V A Š B R E Z P L A Č N I I Z V O D - Y O U R P E R S O N A L C O P Y

Adria Airways In-Flight Magazine

Monika Kropej • Dunaj • Turno smučanje • Miha Vipotnik • Nakit • Predmeti, ki so nam v užitek • Antarktika

Monika Kropej • Vienna • Ski Touring • Miha Vipotnik • Jewellery • Objects of Pleasure • Antarctica

Monika Kropej • Dunaj • Turno smučanje • Miha Vipotnik • Nakit • Predmeti, ki so nam v užitek • Antarktika

Monika Kropej • Vienna • Ski Touring • Miha Vipotnik • Jewellery • Objects of Pleasure • Antarctica

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Adria Airways In-flight MagazineRevija Adria Airways In-flight Magazine

je namenjena potnikom na poletih z Adrio Airways.Adria In-flight Magazine is complimentary

on Adria Airways flights.

Izdajatelj / Published by: Adria Airways Slovenski letalski prevoznik, d.d.

Adria Airways The Airline of Sloveniatel.: 00386 1 3691 000

Uredništvo / Editorial: Področje trženje in prodaja / Sales and Marketing - Barbara Mihevc Bukovec

Urednica / Edited by: Meta KreseOblikovanje in AD / Design and AD: LUKS Studio

Prevod / Translated by: AmidasLektorja / Language editing: Vera Samohod,

Steve DiskinFotoliti / Lithography: Schwarz d.o.o.

Tisk / Printed by: Schwarz d.o.o.

Oglaševanje / Advertising: Alenka Dvoršak, Adria Airways, Kuzmičeva 7, Ljubljana,

E-mail: alenka.dvorsak@adria.si

ISSN 1318-0789

Mnenja, izražena v tej publikaciji, so zgolj mnenja avtorjev ali intervjuvancev in ne odsevajo nujno stališč Adrie

Airways. Razmnoževanje brez pisnega dovoljenjaje prepovedano. Izdajatelj ne prevzema nikakršne

odgovornosti za nenaročeno gradivo.The opinions expressed in this publication are those of the authors or persons interviewed only and do not necessarily reflect the views of Adria Airways. Reproduction without

written permission is prohibited. The publisher accepts no responsibility for unsolicited material.

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V s e b i n a – C o n t e n t sV s e b i n a – C o n t e n t s

Monika Kropej – predstojnica Inštituta za slovensko narodopisjeMonika Kropej - Director of the Institute of Slovenian EthnologyAna Duša

Dunaj / Vienna

Na lovu za vzdušjemHunting for AtmospherePetra Kern

Plečnikov DunajPlečnik's ViennaGerhard Stadler

Ljubljana

Ljubljanske kavarneThe Cafés of LjubljanaDavid Šalamun

Prešeren v ljubljanskih gostilnahPrešeren in the Taverns of Ljubljana Damjan J. Ovsec

Hiša arhitekta PlečnikaPlečnik’s House Natalija Milovanovic, Ana Porok

Turno smučanje / Ski TouringUžitki pri vzponu in spustuPleasures on the way up and on the way downUrban Golob

Celjski včeraj in jutriCelje Yesterday and TomorrowIgor Španjol

Nakit – okrasno dopolnilo telesa in oblačilJewellery: an adornment for the body and the clothesJanja Žagar

Predmeti, ki so nam užitekObjects of PleasureLora Power

Antarktika / AntarcticaDežela, ki je lepša kot na slikahA land more beautiful than in photographsŽiva Flisar

J. Pukšič

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{ Adria Airways }

Letenje z letali je postalo nekaj tako običajnega, da se redkokdaj še vprašamo, kako je mogoče tako veliko prevozno sredstvo, kot je letalo, sploh spraviti v zrak. Piloti, ki upravljajo z letali, potrebu-

jejo za varno letenje veliko znanja in izkušenj. Slednje si pridobijo z leti, letalska šola pa je tista, ki daje mladim rodovom možnosti za pridobiva-nje znanja in urjenje veščin.

Letalska šola Adrie Airways ima dolgo zgodovino.Ustanovljena je bila leta 1980 v sodelovanju s Fakulteto za strojništvo v Ljubljani. Izkušnje v sedemdese-tih letih prejšnjega stoletja so namreč pokazale, da je za podjetje ključnega pome-na imeti možnost za usposobitev bodočih kadrov od samega začetka. Namen letalske šole je v bil jasen že ob njeni ustanovitvi: šolati pilote na manjših letalih, da si pridobijo dovoljenje za poklicne pilote. Omenjena pridobitev dovoljenja oziroma tovrstno šolanje je bilo pogoj za zaposlitev poklicnega oziroma prome-tnega pilota na velikih potniških letalih Adrie Airways. Šola se je začela uspešno razvijati in s svojim delovanjem pridobivati na veljavi in ugledu tako v podjetju kot širše v Sloveniji. Ob osamosvojitvi Slovenije v devetdesetih letih se je Adria Airways soočila z izgubo trga na ozemlju bivše Jugoslavije in s težko ekonomsko situacijo. Posledično je to pomenilo tudi težke čase za šolo, saj so se potrebe po

novih pilotih zmanjšale. Začela je slabeti v organizacijskem in kadrovskem smi-slu. Samo velikemu entuziazmu nekaterih posameznikov in njihovemu prepriča-nju v pomembnost obstoja šole gre zahvala, da je šola nadaljevala svoje delo. V zadnjih letih se je izboljšalo poslovanje podjetja in s tem so tudi za letalsko šolo nastopili boljši časi.

Vsaka letalska šola potrebuje za uspešno delovanje med vsem ostalim letala, simulator in učitelje letenja. Z letošnjim letom je letalska šola Adrie Airways postala bogatejša, saj ima nov, stacionarni simulator z vizualnim prikazom tere-na in s tremi konfiguracijami, enomotorno in dvomotorno propelersko letalo ter turbopropelersko letalo. Simulator je namenjen za šolanje pilotov, ki si bodo pridobili:

• dovoljenje za poklicnega pilota (Commercial Pilot Licence)• pooblastilo za letenje brez zunanje vidljivosti (Instrumental rating)• pooblastilo za večmotorna letala (Multi engine)• pooblastilo za delo v veččlanski posadki (Multi Crew Cooperation).Celoten možen nalet na simulatorju za enega kandidata v toku celotnega

šolanja traja 60 ur. Če upoštevamo, da zajema celoten program 220 ur letenja, predstavlja torej nalet na simulatorju dobro četrtino programa.

EUR

218Iz Ljubljane v Sarajevo Vse pristojbine razen stroškov rezervacije so vključene v ceno. Pogoji na www.adria.si.

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192Iz Ljubljane v Pariz Vse pristojbine razen stroškov rezervacije so vključene v ceno. Pogoji na www.adria.si.

Letalska šola Adrie AirwaysBesedilo: Sandi Slodej Fotografije: Saša Kajžer

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Simulator prinaša mnoge prednosti: šolanje lahko poteka hitreje, ker ni vre-menskih vplivov in vplivov letalskega prometa. Strošek letenja na simulatorju je manjši kot na enakem tipu letala. To daje letalski šoli konkurenčno prednost.

Potrebe po novih pilotih se v zadnjem času povečujejo tako doma kot v tujini.Vodilni v letalski šoli so spoznali, da lahko najdejo z vsem znanjem in primerno opremo novo področje za trženje. Letalska šola Adrie Airways, v kateri so se do sedaj izobraževali piloti zgolj za potrebe podjetja, je postala z nakupom novega simulatorja privlačna tudi za širše regijsko območje.

Adria AirwaysSchool of AviationCatching an aeroplane has become something so normal that we rarely

ask ourselves how something as large as an aircraft can actually get into the air. The pilots who operate these aircraft need a great deal of

knowledge and experience in order to fly safely. Experience comes over time, but it is the flying school that gives young generations the opportunity to obtain knowledge and learn skills.

The Adria Airways School of Aviation has a long history. It was founded in 1980 in conjunction with the Faculty of Mechanical Engineering in Ljubljana. Our experiences in the 1970s had showed us that it was of vital importance for the company to have the possibility to train its future personnel from the very beginning. The purpose of the flying school was clear from the start: to train pilots in small aircraft to allow them to obtain their commercial pilot’s licence. This licence, and this type of training, was a condition for employ-ment as a commercial (airline traffic) pilot of Adria’s large passenger aircraft. The school began to develop successfully and enjoyed a growing reputa-tion both in the company and in Slovenia at large. In the 1990s, following Slovenian independence, Adria Airways was faced with the loss of its market in the former Yugoslavia and a difficulty economic situation. This also meant hard times for the school, since the demand for new pilots fell drastically. Things began to worsen both in terms of both organisation and staff. It was only the great enthusiasm of a small number of individuals and their belief in the importance of the school that allowed it to continue its work. In recent

{ Adria Airways }

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214From Brussels to LjubljanaFare with all charges excluding reservation fee. More info www.adria-airways.com.

years the company’s business has begun to improve, and the flying school is again enjoying better times.

