Dragocenosti mestnih jeder

Živa Deu

Dragocenosti starih mestnih jeder The Treasures of Slovenian Old Town Centres Monografija zgodovinskih mest Slovenije A monograph of Slovenian historical towns

Živa Deu

Dragocenosti starih mestnih jeder The Treasures of Slovenian Old Town Centres Monografija zgodovinskih mest Slovenije A monograph of Slovenian historical towns

Častni pokrovitelj izida knjige Dragocenosti starih mestnih jeder ob počastitvi 15-letnice Združenja zgodovinskih mest Slovenije je predsednik Republike Slovenije Borut Pahor.

The publication of Treasures of Slovenian Old Town Centres at the commemoration of the 15th anniversary of the Association of the Historical Cities of Slovenia is under the honorary patronage of the President of the Republic of Slovenia Borut Pahor.

Kazalo Table of content Uvod / Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Beseda avtorice o knjigi / Author's Preface . . . . . . . . . . . . . . . . . . . . . . . . 10

Predstavitev zgodovinskih mest Slovenije / Presentation of Slovenian Historical Towns . . . . . . . . . . . . . . . . . . . . . . . .12 Idrija . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Koper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Kostanjevica na Krki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Kranj . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Novo mesto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Piran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Ptuj . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Radovljica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Slovenske Konjice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Škofja Loka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Tržič . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Žužemberk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Viri in literatura / Sources and Bibliography . . . . . . . . . . . . . . . . . . . . . . .292 Kazalo citatov in viri / Index of Citations and Sources . . . . . . . . . . . . . . . . . 297 Kazalo grafičnega gradiva in viri / Index of Graphical Material and Sources . . . 300 Kazalo fotografij in viri / Index of Photos and Sources . . . . . . . . . . . . . . . . 303 Avtorji projektov zadnjih prenov / Renovation project autors . . . . . . . . . . . 304

Uvod

Spodbujanje razvoja in novo življenje zgodovinskih mest v Sloveniji Mateja Hafner Dolenc, generalna sekretarka - Združenje zgodovinskih mest Slovenije

Mesta so mojstrovine, ki so nastajale tisočletja. Žive zgodbe, ki jih je zapisal čas. Bogata dediščina, ki krasi Slovenijo. Vse to so ustvarili naši predniki. Naša naloga je, da poskrbimo, da njihovih izpovedi ne zabriše prah, in da to, kar smo dobili od naših prednikov, predamo našim otrokom. Ni nas malo, nasprotno, vse več nas je takih ljudi, ki se zavedamo, da bi bila prihodnost brez zgodovinskega izročila osiromašena.

Naš cilj je ohraniti tisto, kar naši deželi daje dušo.

V sodelovanju med enako mislečimi je tako pred petnajstimi leti nastalo Združenje zgodovinskih mest Slovenije, ki danes povezuje Idrijo, Koper, Kostanjevico na Krki, Kranj, Novo mesto, Piran, Ptuj, Radovljico, Slovenske Konjice, Škofjo Loko, Tržič in Žužemberk; zgodovinska mesta, katerih stara mestna jedra in zgodovinska območja so bila razglašena za kulturne spomenike.

Hvala vsem nekdanjim in sedanjim županom mest članic, ki so vsa ta leta spremljali in usmerjali delo Združenja zgodovinskih mest Slovenije in zahvala sedanjim županom za to, da je ta knjiga lahko nastala.

Povezuje nas skupna zaveza k ohranjanju in oživljanju starih mestnih jeder, ki izhaja iz zavedanja, da so zgodovinska mesta umetnostni zaklad in skrivnostna privlačnost dežele, ter spoznanja, da ohranjanje kulturne dediščine omogoča gospodarski in kulturni razvoj tako mesta kot naroda.

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Ob praznovanju petnajstletnice delovanja je Združenje zgodovinskih mest Slovenije izdalo monografijo Dragocenosti starih mestnih jeder, ki je pred nami. Knjiga nas popelje po poteh skrivnostno igrivega, žlahtno starega in brezčasno lepega življenja, ki se je in se odvija v naših zgodovinskih mestih.

introduction

Promoting the development and new life to historic towns in Slovenia Mateja Hafner Dolenc, Secretary General - The Slovenian Association of Historic Towns

Towns are masterpieces that took millennia to evolve, living stories recorded by time, an abundant heritage adorning Slovenia created by our ancestors. We are charged with the tasks of keeping their tales from being erased in dust and passing that which we had received on to our children. We are not few, on the contrary, ever more of us are aware how meagre a future robbed of heritage would be.

And so, fifteen years ago, cooperation of like-minded people founded the Association of Historical Cities of Slovenia, which today encompasses and binds Idrija, Koper, Kostanjevica na Krki, Kranj, Novo mesto, Piran, Ptuj, Radovljica, Slovenske Konjice, Škofja Loka, Tržič, and Žužemberk, historical settlements whose old town cores and historical areas were proclaimed cultural monuments.

It is our goal to preserve that, which breathes soul into our land.

At the celebration of fifteen years of its operation, the Association of Historical Cities of Slovenia published the monograph titled the Treasures of Old Town Centres that lay before us. The book takes us on a journey through the mysteriously playful, venerably old, and timelessly beautiful life, which has in the past and still continues to unravel in our historical towns.

We thank all former and current mayors of member towns, who followed and directed the work of the Association of Historical Cities of Slovenia and are particularly grateful to the current mayors who made it possible for this book to see the light of day.

We share in the commitment to preserve and revive old town centres, a commitment arising from the awareness that historical cities are artistic treasures of a land’s hidden allure and rooted in the realization that the preservation of cultural heritage enables the economic and cultural development of both the town and the nation.

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beseda avtorice O KNJIGI

S posebnostmi, z vsem, kar drugje ne obstaja, je odmerjeno bogastvo neke dežele Živa Deu

Zgoščenost različnih naravnih danosti in bogastvo raznolikih stvaritev človeških rok je zagotovo tista posebnost, ki na našem planetu posebej odlikuje majhen prostor slovenske dežele. Lahko vzkliknemo in se hvalimo: vse imamo! Alpe v izteku, Dinarsko gorstvo in Panonsko nižino, pa košček s Sredozemljem zvezanega morja s preluknjanim Krasom v zaledju. V osrčju te svojevrstno členjene krajine, s kakršno se ne more pohvaliti nobena druga evropska dežela, leži Ljubljanska kotlina, zdaj središče slovenstva in naša edina geografsko zaključena zemljepisna enota. V vsakem delu te pisane in z naravnimi lepotami prepredene zemljepisne krpanke je človek s svojim večstoletnim delovanjem razvijal svojo kulturo in vrednote, ki se med drugim zrcalijo tudi v urbanističnem in arhitekturnem oblikovanju naselij. Prav te izvirne, v teku vekov izpiljene značilnosti in stvaritve, ki vsaka na svoj način izražajo poseben odnos do kraja in okolja, v katerem so nastale, v sebi pa skrivajo zamotano in skrivnostno zgodbo svojega razvoja, predstavljajo nenadomestljivo kulturno vrednost, stik s preteklostjo in posledično identiteto nekega mesta. To pa je v sodobno razraslih naseljih, v katerih postaja bolj kot kdaj koli prej zabrisana določenemu prostoru lastna izraznost, nenadomestljiva dragocenost. Bogastvo naše dežele je zato nedvomno odmerjeno tudi z lepoto starih mestnih jeder. Ta s svojo skozi stoletja razvoja pridobljeno svojstvenostjo, raznolikostjo in izvirnostjo predstavljajo pomemben del prostoru in narodu pripadajoče umetnostne dediščine.

Nestor slovenske psihologije dr. Anton Trstenjak je v svojih razmišljanjih o razvoju moderne tehnološke družbe srede 20. stoletja, za katero je menil, da uničuje okolje in reže popkovino, ki človeka veže na zemljo, svoja opažanja večkrat strnil v misel, da je napredek neolikan. Ni mu dovolj, da gre naprej, povrh še staro ruši. Urbanistični in arhitekturni razvoj v času hitrega tehnološkega in tehničnega napredka stare podedovane arhitekture načeloma sicer ni rušil, jo pa je potiskal na rob zanimanja in prepuščal negotovi usodi za življenje neprivlačne zapuščine. Toda po dolgem obdobju nezanimanja

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zanjo se zadnja desetletja – predvsem zaradi ozaveščenega delovanja lokalnih skupnosti – bivanjski trendi spreminjajo in kakovostna stara arhitektura je začela ponovno vzbujati pozornost tako strokovnjakov kot širše javnosti. Prepoznana je bila njena kulturnodediščinska vrednost, bivalna kakovost in lepota, kar je razvoj posameznih zgodovinskih naselij usmerilo tudi v oživitev in obnovo starih mestnih predelov.

