{"id":47488,"date":"2021-04-27T13:01:13","date_gmt":"2021-04-27T11:01:13","guid":{"rendered":"https:\/\/www.praha7.cz\/?p=47488"},"modified":"2021-04-27T13:01:13","modified_gmt":"2021-04-27T11:01:13","slug":"krehky-a-talentovany-architekt","status":"publish","type":"post","link":"https:\/\/www.praha7.cz\/krehky-a-talentovany-architekt\/","title":{"rendered":"K\u0159ehk\u00fd a talentovan\u00fd architekt"},"content":{"rendered":"

[perex]<\/p>\r\n

Osobnost\u00ed, jej\u00ed\u017e stopy budeme tentokr\u00e1t sledovat, je architekt, divadeln\u00ed a\u00a0filmov\u00fd sc\u00e9nograf, mal\u00ed\u0159, cestovatel a\u00a0teoretik Bed\u0159ich Feuerstein (1892\u20131936), kter\u00fd \u0161el \u017eivotem v\u017edy svou vlastn\u00ed cestou. Osudy tohoto v\u0161estrann\u011b nadan\u00e9ho um\u011blce a\u00a0sv\u011btob\u011b\u017en\u00edka by vydaly na nap\u00ednav\u00fd rom\u00e1n, bohu\u017eel s\u00a0tragick\u00fdm koncem. D\u00edky sv\u00e9mu talentu nabyl mnoha v\u00fdjime\u010dn\u00fdch zku\u0161enost\u00ed u\u00a0n\u00e1s i\u00a0v\u00a0zahrani\u010d\u00ed. \u010c\u00e1st \u017eivota pro\u017eil v\u00a0Pa\u0159\u00ed\u017ei po boku Pabla Picassa, Adolfa Loose nebo Le Corbusiera, na poli architektury dobyl Japonsko a\u00a0jeho pr\u00e1ce pro divadlo pat\u0159\u00ed mezi vrcholn\u00e9 projevy meziv\u00e1le\u010dn\u00e9 avantgardn\u00ed sc\u00e9nografie u\u00a0n\u00e1s. A\u00a0jeho osud byl samoz\u0159ejm\u011b spjat\u00fd i\u00a0s\u00a0Prahou 7.<\/p>\r\n

[\/perex]<\/p>\r\n

Origin\u00e1ln\u00ed n\u00e1vrhy sc\u00e9ny a kost\u00fdm\u016f pro sv\u011btovou premi\u00e9ru divadeln\u00ed hry Karla \u010capka R.U.R. v N\u00e1rodn\u00edm divadle (25. 1. 1921) byly jedny z prvn\u00edch sc\u00e9nografick\u00fdch a v\u00fdtvarn\u00fdch po\u010din\u016f Bed\u0159icha Feuersteina pro divadlo.<\/em><\/p>\r\n

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Feuerstein\u016fv \u017eivotn\u00ed rom\u00e1n se za\u010dal odv\u00edjet jako v\u00a0poh\u00e1dce. Vyrostl na z\u00e1mku v\u00a0Lou\u010deni, kde jeho otec Konstantin spravoval panstv\u00ed Thurn-Taxis\u016f. D\u011btstv\u00ed pak pro\u017eil v\u00a0okol\u00ed Nymburka. V\u00a0letech 1910\u20131917 studoval architekturu na \u010cesk\u00e9 vysok\u00e9 \u0161kole technick\u00e9 a\u00a0soub\u011b\u017en\u011b se zapsal k\u00a0profesoru Josipu Ple\u010dnikovi na pra\u017eskou Umprum.<\/p>\r\n