In order to operate successfully every flying school needs, among other things, a simulator and flying instructors. This year the Adria flying school has become richer, since it has a new fixed simulator with a visual display of the ter-rain and three configurations (for single- and twin-engine propeller aircraft and turboprop aircraft). The simulator is designed to train pilots for the following qualifications:

• Commercial Pilot’s Licence • Single Engine Instrument Rating• Multi Engine Instrument Rating• Multi Crew Cooperation Potential flying time on the simulator for one candidate as part of overall

training is 60 hours. If we take into account the fact that the whole programme includes 220 hours of flying, simulator time accounts for more than a quarter of the programme.

The simulator has numerous advantages: training can be quicker, because there are no problems of bad weather or traffic to worry about. The cost of simulator flying is lower than the cost of flying in the same type of aircraft. This gives the flying school a competitive advantage.

Needs for new pilots have recently been growing both at home and abroad. The flying school’s management have realised that with their know-how and the right equipment they can find a new area for marketing. With the purchase of its new simulator, the Adria Airways School of Aviation, which has previously only trained pilots for the needs of the company, has also become attractive to the wider region. A

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194From Sarajevo to LjubljanaFare with all charges excluding reservation fee. More info www.adria-airways.com.

Danes je v Adrii Airways približno 90 odstotkov pilotov, ki so svoje usposa-bljanje za poklicnega pilota začeli v domači letalski šoli. Lahko bi rekli, da je letalska šola v poklicnem smislu »zibelka« večine pilotov naše letalske družbe.

Today approximately 90% of Adria’s pilots began their training as profes-sional pilots at Adria’s flying school. It is fair to say that the flying school has been the “nursery” (in the professional sense) of the majority of our pilots.

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Ljubljanske ka varneBesedilo: David Šalamun

Ljubljanske ka varneLjubljanske ka varne

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Ljubljanske ka varne

Tik ob enem največjih križišč v Ljubljani, kjer se avtobusi neprestano ustavljajo in potem hitijo naprej, tam, kjer je vedno množica ljudi, se skriva skromna ka-varnica. Degustacija se ji je reklo v tistih časih, ko so bile

kavarne v Ljubljani še redkost. Vonj kave, ki jo zaznamuje že na daleč, je vabljiv, priznam, vendar se v njej ustavim zaradi drugih stvari. Če-prav sem v njej prisiljen uživati svojo kavo stoje, kar je proti mojim načelom, ki sem si jih postavil za pitje kave, pa prav za njenimi stekle-nimi stenami lahko diskretno opazujem mimoidoče. Poleg tega pa je to prostor, v katerem sva se z mamo ustavila na poti domov iz mojega vrtca, če je le bilo mogoče. Mama je na hitro popila svojo »kratko«, meni pa so ljubeznivo napolnili skodelico s stepeno smetano, ki sem si jo lahko po mili volji zasul s sladkorjem.

Ljubljana ima danes res veliko kavarn. Številne so enkratne z zelo posebno atmosfero, atmosfero, ki je še najbolj odvisna od njenih obi-skovalcev.

The Cafés of LjubljanaText: David Šalamun

Photography: Arne Hodaliã

Right next to one of Ljubljana’s biggest junctions, where buses are constantly stopping and then hastening on, where there is always a crowd of people, hides a modest little café. Degustacija was the name they

gave it back in the days when cafés were still a rarity in Ljubljana. The smell of the coffee that marks it out even from a distance is enticing, I admit it, but I stop here for different reasons. Although I am forced to take my coffee standing up, which is against my personal coffee-drinking principles, I can discreetly observe passers-by from behind its glass walls. This is also the place where my mother and I used to stop on the way home from my nursery school, whenever we could. Mother would quickly drink her kratka (“short”) coffee; as for me, the kind staff would give me a cup filled with whipped cream, which I could then sprinkle with as much sugar as I liked.

Today Ljubljana has an enormous number of cafés. Many of them are unique, with a very special atmosphere – an atmosphere that de-pends most of all on the people who frequent them.

Fotografije: Arne Hodaliã

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»’Moja’ kavarna je Reformator na Trubarjevi ulici. Najbrž tudi zato, ker je bila v antikvariatu nasproti nje včasih pekarna mojega praded-ka. V pritličju so imeli prodajalno, v zgornjem nadstropju so živeli. Za-daj na dvorišču pa so pekli kruh. Tu je odraščala moja stara mama in včasih pomagala pri prodaji. Kot pravi družinska legenda, je z žemlja-mi vedno postregla še svoji mlajši sestri. ‘A ne bi še teh dveh zraven vzeli?’ je spraševala kupce. Pravijo, da je celo Aškerc pri njih kupoval kruh,« se spominja Zoja Skušek, založnica, urednica in prevajalka. Trubarjeva je bila včasih obrtniški predel. »Zdaj ni tu nobenega obr-tnika več,« je Zoja Skušek nekoliko nostalgična. »Samo še en čevljar je, ki tudi kaj popravi. In seveda Meta s svojim »frizerajem«. Včasih so tudi brusili nože, škarje ... To je bilo še takrat, ko sem živela na Tru-barjevi. Dvajset let, kar dolgo. Žal mi je, da so namesto lokalov zdaj generične trgovine, ki so povsod po svetu enake.« Ob sobotah dopol-dne se v Reformatorju dobiva s prijatelji na kavi. Tudi zato, ker je tr-žnica blizu.

“Reformator on Trubarjeva is ‘my’ café. Partly because the antiques shop opposite was once my great-grandfather’s bakery. The ground floor was the baker’s shop and they lived above it. They baked the bread in the yard at the back. This is where my grandmother grew up, and sometimes helped in the shop. According to the family legend she always used to offer her younger sisters along with the bread rolls. ‘Wouldn’t you like to take these two as well?’ she would ask customers. They say that even [poet Anton] Aškerc used to buy bread there,” re-members publisher, editor and translator Zoja Skušek. Trubarjeva was once a street of craftsmen. “Now there are no craftsmen left,” says Zoja Skušek, with a hint of nostalgia. “There’s just one shoemaker, who also does the odd repair. And of course Meta with her hairdresser’s sa-lon. Once upon a time they used to sharpen knives, scissors and so on. That was when I still lived on Trubarjeva. Twenty years, quite a long time. It upsets me that instead of the old local tradesmen there are now generic shops that are the same the world over.” On Saturday mornings she meets friends at Reformator for a coffee. Not least be-cause it’s near the market.

Reformator

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Zoja Skušek

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The City Museum café

Tako kot se za muzealsko kavarno spodobi, kaže kavarna Mestnega muzeja Ljubljane s svojo arhitekturo simbiozo med dediščino in novo idejo prostora: na zelo posrečen način se je usedla v muzejski prostor v Turjaški palači. »Mesto ni samo preteklost, pač pa je tudi sedanjost in prihodnost. In to hočemo pokazati z našim delom tudi v muzeju. Del tega pa odraža tudi kavarna,« razloži Blaž Peršin, »in na nek način odraža tudi poslanstvo muzeja. V njej se odvijajo različne predstavitve knjig, koncerti, predstavitve ne samo našega muzejskega dela, ampak tudi stvari, ki jih počno drugi v mestu.« Blaž Peršin prizna, da je to njegova najljubša kavarna tudi zato, ker je sam direktor muzeja. Am-pak ne le to: »Rad zahajam v našo kavarno, ker imajo dobro kavo, ker lahko marsikoga srečam in imam v njej celo sestanek v bolj sprošče-nem okolju, kot je pisarna.«

As befits a museum café, the café in the City Museum of Ljubljana reveals through its architecture a symbiosis of heritage and a new idea of space: it has installed itself in an extremely felicitous manner in the museum premises in the Auersperg Palace. “The city is not only the past. It is also the present and the future. And we want to show this in the museum, through our work. Part of this is reflected by the café,” explains Blaž Peršin. “In a way the café also reflects the mission of the museum. It is used for a variety of book launches, concerts and presen-tations not only of our museum work but also of things that other peo-ple are doing in the city.” Blaž Peršin admits that one of the reasons that this is his favourite café is that he is the director of the museum. But it is not the only reason: “I like coming to our café because they’ve got good coffee, I can meet a lot of people and I can have meetings there in a more relaxed environment than in my office.”