Gre za zahtevno delo, ki pa je poplačano z vsako na novo preurejeno, prenovljeno ali samo obnovljeno stavbo, z vsako na novo arhitekturno urejeno ulico ali trgom, ki poleg arhitekturne edinstvenosti v prostor mesta vnašajo še mnoge druge za ugodje prebivalcev pomembne danosti. Finski arhitekt Juhani Pallasmaa nas v znani monografiji Oči kože pouči, da nas stara arhitektura, vezana na stare dele mest, »osvobaja sedanjosti in nam omogoča doživljanje počasnega, zdravilnega toka časa. Stavbe in mesta so orodje in muzeji časa. Omogočajo nam videti in razumeti minevanje zgodovine in biti zraven v časovnih ciklih, ki presegajo posamezno življenje.« (Pallasmaa, 2008: 92) Vsebina pričujoče monografije je tako poklon Združenju zgodovinskih mest in vsem, ki zavzeto in strokovno podaljšujejo življenje starih mestnih predelov. Ti so sestavljeni iz bogatega mozaika urbanističnih in arhitekturnih podrobnosti, ki povezane v skladno celoto mestom dajejo tipičen in zato nezgrešljivo značilen izraz ter s tem kulturno bogatijo ne le mesta sama, temveč celotno deželo. Predstavitev posameznih zgodovinsko pomembnih arhitektur oziroma mestnih predelov, ki so zaradi izpeljanih prenov pridobili na odličnosti, v prvi vrsti temelji na poznavanju kanonov varovanja nepremične kulturne dediščine, poleg tega pa izhaja tudi iz mojega osebnega doživetja in občutenja predstavljenih urbanih struktur in arhitektur. Želim, da bi knjižno delo prispevalo k povečanju zanimanja za visoko vredno slovensko kulturno dediščino in utrdilo vez med bogato zapuščino preteklosti in sodobnim življenjskim utripom.

AUTHOR'S PREFACE

The value of a land’s treasures is measured by its unique traits, which do not exist elsewhere Živa Deu

The small space of the Slovenian landscape is surely most distinguished by the density of the distribution of its diverse natural resources and by the opulence of its assorted manmade creations. We can boastfully exclaim: we have it all! The Alps with their foothills, the Dinarides and the Pannonian Basin, and a part of the sea along with its perforated Karstic hinterland, which links to the Mediterranean. At the core of this uniquely apportioned landscape, unparalleled elsewhere in European lands lies the Ljubljana Basin, the only complete geographical unit entirely within our borders, which is currently the heart of Slovenia. In the course of several centuries, inhabitants of every part of this colourful patchwork of natural marvels developed their distinct cultures and values; these are reflected, among other things, in the urbanism and architectural design of the settlements. These original features and constructions, finely polished by the ages, each in their own singular way, express their relationships with the settlements and environments where they were created while simultaneously hiding complex and mysterious tales of their evolution. With their irreplaceable cultural value architectural features represent a contact with our past and so help shape their relative towns’ identities; this is an invaluable commodity in the modern expansive settlements, whose unique spatial characters are growing more obscured than ever before. Therefore, our country’s wealth should certainly also be measured by the beauty of its old town cores; through the long history of its development the distinctiveness, as well as inherent diversity and originality of said beauty make it an important part of the artistic heritage of the space and its people.

In his thoughts on the development of the modern technological society of the mid 20th century, which he saw as detrimental to the environment and cutting the umbilical cord between man and Earth, the eminent Slovenian psychologist Dr Anton Trstenjak frequently condensed his observations concluding that progress is uncouth. Not content to merely unravel, it demolishes the old. In the period of the fast-paced technological and technical progress, the developing urbanism and architecture did not, as a rule, demolish the old inherited architecture; they did however 1 Pallasmaa, The Eyes of the Skin; Architecture and the Senses, (Chichester, 2005) p. 52.

push it to the edge of relevance, leaving it to an uncertain fate of residentially unattractive heritage. However, after a lengthy period of lack of interest in old buildings, the last few decades – marked by conscious efforts on the part of local communities – have witnessed a change of residential trends; the high-quality old architecture again began attracting attention of experts as well as the general public. Its value as part of our cultural heritage, its residential quality, and its beauty have been newly acknowledged and as a result individual historical settlements evolved in part by reviving and renovating their old town quarters. This demanding task is repaid with every newly arranged, renewed, or merely restored building and with each architecturally arranged street or square; apart from being architecturally unique, these enhance town space with several other traits significantly contributing to the comfort of the residents. In his noted monograph The Eyes of the Skin; Architecture and the Senses, the Finnish architect Juhani Pallasmaa explains that the old architecture linked to the ancient parts of towns “emancipates us from the embrace of the present and allows us to experience the slow, healing flow of time.

Buildings and cities are instruments and museums of time. They enable us to see and understand the passing of history, and to participate in time cycles that surpass individual life.” 1 The content of the monograph before you is therefore a tribute to the Association of Historical Cities of Slovenia as well as to all those who zealously and expertly prolong the lives of old town quarters. These areas comprise a rich mosaic of urban and architectural details that combine to form a harmonious whole, lending towns a typical and hence unmistakable character to the benefit of the cultural value of not only the towns themselves, but also the entire land. My presentation of individual historically significant architectures or town parts whose renovations added to their excellence, is based primarily on knowledge of the canons of the protection of immoveable cultural heritage; it also derives from my personal experiences and impressions of the represented urban and architectural structures. It is my wish for this book to contribute to an increased interest in highly valuable Slovenian cultural heritage and strengthen the link between the rich inheritance of the past and the pulse of modern life.

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Predstavitev zgodovinskih mest Slovenije Presentation of Slovenian Historical Towns

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Idrija

Ptuj

Koper

Radovljica

Kostanjevica na Krki

Slovenske Konjice

Kranj

Škofja Loka

Novo mesto

Tržič

Piran

Žužemberk

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Idrija

Ydrija Idrija

Mesto od 18. stoletja dalje Town rights since the 18th century Slikovito idrijsko pokrajino, umaknjeno in skrito med hribovje, zaznamujejo številne s strmimi pobočji omejene ozke in globoke doline in grape. Po njih se pretakajo vode porečja Idrijce, tam rastejo bukovi gozdovi in se raztezajo travnate planote. V osrčju te hribovite, z vodo in lesom bogate kulturne krajine leži Idrija; najstarejše slovensko rudarsko mesto, mesto z izjemno bogato dediščino tehnične kulture.

Idrija

N

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astanek in razvoj Idrije je močno povezan z odkritjem živega srebra v idrijski kotlini konec 15. stoletja. Restavrirane in zaščitene ostaline skoraj petstoletnega rudarjenja in taljenja živosrebrne rude – rovi, jaški s strojnicami, tehnična oprema ter vhodne stavbe, ki so služile kot zbirna mesta za rudarje, preden so se spustili na delo globoko pod zemljo, so danes na ogled v edinstvenem muzeju, bogata dediščina idrijskega rudnika pa je od leta 2012 uvrščena na UNESCOV seznam svetovne dediščine.

Poleg vpogleda v trdo življenje rudarjev muzej razkriva tudi visoko stopnjo iznajdljivosti in inovativnosti tujih in domačih strokovnjakov. Mnoge naprave v muzeju – nekatere izmed njih še vedno delujejo – so unikatni, izvirni ali edini ohranjeni primerki svojega tipa na svetu. Vodna črpalka z lesenim kolesom premera 13,6 metrov, ki je bila izdelana leta 1790, na primer velja za največjo ohranjeno tovrstno črpalno napravo na svetu. Kleyeva parna črpalka, ki je v idrijskem rudniku pričela delovati leta 1893, je najverjetneje edini

še obstoječi primer tovrstne črpalke. Med redkosti v svetovnem merilu sodi tudi rotacijska talilna peč iz šestdesetih let 20. stoletja, medtem ko je Čermak–Špirekova talilna peč, ki je delovala še leta 1974, vpisana med edinstvene tehnične izume. Peč sta tehnično in tehnološko izboljšala inženirja in inovatorja Jožef Čermak in Vincenc Špirek.

Proizvodnja dragocene in precej redke živosrebrne kovine, ki so jo med drugim uporabljali tudi za pridobivanje srebra in zlata, je majhno naselje povzdignila v pomembno gospodarsko, znanstveno in kulturno rudarsko središče Evrope. A v divjo grapasto pokrajino stisnjena naselbina z visokimi hišami, ozkimi ulicami in majhnimi trgi, z dominirajočim gradom Idrija oziroma Gewerkeneggom in Cerkvijo sv. Trojice, je mestne pravice dobila šele v 18. stoletju. Tedaj je v mestu rudarilo, sortiralo in talilo rudo približno osemsto delavcev, iz skladišča v Gewerkeneggu pa so v svet poslali okrog šeststoosemdeset ton živega srebra letno.

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Idrija

IDRIJA Town rights since the 18th century Idrija’s picturesque landscape, remote and hidden in the hills, is marked by numerous deep narrow valleys and gorges delineated by steep slopes. There, the waters of the Idrijca drainage basin run, there the beech forests grow, and there grassy plains spread out. At the heart of this hilly and cultural landscape, rich in water and wood, lies the oldest Slovenian mining town, a town with an incredibly rich technical cultural heritage.

Idrija’s inception and development is strongly linked to the discovery of mercury in the Idrija basin at the close of the 15th century. A unique museum area now displays restored and protected remnants of over five hundred years of mining and smelting mercury ore, i.e. tunnels, shafts with engine rooms, technical gear, and entrance buildings that served as assembly spaces for miners before they descended to work deep underground.

Since 2012, Idrija’s rich cultural heritage is included on UNESCO’s world heritage list.

In addition to offering a glimpse into the life of miners, the museum also purports a high level of resourcefulness and innovation of local and foreign experts. Many devices in the museum, some of which still function, are either unique, original, or the only preserved artefacts of their kind in the world. The water pump made in 1790 with a wooden wheel of 13.6 metres in diameter, for example, is believed to be one of the largest preserved pumps of its kind in the world. Kley’s steam pump, which began operating in Idrija’s mine in 1893, is probably the only existing example of its kind. The rotary kiln from the 1960s also belongs among world-class rarities, while Čermak–Špirek kiln that was still operational in 1974 has been entered among exceptional technical inventions. The kiln was technically and technologically improved by engineers and innovators Jožef Čermak and Vincenc Špirek.