N\u011bkter\u00e9 zdroje uv\u00e1d\u011bj\u00ed, \u017ee absolvoval i\u00a0speci\u00e1ln\u00ed t\u0159\u00eddu architektury na Akademii v\u00fdtvarn\u00fdch um\u011bn\u00ed v\u00a0Praze u\u00a0Jana Kot\u011bry. Pravd\u011bpodobn\u011b ale studentem AVU nikdy nebyl a\u00a0ke Kot\u011brovi doch\u00e1zel pouze na soukrom\u00e9 p\u0159edn\u00e1\u0161ky. U\u017e b\u011bhem studi\u00ed se v\u011bnoval mal\u00ed\u0159stv\u00ed. P\u0159\u00e1telil se s\u00a0o\u00a0rok mlad\u0161\u00edm Josefem \u0160\u00edmou, kter\u00fd v\u00fdrazn\u011b ovlivnil Feuersteinovu \u017eivotn\u00ed dr\u00e1hu. Spole\u010dn\u011b se po\u010d\u00e1tkem 20. let vydali na francouzsko-\u0161pan\u011blsk\u00e9 pomez\u00ed, kde vznikl soubor Feuersteinov\u00fdch kubistick\u00fdch akvarel\u016f zachycuj\u00edc\u00edch pohledy na m\u011bsta Hendaye nebo Biarritz.<\/p>\r\n

Pravd\u011bpodobn\u011b z\u00e1jem o\u00a0mal\u00ed\u0159stv\u00ed tak\u00e9 Bed\u0159icha Feuersteina p\u0159ivedl v\u00a0\u0159\u00edjnu 1920 na prvn\u00ed sch\u016fzi levicov\u00e9ho um\u011bleck\u00e9ho svazu Dev\u011btsil. K\u00a0avantgardn\u00edmu sdru\u017een\u00ed pat\u0159ily i\u00a0dal\u0161\u00ed osobnosti mlad\u00e9 \u010desk\u00e9 um\u011bleck\u00e9 generace, jako V\u00edt\u011bzslav Nezval, Karel Teige \u010di nerozlu\u010dn\u00ed Jind\u0159ich \u0160t\u00fdrsk\u00fd a\u00a0Toyen. A\u00a0pr\u00e1v\u011b Toyen, jako\u017eto jedn\u00e9 z\u00a0m\u00e1la \u017een v\u00a0Dev\u011btsilu, se dost\u00e1valo velk\u00e9 pozornosti. Sv\u00fdm chov\u00e1n\u00edm a\u00a0tajemnou minulost\u00ed \u0159adu lid\u00ed provokovala, jin\u00e9 bezmezn\u011b p\u0159itahovala. Jedn\u00edm z\u00a0n\u00e1padn\u00edk\u016f mlad\u00e9 mal\u00ed\u0159ky byl \u00fadajn\u011b i\u00a0architekt Bed\u0159ich Feuerstein, jeho\u017e dvo\u0159en\u00ed v\u0161ak nenalezlo u\u00a0Toyen pat\u0159i\u010dnou odezvu.<\/p>\r\n

S\u00e1zka na \u010distotu tvar\u016f a\u00a0barev<\/strong>
\r\nSlibn\u011b zapo\u010dat\u00e1 Feuersteinova kari\u00e9ra se pr\u00e1v\u011b za\u010d\u00ednala rozv\u00edjet. Vystavoval na Prvn\u00ed jarn\u00ed v\u00fdstav\u011b Dev\u011btsilu v\u00a0Rudolfinu v\u00a0roce 1922 a\u00a0o\u00a0rok pozd\u011bji se stal spoluzakladatelem jeho architektonick\u00e9 sekce. V\u00a0t\u00e9 dob\u011b se zab\u00fdval mimo jin\u00e9 i\u00a0designem poh\u0159ebn\u00edch uren a\u00a0architekturou kolumb\u00e1ri\u00ed. Z\u00e1jem nev\u0161edn\u00ed, ale\u00a0v\u00a0t\u00e9 dob\u011b v\u00edce ne\u017e aktu\u00e1ln\u00ed. \u201ePoh\u0159b\u00edv\u00e1n\u00ed ohn\u011bm jest povoleno\u201c, tak se jmenoval prvn\u00ed paragraf z\u00e1kona o\u00a0poh\u0159b\u00edv\u00e1n\u00ed ohn\u011bm, jen\u017e vstoupil v\u00a0platnost v\u00a0dubnu 1919. V\u00a0ten sam\u00fd rok obdr\u017eel Bed\u0159ich Feuerstein t\u0159et\u00ed cenu za n\u00e1vrh pardubick\u00e9ho krematoria, je\u017e nakonec vzniklo podle pl\u00e1n\u016f Pavla Jan\u00e1ka. Feuersteinovi byla sv\u011b\u0159ena a\u017e realizace m\u011bstsk\u00e9ho krematoria v\u00a0Nymburce (1922\u20131924), kter\u00e9 se stalo ikonou architektonick\u00e9ho purismu. Dal\u0161\u00ed z\u00a0nemnoha Feuersteinov\u00fdch stop u\u00a0n\u00e1s se stala neoklasicistn\u00ed budova Vojensk\u00e9ho zem\u011bpisn\u00e9ho \u00fastavu (1921\u20131925) v\u00a0Rooseveltov\u011b ulici 23 v\u00a0Praze-Buben\u010di.<\/p>\r\n