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Blaž Peršin

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Poloni Kasal ustreza Sax Pub, ker imajo tam vedno dobro glasbo. Seveda, saj je pevka. »Sax Pub se ne obrača po trendih, ampak je klasi-čen. Večinoma vrtijo jazz,« pravi. Pa še v Trnovem je, ki je tako in tako eden izmed njenih najbolj priljubljenih predelov Ljubljane. V lokal, no, Sax Pubu bi le težko rekli kavarna, prihajajo zelo različni gostje. »Prav to mi je všeč. Vedno najdeš koga za pogovor, pa naj bo star ali mlad,« pove Polona Kasal. Nekateri visijo v lokalu ali pa pred njim ure in ure, drugi se ustavijo le za kratek čas. Znamenitost Sax Puba pa so prav gotovo njegovi redni obiskovalci.

Polona Kasal likes Sax Pub because they always have good music. Well, she is a singer. “Sax Pub doesn’t follow trends, it’s a classic. They mostly play jazz,” she says. And then it’s in Trnovo, which is also one of her very favourite parts of Ljubljana. The lokal – it would be hard to call Sax Pub a café – attracts a very varied clientele. “That’s exactly why I like it. You always find someone to talk to, be they old or young,” ex-plains Polona Kasal. Some hang around the bar or outside it for hours and hours; others only stop for a short time. One attraction of Sax Pub is without a doubt its regulars.

Sax Pub

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Polona Kasal

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Boris Cavazza

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»Zakaj je Platana moja najljubša kavarna?« ponovi vprašanje igralec Boris Cavazza. »Ker stanujem nad njo,« se zasmeji. »Ko bom obnemo-gel, bom samo poklical in bodo prišli pome. Brez družbe ne znam biti, da bi pa vsi k meni hodili …«

Platana je obdana s kavarnami: konkurenca je huda. Le nekaj deset metrov od nje je Zvezda z legendarnimi tortami, pa nekdanji Pločnik, ki je sicer izgubil svoj blišč, pa še nekoliko naprej stara kavarna Union … Ampak določeni ljudje se Platani enostavno ne morejo upreti: v njej se združujejo obrtniki, bivši študentje prava, filharmoniki, ki pri-tečejo med odmorom … »Za veliko ljudi, s katerimi se vsak dan sreču-jem, sploh ne vem, kako jim je ime,« pravi Boris Cavazza.

“Why is the Platana my favourite café?” The actor Boris Cavazza re-peats the question. “Because I live above it,” he laughs. “When my strength leaves me I’ll simply call down and they will come and fetch me. I’m no good at being on my own, so everyone would have to come and see me...”

The Platana is surrounded by cafés: the competition is stiff. Just a few dozen metres away are Zvezda, with its legendary cakes, the former Pločnik, which however has lost some of its splendour, and slightly fur-ther on the old Union café… But some people simply cannot resist the Platana: it is a gathering-place for craftsmen, former law students, mu-sicians from the philharmonic orchestra snatching a break ... “There are many people I meet every day but I don’t even know their names,” says Boris Cavazza.

Café Platana

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Živa Vadnov

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Živa Vadnov ima svojo priljubljeno kavarno, ki je tudi slaščičarna, in to še iz gimnazijskih časov. »Kadarkoli sva z najboljšo prijateljico špricali pouk, sva se odpravili v galerijo, kjer sva razpredali najine sa-nje o obisku oddaljenih dežel. Srednješolske diete so bile seveda takoj pozabljene ob pogledu na sacher torto,« se spominja. Galerija Grad je bila priljubljen postanek tudi med športno vzgojo, ko so tekle na Ro-žnik in še profesorica športne vzgoje ni imela nič proti. »Sedaj se od-pravim sem, ko želim na skritem vrtu mirno razmisliti in se odpočiti od vsakdanjega stresa, ko se po napornem dnevu snidem s prijateljem in mirno klepetava ali pa ko želim presenetiti svojega najdražjega z ek-splozijo sladkih okusov,« še doda miss Slovenije 2004, danes TV vodi-teljica.

Živa Vadnov has a favourite café which is also a cake shop. It has been her favourite since her school days. “Whenever my best friend and I skipped class, we used to go to the gallery, where we would fanta-sise about travelling to far-off countries. Our schoolgirl diets were im-mediately forgotten when we caught sight of the Sachertorte,” she re-members. Galerija Grad was also a popular stopping-place during phys-ical education lessons, during runs to Rožnik hill. Even the PE teacher was in favour. “Now I come here when I want a secret place to sit and think in peace, to take a break from everyday stress, to meet a friend for a quiet chat after a busy day, or when I want to surprise that special someone with an explosion of sweet flavours,” adds Miss Slovenia 2004, today a TV presenter.

Galerija Grad

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‘Od Žmauca sosed pa ud brata prjatu’ je slengovsko ime ljubljanske-ga lokala, ki se nedvomno lahko pohvali z najbolj liberalno mešanico obiskovalcev vseh nacionalnosti nekdanje Jugoslavije od otvoritve lo-kala pred desetimi leti dalje, je prepričan fotograf Aljoša Rebolj. »Žmavc prevzema in združuje s svojo mešano klientelo vlogo nekdanje-ga Šumija v tem tisočletju. Nedaleč proč od samega mestnega jedra, ki ponuja na desetine modnih šminkerskih lokalov, je skoraj edino pri-bežališče mladih ustvarjalcev, ki se zatekajo sem - v občestvo aktual-nih umetniških dogajanj, produkcij in vročih urbanih zgodb. Žmavc, zame še edini pravi ljubljanski melting pot, kjer lahko skupaj mirno srebamo kavo in se zibamo v ritmih vsi, ne glede na barvo kože, nacionalnost ali veroizpoved,« Aljoša Rebolj skoraj v obliki ode zloži hvalnico svojemu lokalu.

Od Žmauca sosed pa ud brata prjatu (which roughly translates as “Žmavc’s neighbour and his brother’s friend”) is the slangy name of a Ljubljana lokal that ever since it opened ten years ago has been able to boast probably the most liberal mixture of patrons of all nationalities of the former Yugoslavia. At least according to photographer Aljoša Re-bolj. “With its mixed clientele, Žmavc has taken on the role of the old Šumi in this millennium. Not far from the city centre, with its dozens of trendy upmarket spots, it is almost the only refuge for the young cre-ative types who escape here into a community of current artistic hap-penings, productions and hot urban stories. Žmavc, for me still Ljublja-na’s only true melting pot, where everyone can sip coffee in peace and move to the rhythms, regardless of skin colour, nationality or religion.” Aljoša Rebolj sings an ode to his favourite café.

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Od Žmauca sosed pa ud brata prjatu

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Aljoša Rebolj

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Dragan Živadinov

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Dragan Živadinov, umetnik, atraktor in kandidat kozmonavt, ima zelo urejene misli, povezane s kavarnami. Težko bi jim kar koli odvzel ali bognedaj dodal.

»Tako je to: mesto je moja dnevna soba, kinematograf pa moja spal-nica. Ko zjutraj vstopim v dnevno sobo, se odločam, odvisno od raz-položenja, med dvema javnima prostoroma – med Minimalom in Ma-ksimalom. Maksimal si izberem, ko sem v svojih umetniških procesih, Minimal pa, ko si zaželim socialnih mrež. Tako je skoraj vedno!«

Dragan Živadinov, artist, “attractor” and candidate cosmonaut has very clear ideas when it comes to cafés. He would be reluctant to take anything away from them or – perish the thought! – add anything. “This is how it is: the city is my living room, and the cinema is my bed-room. When I walk into the living room in the morning I choose, de-pending on my mood, between two public spaces, between Minimal and Maximal. I choose Maximal when I am absorbed in my artistic processes, and Minimal when I want social networks. Which is almost always!”

Between Minimal and Maximal

Očitno imajo kavarne za različne ljudi veliko pomenov. So čitalnice, opazovalnice ali pa priljubljene točke za druženje. Starejše gospe, ki se najdejo ob kavi vsako dopoldne ob istem času in počasi uživajo svojo tortico z ustaljenim ritualom, so prav tako pomemben del kavarniškega življenja kot tudi družbe mlajših ljudi, ki na veliko razpravljajo in često-krat zaživijo šele proti večeru. Marsikateremu pa so šele uvod v živahno nočno življenje.