The manufacture of precious and fairly rare mercury ore, which was used, among other things, in the extraction of silver and gold, elevated the small settlement into a significant economic, scientific, and cultural European mining centre. However, the settlement cramped in the wild dynamic landscape, with its tall houses, narrow streets, and small squares, with the dominant castle Idrija – or Gewerkenegg, and the Church of the Holy Trinity, did not receive township rights until the 18th century. At that time there were approximately 800 workers in town and the warehouse in Gewerkenegg distributed around 680 tons of mercury each year. Aside from the miners and their families, the town life benefited also from technically educated workers, mining engineers, geologists, chem-

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Poleg rudarjev in njihovih družin so k življenju v hitro razvijajočem se mestu prispevali tudi tehnično izobraženi delavci, rudarski inženirji, geologi, kemiki, raziskovalci narave, zdravniki, uradniki, trgovci in drugi učenjaki. V tem času so v središču mesta, na današnjem Ahacijevem trgu, sezidali Magazin (1769) – skladišče žita za rudarje (danes tam deluje Mestna knjižnica in čitalnica Idrija) – in gledališko hišo (1770). Stavbo, ki velja za najstarejšo prav za gledališče zgrajeno hišo na Slovenskem, so postavili in opremili uradniki in rudarji s pomočjo prostovoljnih prispevkov, zato da bi se utrdili in razvijali omika in olika meščanov Idrije. Med prvimi igrami sta bili v gledališču uprizorjeni tudi prvi slovenski veseloigri, Linhartovi Ta veseli dan ali Matiček se ženi in Županova Micka (1853 oziroma 1856).

Prav zaradi pretekle prosvetljenosti in gospodarske moči se današnja Idrija, ki svoj napredek in razvoj trdno povezuje s tradicijo, lahko postavlja ne le z bogato rudarsko dediščino, razstavljeno v muzeju, ter podzemnim svetom rovov in jaškov, ki so danes sicer večinoma zaliti, zasuti ali kako drugače zaprti, ampak tudi s številnimi pomembnimi arhitekturami, ki so in še vedno oblikujejo, spreminjajo in dopolnjujejo prostor mesta.

Med starimi meščanskimi hišami ob Mestnem trgu po arhitekturno bogatem videzu izstopa prenovljena mestna hiša (zgrajena je bila leta 1898). Na novo je bil urejen tudi sam Mestni trg, a ureditev, sicer naslonjena na zgodovino prostora, deluje nekoliko tuje in ne vabi k sproščenemu, prijetnemu druženju meščanov in obiskovalcev. Pač pa le malokdo, ki se sprehodi čez trg,

Risba Jožefa Wagnerja (1803–1861) je nastala v času, ko je rudarsko naselje že imelo mestne pravice in so najgloblji deli rudnika segali do globine 226 metrov.

Rudo so žgali v velikih španskih pečeh z jaški velikih dimenzij, na gradu hranjene sodčke z živim srebrom pa so že prodajali po vsem svetu.

When the above drawing by Jožef Wagner (1803– 1861) was made, the mining settlement was already in possession of full township rights and the deepest part of the mine extended 226 metres below surface level.

The ore was roasted in large Spanish kilns with large shafts, and the barrels in the castle stored mercury, which was sold throughout the world.

V mestnem središču, ki ga sestavljajo trije trgi, je največji Mestni trg. Na osrednjem odprtem mestnem prostoru je vse do leta 1951 stala cerkev sv. Barbare. Cerkev, posvečeno zavetnici rudarjev, so sezidali leta 1628.

Pogled na Mestni trg s cerkvijo v središču leta 1903.

The city centre comprises three squares; the largest among them is the Mestni trg (Town Square). St Barbara’s Church dedicated to the patron of miners was built in this central open town space in 1628 and stood here until 1951. A view of Mestni trg with the church at its core from 1903.

ists, natural scientists, doctors, officials, merchants, and various scholars. At this time, in the centre of town, in modern day Ahacijev trg (Accacius’s square) two significant buildings were erected: Magazin (1769) - the granary warehouse (now housing the town library and reading society) and theatre building (1770).

The building that is believed to be the first structure in Slovenia constructed with the express purpose of housing a theatre, was built and furnished by officials and miners and financed by voluntary contributions with the intent to strengthen and develop refinement and manners of Idrija’s townspeople. Two of the first plays put on by the new theatre were also the first Slovenian comedies “This Merry Day or Matiček’s Wedding” and “Micka the Mayor’s Daughter” (1853 or 1856).

Precisely because of its past enlightenment and economic strength, present day Idrija that links its progress and development firmly to its tradition, can not only boast a rich mining heritage displayed in a museum, and an underground network of tunnels and shafts that have mostly been filled by water, soil or otherwise sealed, but also an abundance of significant architecture that shaped, and continues to shape, alter, and enhance the town space.

Among the old urban houses by the town square, the architecturally rich appearance of the renovated town hall (built in 1898) stands out particularly. The town square itself was also reorganized; however, even though its organisation derives from the space’s history, the square gives off a somewhat detached ambiance and does not incite the townspeople and visitors to pleasant socialization. However, not many people walking across the square would fail to take note of the mighty castle-like structure extending above the town. Today, the renovated building with a vivid Baroque-style wall painting in the courtyard is reserved predominately for museum activities and music school. It was built centuries ago, acquiring its modernday appearance gradually through additions and remodelling. Soon after mercury ore was discovered and the first mining shafts were constructed it became clear that the unusual natural resource holds considerable attraction for various conquerors and robbers. This is why, in the first third of the 16th centuries, the owners of the mine – mining companies and partners, built this mighty fortified building, which they named Gewerkenegg, to safely store the ore – mercury as well as food and mining equipment. In addition, the fort was also meant to serve for the protection of the entire settlement, which is why it was erected in a visible and naturally well shielded location – the rocky cliff above the Nikova torrential stream. Its main entrance is protected by a mote and drawbridge. It has always been viewed by the townspeople as a castle. This

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Mestna hiša, olepšana s secesijskimi okrasnimi motivi (1898), poslopje ljudske šole (1876), prav tako odeto v secesijsko okrasje, in idrijska mestna realka (1903) klasicističnega videza niso samo veličastne in mogočne stavbe, ampak so bile in so pomembna podstat idrijskega mestnega življenja.

Idrija

The town hall embellished by Secessionist-style ornamental motifs (1898); the building of the people’s school, likewise clad in Secessionist-style ornamentation and Idrija’s Classicist-style realschule secondary school (1903) are not only magnificent and mighty buildings, they also were and remain significant staples of Idrija’s urban pulse.

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ne zazna mogočne stavbe grajskega videza, ki se pne nad mestom. Prenovljena stavba s slikovito baročno poslikavo dvoriščnih sten je danes namenjena zlasti muzejski dejavnosti in glasbeni šoli, postavljena pa je bila stoletja nazaj in je svojo sedanjo podobo pridobila postopoma, z dozidavami in prezidavami.

Kmalu po odkritju živosrebne rude in gradnji prvih rudniških rovov se je namreč izkazalo, da je nenavadno zemeljsko bogastvo precejšen magnet za različne zavojevalce in roparje. Zato so lastniki rudnika, rudarske združbe in družabniki v prvi tretjini 16. stoletja postavili to mogočno utrjeno stavbo, ki so jo imenovali Gewerkenegg, da bi v njej varno hranili rudo, živo srebro, pa tudi hrano in opremo, potrebno za rudarjenje. Poleg tega je

bila utrdba namenjena tudi obrambi celotne naselbine, zato je bila zgrajena na vidnem in naravno dobro zaščitenem mestu – na skalnati pečini nad hudourniškim potokom Nikova. Glavni vhod vanjo je zavarovan s prekopom in dvižnim mostom. Zaradi videza in velikosti zgradbe, njenega četverokotnega monumentalnega sestava, ki ima tri stavbne vogale okrepljene z valjastimi stolpi, ki za pol etaže presegajo višino trinadstropnih traktov, jo meščani od nekdaj pojmujejo kot grad. Prostori Gewerkenegga so bili skozi zgodovino večkrat preurejeni in prilagojeni vsakokratnim potrebam in željam uporabnikov; tudi v 19. stoletju, ko je med letoma 1867 in 1883 v gradu z družino živel Marko Vincenc Lipold, prvi slovenski ravnatelj rudnikov.

Na veduti mesta je izpostavljen grad Gewerkenegg, ki »ni grad v pravem pomenu besede, saj ni nastal kot utrjeno središče gospoščine, marveč kot utrjeni sedež rudniške uprave in skladišče rude.« (Sapač, 2006: 39) Danes so v gradu razstavne površine Mestnega muzeja Idrija in prostori glasbene šole.

The Gewerkenegg castle stands out from the townscape. It is not “strictly speaking a real castle, since it was not created as a fortified centre of an estate, but rather as a fortified seat of mining administration and a storage facility for housing ore.” (Sapač, 2006: 39) Today, the castle comprises exhibition spaces of the Idrija Municipal Museum and music schoolrooms.

Grad so postopoma temeljito prenovili. Med drugim so odstranili tudi številne dopolnitve, s katerimi je bila degradirana kakovostna stavbna podoba s konca 18. stoletja. Na dvorišču so ponovno odkrili arkadne loke, ki so bili v 19. stoletju zazidani v obeh nadstropjih, in odstrli ter obnovili z ometi prekrite baročne poslikave.

Gradually, the castle was thoroughly renovated. Alongside other alterations, several extensions from the end of the 18th century were removed, which adversely affected the the building’s appearance; the vaults on both floors, which have been covered in the 19th century, were uncovered again, as were previously plastered-over Baroque murals.