T\u011b\u017ei\u0161t\u011b sv\u00e9 tvorby sice Feuerstein spat\u0159oval v\u00a0architektu\u0159e, bylo to ale divadlo, kter\u00e9 mu poskytlo v\u011bt\u0161\u00ed prostor pro realizaci,\u00a0a\u00a0on se tak stal jedn\u00edm z\u00a0kl\u00ed\u010dov\u00fdch p\u0159edstavitel\u016f meziv\u00e1le\u010dn\u00e9 sc\u00e9nografie. Spolupracoval s\u00a0re\u017eis\u00e9ry Karlem Hugem Hilarem, Ji\u0159\u00edm Frejkou, Jind\u0159ichem Honzlem a\u00a0dal\u0161\u00edmi. V\u00a0roce 1921 jej brat\u0159i \u010capkov\u00e9 po\u017e\u00e1dali o\u00a0n\u00e1vrh sc\u00e9ny k\u00a0v\u011bdecko-fantastick\u00e9mu\u00a0dramatu R.U.R. pro pra\u017esk\u00e9 N\u00e1rodn\u00ed divadlo. Sc\u00e9nick\u00e9 n\u00e1vrhy, zvl\u00e1\u0161t\u011b pak pro hry jeho\u00a0p\u0159\u00edtele Karla \u010capka, proslavily Feuersteina i\u00a0za hranicemi. Pro divadlo vytvo\u0159il zhruba \u010dty\u0159icet sc\u00e9nografi\u00ed, z\u00a0nich\u017e zmi\u0148me alespo\u0148\u00a0spolupr\u00e1ci s\u00a0K. H. Hilarem na inscenaci Moli\u00e8rovy hry Zdrav\u00fd nemocn\u00fd, v\u00fdtvarn\u00e9 zpracov\u00e1n\u00ed Marloweova Edwarda II. nebo sc\u00e9nu pro balet Bohuslava Martin\u016f Istar.<\/p>\r\n

\"\"<\/a><\/p>\r\n


\r\nFotografie celkov\u00e9 sc\u00e9ny pro balet Bohuslava Martin\u016f Istar \u2013 baletn\u00ed mysterium o t\u0159ech d\u011bjstv\u00edch a p\u011bti obrazech p\u0159edstavilo N\u00e1rodn\u00ed divadlo v premi\u00e9\u0159e 11. 9. 1924.<\/em><\/p>\r\n

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Architekt sv\u011btob\u011b\u017en\u00edk<\/strong>
\r\nTou dobou m\u011bl ji\u017e Bed\u0159ich Feuerstein za sebou n\u011bkolik zahrani\u010dn\u00edch cest. Jeho kroky nej\u010dast\u011bji m\u00ed\u0159ily do Francie. N\u011bjakou dobu pendloval mezi \u010deskou\u00a0a\u00a0francouzskou metropol\u00ed, ne\u017e se v\u00a0Pa\u0159\u00ed\u017ei usadil. N\u00e1hoda tomu cht\u011bla, \u017ee ho p\u0159\u00edtel Josef \u0160\u00edma p\u0159edstavil architektovi Augustu Perretovi, jeho\u017e portr\u00e9t pr\u00e1v\u011b maloval. Perret Feuersteina pozval do sv\u00e9ho ateli\u00e9ru, a\u00a0ten zde pak zhruba dva roky\u00a0pracoval. Jeho hlavn\u00edm projektem u\u00a0brat\u0159\u00ed Perretov\u00fdch byla stavba divadla pro Mezin\u00e1rodn\u00ed v\u00fdstavu dekorativn\u00edch um\u011bn\u00ed, kter\u00e1 se konala v\u00a0Pa\u0159\u00ed\u017ei roku 1925.<\/p>\r\n

