2013 na jejich oble\u010den\u00ed, na to, co s\u00a0sebou nos\u00ed, na jejich ka\u017edodenn\u00ed masky. Tohle d\u011bl\u00e1 m\u011bsto m\u011bstem. Podle m\u011b to souvis\u00ed s\u00a0lenost\u00ed \u2013 lid\u00e9 si mysl\u00ed, \u017ee je m\u011bsto produktivn\u00ed prost\u0159ed\u00ed, ve skute\u010dnosti ale neprodukuje nic. M\u011bstsk\u00e1 produkce slou\u017e\u00ed leda zah\u00e1lce, ve m\u011bstech vznikaj\u00ed k\u0159esla, \u0161perky, kr\u00e1sn\u00e9 \u0161aty, postele nebo stoly. V\u0161ude ve m\u011bst\u011b, dokonce i na ulici, najdete m\u00edsto, kam si sednout. Kdy\u017e kulturn\u00ed v\u00fdvoj dosp\u011bje k\u00a0ur\u010dit\u00e9 hranici, lid\u00e9 maj\u00ed najednou \u010das se usadit a p\u0159em\u00fd\u0161let. Tohle je prav\u00e1 podstata m\u011bsta \u2013 sed\u011bt, p\u0159em\u00fd\u0161let a \u010dekat. Na v\u00e1lku, na odplut\u00ed lodi, na n\u00e1pad, jak vyd\u011blat pen\u00edze.<\/p>\n Jakmile se ocitnete na venkov\u011b, okam\u017eit\u011b se mus\u00edte zapojit do produktivn\u00ed \u010dinnosti \u2013 je pot\u0159eba sklidit seno a podojit kr\u00e1vu, \u017eivot nen\u00ed \u017e\u00e1dn\u00e9 pe\u0159\u00ed\u010dko (sm\u00edch). Nem\u016f\u017eete se jen tak poflakovat a nem\u00edt nic na pr\u00e1ci. Jen\u017ee m\u011bsto je n\u011bco jako n\u00e1doba \u2013 nejp\u0159irozen\u011bj\u0161\u00ed m\u00edsto v\u00a0m\u011bstsk\u00e9m prost\u0159ed\u00ed je l\u00e9k\u00e1rna, kde jsou pod z\u00e1mkem uskladn\u011bn\u00e9 r\u016fzn\u00e9 jedy\u2026<\/p>\n IHA: No dob\u0159e, ale na venkov\u011b maj\u00ed tak\u00e9 voln\u00fd \u010das, ne? <\/strong><\/p>\n SF: Ne, to tedy ani n\u00e1hodou nemaj\u00ed.<\/p>\n IHA: A co to h\u00e1\u010dkov\u00e1n\u00ed de\u010dek a zdoben\u00ed v\u0161eho mo\u017en\u00e9ho? <\/strong><\/p>\n SF: Na to si najdou p\u00e1r voln\u00fdch chvilek leda tak p\u0159es zimu (sm\u00edch). Vzpom\u00edn\u00e1m si, jak m\u011b jednou zaujali ryb\u00e1\u0159i u mo\u0159e ve \u0160pan\u011blsku \u2013 to bylo je\u0161t\u011b p\u0159edt\u00edm, ne\u017e tam za\u010daly r\u016fst ty spousty hotel\u016f. Nat\u00e1\u010del jsem tehdy kamerou ty ryb\u00e1\u0159sk\u00e9 domky na pob\u0159e\u017e\u00ed. Sotva ryb\u00e1\u0159 vyt\u00e1hne \u010dluny na pl\u00e1\u017e, hned za\u010dne stav\u011bt ze\u010f. A za n\u00ed pak cel\u00fd d\u016fm, ze kter\u00e9ho na mo\u0159e v\u016fbec nevid\u00ed. Teprve pot\u00e9, co otev\u0159ou dve\u0159e, p\u0159ijdou do kontaktu se svou t\u011b\u017ekou prac\u00ed, s\u00a0kr\u00e1sou p\u0159\u00edrody, s\u00a0rybami a \u0161ediv\u00fdm nebem nad hlavou. Pak se zase vr\u00e1t\u00ed do domku, kde je p\u0159ed t\u00edm v\u0161\u00edm chr\u00e1n\u00ed ze\u010f.<\/p>\n IHA: \u017de by cht\u011bli na chv\u00edli uniknout mo\u0159i? <\/strong><\/p>\n SF: Jist\u011b. Necht\u011bj\u00ed se d\u00edvat na pr\u00e1ci, co je \u017eiv\u00ed. Ale z\u00e1rove\u0148 takhle vznikaj\u00ed kr\u00e1sn\u00e1, promy\u0161len\u00e1 a v\u00fdborn\u011b uspo\u0159\u00e1dan\u00e1 obydl\u00ed. Kdy\u017e ov\u0161em vn\u00edm\u00e1me m\u011bsto jako prost\u0159ed\u00ed k\u00a0v\u011b\u010dn\u00e9mu \u010dek\u00e1n\u00ed, jak jsem o tom mluvil p\u0159ed chv\u00edl\u00ed, cel\u00e1 situace se od z\u00e1kladu m\u011bn\u00ed. D\u00edky zlod\u011bj\u016fm ve m\u011bstech vznikly soudy, \u00favahy o etice a mor\u00e1lce daly vzniknout kostel\u016fm a kl\u00e1\u0161ter\u016fm. To s\u00a0\u017e\u00e1dnou produktivn\u00ed \u010dinnost\u00ed nesouvis\u00ed.