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Odprt prostor trga z dvonadstropnimi mestnimi hišami je urejen po zamisli arhitekta Borisa Podrecce. Čeprav nova ureditev pozornemu opazovalcu pripoveduje zgodbo idrijske rudarske preteklosti, je z njo izzvenela nekdanja lepota trga, na katerem se je ročno delo domačih zidarskih, kovaških in drugih mojstrov čutilo na vsakem koraku.

Idrija

The open space of the square features three-storey (including ground floor) houses follows the ideas of Architect Boris Podrecca. Even though the new arrangement may apprise the attentive observer of Idrija’s mining past, it marks the end of the square’s former beauty, which possessed an all-pervading charm of handicrafts by local master builders, blacksmiths, and others.

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V značilno oblikovanih rudarskih hišah, ki poleg mestnih palač, cerkve in gradu oblikujejo arhitekturno tkivo mesta, je iz dneva v dan, iz tedna v teden, iz desetletja v desetletje teklo življenje rudarjev in njihovih družin. Njihova preprosta svetla podoba, ki izraža nasprotje minljivosti življenja in večni temi pod zemljo, se v teku časa ni bistveno spremenila. Pogled na rudarsko hišo in rudarsko ulico.

The town’s architectural tissue comprises characteristically designed miner’s houses as well as town palaces, church, and castle. Day in and day out, from decade to decade their houses were the scene of miners’ lives and the lives of their families. Their simple bright appearance remains mostly unaltered, reflecting the contrast between the transience of life and the perpetuity of eternal subterranean darkness. A view of a miner’s house and miners’ street.

Mesto poleg številnih kulturnih in tehnično dovršenih objektov zaznamujejo tudi stanovanjske hiše veličastnega in strogega videza. Idrijske stanovanjske rudarske hiše širokega tlorisa so izvrstno prilagojene razgibanemu terenu in so v brežine večinoma postavljene tako, da so slemena zelo strmih dvokapnic usmerjena pravokotno na dvigajoče se plastnice.

Zato so čelne fasade, ki iz terena izstopajo na najnižji točki in soncu odpirajo pot do fasadnih odprtin vseh etaž, od kleti do podstrešja zelo visoke. Arhitekturno razpoznavnost pa idrijskim rudarskim hišam dajejo še apnena belina kamnitih stavbnih ovojev in domišljena harmonična razmerja med posameznimi stavbnimi deli, še posebej razmerja med velikimi ostenji in razmeroma majhnimi, pravokotno oblikovanimi okenskimi odprtinami. Zanimivo je, da se je tovrsten tip hiše izoblikoval iz modela kmečke domačije, ki je (bil) prisoten v širšem prostoru Idrije. V obdobju pospešenega pridobivanja živega srebra so idrijski kmetje zaradi povpraševanja svoje gospodarske prostore v nadstropju in prazne podstrehe pogosto preoblikovali v skromna najemniška stanovanja za rudarje. S temi prenovami se je spremenil videz streh, ki so jih zaradi želje po osončenju podstrešnih prostorov predirali s strešnimi pomoli. Po tako razvitem arhitekturnem vzoru so nato začeli tudi v mestu graditi vse nove in večje hiše s stanovanji za rudarje in številne strokovnjake, ki so skrbeli za kakovostno vzdrževanje, dopolnjevanje in izpopolnjevanje tehnične opreme, potrebne za zahtevno delo v podzemlju.

V sobah teh hiš so dekleta in žene iz leta v leto, iz roda v rod na prav poseben način – s prepletanjem niti, navitih na profilirano oblikovane lesene palčke (kleklje), po vzorcu, pritrjenem na posebno blazinico (bulo) – izdelovale čipke. Prvi dokument o klekljanju obstaja že iz leta 1696, leta 1876 pa je bila v Idriji ustanovljena čipkarska šola. Dejavnost klekljanja je prerasla v pravo obrt, se izpopolnila in izjemno kakovostne čipke so, tako kot živo srebro, iz Idrije kmalu začele potovati v svet. In v nasprotju z živim srebrom še vedno potujejo. Idrijske klekljarice še danes uspešno nadgrajujejo tradicionalno znanje in presenečajo z vedno novimi, svežimi in inovativnimi izdelki.

was due to its appearance and size, its rectangular monumental construction with three reinforced corners by cylindrical towers extending a half-storey above the three-storey wings. Throughout its history, Gewerkenegg’s spaces have been rearranged on numerous occasions and adapted in keeping with the demands of the time and desires of the users; this was the case in the 19th century between 1867 and 1883, when the castle was inhabited by the first Slovenian mine director Marko Vincenc Lipold and his family.

In addition to several cultural and technically perfected structures the town’s appearance is enhanced by apartment houses of a magnificent and strict appearance. The wide floor-plans of Idrija’s residential miners’ houses are excellently adapted to the animated terrain and are predominately placed into the slopes in such a way that their gable roof ridges are aimed perpendicular to the rising contours. This is why the front facades, which protrude from the terrain at its lowest point to provide sun exposure to the façade openings on all stories from basement to attic, are very tall. The Idrija houses are architecturally distinctive for their white stone exteriors and well thought out harmonious proportions between individual structural elements, specifically the ratio of large walls in relation to the relatively small, rectangular window apertures.

Interestingly, this type of house evolved from a farming homestead paragon that was once characteristic of the wider Idrija area. In the period of accelerated mining of mercury a demand arose that incited several farmers in Idrija to transform their first-floor commercial spaces and empty attic spaces into modest rental apartments for miners. These renovations transformed the appearance of the roofs, which became pierced with roof balconies aimed at providing sunlight. This architectural development served as the model for the construction of all new larger apartment buildings. These would then be home to miners and numerous experts that would provide quality upkeep, supplements, and upgrades to the technical equipment necessary for the demanding tasks of working under ground.

In the rooms of these very houses, year in year out, from generation to generation, girls and women made lace in the special way of weaving threads coiled on profiled wooden bobbins (kleklje) following patterns attached to a special pillow (bula). The first documented bobbin lace in Idrija dates to 1696 and in 1876 a lace-making school was founded there. Lace-making grew from activity to a proper trade. It became perfected and soon quality lace products from Idrija, like mercury, began to spread out in to the world. Unlike mercury, however they still are. Lace-makers from Idrija are still successfully improving their traditional skill and keep astonishing with ever new, fresh, and innovative products.

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Bogata in svojevrstna dediščina Idrije, ki je v slovenski zavesti še vedno zapisana kot pojem rudarske tradicije in rudnega bogastva, je bila kot edinstvena pripoznana tudi v svetu. Leta 2012 je bila vpisana na UNESCOV seznam svetovne dediščine, kar je med drugim tudi veličasten poklon generacijam idrijskih rudarjev.

In Slovenian consciousness, Idrija is viewed as the definition of mining traditions and known for the wealth of natural resources. Its rich and unique heritage is also noted throughout the world. In 2012, it was added to UNESCO’s list of world heritage, which is also a great commendation to generations of Idrija’s miners.

»Belo mila idrijska čipkarija, to tiho, potrpežljivo, poetično izpovedovanje skrite lepote brezštevilnih idrijskih klekljaric. Čipke življenja so to, čipke hrepenenja po sončnem nebu zgoraj nad visokimi grapami, v stoletjih oklepanja življenja stanjšane in pozlačene v resnično umetnost.« (Kmecl, 1987: 264)

Idrija

“Gentle white Idrija’s lace, this silent, patient, poetic declaration of hidden beauty spun by numerous Idrija’s lacemakers. This is the lace of life, the lace of yearning for sunny skies above the ravines on high, thinned down and gilded into true art through centuries of holding on to life.” (Kmecl, 1987: 264)

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Antonijev rov več kot pol tisočletja star rov Rudarjenje je bilo vse prej kot lahko delo, posebej v prvih stoletjih po odkritju rude, ko so slabo oblečeni in z orodji skromno opremljeni rudarji pričeli kopati prve rove.

Zahtevno delo je krhalo njihovo zdravje, pa tudi nesreče so bile pogoste. in umetnostnozgodovinsko pomembnega Ahacijevega trga, kjer stojita najstarejša slovenska gledališka stavba in rudniško žitno skladišče (Magazin), kar naj bi bila najstarejša baročna zgradba na Slovenskem.

Le nekaj korakov stran od središča Ahacijevega trga se nahaja rudniški objekt Šelštev z Antonijevim rovom.

Vhod v rudnik, ki je drugi najstarejši ohranjeni vhod v katerikoli rudnik na svetu, je iz pritlične veže na strmi brežini postavljene hiše. Prenovljena stavba z značilno arhitekturo idrijskih rudarskih hiš, ki so bile oblikova-

Šelštev je današnjo podobo dobila s postopnim razvojem in zadnjo večjo prezidavo v 19. stoletju. V tej, danes muzejsko prenovljeni stavbi je bil tudi vhod v rudnik; v rov, ki so ga začeli kopati že leta 1500, kmalu po odkritju živega srebra v Idriji. Poimenovali so ga po svetniku zaščitniku pred nesrečami v jamah, sv. Antonu Padovanskem.

The present-day view of Šelštev is the result of gradual development, which concluded with a final larger remodelling in the 19th century. Now adapted to serve as a museum, this building held the entrance to the mine. The digging of the first tunnel started in 1500. It was named after the patron saint protecting against accidents in caves, St Anton of Padua.