Ve stejnou dobu dostal Feuerstein nab\u00eddku asistovat v\u00a0ateli\u00e9ru Josefa Go\u010d\u00e1ra na pra\u017esk\u00e9 Akademii a\u00a0z\u00e1rove\u0148 jej za\u010dal l\u00e1kat ke spolupr\u00e1ci architekt Anton\u00edn Raymond p\u016fsob\u00edc\u00ed v\u00a0Japonsku. Jestli misku vah pro Raymonda nakonec p\u0159ev\u00e1\u017eila touha po cestov\u00e1n\u00ed, renom\u00e9 spolupracovn\u00edka v\u011bhlasn\u00e9ho Franka Lloyda Wrighta, anebo sp\u00ed\u0161e odpor k\u00a0lok\u00e1ln\u00edm t\u0159enic\u00edm na \u010desk\u00e9 um\u011bleck\u00e9 sc\u00e9n\u011b, kter\u00e9 \u010dasto a\u017e ironicky z\u00a0Francie komentoval, nev\u00edme. B\u011bhem \u010dty\u0159let\u00e9ho pobytu v\u00a0Japonsku Feuerstein spole\u010dn\u011b s\u00a0Raymondem projektovali domky Raising Sun Petroleum, belgickou a\u00a0sov\u011btskou ambas\u00e1du a\u00a0komplex americk\u00e9 nemocnice St. Luke\u2019s\u00a0Hospital. \u00dasp\u011b\u0161n\u00e1 spolupr\u00e1ce v\u0161ak skon\u010dila roztr\u017ekou \u2013 neplacen\u00ed honor\u00e1\u0159\u016f ze strany Raymonda\u00a0a\u00a0spory o\u00a0autorstv\u00ed donutily tehdy \u0161estat\u0159icetilet\u00e9ho architekta Japonsko opustit a\u00a0navr\u00e1tit se\u00a0zp\u011bt do Prahy.<\/p>\r\n

Feuerstein se nast\u011bhoval do secesn\u00edho\u00a0domu z\u00a0roku 1900\u00a0s\u00a0bohat\u011b zdobenou fas\u00e1dou\u00a0na rohu ulic Milady Hor\u00e1kov\u00e9 a\u00a0\u0160meralovy (tehdy se ov\u0161em jmenovaly Belcrediho a\u00a0Schnellova). Doba mu v\u0161ak nep\u0159\u00e1la, hospod\u00e1\u0159sk\u00e1 krize s\u00a0sebou p\u0159inesla \u00fatlum stavebn\u00ed \u010dinnosti. Ostatn\u00ed architekti m\u011bli ji\u017e sv\u00e9\u00a0zaveden\u00e9 ateli\u00e9ry a\u00a0Feuerstein v\u00a0konkurzech prohr\u00e1val. N\u011bkte\u0159\u00ed z\u00a0koleg\u016f se k\u00a0n\u011bmu oto\u010dili\u00a0z\u00e1dy \u2013 jako by mu opl\u00e1celi za jeho kritick\u00e9 v\u00fdroky na adresu \u010desk\u00e9 um\u011bleck\u00e9 sc\u00e9ny.<\/p>\r\n