Cafés clearly have different meanings for different people. They are reading rooms, observatories or favourite places to spend time in com-pany. The older ladies who meet over coffee at the same time every morning and slowly eat their cake according to a fixed ritual are as im-portant a part of café life as the groups of young people with their lively discussions, who often do not come into their own until the evening. For many people cafés are merely the introduction to a lively nightlife.

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Ko se je leta 1828 dr. France Prešeren vrnil v Ljubljano, ni imel s seboj skoraj ničesar drugega kot dok-torat, odlično obleko zelenkaste barve iz zelo trpežnega »štofa« in 40 goldinarjev vredno zlato uro. Zadnje dvoje

mu je podaril grof Dubsky iz Lysic pri Brnu, kjer je bil naš pesnik do-mači učitelj. Tedanja Ljubljana je bila zelo podobna drugim manjšim srednjeevropskim mestom. Leta 1834 je imela 16.000 prebivalcev in je bila dokaj živahno provincialno glavno mesto. Vse javno življenje – od družabnega in kulturnega do gospodarskega in političnega – se je po takratni šegi odvijalo v gostilnah in kavarnah. V mestu je bilo kar 157, po nekih podatkih celo 176 gostiln, 7 kavarn, nekaj hotelov, pa 7 žganjarjev in 6 pivovarjev. Vseh skupaj bi jih bilo še več, pa oblast ni dovolila odpirati novih lokalov. Zaradi mogočnega števila tistih hiš, »kjer Bog roko ven moli«, torej krčem, je bilo tudi veliko dnevnega in nočnega veseljačenja ter nezmernosti. A gostilne so ljudi vlekle nase kakor magnet.

S tem v zvezi so znani naslednji Prešernovi verzi: »Cel dan iz pravd koval bom rumenjake, zvečer s prijatlji praznil bom bokale, preganjal z vinom bom skrbi oblake«. Izkazalo se je, da je pesnik »rumenjake« služil bolj slabo in da jih je moral »kovati« v več uradniških službah hkrati. Šele tako je lahko v svetiščih tedanjega javnega življenja pre-ganjal ne le svoje, ampak tudi narodove »oblačne skrbi«. Ljubljana je bila namreč takrat z uradnim nemškim jezikom vsaj navzven povsem nemško mesto, čeprav so bili Slovenci v veliki večini.

Po utrudljivem pisarniškem delu je Prešeren vsak dan zahajal v go-stilne. Kaj ga je vabilo tja? Eden glavnih razlogov je bil kajpak tedanji način življenja, kjer so se ob »štamtiših«, stalnih omizjih, zbirali prija-telji, znanci in somišljeniki. Poleg družbe pa je bila pomembna tudi žlahtna kapljica in za samca, kakršen je bil pesnik, seveda tudi brhke natakarice.

V gostilnah je France rad poslušal ubrano petje, »sladko vince« pa mu je tamkaj »oživljalo žile, razjasnilo srce in oko, vtopilo vse skrbi in budilo up v potrtem srcu«. Zamisel za slavno Zdravljico, zdaj slo-vensko državno himno, je Prešeren dobil pač v krčmi. Čeprav ni bil preveč zgovoren človek, je ljubil družbo, še posebej, če so ga obkrožali inteligentni in izobraženi ali vsaj šegavi, dovtipni ljudje, pa seveda študentje, ki jim je rad prebiral svoje pesmi, jih poslušal peti in jim v

zahvalo za dobro družbo plačal marsikateri bokal. Z marsikom se je v gostilni tudi sprijateljil. V družbi naklonjenih, veselih in »dobro v srcu mislečih ljudi«, kakor bi sam dejal, se mu je razvezal jezik in na dan ali bolje – v večer in noč – so privreli duhoviti dovtipi, sijajne domislice in sarkastične zabavljice. Veliko jih je bilo na rovaš krčmarjev, še več na račun njihovih hčera in sploh natakaric. Prijatelje je razveseljeval tudi s svojimi pesnitvami, ki so se v posmeh strogi cenzuri v prepisih širile po mestu. V zvezi s tem je krožilo naokrog tudi veliko anekdot, med katerimi se jih je nekaj ohranilo.

Prešeren je zahajal v »svoje« gostilne, pa tudi v kup drugih; izbira je bila velikanska. Deset let je zahajal s prijatelji na Žabjek k Sodčku, ki se je nekoč, bila je starodavna gostilna, zaradi lege imenovala Pri vodnih vratih. V Krištofbirtu, kot so Ljubljančani spakedrano rekli gostilni Pri Krištofu v Židovski ulici, se je pesnik zanimal za domačo hčerko Reziko Božičevo in jo ovekovečil v pesmi Slovo Krištofbirtove Rezike svojemu ženinu Hofpauru. Ta jo je namreč pustil na cedilu. Naslov je kasneje spremenil v Zapuščena.

Prešeren je bil dober prijatelj Podbojeve Metke, ki je v svojem ži-vljenju krčmarila kar na štirih koncih, med drugim na Griču, kot so pravili vrhu Kongresnega trga, kjer stoji znamenita Uršulinska cerkev. Metka se je nato preselila na vogal omenjenega trga ob Vegovi ulici. Ker je imela hiša številko 13, krčma pa je bila v kleti, se je je prijelo ime V peklu. Nekoč je opazil, da krčmarica na postni petek streže meso, pa jo je zbodel: »Metka, Metka, ne spoštuješ petka. Si zapustila Grič, vzel te bo hudič!« Všeč mu je bila tudi njena hči Jerica, ki ji je menda zložil pesmi Ukazi in Slovo. Za njeno roko se je potegoval pre-možen meščanski sin Žane Sonc, a ga Jerica ni marala in se je zaročila z drugim. Prešeren jo je tako okrcal: »Sonce se skriva, videt ga ni, ker se peklenska Jerca moži«. V Peklu je bil Prešeren središče tamkajšnje družbe. V nekem pismu je zapisal, da piše pri odvetniku Crobathu sedem ur, da lahko pri stari Metki prebije dve uri. No, nekoč ga okoli martinovega, priljubljenega vinskega praznika, ni bilo v službo kar tri dni. Ko ga je Crobath odkril v Peklu in ga zaskrbljen vprašal, zakaj ga toliko časa ni, mu je pesnik mirno rekel: »Martina praznujem«. »Pa saj je Martin samo eden«, je resno pripomnil Crobath. »Ne, ne. Predvče-rajšnjim sem praznoval Martina škofa, včeraj Martina papeža, danes pa Martina Luthra«, se je z odgovorom odrezal Prešeren.

Prešerenv ljubljanskih gostilnah

Besedilo: Damjan J. Ovsec Fotografije: Igor Škafar

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V gostilni Pri Černem Juriju na Cankarjevem nabrežju ob Ljublja-nici so se med drugimi sestajali trnovski čolnarji in krakovski ribiči, ki so tam naročali »leteče žgance«, kot so pravili ocvrtim piščancem. V gostilni so težko čakali tudi Prešerna, ki je rad poslušal njihovo ubra-no petje. Ko so ga videli prihajati, je kakšen med njimi veselo zaklical: »Fantje, dohtar gre. Zdaj pa eno zažingajmo!« In že je zazvenela ljudska pesem, na mizo pa so začeli prihajati bokali.

V družbi dijakov je zahajal France Prešeren na sv. Petra (zdaj Tru-barjevo) cesto k Zlatemu jagnjetu, ki so mu nekdaj rekli Pri malem cesarju. Tam je bilo še v 20. stoletju do druge vojne vse polno gostiln. Pri jagnjetu je France poslušal dijaško petje in dijakom prebiral ka-kšno novo pesem.

Od tam se je pesnik včasih močno zamišljen vračal čez Blatno vas (Kolodvorska ulica), počival Pri mesečini (dvomljivo ustno izročilo trdi, da je gostilna dobila ime po njegovi pesmi Luna sije, ki jo je zložil tamkajšnji lepotici), se zadržal še Pri Bitencu (nasproti Televizije Slovenije) zaradi domače gospodične Fanike, ki se je kasneje seveda poročila z drugim, stopil malo nižje do gostilne Pri citroninem dreve-su (nasproti Nazorjeve ulice) in se nazadnje ustavil v kavarni hotela Slon. To je najstarejši slovenski lokal, saj čeprav spremenjen, nepreki-njeno deluje vsaj od leta 1552 dalje. Ime Elefant ali ljudsko “Lefont” je dobil po slonu, ki je omenjenega leta v spremstvu nadvojvode priko-rakal tja preko Trsta iz Španije. V Prešernovih časih in še kasneje so mu Ljubljančani zaradi lastnika po domače rekli tudi Pri Mokarju, po drugem slonu, ki so ga tam kazali, pa Misbaba. Hotel je imel odlično restavracijo in »toplice«.