Idrija

Zato so se rudarji pred spustom v temen podzemni svet za srečno vrnitev priporočali izbranim zavetnikom. Poleg sv. Barbare in sv. Antona Padovanskega so kot svojega priprošnjika častili tudi sv. Ahacija. V letu 1508 so namreč 22. junija, na praznični dan tedanjega deželnega svetnika Kranjske, sv. Ahacija, odkrili veliko nahajališče živega srebra. Za rudarjenje v Idriji je bil to srečen dan, zato so po svetniku imenovali tudi jašek, ki je dolga desetletja obratoval na mestu odkritja. Kasneje, ko so ta vhod v podzemni svet zaprli, so na njegovo mesto postavili baročni vodnjak. Ta je še danes del prijetnega

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Ahacijev trg, na katerem stojita staro rudniško žitno skladišče (1769) in gledališče (1770), zaznamuje tudi baročni vodnjak, postavljen na mestu, kjer je bila na dan sv.

Ahacija leta 1508 odkrita živosrebrna ruda in kmalu zatem izkopan Ahacijev jašek.

Accacius’s square is the location of the old mine’s corn warehouse (1769) and theatre (1770). It is also decorated by a Baroque-style fountain, which was constructed on the site where mercury ore was discovered on St Accius’s day in 1508, and where soon thereafter Accacius’s tunnel was dug.

ne kar se da praktično, je svojo današnjo podobo dobila s postopnim razvojem, sklenjenim v 19. stoletju. Nadstropen objekt ima strmo streho predrto s strešnimi okni in visoko nadstrešnico v osi simetrično oblikovane vzdolžne, na cesto usmerjene fasade. Simetrija izpostavljenega pročelja je poudarjena še z balkonom v nadstropju in z velikim ločno oblikovanim vhodom v vežo in rudniški rov na koncu le-te. Vratna odprtina ločne oblike je utrjena in tudi olepšana s kamnitim portalom, ki ima v sklepnem kamnu vklesan okras s krono in letnico 1766; takrat so rov, ki je bil podprt z lesenim podporjem, obzidali z apnenčevimi oboki. Arhitektura hiše s simetrično ureditvijo stavbnih elementov je likovno oplemenitena z okrasnimi členi v ometu – z obrobami okenskih odprtin, s pilastri in s profiliranim etažnim vencem.

Idrija

V pritličju hiše, ki jo velika veža z vhodom v rov deli na dva dela, je na desni strani muzejsko urejena prizivnica, zbirališče rudarjev pred odhodom v »geverk« – rudnik.

Tu so se rudarji tudi priporočali svojim zavetnikom. Na levi strani veže je informacijska sprejemnica s trgovino spominkov in z oblačili, potrebnimi za vstop v muzejsko urejen rov. V spomin na splete rovov in jaškov ter na zahtevno spravilo rude na površje zemlje se je pri oblikovanju nove opreme prostora uporabilo stare pragove, na katere so nekdaj bile položene tirnice rudniške železnice.

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V nadstropju in na podstrehi hiše so bila nekoč (danes je tu gostinski lokal) urejena štiri stanovanja. Vhod v ta, za tedanje razmere izjemno prostorna, stanovanja s kuhinjo in tremi sobami je bil na zadnji strani vzdolžne fasade, in sicer s police, oblikovane prilagojeno strmini

Pogled v rov z drugim najstarejšim ohranjenim vhodom v katerekoli rudnik na svetu.

Danes muzejsko urejeni rov je spomin na sedemsto km rovov, ki so jih v veliki naravni kotanji izkopali idrijski rudarji v petstoletnem iskanju in kopanju rude z živim srebrom.

A view of the tunnel with the second oldest mine entrance in the world. Arranged as a museum, it commemorates the 700 kilometres of tunnels and shafts in the large natural basin excavated by Idrija’s miners in five centuries of searching and mining for mercury ore.

brežine in dvignjene za višino etaže. Iz prvega nadstropja so nato na podstreho vodile iz volumna stavbe izstopajoče stopnice na zadnji strani hiše. Iztekale so se na vzdolžen hodnik, ki je povezoval vhoda v obe podstrešni stanovanji.

Nad prostori za vstop rudarjev v rudnik je na prelomu 19. in 20. stoletja kratek čas živela družina višjega rudniškega uslužbenca, rudarskega inženirja Jaroslava Bloudka, katerega v Idriji rojeni sin Stanko je v slovensko zgodovino pomembnih mož zapisan z veliki črkami.

Bil je pomemben izumitelj in izvrsten konstruktor; leta 1910 je slavil uspešen let prvega lastnega motornega letala, v njegovi delavnici so izdelali prvi slovenski avtomobil, v Planici pa so po njegovih načrtih postavili skakalnice za smučarske polete in leta 1936 je na velikanki prvi človek poletel preko sto metrov. Tudi zaradi Bloudkovega konstrukcijsko inovativnega dela se je športna disciplina smučarskih poletov močno uveljavila. Skakalnice se tehnično še naprej razvijajo za vse daljše polete, upoštevajoč Bloudkovo »življenjsko načelo: naredi, preskusi, naredi bolje!« (Sitar, 1987: 207)

Prizivnica, zbirališče rudarjev pred odhodom v rudnik. »Začetek dela je naznanjalo klukanje na šino, ki je bila obešena na podstrehi Šelštve, kasneje pa zvonjenje zvona v prizivnici.« (Pišlar, 2003: 2) Reporting area, where miners assembled before entering the mine. “The start of work was marked by beating the rail hanging in Šelštva’s attic; this was later replaced by ringing the bell in the assembly space.” (Pišlar, 2003: 2)

Sprejemni prostor, kjer se danes pred odhodom v rov zbirajo vedoželjni obiskovalci rudarskega muzeja, je soba z apneno belimi krivimi stenami in skromno notranjo opremo, izdelano iz počrnelega lesa tramov nekdanje rudniške železnice.

Idrija

Assembly space, today the spot where curious visitors assemble before entering the tunnel, is a room with white lime-covered warped walls and modest interior furnishing made of darkened wooden beams, which were formerly used as the mine railway ties.

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Idrija

Over Half a Millennium of Anthony’s Main Road

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Mining was anything but easy work, especially in the first centuries after the mercury ore was discovered and the poorly dressed miners began to dig their first tunnels. Demanding work took a toll on their health and accidents were frequent. And so, before the miners descended into the dark underground, they would invoke their preferred patron saints and pray for their safe return. In addition to St Barbara and St Anthony of Padua, they also prayed for intercession of St Acacius. A large deposit of mercury was discovered on 22 June of 1508, on St Acacius’s day, the day dedicated to the patron saint of Carniola at the time. This was a lucky day for mining in Idrija, which is why the saint’s name was bestowed upon the tunnel at the location of this first discovery. The tunnel then proceeded to operate for decades. Later, when this entrance to the underground world was closed, a Baroque-style fountain was erected in its place. The fountain remains a part of the pleasant art-historically significant Acacius’s Square, the location of the oldest Slovenian theatre building and the mine’s granary (Magazin) – purportedly the oldest Baroque-style building in Slovenia.

Located mere steps from the centre of Acacius’s square stands Šelštev, the mining structure accessing Anthony’s Main Road, which is the name of the tunnel. The entrance to the mine, which is the second oldest mine entrance in the world, is located in the house on the steep slope designed in the architectural style typical of Idrija miner’s houses, accessible from the ground floor, directly from the anteroom. The renovated building’s appearance evolved gradually and attained its present-day form in the 19th century. The multi-storey structure is covered by a steep roof, pierced by roof windows with an overhang positioned in axis with the symmetrically designed side façade facing the street. The symmetry of the exposed frontage is emphasized by a balcony on the first floor and a large vaulted entrance to the anteroom and the mine at its end. The aperture in the vaulted entrance is strengthened and further embellished by a stone portal with a keystone engraved with an image of a crown and the year 1766; this was the year when limestone arches were constructed where the tunnel was previously only reinforced with wooden supports. The structural elements of the house are symmetrically arranged. Its architectural design is visually artfully enhanced with plaster ornamentation of the elements – the window trim molding, pilasters, and projecting band course.

The great antechamber on the ground floor that leads to the mine divides the house in two. On the right side, now arranged as a museum, there was an assembly space where miners would assemble before entering the “gewerk” – mine. This is also where they would pray to their patron saints. To the left side of the antechamber now lay an information desk and store selling trinkets and clothes necessary to enter the museum shaft.

Old crossties that once supported the mine railway have been used in the construction of the new furnishings, a symbolic commemoration of the networks of shafts and tunnels and the demands of carting ore to the surface.

The first floor and in the attic, which is currently the location of an inn, once comprised four apartments. Boasting three rooms and kitchen these were at the time considered extremely spacious. They were accessed from the back of the side façade by way of a shelf adapted to the slope incline at the level of the first floor. The attic was accessible from the first floor, via a staircase protruding out of the building mass at the rear of the house. This led to the lateral hallway connecting the entrances to both attic apartments.

At the beginning of the twentieth century, the residence above the space leading to the mine was for a short time occupied by the family of the senior mining engineer Jaroslav Bloudek. His son Stanko, who was born in Idrija, holds a prominent place in the history of significant Slovenians. He was an important inventor and excellent engineer; in 1910 he celebrated the

successful flight of his first engine-powered airplane, the first Slovenian automobile was built in his workshop, and the Planica ski flying hills were constructed using his plans. The first ski flier broke the 100-metre barrier at the Planica Bloudek Giant in 1936. In part, the recognition of ski flying is due to Bloudek’s constructive innovation. The construction of ski jumping hills continues to evolve, giving rise to ever longer flights following Bloudek’s motto “make, test, make better!” (Sitar, 1987: 207).

Golijeva hiša Mestni trg 15

Monumentalna hiša kockaste oblike s strmo štirikapno streho je bila na mestu porušene predhodnice postavljena leta 1890. Stavba s svojo dovršeno arhitekturno kompozicijo, ki jo poudarja enostavno okrasje v ometu, prispeva k slikovitosti glavnega idrijskega trga.