<\/p>\n <\/p>\n Architektura a demokracie <\/u><\/em><\/p>\n IHA: Jak\u00e9 je to b\u00fdt architektem v\u00a0demokratick\u00e9 zemi? Stavba je v\u011bt\u0161inou rozs\u00e1hl\u00e1 a n\u00e1ro\u010dn\u00e1 operace, stoj\u00ed spoustu pen\u011bz a vy\u017eaduje \u00fa\u010dast mnoha lid\u00ed. Mus\u00edte jako architekt \u010dasto rozhodovat za jin\u00e9? A st\u00e1v\u00e1 se, \u017ee sv\u00e1 rozhodnut\u00ed mus\u00edte zm\u011bnit, abyste vyhov\u011bli jin\u00fdm p\u0159edstav\u00e1m a z\u00e1jm\u016fm? <\/strong><\/p>\n SF: Ano, ov\u0161em v\u00a0m\u011bstsk\u00e9 architektu\u0159e \u010dlov\u011bk mus\u00ed m\u00edt v\u017edycky n\u011bjakou prvotn\u00ed p\u0159edstavu, n\u011bjak\u00fd n\u00e1vrh. A dne\u0161n\u00ed n\u00e1vrhy u\u017e jsou tak p\u0159izp\u016fsoben\u00e9 demokratick\u00fdm pom\u011br\u016fm, \u017ee to vlastn\u011b skute\u010dn\u00e9 n\u00e1vrhy nejsou. Ve skute\u010dnosti s\u00a0n\u00e1vrhy p\u0159ich\u00e1z\u00ed u\u017eivatel nebo developer, jen\u017ee ti se nemus\u00ed pot\u00fdkat s\u00a0\u017e\u00e1dn\u00fdm \u00fa\u0159edn\u00edm \u0161imlem \u2013 p\u0159inesou n\u00e1vrh na m\u011bstskou radu, tam se o n\u011bm radn\u00ed z\u00a0jednotliv\u00fdch politick\u00fdch stran porad\u00ed a rozhodnou. U\u017e nejde o estetiku, velikost ani nic podobn\u00e9ho, z\u00e1le\u017e\u00ed jen a jen na tom, zda m\u00e1 developer spr\u00e1vn\u00e9 zn\u00e1mosti. A z\u00e1kladem m\u011bst se tak st\u00e1v\u00e1 obchod, co\u017e se pr\u00e1v\u011b d\u011bje v\u00a0Oslu. Neexistuje nic, co by tenhle proces brzdilo. Kdyby tak existovaly architektonick\u00e9 sout\u011b\u017ee, p\u0159\u00edpadn\u011b n\u011bco jako m\u011bstsk\u00fd architekt \u010di pl\u00e1nova\u010d s\u00a0jasnou viz\u00ed\u2026<\/p>\n IHA: Nem\u016f\u017ee to souviset s\u00a0pot\u0159ebou odporu, jako v t\u00e9 p\u0159\u00edrod\u011b, o kter\u00e9 jsme se bavili? \u017de by i tyhle s\u00edly pot\u0159ebovaly narazit na odpor, aby se nad\u00e1le mohly vyv\u00edjet? <\/strong><\/p>\n SF: Ano, u ka\u017ed\u00e9ho procesu je zapot\u0159eb\u00ed brzda, na kterou se v\u00a0p\u0159\u00edpad\u011b pot\u0159eby d\u00e1 \u0161l\u00e1pnout. Ti chud\u00e1ci v\u00a0m\u011bstsk\u00fdch rad\u00e1ch p\u0159ece nejsou \u017e\u00e1dn\u00ed experti. Ale j\u00e1 si v\u0161iml, \u017ee kdy\u017e si pro klienta p\u0159iprav\u00edte opravdu zaj\u00edmav\u00fd projekt, v\u011bt\u0161inou s\u00a0n\u00edm souhlas\u00ed. Jen je t\u0159eba m\u00edt v\u017edy po ruce vhodn\u00fd n\u00e1vrh.<\/p>\n IHA: \u0158ekl byste, \u017ee \u010d\u00edm slo\u017eit\u011bj\u0161\u00ed nebo nejasn\u011bj\u0161\u00ed zak\u00e1zka je, t\u00edm v\u00edce z\u00e1le\u017e\u00ed na osobit\u00e9m p\u0159\u00edstupu, aby mohl takov\u00fd \u00fasp\u011b\u0161n\u00fd n\u00e1vrh v\u016fbec vzniknout? <\/strong><\/p>\n SF: Samoz\u0159ejm\u011b. A \u010d\u00edm je klient slab\u0161\u00ed, t\u00edm v\u00edce pr\u00e1ce mus\u00edte ud\u011blat vy, abyste se dostali do rovnov\u00e1hy. Jen\u017ee v\u00a0tom je h\u00e1\u010dek \u2013 kdy\u017e slab\u00e9mu \u010dlov\u011bku nab\u00eddnete kompletn\u00ed \u0159e\u0161en\u00ed, v\u011bt\u0161inou se ho zalekne, proto\u017ee se tak ukazuje jeho slabost. Podle m\u00e9ho to chce s\u00edlu, aby si \u010dlov\u011bk dok\u00e1zal poradit s\u00a0dobrou architekturou.