Zam\u011b\u0159il se tak alespo\u0148 na divadeln\u00ed a\u00a0filmovou sc\u00e9nografii. Nav\u00e1zal spolupr\u00e1ci s\u00a0Osvobozen\u00fdm divadlem, kterou zah\u00e1jil v\u00fdpravou politick\u00e9 satiry Osel a\u00a0st\u00edn (1933). V\u00a0kr\u00e1tk\u00e9m obdob\u00ed t\u0159\u00ed let se pod\u00edlel na p\u0159\u00edprav\u011b \u010dty\u0159 film\u016f re\u017eis\u00e9ra Vladislava Van\u010dury, z\u00a0nich\u017e nejzn\u00e1m\u011bj\u0161\u00ed je ten posledn\u00ed \u2013 Marijka nev\u011brnice (1934). V\u011bnoval se propagaci orient\u00e1ln\u00edho um\u011bn\u00ed, p\u0159edn\u00e1\u0161el o\u00a0japonsk\u00e9 architektu\u0159e, mluvil o\u00a0buddhismu, jen\u017e \u201eu\u010d\u00ed, \u017ee smrt nen\u00ed ne\u017e zd\u00e1n\u00ed, \u017ee ka\u017ed\u00e1\u00a0bytost o\u017e\u00edv\u00e1 znovu v\u00a0nov\u00fdch existenc\u00edch\u201c. Slova\u00a0o\u00a0absenci strachu ze smrti nab\u00fdvaj\u00ed ve sv\u011btle pozd\u011bj\u0161\u00edho Feuersteinova osudu a\u017e mraziv\u00e9ho v\u00fdznamu.<\/p>\r\n

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Po n\u00e1vratu z Japonska nav\u00e1zal Feuerstein spolupr\u00e1ci s Osvobozen\u00fdm divadlem. Jeho prvn\u00edm po\u010dinem zde byla v\u00fdprava a kost\u00fdmy pro politickou satiru Osel a st\u00edn (1933), je\u017e \u010derpala z princip\u016f japonsk\u00e9ho divadla kabuki.<\/em><\/p>\r\n

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Slavn\u00fd a\u017e po smrti<\/strong>
\r\nPo\u010d\u00e1te\u010dn\u00ed entuziasmus vyst\u0159\u00eddalo ho\u0159k\u00e9 zklam\u00e1n\u00ed. P\u0159evaha nerealizovan\u00fdch architektonick\u00fdch projekt\u016f a\u00a0pocit profesn\u00edho zneuzn\u00e1n\u00ed p\u0159isp\u011bly k\u00a0rozvinut\u00ed Feuersteinovy psychick\u00e9 choroby. Trp\u011bl depresemi a\u00a0nespavost\u00ed, postupn\u011b ztr\u00e1cel i\u00a0sluch. Nevedlo se mu ani v\u00a0osobn\u00edm \u017eivot\u011b. Svoji roli mo\u017en\u00e1 sehr\u00e1la\u00a0i\u00a0ne\u0161\u0165astn\u00e1 l\u00e1ska k\u00a0mal\u00ed\u0159ce Toyen, to u\u017e se ale dnes nedozv\u00edme. Su\u017eovan\u00fd Feuerstein se dostal do izolace, kterou nakonec vy\u0159e\u0161il sebevra\u017eedn\u00fdm skokem z\u00a0Trojsk\u00e9ho mostu 10. kv\u011btna 1936 v\u00a0pouh\u00fdch 44 letech.<\/p>\r\n