In 1890, a monumental cube-shaped house with a steep hip roof was built in place of its predecessor. The building’s perfected architectural composition emphasised by simple plaster ornamentation contributes to the picturesque diversity of Idrija’s main square.

Med njimi je tudi »monumentalna trinadstropna kubično učinkujoča 5 x 6-osna večstanovanjska stavba, ki je na južni strani trga nastala v drugi polovici 19. stoletja.« (Sapač, Lazarini, 2015: 420) Hišo, tako kot sosednjo Tavčarjevo, odlikuje harmonična arhitekturna kompozicija. Skladnost in vzajemno ujemanje stavbnih delov sta na glavni fasadi še posebej poudarjena z belo

Idrija

Mestni trg je po porušitvi cerkve sv. Barbare in posodobitvi po načrtih arhitekta Borisa Podrecce precej spremenil svojo velikost in obliko. Še vedno pa ga arhitekturno zaznamujejo Rotovž – mestna hiša z bogato razčlenjeno fasado in vogalnim stolpičem – ter nasproti njega stoječe stavbe, ki so podobne velikanskim kockam.

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pobarvanimi okrasnimi elementi v ometu: s profiliranimi etažnimi venci, pilastri v nadstropnih etažah ter z domiselno oblikovanimi obrobami okenskih odprtin, ki jih dopolnjujejo podokenske table z okrasnim rombom v središču. V pritličnem delu je trdnost objekta vidno poudarjena z ometom, ki ponazarja kamnito konstrukcijo. Ta lepa meščanska hiša s strmo štirikapno streho je bila nedavno tega celovito prenovljena.

Idrija

Zaradi poškodb, ki jih je utrpela med potresom leta 2004, je bila pri obnovi poleg posodobitve stavbne notranjosti posebna pozornost posvečena utrditvi obstoječe konstrukcije. Z nujno učvrstitvijo je hiša sicer izgubila del zgodovinske pričevalnosti, a vendar v veliki meri ohranja tudi arhitekturno govorico 19. stoletja, časa, v katerem je bila zgrajena. Popotresna obnova je bila zaključena leta 2015, v prenovljeni hiši pa so danes v nadstropju urejena sodobna stanovanja, v pritličju pa prostori za poslovne dejavnosti.

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Vhod v stanovanjski del stavbe je na zahodni strani, tik ob leta 1904 dograjenem trgovskem skladišču, ki na hišo meji z južno fasado ob Ulici sv. Barbare. Leseno prostorno stopnišče z imenitno in izvirno oblikovano ograjo povezuje vhode v stanovanja in vodi vse do prostorne podstrehe. Med različno velikimi stanovanji je posebej zanimivo tisto, ki ima izhod na veliko teraso, pokrito s kovinsko streho v secesijskem slogu.

Terasa zavzema celotno tlorisno površino nekdanjega trgovskega skladišča spodaj. Poleg tega je stanovanje zanimivo tudi zato, ker njegova lega omogoča razširitev bivalnih prostorov v del velikega in prostornega podstrešja, kar lastniki v bodočnosti tudi načrtujejo.

Osrednji del stanovanja – velik prostor, v katerem sta združeni sodobno opremljena kuhinja ter jedilnica z dnevnim delom in delovnim kotičkom – se od kakega drugega bivališča v novejši hiši ločuje zlasti po občutku domačijske prijetnosti in varnosti, ki ga proseva. K temu znatno prispevajo debele stene, posebej zunanje,

Starost hiše zagotovo ni ovira, da stanovanjskih prostorov ne bi bilo mogoče opremiti sodobno, celo po zadnji modi. Pogled v kuhinjo in dnevni prostor stanovanja, ki se bo v prihodnosti razširilo še v del podstrešnih prostorov.

Though the house is old, this does not mean that its residential spaces cannot be furnished in a contemporary way or even following the latest trends. A view of the kitchen and living area of an apartment, which is planned to extend into a part of the attic.

The wide wooden stairwell is a testament to the financial capacity of the building’s owner, merchant Franc Goli. The beautiful stairwell was designed in the fashion governing the construction of residential houses in larger towns of the time. The railing, made of carved wooden balusters, is a masterful work of timeless significance.

in ravno prav velika okna, ki omogočajo, da je velik osrednji prostor dovolj dobro in hkrati prijetno osvetljen z neenakomerno sončno svetlobo.

Ob veliki jedilni mizi, obkroženi z zbirko stolov različnih časov in stilov, s pogledom ven, na strehe idrijskih hiš, oživijo stare podobe Idrije. Ob spominu na zgodovino današnje stavbe se v zavest prikrade tudi ljudska legenda po kateri naj bi v majhni hiši, ki je nekoč stala na istem mestu, bival renesančni skladatelj in glasbenik Jakob Petelin – Gallus (1550–1591). Rojen je bil na Kranjskem, točno mesto njegovega rojstva in morebitno bivanje v Idriji pa ostajata zgodovinski neznanki.

Sestavni del stanovanja je tudi velika pokrita terasa. V času, ko je Franc Goli dal postaviti svojo novo hišo, je bilo ob meščanskih hišah modno imeti vrt. Goli je vrt nadomestil z veliko pokrito teraso, ozelenjeno z lončnicami. Terasa ima zanimivo, v duhu secesije oblikovano kovinsko strešno konstrukcijo in lep razgled na okolico.

Tovrstne terase so še vedno izjemno cenjeni atributi meščanskih stanovanj.

The apartment includes a spacious covered terrace. When Franc Goli had his new house built, it was fashionable for urban houses to have gardens. Goli substituted the garden with a large covered terrace using potted plants to deck it in green. It offers a wonderful view of the surrounding area. The terrace roof structure is made from metal, and was designed in an interesting Secessionist style. Terraces of this type continue to be exceptionally valued features of urban apartments.

Tudi idrijska hiša, ki naj bi bila povezana z Gallusi, se je že zdavnaj umaknila drugi. Današnja je bila zgrajena leta 1890. Postavil jo je trgovec Franc Goli, in sicer na ostalinah še ene predhodnice (zgrajene najverjetneje sredi 18. stoletja), ki jo je dal porušiti skoraj do temeljev, kljub temu, da je bila sorazmerno dobro ohranjena in je imela značilno arhitekturo idrijskih stanovanjskih hiš. Novo, imenitno in še danes občudovanja vredno stavbo, je nato dal zgraditi po vzorih mestnih hiš.

Idrija

O finančni moči graditelja stavbe, trgovca Franca Golija, priča tudi široko leseno stopnišče lepega videza, oblikovano po tedanji modi stanovanjskih hiš v večjih mestih. Ograja, sestavljena iz modeliranih lesenih stebričkov, je mojstrsko delo brezčasne vrednosti.

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Idrija

THE GOLI HOUSE Mestni trg 15

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The size and shape of and Mestni trg (Town Square) were changed considerably when the square was modernized after St Barbara’s church was demolished. The modernization was conducted following the plans of architect Boris Podrecca. The square, however, still benefits the strong architectural impact of the Town Hall, Rotovž an urban building with a rich and apportioned façade, and the cube-like structures facing it. These include a “monumental three-storey cube-shaped multi-residential building with 5 x 6 axes, which was built on the southern end of the square in the 19th century” (Sapač, Lazarini, 2015: 420). Like the neighbouring Tavčar building, this structure is distinguished by its excellent architectural composition. Congruity and reciprocal agreement between building elements on the main façade are particularly emphasized by the white-coloured ornamental plaster ornaments: profiled cornices, pilasters on the upper floors and ingeniously designed window trims complemented by the panels below with an ornamental rhombus at the centre. The solidity of the structure on the ground floor is visually accentuated by a plaster-reproduced stone construction. This beautiful urban house with a steep hip roof was recently entirely renovated.

Due to damage suffered in the earthquake in 2004 the renovations paid special attention to the reinforcement of the existing structure in addition to modernizing the interior. The necessary reinforcement detracted from some of the house’s historical authenticity. However most of the architectural language of the 19th century, the time at which the house was built, was preserved.

Post-earthquake restorations were concluded in 2015. Today residential apartments have been set up on the first floor of the renewed house while the ground floor spaces are used for commercial purposes.

The entrance to the residential area is located on the western side of the building, in the immediate vicinity of the commercial warehouse added in 1904, which flanks the house with its southern façade overlooking St Barbara street. The apartment doors are connected by a spacious wooden stairwell with an excellent and innovatively designed railing that leads all the way to the voluminous attic. Among the apartments of varying sizes, the one with its exit to a large terrace covered with a metal roof in the Secessionist style stands out. The terrace takes up the entire surface area of the former commercial warehouse below. The apartment is also interesting because its location enables the expansion of the residential spaces into a part of the large and spacious attic, which is what the owners are planning to do in future. The apartment’s central space comprises a large area, an up-to-date equipped combined kitchen and dining room, a living space, and a working space. The main distinguishing feature setting it apart from residences in some newer buildings is a prevailing sense of pleasant homeliness and safety. This is largely due to the thick walls, especially external ones, and appropriately sized windows, enabling the central space to be sufficiently yet pleasantly exposed to uneven sunlight.

The view of Idrija’s rooftops from behind the large dining table, surrounded by chairs from various time periods and ranging in styles, brings to mind the images of old Idrija. The memory of the modern day building’s history is intertwined with folk tradition according to which the small house that once occupied its space was home to the Renaissance composer and musician Jakob Petelin – Gallus (1550–1591). He was born in Carniola, though the exact place of his birth and his potential sojourn in Idrija remain lost to history. The house in Idrija that was purportedly tied to the Gallus name has long since relinquished its space to another. The present day structure was built in 1890. It was commissioned by merchant Franc Goli atop the remains of another predecessor (most probably erected in mid 18th century), which he had demolished nearly to its fundament, even though it was reasonably well preserved type of architecture typical of Idrija. His new structure was built following the model of urban houses.