<\/p>\n IHA: M\u00e1te-li p\u0159esv\u011bd\u010dit ostatn\u00ed, aby p\u0159ijali V\u00e1\u0161 n\u00e1vrh, pot\u0159ebujete siln\u00e9 argumenty. Pat\u0159\u00ed do z\u00e1kladn\u00ed charakterov\u00e9 v\u00fdbavy architekta i vrozen\u00e1 p\u0159esv\u011bd\u010divost? <\/strong><\/p>\n SF: Ne, to v\u016fbec ne \u2013 jak jednou \u0159ekl Matisse, chcete-li b\u00fdt mal\u00ed\u0159em, u\u0159\u00edzn\u011bte si jazyk. Na druhou stranu \u010dlov\u011bk doopravdy druh\u00e9 p\u0159esv\u011bd\u010dit pot\u0159ebuje.<\/p>\n IHA: A nen\u00ed v\u00a0takov\u00e9m p\u0159\u00edpad\u011b nejjednodu\u0161\u0161\u00ed zvolit prost\u011b takov\u00fd n\u00e1vrh, jak\u00fd se nejsn\u00e1ze vysv\u011btluje a obhajuje? <\/strong><\/p>\n SF: Ano, jen\u017ee to je norm\u00e1ln\u00ed, \u010dlov\u011bk koneckonc\u016f v\u017edy hled\u00e1 nejjednodu\u0161\u0161\u00ed \u0159e\u0161en\u00ed. Samoz\u0159ejm\u011b je nutn\u00e9 vz\u00edt v\u00a0\u00favahu celou \u0159adu faktor\u016f, ale jednoduch\u00e9 \u0159e\u0161en\u00ed oby\u010dejn\u011b poskytuje odpov\u011b\u010f na n\u011bkolik r\u016fzn\u00fdch ot\u00e1zek. Nem\u016f\u017eete ov\u0161em hned za\u010d\u00edt stav\u011bt, nap\u0159ed mus\u00edte naj\u00edt architektonick\u00fd v\u00fdraz. Hodn\u011b d\u016fle\u017eit\u00fd je prvotn\u00ed n\u00e1kres. B\u00fdt dobr\u00fdm architektem ve skute\u010dnosti vy\u017eaduje po\u0159\u00e1dnou porci pokory. Mus\u00edte maxim\u00e1ln\u011b vyu\u017e\u00edt to minimum znalost\u00ed, j\u00edm\u017e disponujete. Spoust\u011b mlad\u00fdch lid\u00ed dnes chyb\u00ed trp\u011blivost. Za na\u0161ich \u010das\u016f jsme museli vyt\u011b\u017eit z\u00a0m\u00e1la maximum. Co se m\u011b t\u00fd\u010de, nakonec po mn\u011b z\u016fstala mal\u00e1 vila \u2013 tedy p\u0159esn\u011b to, \u010d\u00edm jsem se v\u017edy zab\u00fdval p\u0159edev\u0161\u00edm. A tenhle typ pokory nebo trp\u011blivosti z\u00a0dne\u0161n\u00ed spole\u010dnosti v\u00edcem\u00e9n\u011b vymizel.<\/p>\n <\/p>\n Rozhovor se Sverre Fehnem vedla architektka a publicistka Ingerid Helsing Almaas v jeho kancel\u00e1\u0159i v\u00a0Oslu ve \u010dtvrtek 18. z\u00e1\u0159\u00ed 1997.<\/em><\/p>\n <\/p>\n Rozhovor je p\u0159evzat z\u00a0publikace: Almaas, Ingerid H. (ed.), Made in Norway: Norwegian architecture today. <\/em>Basel 2010.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Sverre Fehn: Poradit si s\u00a0dobrou architekturou, to chce s\u00edlu Ingerid Helsing Almaas Ingerid Helsing Almaas: V\u00a0zahrani\u010d\u00ed panuje obecn\u00fd dojem, \u017ee tradi\u010dn\u00ed i sou\u010dasnou norskou…<\/p>\n","protected":false},"author":2,"featured_media":1149,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[55],"tags":[],"class_list":["post-1113","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-text1"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/posts\/1113","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1113"}],"version-history":[{"count":3,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/posts\/1113\/revisions"}],"predecessor-version":[{"id":1116,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/posts\/1113\/revisions\/1116"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=\/wp\/v2\/media\/1149"}],"wp:attachment":[{"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1113"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1113"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artscape-norway.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1113"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}