Pri Jurčku v Gradišču je Prešeren nekoč, najbrž pod Korytkovim vplivom, mirno naročil »pivo«. Ta češka beseda je bila vsem neznana, zato so gostje kar onemeli. Takrat so namreč pili po nemškem zgledu le »pir« ali po staroslovensko »ol«. Nova beseda pa se je prijela in izpo-drinila prejšnje izraze.

Če izpustimo ostalih 150 gostiln, v katerih je bil njihov neumorni častilec najverjetneje vsaj kdaj, velja za konec povedati, da je naš pe-snik, sam ali še raje z družbo, rad zahajal tudi v primestne gostilne, ki so imele poleti lepe in zapeljive senčne vrtove in so slovele po odlični postrežbi. Rad se je odpravil, posebno ob nedeljah, ko je bilo več časa, posedat k eni od takšnih na jug na Vič ali pa na sever k reki Savi. Na Viču je na primer slovel Wolhmut. Ker je bil lastnik Čeh, so gostilni vsi pravili Pri Pemcu (iz nem. Böhm). Tja je večkrat prinesel tudi svoje pesmi.

Prešeren je nosil potlačen cilinder in ponošeno temno sivkasto obleko, ki so ji rekli »mohrengrau«. Ko je mati krčmarica slišala, da pesnika domače hčerke kličejo doktor, se je vzvišeno namrdnila: »Ja, ali je doktor? Saj še enemu šuštarju ni podoben!« Seveda pa ni vedela, da je Prešeren, čeprav kot »frajgajst« na obleko res ni kaj dosti dal, če je le mogel, svoja oblačila razdajal revežem.

Prešerenin the Taverns

of LjubljanaText: Damjan J. Ovsec Photography: Igor Škafar

When Dr France Prešeren returned to Ljubljana in 1828, practically all he possessed was his doctorate, an excellent suit of a greenish colour (made of very hardwearing material) and a gold

watch worth 40 florins. These last two items had been presented to him by Count Dubsky of Lysice near Brno, where our poet had been employed as a private tutor. Ljubljana in those days was very similar to other small Central European cities. In 1834 it had 16,000 inhabit-ants and was quite a lively provincial capital. All of public life – from social and cultural to economic and political – took place, according to the custom of the day, in taverns and cafés. The city had 157 tav-erns (176 according to some sources), seven cafés, a number of hotels, seven distilleries and six breweries. There would have been more, but the authorities prohibited the opening of new premises. Owing to the enormous number of those houses “where God sticks his hand out” – as pubs were traditionally known – there was also a great deal of revelry and intemperance both by day and by night. But the taverns drew people in like a magnet.

Prešeren himself was the author of some famous verses on the subject: “All day I shall strike yellow coins from lawsuits, and in the evening I shall empty glasses with my friends, and with wine drive away the clouds of care.” It turned out that the poet wasn’t very good at earning “yellow coins” and had to “strike” them in several clerical jobs at the same time. Only then could he drive away not only his own “cloudy cares” but also those of the nation, in the temples of public life of the day. For Ljubljana at that time, where German was the official language, was at least to outward appearances an entirely German city, although Slovenes represented the great majority of the population.

Every evening, after a tiring day in the office, Prešeren would head for the taverns. What drew him there? One of the main reasons was, of course, the way of life at that time, when friends, acquaintances and likeminded people would gather round their own regular table or stam-mtisch. The other attractions, besides the company, were of course the wine and, for a bachelor like the poet, pretty waitresses.

Prešeren liked to listen to harmonious singing in the taverns, and the “sweet wine” “revived his veins, cleared his heart and eye, drowned all cares and awakened hope in a dejected heart.” The idea for his fa-

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mous poem The Toast, today Slovenia’s national anthem, actually came to Prešeren in a pub. Although he was not a particularly talkative man, he loved company, especially if he was surrounded by intelligent and educated, or at least waggish and witty people, and of course students, to whom he liked to read his poems and listen to them sing, and for whom he bought many a glass in thanks for their good company. He made friends with many people in taverns. In the company of friendly, cheerful, and “good-hearted people”, as he himself would say, his tongue was loosened and jests, brilliant witticisms and sarcastic and sa-tirical songs would pour out of him. Many of these were about tavern landlords; even more were about their daughters and about waitresses in general. He also amused his friends with his poems, copies of which circulated around the city in defiance of the strict censorship rules. Many anecdotes circulated in this connection, some of which have survived.

Prešeren used to go to “his” taverns, but also to many others; the choice was enormous. For ten years he and his friends frequented the “Little Barrel” (Sodček) in Žabjek. This was an ancient tavern that was once called “By the Water Gate” because of its location. At the “Krištofbirt”, which was how the people of Ljubljana referred to “Christoph’s” (Pri Krištofu) in Jews’ Street (Židovska ulica), the poet was an admirer of the daughter of the house, Rezika Božič, whom he immortalised in the poem Rezika of the Krištofbirt’s Farewell to Hofpauer Her Betrothed. This Hofpauer, it seemed, had abandoned her. Prešeren later changed the title to The Abandoned Woman.

Prešeren was a good friend of Metka Podboj, at various times the landlady of four different taverns, including one on “the Hill” (Grič), at the top end of Congress Square (Kongresni trg), where the famous Ursuline church now stands. Metka then moved to a new location at the corner of Congress Square and Vega Street (Vegova ulica). Since the house stood at number 13 and the tavern itself was in the cellar, it soon became known as “Hell” (Pekel). Once Prešeren noticed that the landlady was serving meat on a Friday in Lent and teased her with the following lines: “Metka, Metka ne spoštuješ petka [Metka, Metka, you do not observe Friday] / Si zapustila Grič, vzel te bo hudič!” [You have left the Hill, the Devil will take you!] He was also keen on her daughter, Jerica, to whom the poems Orders and Farewell are thought to be dedi-cated. Jerica had a wealthy suitor, Žane Sonc, the son of a rich burgher, but she refused his advances and became engaged to someone else. This prompted Prešeren to chide her with the following verses: “The Sun is hiding and is not to be seen / for Jerica from Hell is getting married.” (“Sonc”, the surname of Jerica’s suitor, is a form of the Slov-ene word for sun.) Prešeren was the centre of the company that met in “Hell”. In one of his letters he mentioned that he spent seven hours a day writing in the office of Crobath the lawyer so that he could spend two hours at old Metka’s. One year, at Martinmas, a popular holiday connected with the new wine, he didn’t go to work for three days. When Crobath found him in “Hell” and asked him, with concern, why he hadn’t come to work for so long, the poet replied tranquilly: “I’m celebrating Martin’s Day.” “But that is just one day,” observed Crobath. “No, no,” replied Prešeren. “The day before yesterday I cel-ebrated Martin the Bishop, yesterday Martin the Pope, and today I’m celebrating Martin Luther.”

At “Black George’s” (Pri Črnem Juriju), a tavern on today’s Cankar Embankment (Cankarjevo nabrežje) on the river Ljubljanica, boatmen from Trnovo and fishermen from Krakovo would convene and order “flying polenta”, their nickname for fried chicken. They also kept a sharp lookout for Prešeren, who loved to hear their harmonious sing-ing. When they saw him arriving, one of them would shout out hap-pily: “Lads, the doctor’s coming. Let’s sing a song for him!” A folk song would then ring out, and jugs of wine would start to arrive at the table.

In the company of students, Prešeren would visit the “Golden Lamb” (Zlato jagnje) in St Peter’s Street (today’s Trubarjeva cesta). Even in the 20th century, right up until the Second World War, the street was full of taverns. At the “Lamb”, once known as “The Little Emperor”, Prešeren would listen to the students singing and read them his new poems.

From there the poet, sometimes deep in thought, would retrace his steps through “Muddy Village” (Blatna vas, today’s Kolodvorska ulica), have a rest at “The Moonlight” (Pri mesečini; unconfirmed oral tradition claims that the tavern got its name from Prešeren’s poem The Moon Shines, composed for a beauty who lived there), tarry a while at “Bitenc’s” (Pri Bitencu; opposite Televizija Slovenije) to pay court to the daughter of the house, Fanika (who later of course married someone else), walk a little further down to “The Lemon Tree” (Pri citroninem drevesu; opposite today’s Nazorjeva ulica) and finally stop at the café of the Hotel “Elefant” (today’s Hotel Slon). This is said to be the oldest café in Slovenia, since although its appearance has changed it has been open without interruption since at least 1552. It got its name “Ele-fant” or, popularly, “Lefont”, from the elephant that passed through Ljubljana that year as part of the retinue of Archduke Maximilian, who was returning from Spain via Trieste. In Prešeren’s day, and even later, the people of Ljubljana also knew it as “Mokar’s”, after its owner, or as “Misbaba”, after another elephant that was once put on display there. The hotel had an excellent restaurant and a “spa”.