Tavčarjeva hiša Mestni trg 16 Med hišami, ki na glavnem idrijskem trgu s svojo arhitekturno značajskostjo pritegujejo poglede, je tudi velika trinadstropna hiša z oznako Mestni trg 16, med domačini poznana kot Tavčarjeva hiša.

Idrija’s largest square is outlined by mighty town houses, including the residential and commercial house known as Tavčarjeva hiša (Tavčar house). It was last remodelled in 1879 at which time the size and exterior of the monumental structure were significantly altered. Its new appearance was brought closer to the architecture of surrounding urban houses; these were modeled after constructions in big cities such as Vienna, Ljubljana, and Trieste.

Stavba, ki se je z zadnjo prezidavo v letu 1879 oddaljila od značilne arhitekturne podobe idrijskih rudarskih hiš s strmimi dvokapnimi strehami, v svoji konstrukciji skriva ostaline, ki razkrivajo njeno resnično starost in odstirajo zgodbo njenega arhitekturnega razvoja vse do današnje, samosvoje in likovno dovršene podobe.

Stavbni ovoj zaznamuje vizualna harmonija, ki jo s svojo obliko in razmestitvijo ustvarjajo fasadne odprtine in okrasni elementi v ometu. Okenske odprtine z uokvirjenimi plitvimi tablami pod njimi izrisujejo

Idrija

Vizuro največjega idrijskega trga skupaj z drugimi podobnimi mogočnimi mestnimi hišami oblikuje tudi stanovanjsko-poslovna hiša, poznana pod imenom Tavčarjeva hiša. Z zadnjo predelavo v letu 1879 je mogočna idrijska hiša korenito spremenila velikost in zunanji videz. Z novo podobo se je približala arhitekturi meščanskih hiš v svoji okolici; te so bile oblikovane po vzoru gradnje v velikih mestih od Dunaja preko Ljubljane do Trsta.

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navpičnice, ki so v etažnih ravninah členjene s širokimi, profilirano oblikovanimi venci. Mednje so vpeti pilastri, ki z enako profilirano oblikovanimi bazami in kapiteli v skupine združujejo navpičnice okenskih odprtin. Očitno je, da je bila stavba zgrajena v času neoklasicizma, a kljub sledenju klasičnim somerjem in posnemanju zgodovinskih slogov je na njej tudi nekaj lahkotnega in igrivega. Okrasno oblikovana nadstrešnica nad balkonom, ki v prvi etaži poudarja somernost stavbne ploskve, balkonska ograja, nosilca balkonske plošče in zaključni motiv spodnjega roba profilirano oblikovanega strešnega venca so tiste podrobnosti, ki mehčajo red arhitekturne kompozicije in razkrivajo dušo slikarja Jurija Tavčarja, tedanjega lastnika hiše in naročnika zadnje arhitekturne preobrazbe.

Idrija

Če stavbni ovoj s svojim enovitim in urejenim videzom prikriva dolgo razvojno pot hiše, jo notranjost razkriva. Nepregleden preplet različno velikih prostorov, kratkih, ozkih in zavitih hodnikov, ki so med seboj povezani z ozkimi, strmimi enoramnimi lesenimi stopnicami, neenako visoke in široke vratne odprtine in ohranjena lončena grelna telesa so več kot očitni kazalci stoletnega razvoja hiše. Še več, današnja stavba mestnega videza v sebi skriva tudi zgodovino svoje predhodnice, enonadstropne rudarske hiše, ki je prej stala na tem mestu, na vhodu opustelega rudnika sv.

Katarine, ki je obratoval do leta 1682. V kleti so namreč pred kratkim odkrili ostaline rova, ki je najverjetneje bil del opuščenega rudniškega sistema. Preseneti pa tudi spoznanje, da je hiša, ki navzven daje vtis trdne, »zidane« konstrukcije, nad pritličjem v celoti lesena. Lesene so tako vse zunanje kot notranje stene in stropi, kar je izjemna in redko videna karakteristika tovrstnih hiš.

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Poleg arhitekturnozgodovinske pa ima stavba tudi veliko čustveno antikvarno vrednost. Za današnje lastnike, ki so rodbinsko povezani s predhodnimi, imajo arhitektura hiše in predmeti v njej poseben čar, čar starin. »Koža bere zgradbo, težo, gostoto in toploto snovi.

Površina starega predmeta, zglajena do popolnosti z obrtnikovim orodjem in z marljivimi rokami njegovih uporabnikov, zmami božajočo roko. Prijetno je prijeti za vratno kljuko, ki se blešči od tisoč rok, ki so vstopile pred nami skozi vrata; jasni blesk dolgoletne rabe se je spremenil v podobo dobrodošlice in gostoljubja. Dotik kljuke na vratih je stisk roke stavbe. Taktilni čut nas poveže s časom in tradicijo: z dotikom podamo roko neštetim rodovom.« (Pallasmaa, 2007: 98)

In res, kako prijetno je z roko pobožati držalo stare stopniščne ograje, se dotakniti zidanega štedilnika, pa čisto preprosto oblikovanega vratnega krila ali ročaja na starem fotelju. Da bi ohranili starinski značaj te konstrukcijsko še vedno trdne hiše, jo njeni lastniki skrbno vzdržujejo in popravljajo. Pred nedavnim je stavba dobila novo strešno kritino, popravili so stavbno pohištvo ter obnovili omete in zunanji stavbni okras.

Vse spremembe – poleg stanovanjskih prostorov je bil v najvišji etaži urejen arhitekturni biro, v prvem nadstropju bo v kratkem začela delovati slikarska šola, v pritličju pa sta prostor dobili učilnica za pouk tujih jezikov ter prodajalna in izdelovalnica idrijskih čipk – so bile izpeljane varujoč neprecenljivo zgodovinsko vrednost hiše. To pa je tudi osnovno vodilo razvojnega varstva nepremične kulturne dediščine.

Nič ravnega, nič ostrorobega in gladkega. Vse stene, s katerimi so zamejeni različno veliki prostori, vratni okvirji, vratna krila, tlaki in stopnice zrcalijo rokodelsko mojstrstvo; njihov starinski značaj je s tem še očitnejši.

Nothing is straight, nothing sharp-edged or smooth, mastery of handicrafts is reflected in all the walls around variously-sized spaces, in all the door frames, door leafs, floors, and stairs; this amplifies the sense of their age.

Starinski pridih, vse bolj prisotna in cenjena karakteristika bivanjskega okolja, zaznamuje tudi razliÄ?no staro notranjo opremo vseh bivalnih prostorov. ÄŒeprav ni modna, je lepa in bo takĹĄna ostala tudi v prihodnje.

Idrija

An air of antiquity, which is an ever more frequent and valued trait of residential environments, pervades all the residential spaces and their variously aged furnishings. Though not fashionable, they are beautiful and will remain so in times to come.

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Arhitekturni biro v najvišji etaži hiše je umeščen v višinsko razgiban prostor, deljen na predprostor in dve delovni sobi.

Risbe, skice, zvitki papirja, makete in modeli, na katere padajo prameni dnevne svetlobe, ki prihaja skozi majhna, a ravno dovolj velika okna, dajejo slutiti, da prostor neprestano preveva ustvarjalna sla.

Idrija

The space of the architecture studio on the top floor of the house is vertically diversified and divided into an antechamber and two workspaces. The drawings, sketches, rolls of paper, mock-ups and models illuminated by beams of light coming in through small though sufficient windows imbue the space with a sense of perpetual creative passion.

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THE TAVČAR HOUSE Mestni trg 16 ground floor will give a home to a classroom for a language school and a shop where Idrija lace will be produced and sold. All the alterations were conducted with strict observance of the protection of the house’s invaluable historical value; this is also the main guideline of the developmental protection of immoveable cultural heritage.

Idrija

Among the houses whose architectural personalities command attention on Idrija’s main square, at Mestni trg 16 stands a large three-storey house, known among the locals as the Tavčar House. After its last renovation in 1879, the house appearance lost many of the characteristics typical of Idrija’s mining dwellings, such as their steep gable roofs. Nevertheless within its construction lay remnants that reveal its true age and narrate the story of the architectural development that resulted in its current, singular and visually perfected appearance.

The building exterior is marked by visual harmony created by the shapes and distribution of façade openings and plaster ornamental elements. The window apertures and adjacent shallow panels draw vertical columns divided on the ground floor level with wide profiled mouldings. Among them, pilasters with equally formed bases and chapters that combine groups of vertical lines of windows. The building was evidently built in the Neoclassicism period, though, in spite of its reverence for Classicist symmetry and imitation of historical styles, there is something breezy and playful about it. The ornamented jutting roof above the balcony on the first floor emphasises the symmetry of the building’s floor plan; it and its railing, its support brackets, and the termination of the lower strip of the profiled roof cornice are the details that soften the ordered architectural composition and reflect the influence of painter Jurij Tavčar, the owner of the house and the commissioner of its final architectural transformation.

If the building’s exterior, with its uniform and ordered appearance conceals the house’s long evolution, the building’s interior divulges it. The complex intertwined combination of spaces of various sizes, a network of short, narrow, and winding hallways linked to each-other by narrow single wooden stairs. The unevenly tall and wide door apertures and the preserved ceramic heating bodies are clear testaments to the house’s centuries-long evolution. Furthermore, the present day urban structure also contains historical remnants of its predecessor, a single-storey miner’s house that stood in this location by the entrance of the abandoned St Catherine’s mine, which was operational until 1682. In fact, remainders of a tunnel were recently discovered that were most probably part of the abandoned mining system.