Uzn\u00e1n\u00ed se mu u\u00a0n\u00e1s dostalo, jak u\u017e to n\u011bkdy bohu\u017eel b\u00fdv\u00e1, a\u017e po smrti. Psalo se o\u00a0skonu mimo\u0159\u00e1dn\u011b nadan\u00e9ho um\u011blce a\u00a0je\u0161t\u011b t\u00e9ho\u017e roku byla na jeho po\u010dest uspo\u0159\u00e1d\u00e1na velk\u00e1 v\u00fdstava v\u00a0M\u00e1nesu. V\u00a0\u010desk\u00fdch d\u011bjin\u00e1ch architektury plat\u00ed Feuerstein za tragickou postavu. V\u00edt\u011bzslav Nezval se v\u00a0b\u00e1sni Trojsk\u00fd most ze sb\u00edrky Praha s\u00a0prsty de\u0161t\u011b ve vzpom\u00ednk\u00e1ch vrac\u00ed k\u00a0momentu, kdy se o\u00a0skonu sv\u00e9ho p\u0159\u00edtele dozv\u011bd\u011bl. V\u00a0z\u00e1v\u011bre\u010dn\u00fdch ver\u0161\u00edch se vypisuje z\u00a0pocitu smutku, beznad\u011bje, l\u00edtosti i\u00a0sebel\u00edtosti: \u201eJe mi l\u00edto v\u0161ech p\u0159\u00edli\u0161 jemn\u00fdch bytost\u00ed \/ Je mi l\u00edto \u017ee jsem t\u011b nepotkal v ned\u011bli r\u00e1no na trojsk\u00e9m most\u011b \/ Je mi l\u00edto \u017ee nejsi alespo\u0148 ty Vltavo n\u011b\u017enou n\u00e1ru\u010d\u00ed.\u201c<\/p>\r\n

Osud Bed\u0159icha Feuersteina n\u00e1m m\u016f\u017ee p\u0159ipomenout p\u0159\u00edb\u011bh jin\u00e9ho \u010desk\u00e9ho architekta, jen\u017e p\u016fsobil v\u00a0zemi vych\u00e1zej\u00edc\u00edho slunce \u2013 Jana Letzela. Dobov\u00fd Feuerstein\u016fv souputn\u00edk, autor pal\u00e1ce dnes zn\u00e1m\u00e9ho jako Atomov\u00fd d\u00f3m \u010di Hiro\u0161imsk\u00fd pam\u00e1tn\u00edk m\u00edru, p\u0159e\u017eil v\u00a0Japonsku ni\u010div\u00e9 zem\u011bt\u0159esen\u00ed a\u00a0na\u00a0z\u00e1klad\u011b t\u00e9to neblah\u00e9 zku\u0161enosti se vr\u00e1til do vlasti se za\u010d\u00ednaj\u00edc\u00ed du\u0161evn\u00ed nemoc\u00ed. Posledn\u00ed\u00a0m\u011bs\u00edce \u017eivota str\u00e1vil v\u00a0l\u00e9\u010debn\u011b choromysln\u00fdch v\u00a0Kate\u0159insk\u00e9 ulici v\u00a0Praze. Zem\u0159el ve 45 letech\u00a0na sklonku roku 1925.\u00a0
\r\n\u00a0<\/p>\r\n

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 <\/p>","protected":false},"excerpt":{"rendered":"[perex] Osobnost\u00ed, jej\u00ed\u017e stopy budeme tentokr\u00e1t sledovat, je architekt, divadeln\u00ed a\u00a0filmov\u00fd sc\u00e9nograf, mal\u00ed\u0159, cestovatel a\u00a0teoretik Bed\u0159ich Feuerstein (1892\u20131936), kter\u00fd \u0161el \u017eivotem v\u017edy svou vlastn\u00ed cestou. Osudy tohoto v\u0161estrann\u011b nadan\u00e9ho um\u011blce a\u00a0sv\u011btob\u011b\u017en\u00edka by vydaly na nap\u00ednav\u00fd rom\u00e1n, bohu\u017eel s\u00a0tragick\u00fdm koncem. D\u00edky sv\u00e9mu talentu nabyl mnoha v\u00fdjime\u010dn\u00fdch zku\u0161enost\u00ed u\u00a0n\u00e1s i\u00a0v\u00a0zahrani\u010d\u00ed. \u010c\u00e1st \u017eivota pro\u017eil v\u00a0Pa\u0159\u00ed\u017ei po boku Pabla […]","protected":false},"author":76,"featured_media":47540,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[37],"tags":[],"_links":{"self":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts\/47488"}],"collection":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/comments?post=47488"}],"version-history":[{"count":6,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts\/47488\/revisions"}],"predecessor-version":[{"id":47546,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/posts\/47488\/revisions\/47546"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/media\/47540"}],"wp:attachment":[{"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/media?parent=47488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/categories?post=47488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.praha7.cz\/api\/wp\/v2\/tags?post=47488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}