At “Georgie’s” (Pri Jurčku) in Gradišče, Prešeren, presumably under the influence of the Polish ethnographer and poet Emil Korytko, once astounded the other patrons by calling for pivo. This Czech word was unfamiliar to everyone. In those days beer was known as pir, from the German bier, or by its Old Slavonic name ol. The new word stuck and eventually supplanted the earlier expressions.

Leaving aside the other 150 taverns that this tireless devotee prob-ably visited at least once, it is worth mentioning that our poet, either alone or preferably in company, also enjoyed frequenting taverns on the edge of town, which in summer had beautiful and seductively shady gardens and were famous for their excellent service. Particularly on Sundays, when he had more time, he used to set off to one of the taverns in Vič, to the south, or to the north towards the river Sava. In Vič, for example, the “Wolhmut” tavern was well known. Since the owner was a Czech everyone called it Pri Pemcu (a corruption of the German Böhme, meaning a Bohemian or Czech). He would often take his poems there. Prešeren used to wear a battered top hat and a thread-bare dark grey suit known as a Mohrengrau. When the landlady heard her daughters calling the poet “Doctor”, she scowled and muttered: “Yes, some doctor – if he didn’t look like a cobbler.” What she did not know was that Prešeren – a freethinker who set little store by appear-ances – was in the habit of giving his clothes away to the poor. A

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Arhitektov brat Andrej je leta 1915 kupil pritlično hišo v Trnovem, kjer naj bi skupaj bivali bratje (še Jože in Janez) in njihova sestra Marija. Skupni načrti se sicer niso popolnoma uresničili, ampak Jože Plečnik

se je po vrnitvi iz Prage leta 1921 vselil vanjo. Med letoma 1923 in 1925 je zgradil prizidek v obliki okroglega stolpa s položno dvokapno streho. Da bi zaokrožil posest, je leta 1929 dokupil še sosednjo hišo in pripadajoči del vrta.

Arhitekt je skušal ohraniti podeželski značaj vrta. Uredil je skalnjak in zasadil skrbno izbrana drevesa ter gmičevje, med katere je umestil majhno arhitekturo čebelnjaka. Na severni strani je po-stavil klop, katere obliko najdemo tudi v njegovih parkovnih ureditvah Ljubljane, nedaleč stran na meji z župnijsko posestvijo pa steber (gre za enega od stebrov, ki so bili načrtovani za ureditev Čevljarskega mostu). V bližini so vzidani stari kamnoseški detajli, ki pričajo o njegovem spoštovanju starih mojstrov, medtem ko gre arhitektovo skromnost in racionalnost zaznati v samem dostopu do glavnega vhoda. Tlak je iz betonskih plošč, ki so ostale pri gradnji stadiona, kritina na železni konstrukciji pa iz cenenenega valovitega eternita. S tem se je preprosto izognil nadležnemu čiščenju snega.

Ko vstopimo v vežo, nas prevzame monu-mentalnost stebrov, postavljenih pred (stekleno) steno. Številni predmeti so razporejeni po prostoru, vsak s svojo zgodbo. Levo od vrat stoji zavetnik hiše sv. Jo-žef, delo kiparja Boža Pengova, ki je večkrat sodeloval z arhitektom, in spominja na Plečnikove začetke v Ljubljani, ko je načrtoval oltar v cer-kvi sv. Jožefa. V toplejših mesecih se je z najožjimi prijatelji pomenko-val na leseni klopi ob preprosti mizi, sestavljeni iz kamnite plošče na dveh kapitlih. Podoba Križanega je nema priča njegove globoke vere. Vrata v hišo nakazujejo dolg temen hodnik, katerega os se zaključi v kasneje dograjenem svetlem zimskem vrtu.

Takoj na levi strani hodnika nas leseno stopnišče vodi v skromno opremljeno kuhinjo, osrednji prostor za srečevanje družine. Poleg zidanega štedilnika je v njej le še nekaj kosov pohištva, ki ga je sam oblikoval. Posebej ljub mu je bil stol s pregibno poličko, kjer je rad skiciral. Izostren občutek za detajl si je pridobil, ko se je izobraževal na industrijski obrtni šoli v Gradcu in se izučil za oblikovalca pohištva, med drugim pa mu ga je privzgojil tudi oče, po poklicu mizar. Plečnik je sledil očetovim stopinjam, a ga je z vpisom na dunajsko likovno akademijo na oddelek za arhitekturo pri profesorju Wagnerju kmalu tudi presegel. Kasneje je svojim študentom v Ljubljani izjavil: »Če

se boste ukvarjali z umetno obrtjo, boste živi in šele tako pravi arhitekti. Četudi zastonj delate, nič ne st’ri! Saj

tega dela ni poplačati. In če boste delali iz čistega veselja, vas bo delo posvežilo in pomladilo.«

S hodnika nato vstopimo skozi dvojna vrata v okrogel prostor, ki najbolj zazna-

muje arhitektovo osebnost. Velik leseni arhitrav oz. tram je oprt na portala skrite garderobne omare z ene in kopalnice z druge strani in deli sobo na spalni in delovni del. Ta motiv spominja na etruščansko arhitekturo grobnic. Plečnik je poznal zakladnico

svetovne arhitekture in iskal navdiha v njej, vendar je ni nikoli posnemal, ampak

je vselej preoblikoval motive na njemu la-sten način. Delovno površino prekrivajo šte-

vilni drobni predmeti, poleg risalnega pribora so tu škatlice, vodniki, stekleničke in njegov znameniti

črni širokokrajni klobuk. Nad mizo dominira kandelaber z zmajevo glavo s pomičnim svečnikom, ki se zaključi s preprostimi ge-ometrijskimi liki in figuro krilatega vola. Ta v krščanstvu simbolizira sv. Luko, pa tudi ponižnost, predanost, požrtvovalnost in odpoved. Vrline, ki označujejo tudi arhitekta samega. Nasproti mize je posta-vljena skromna postelja, nad njo pa v zid vgrajena omara z bogato knjižnico. Manjša stopnica nato vodi v prostor, namenjen kopalnici, čeravno je bila tam prvotno mišljena spalna izba v velikosti meniške

Hiša arhitekta Plečnika

Besedilo: Natalija Milovanovic in Ana Porok Fotografije: Jože Maãek

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celice. Ob strani omare stroge geometrijske oblike je pripet kos papir-ja, na katerega je arhitekt pribeležil svoji gospodinji natančno navo-dilo, kako kuriti peč, da bo imel v kadi toplo vodo. Najraje se je sicer umival z vodo iz vrča po Kneippovi metodi in s tem ohranjal čilost telesa in duha.

Redke goste je sprejemal v mali sprejemnici. Stene so obdane s smrekovim opažem, kar daje prostoru domačnost in toplino. Ob mizi sta zgolj dva stola, ki označujeta prostor dialoga, poseben je prototip stola za Vzajemno zavarovalnico. Svetilka na stropu po svoji obliki in uporabi materiala sodi v čas, ko je ne le mojstra, temveč ves Dunaj zaznamovala secesija. Za vrati je lončena peč, kamor je Plečnik funk-cionalno umestil podolgovat grelec za vročo vodo. Nasproti sobe se vzpnemo po okroglem stopnišču, ki vodi v zgornje prostore. Na steni so razstavljene fotografije mojstrovin antične in renesančne italijanske arhitekture kot vzor in navdih njemu ter njegovim študentom. Prine-sel jih je s svoje študijske poti po Italiji in Franciji, kamor je leta 1898 z rimsko štipendijo potoval kot najboljši diplomant pri profesorju Ottu Wagnerju.

Svojemu mlajšemu bratu Janezu je namenil okroglo sobo v zgor-njem delu hiše.

Desno od vhoda sta vdelani dve trikotni omari, ki z ozkima strani-cama segata v prostor, in mednju je Plečnik postavil bratovo posteljo, kasneje pa jo je nadomestil z veliko študentsko mizo. V središču sobe je prvotno stal bratov klavir. Po njegovem odhodu je Plečnik tu uredil risalnico, kamor so prihajali njegovi študentje, medtem ko je okupa-cija na silo zaprla vrata fakultete. Pogled pritegne obilje predmetov, razvrščenih na mizi. Poleg ri-sarskih pripomočkov – ravnil, krivuljnikov, barvic, čopičev, stekleničk za tuš ... – so tu tudi: medeninasti kavni mlin-ček, skodelica in škatlica ciga-ret kot nepogrešljivi mojstrovi spremljevalci v urah tihega snovanja.

Hišo prevevata nenehni mojstrov raziskovalni duh in askeza; marsikateri arhitek-turni eksperiment se kasneje izkaže kot prava rešitev pri njegovem nadaljnjem delu. Preizkušal se je v različni kom-binaciji domačih gradiv in nji-hovih obdelav ter večkrat uporabljal gradbene elemenete in prototipe iz svojih drugih projektov. Lep primer je njegov zimski vrt, tlakovan z »venecijano«, kjer je mozaično sestavil različne vzorce naravnega kamna iz bližnjih kamnolomov. V zimskem vrtu je zasnoval še toplo-zračno peč iz rdeče opeke. Mediteransko rastlinje, ki je bilo ena od ar-hitektovih ljubezni, se je tako ohranjalo tudi v hladnih zimskih dneh.

Naj zaključimo zgodbo o Plečnikovi hiši z arhitektovo mislijo: »Obláči se slabše, kot ti gre! Jej, kakor ti gre! Stanuj pa boljše, kakor

ti gre!«

Plečnik’sHouse

Text: Natalija Milovanovic and Ana Porok

Photography: Jože Maãek

In 1915 the architect’s brother Andrej bought a single-storey house in Trnovo, where he and his brothers (Jože and Janez) and their sister Marija could all live together. Their plans for a joint household never came to fruition,

but in 1921, following his return from Prague, Jože Plečnik moved into the house. Between 1923 and 1925 he built an extension in the form of a round tower with a sloping ridged roof. In 1929, in order to round off the property, he bought the house next door and the sec-tion of garden belonging to it.

In the garden the architect tried to retain the rural character. He created a rockery and plant-ed carefully chosen trees and bushes, among which stands a small beehouse. On the north side Plečnik placed a bench whose form can also be found in his park designs in other parts of Ljubljana. Not far from the boundary with the parish property he placed a column (one of the columns designed for the Shoemakers’ Bridge). Nearby are masonry details that speak of Plečnik’s respect for the old master craftsmen. Meanwhile, the architect’s

frugality and rationality can be perceived in the approach to the main entrance. The pavement is made from concrete slabs left over from the construction of the stadium, while the roofing on the iron structure is made of inexpensive corrugated Eternit. This avoided the inconvenience of having to clear away snow.

When we enter the entrance hall, we are struck by the monumental scale of the columns placed in front of the (glass) wall. Numerous objects are distributed throughout the space, each with its own story. Left of the door stands the house’s patron saint, St Joseph, the work of the sculptor Božo Pengov, who frequently collaborated with the ar-

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chitect. The statue calls to mind Plečnik’s earliest work in Ljubljana, when he designed an altar for St Joseph’s Church. In the warmer months he would sit with his closest friends on the wooden bench by the simple table consisting of a stone slab on two capitals. The image of the crucified Christ is a silent witness to the architect’s deep faith. The doorway into the house reveals a long dark corridor whose axis ends in the bright winter garden, a later addition.

To the left of the corridor, wooden steps lead to the modest kitchen, the principal gathering-place for the family. Besides a built-in oven, it contains just a few pieces of furniture designed by the archi-tect himself. He was particularly fond of the chair with the movable ledge, where he liked to sit and sketch. He developed his refined sense for detail when training as a furniture designer at the school of industrial crafts in Graz. He may also have inherited it from his father, a joiner by trade. Plečnik began by following in his father’s footsteps, but by enrolling at the Academy of Arts in Vienna, in the Architecture Department headed by Otto Wagner, he soon surpassed him. Later he declared to his students in Ljubljana: “If you occupy yourselves with an artistic craft, you will be alive, and only then will you be real architects. Even if you work for nothing, it doesn’t matter! This work is not to be paid for. And if you work from pure happiness, your work will refresh you and rejuvenate you.”

From the corridor, we pass through a double door into a round room that is the best illustration of the architect’s personality. A large wooden architrave or beam rests on the portals of a concealed ward-robe on one side and the bathroom on the other and divides the room into a sleeping section and a working section. This motif is reminiscent of Etruscan tomb architecture. Plečnik knew and sought inspiration in the treasury of world architecture, but he never imitated: instead he always transformed motifs in his own way. The work sur-face is covered by numerous small objects. Besides writing implements there are little boxes, guides, little bottles and his famous black, broad-brimmed hat. The table is dominated by a candelabrum with a dragon’s head and a movable candleholder terminating in simple geometric figures and the figure of a winged ox. In Christianity this symbolises St Luke, and also humility, surrender, sacrifice and self-denial. Virtues that the architect himself possessed. Opposite the table stands a humble bed. Above it, built into the wall, is a cupboard containing a rich assortment of books. A low step leads into the bathroom. This space was originally conceived as sleeping quarters the size of a monk’s cell. Pinned to the side of the severely geometric cupboard is a piece of paper on which the architect left exact instructions for his housekeeper, whose job it was to heat the stove so that there was warm water in the tub. Plečnik

preferred to wash using water from a jug according to the Kniepp method, thus preserving a healthy body and mind.

He received his rare guests in the small reception room. The walls are covered with pine panelling, which gives a sense of homeliness and warmth. Just two chairs stand by the table, indicating the space for dialogue. A prototype of the chair for the Mutual Insurance Company stands apart. The ceiling light, judging from its form and the material used, belongs to the period when not only Plečnik but the whole of Vienna was marked by the spirit of Sezession. Behind the door is another stove, to which Plečnik fitted an elongated heater to provide hot water. Leaving the room, we ascend a circular staircase leading to the upper rooms. The wall is decorated with photographs of masterpieces of Italian architecture from Antiquity and the Ren-aissance, as model and inspiration for Plečnik and his students. He brought them back from his travels through Italy and France, where he travelled in 1898 on a Rome Scholarship, as the best graduate from Otto Wagner’s class.

The round room in the upper section of the house was destined for the architect’s younger brother Janez. To the right of the entrance are two triangular wardrobes, with their narrow edges sticking out into the room. Between them Plečnik placed his brother’s bed, although he later replaced it with a large study table. His brother’s piano originally stood in the middle of the room. After his departure, Plečnik convert-ed the bedroom into a drawing office. His students used to come here when the military occupation closed the doors of the faculty. The eyes are attracted by the wealth of objects scattered over the table. Besides

drawing implements – rulers, protractors, coloured pencils, brushes, ink bottles – there is also a brass coffee mill, a cup and a packet of cigarettes – the master’s inseparable companions during his hours of silent planning.

The house is imbued with the master’s restless explora-tory spirit and asceticism. Many of his architectural experiments later proved to be the right solution in his subsequent work. He tried out various combinations of local materials and ways to

treat them, and often used construction elements and prototypes from his other projects. A good example is his winter garden, paved in veneziano, with a mosaic of different patterns of natural stone from nearby quarries. For the winter garden Plečnik also designed a red-brick warm-air stove. The Mediterranean plants that were one of the architect’s loves were thus preserved from the cold winter days.

Let us end the story of Plečnik’s house with one of the architect’s thoughts:

“Dress worse than you should! Eat as you should! Live better than you should!” A

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Plečnikova zbirka v Plečnikovi hiši v Trnovem je enota Arhitekturnega muzeja v Ljubljani in je namenjena preučevanju, predstavitvi in promociji arhitektovega opusa doma in v tujini. Obsežen arhiv je dokaj živahno stičišče številnih raziskovalcev, medtem ko se obiskovalcu hiše zdi, da se je čas v njej ustavil. Vsi razstavljeni predmeti kot tudi oprema v notranjščini stavbe so avtentični in pričajo o ustvarjalnem duhu vélikega človeka kot tudi o njegovi asketski drži.

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The Plečnik Collection is a unit of the Architecture Museum of Ljubljana in the Plečnik House in Trnovo and is responsible for studying, presenting and promoting the architect’s work at home and abroad. The extensive archive is a lively point of contact for many researchers, while visitors to the house have the impression that time has stopped. All the items exhibited, like all the interior fittings of the building, are authentic and are testimony to the creative spirit of a great man and to his ascetic attitude.

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Turno smuãanje / Ski Touring

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Besedilo in fotografije: Urban Golob

{ Turno smučanje }

Smuãanje v gorski neokrnjeni naravi je v

Sloveniji od nekdaj obstajalo med ljubitelji

zimskih gora, v zadnjih letih pa doživlja pravi

razcvet. Mnogo gornikov se je skoraj specializiralo

za turno smuãanje iz veã razlogov. Kljub vse veãjemu

številu turnih smuãarjev je pozimi v gorah še vedno

manj ljudi kot poleti in lažje najdemo svoj mir ter

ne nazadnje tudi najveãji smuãarski užitek – delãek

ali pa celo vse poboãje nedotaknjenega snega. Turna

smuka sicer zahteva dobro fiziãno pripravljenost,

ki omogoãa uživanje tako pri vzponu kot pri samem

smuãanju, in veliko znanja o nevarnostih v gorah

pozimi, ki si ga lahko pridobimo samo z izkušnjami.

Zato ni nakljuãje, da veliko ljudi najame gorskega

vodnika, ki jih popelje v svet turnega smuãanja, za

mnoge najlepše oblike gorništva.

Skiing in unspoilt natural surroundings

has long been popular in Slovenia among

those who love the mountains in winter,

but in recent years it has enjoyed a real boom.

Many mountaineers have practically become ski

touring specialists, for a variety of reasons. Despite

the ever increasing number of ski tourers, there

are still fewer people in the mountains in winter

than in summer, and it is easier to find peace and

tranquillity and, last but not least, the greatest

skiing pleasure of all: a patch or even a whole

slope of virgin snow. Ski touring requires good

physical fitness, since this enables practitioners

to enjoy both the ascent and the skiing itself, and

a good deal of knowledge about the dangers of the

mountains in winter – and this is something that

can only be obtained with experience. It is therefore

not surprising that many people hire a mountain

guide to lead them into the world of ski touring, for

many people the best form of mountaineering.

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{ Turno smučanje }

B ližnja in daljna okolica Komne in dolina Triglavskih jezer sta pravi raj za turno smučanje. Za slovenske razmere veliko ob-močje se nadaljuje v različne smeri in zaradi svoje prehodnosti

ponuja možnosti tudi za večdnevne ture na smučeh. Dodatna prednost Komne je v tem, da tam vse leto odprta oskrbovana koča, opremo pa lahko pripeljejo do nje s tovorno žičnico. Sicer Komna sama ponuja šte-vilne možnosti za enodnevo turno smuko , marsikdo pa z nje nadaljuje pot proti Krnskim ali pa proti Triglavskim jezerom, kar je pravzaprav začetek zelo priljubljene večdnevne ture, ki vodi čez dolino Triglavskih jezer in naprej čez Hribarice proti eni izmed koč okoli vrha Triglava. To štiri- do petdnevno smučanje po najvišjem delu Julijcev se ponavadi kon-ča v dolini Krme ob vznožju Triglava, na drugi strani Julijcev.

Komna

T he area surrounding Komna and the Valley of the Triglav Lakes is a real paradise for ski touring. The area, quite large for Slovenian conditions, extends in various directions and thanks

to its good passability also offers opportunities for ski tours of several days. Another advantage of Komna is that it has an Alpine hut that is staffed all year round. Equipment can be transported up to it by means of a cableway. Komna itself offers several one-day ski tours, but many people continue on towards the Krn Lakes or the Triglav Lakes – actually the starting-point for a very popular several-day tour leading across the Valley of the Triglav Lakes and on across Hribarice towards one of the Alpine huts around the peak of Mt Triglav. This four- to five-day ski tour through the highest part of the Julian Alps usually ends in the Krma Val-ley at the foot of Triglav, on the other side of the Julian Alps.

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{ Ski Touring }

S amo smučanje z vrha najvišje slovenske gore je sicer domena najboljših alpinističnih smučarjev, toda vijuganje od ene izmed koč pod triglavsko vršno piramido je zelo priljubljeno ne samo

med slovenskimi, pač pa tudi med avstrijskimi in italijanskimi turnimi smučarji. Večina ljubiteljev zgodnje spomladanske gorske smuke se proti Triglavu odpravi iz Krme, dosti manj obljuden pa je predel okoli Velega polja, ki prav tako ponuja čudovite smučarske terene. Sladokusci seveda poznajo tudi vzpon na Cmir in predvsem smučanje Za Cmirom z začet-kom v dolini Vrat.

V časih, ko globalno segrevanje še ni stopilo skoraj vsega Triglavskega ledenika blizu koče na Kredarici, so tam lahko smučali tudi poleti. Ju-goslovanski reprezentanti, med njimi tudi Bojan Križaj in Boris Strel, so tu tekmovali še avgusta 1975. Danes je v poletnih mesecih tam le še neugledna majhna zaplata temnega starega snega, zato sta za vijuganje v območju nekdanjega ledenika primerni le zima in pomlad, ko je na Tri-glavu debela snežna odeja. A prav od tam je razgled morda najlepši, saj se smučamo s pogledom na drugo najvišjo goro Julijskih Alp, Škrlatico, na Rokave in ostale visoke dvatisočake na drugi strani doline Vrat.

S kiing from the peak of Slovenia’s highest mountain remains the province of only the best Alpine skiers, but zigzagging down from one of the Alpine huts below Triglav’s pyramid-shaped

peak is very popular not only with ski tourers from Slovenia but also with Austrians and Italians. Most fans of early springtime skiing set off

Triglav towards Triglav from Krma. The section around Velo Polje, which also offers wonderful terrain for skiing, is considerably less populated. Enthu-siasts of course are also familiar with the ascent and, above all, the skiing behind Mt Cmir, starting in the Vrata Valley.

Before global warming melted almost all of the Triglav glacier near the mountain hut on Kredarica, skiing was possible even in summer. Members of the Yugoslav ski team, among them Bojan Križaj and Boris Strel, actually competed here in August 1975. These days all that remains in the summer months is a small patch of old, dark snow, so skiing in the area of the former glacier is only possible in winter and spring, when Triglav is covered by a thick blanket of snow. This, however, is where the view is perhaps most beautiful: as you ski you can gaze across at Mt Škrlatica (the second highest peak in the Julian Alps), the Rokavi and the other two-thousand-metre giants on the other side of the Vrata Valley.

( 85 )V primerjavi z Julijci so Kamniške in Savinjske Alpe nekoliko nesrečno oblikovane, vsaj v očeh turnih smučarjev. Nad ve-čino dolin se pojavlja pas tako strmega pobočja, da se ga ne

da premagati s smučmi. To pa na srečo ne velja za najvišji vrh te gorske skupine. Grintovec ponuja ob ugodnih razmerah prav lepo in nekoliko zahtevnejše turno smučanje, kakršnega smo vajeni v Julijskih Alpah. Zaradi bolj strmega pobočja moramo na Grintovec prinesti smuči na nahrbtniku, zato pa se lahko smučamo prav z njegovega vrha. Lažje smu-čanje ponuja še Okrešelj na koncu Logarske doline, kjer najdemo tudi krajši, a precej strm Turski žleb. Ta je pri trdem ali celo ledenem snegu nekoliko nevaren, v vsakem primeru pa rezerviran samo za najboljše turne smučarje. Ko je snega dovolj, da pokrije rušje, imejmo na seznamu pripravljeno še eno možnost – smučarsko turo v okolici Logarske doline. Takrat se lahko namreč odpravimo na Raduho, najvzhodnejši dvatisočak v Alpah, ki ponuja naravnost uživaško smuko.

I n comparison with the Julian Alps, the Kamnik-Savinja Alps are a slightly unfortunate shape, at least when seen through the eyes of ski tourers. Lying above most of the valleys is a belt where the

slope is so steep that it is impossible to conquer it on skis. Fortunately, however, this does not apply to the highest peak of this range. When conditions are right, Mt Grintovec offers wonderful and slightly more demanding ski touring than we are used to in the Julian Alps. Because of the steeper slope you have to carry your skis on your back during the ascent, but then you can ski from the very peak. Easier skiing is also of-fered by Mt Okrešelj at the end of Logarska Dolina, where we also find the short but fairly steep Turski Žleb. This can be slightly dangerous when the snow is hard or frozen, and in any case is only suitable for the best ski tourers. When there is enough snow to cover a dwarf pine, we can add another possible ski tour in the Logarska Dolina area to our list: Raduha, the most eastern two-thousand-metre mountain in the Alps, offers very enjoyable skiing. A

Kamniške in Savinjske Alpe