It was surprising to learn that the house that outwardly appears to be a strongly built structure was entirely made from wood above the ground floor. The ceilings and both the outer and inner walls are wooden, which is an exceptional characteristic rarely found in this type of house.

In addition to its architectural historical significance, the house also holds great general antiquarian value not to mention a particularly venerable attraction for the current owners who’s family trees are linked to the former proprietors. “The skin reads the texture, weight, density and temperature of matter. The surface of an old object, polished to perfection by the tool of the craftsman and the assiduous hands of its users, seduces the stroking of the hand. It is pleasurable to press a door handle shining from the thousands of hands that have entered the door before us; the clean shimmer of ageless wear has turned into an image of welcome and hospitality. The door handle is the handshake of the building. The tactile sense connects us with time and tradition: through impressions of touch we shake the hands of countless generations.” (Pallasmaa, 2007: 56) And really, how pleasant it is to run our hand across a handrail of an old stairwell railing, to touch a masonry oven, or the very simple design of a door panel or the armrest of an old armchair. In order to preserve the aged character of this persistently structurally sound house, its owners regularly maintain and repair it. Recently the building roof was re-covered, the fixtures were repaired, and the plaster and exterior ornamentation renovated.

Aside from the residential spaces an architectural bureau is located on the top floor, the first floor will shortly be used by a painting school, while the

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Koper

Capris Insula Capraria Justinopolis Caput Histriae Capodistria

Mesto od leta 1186 dalje Town rights since 1186 Najverjetneje si nismo vsi edini v tem, da si je mesta najlepše ogledovati prostovoljno, iz lastnega zanimanja in ne zaradi kulturne dolžnosti, da je človek pri tem najraje sam in da mu za izkušnjo utripa mesta niso potrebni ne tiskani ne živi vodiči. Prav stara mestna jedra so najbolj privlačna za tovrstno raziskovanje, ogledovanje in uživanje v urbanih posebnostih in izvirnih arhitekturnih pečatih mest.

Koper

K

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oper je obmorsko mesto, ki se je iz nekdanjega naselja na otoku pahljačasto razširilo ob obali navzgor po dvigajočih se obronkih Koprskih ali Šavrinskih brd. Arhitekturna izvirnost in svojskost strnjene gradnje v njegovem starem delu so dimniki.

Dimniške kape ali dimniški zaključki starih koprskih hiš so oblikovani tako, da zagotavljajo varnost pred požarom, poleg tega pa so to tudi okrasni elementi, ki se dvigajo nad opečnimi strehami. Oblikovani so zelo vešče in domiselno, zaznamujejo pa tako bogate kot skromnejše hiše. Koprski dimniki so dobro poznana in proučevana drobna arhitekturna posebnost – dragocenost, ki skupaj s staro tlorisno zasnovo, trgi in tesnimi ulicami ter eminentnimi in preprostimi stavbami izrisujejo značilno in izjemno kakovostno podobo slovitega, nekoč vodilnega mesta Istre. »Dimnik je elementarni del arhetipa bivališča, s katerim Evropejci prepoznamo simbol ali razpoznavni znak hiše kot kubus, z odprtinami in streho, na kateri je dimnik, iz katerega se suklja dim. Koprski dimniki so izjemni, ker

so Koprčanom omogočali izražanje osebnega prestiža v javnem prostoru, s tekmovanjem v domiselnosti in umetnostni oblikovanja dimnika.« (Likar, 2004: 7) Mojstrovine zidarske obrti, ki čepijo na plitkih strehah, pokritih z žlebičasto kritino, največje slovensko obmorsko mesto povezujejo z Benetkami. Dimniki so namreč ena od najbolj slikovitih in zanimivih prvin beneške arhitekture, ki je Kopru odtisnila neizbrisen pečat. Leta 1278 so z obzidjem utrjeno otoško naselje, majhen otok ovalne oblike, ki je bil sicer poseljen že v rimski dobi, osvojili Benečani. Mestu so vladali vse do padca Beneške republike leta 1797, ko je istrsko Primorje s Koprom – razen kratkega obdobja, ko je bilo del Ilirskih provinc – prešlo pod habsburško krono. Po razpadu monarhije Avstro-Ogrske, leta 1918, je mesto postalo del Kraljevine Italije, šele po koncu druge svetovne vojne pa del Jugoslavije in, po osamosvojitvi, Slovenije.

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Koper

Koper Town rights since 1186 We may probably not all be of the mind that towns visits are most enjoyable when fuelled by our own curiosity rather than some sense of cultural duty, that they are better done by oneself, and that the experience of the pulse of the town requires no printed or living guides. It is the old town centres that hold the most appeal for this sort of exploration, viewing, and enjoyment of urban characteristics and original architectural hallmarks of individual towns.

Koper is a coastal town, which expanded from a former island settlement and fanned out up the coast, across the peaks of Koper and Šavrini hills. The condensed built area in the old part of town features architecturally particularly original and unique chimneys. Chimney caps or terminations of old Koper houses are designed to ensure fire safety, they double as ornamental elements rising above the rooftops. They are shaped with great skill and ingenuity, and can be found both atop rich and modest houses.

Koper’s chimneys are a well-known and studied minor architectural feature and a treasure.

Along with the old floor plan scheme, squares, narrow streets, and illustrious as well as simple buildings, they form the image of Istria’s renowned and formerly leading town. “The chimney is the elementary part of the archetypical dwelling, which is recognized by Europeans as one of the symbols or distinguishing features of the ontological house as a cube with openings and roof featuring a chimney from which smoke is coming. Koper’s chimneys were exceptional, because they allowed the townspeople to express their individual personal prestige in a social environment, by competing in ingenuity and craft of chimney design.” (Likar, 2004: 7) These masterpieces of construction sitting atop shallow, barrel-tiled roofs, connect Slovenian largest seaside town to Venice. The chimneys are a most picturesque and interesting element of Venetian-type architecture, which has left a permanent mark on Koper.

In 1278 the walled island settlement on a tiny oval island, which was settled already in Roman times, was occupied by Venice. They ruled the town until the fall of the Venetian Republic in 1797, at which time the Istrian Littoral along with Koper, with the exception of a short period when it was part of (Napoleon’s) Illyrian Provinces, permanently came under Habsburg rule.

After the dissolution of the Austria Hungary Monarchy in 1918, the town became part of the Kingdom of Italy and it wasn’t until after World War II that it became part of Yugoslavia, and later Slovenia, when the latter gained its independence.

After the fall of the Venetian Republic the town walls, which had for centuries protected the town against incursions of various invaders, also practically entirely disappeared. In part they fused with the external walls of nearby houses, and in places individual stones were

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Po padcu Beneške republike je tako rekoč dokončno izginilo tudi obzidje, ki je prej stoletja varovalo mesto pred napadi in vdori različnih zavojevalcev. Zlilo se je z zunanjimi stenami bližnjih hiš ali pa so bili posamezni kamni zidu uporabljeni za gradnjo novih stavb. Le delček te monumentalne kamnite zaščite je še ohranjen, in sicer ob nekdaj najpomembnejših mestnih vratih – Kopnih vratih, med meščani bolj poznanih pod imenom Mudina vrata. To so bila edina od dvanajstih vrat v mestnem obzidju, ki so z otoka vodila na nasip do celine. Mudina vrata s prostornim trgom za njimi še vedno predstavljajo izpostavljeno vstopno točko v staro mestno jedro. Središče tega oblikujeta dva trga (skupine trgov v mestnih središčih so značilno italijanski urbanistični pojav) in ulice, ki ju povezujejo. Osrednji trg, nekdanji Platea Communis, današnji Titov trg, se je razvil na stičišču poti v smeri zahod–vzhod (to je prometna hrbtenica starega jedra – danes Kidričeva in Cankarjeva ulica) in sever–jug (prečni Čevljarska in Verdijeva ulica). Na ta ulični križ se priklapljajo mnoge druge ozke in vijugaste ulice, ki na mestno jedro vežejo manjše trge, nastale ob nekdanjih mestnih vratih.

Na osrednjem, s kamnom tlakovanem trgu stojijo najpomembnejše, občudovanja vredne mestne stavbe: edinstvena Pretorska palača, ki je nastala v 14. stoletju z združitvijo dveh starejših upravnih poslopij, romanski mestni stolp, ki je bil v začetku 15. stoletja spremenjen v cerkveni zvonik, Stolnica Marijinega vnebovzetja (sv. Nazarija), na kateri se kaže pisana panorama stavbarske dejavnosti od 9. pa vse do 18. stoletja, ter krasna Loža – Loggia, ki je bila in je še vedno srce družabnega življenja meščanov. »Ne gre pozabiti, da je prva pilasterska fa-

sada na Slovenskem nastala že v 15. stoletju na stolni cerkvi v Kopru, tudi v mejah beneškega ozemlja.« (Šumi, 2001: 15) Loža, enonadstropna hiša, ki jo v pritličju krasijo beneški gotsko zašiljeni loki z grbi, je nastala s temeljito predelavo leta 1464 postavljene stavbe v gotskem arhitekturnem stilu. Stavba je bila izvorno namenjena administrativnim funkcijam ter delovnim in družabnim shodom prebivalcev mesta.

Naštete in druge eminentne stavbe, ki stoječ okrog osrednjega trga določajo njegovo kvadratno obliko, pričajo o kontinuiteti bogate in edinstvene zgodovine Kopra. V posebnostih njihove arhitekturne podobe pa se kažejo lokalne prilagoditve arhitekturnega jezika, kot se je v različnih obdobjih razvil in

Kot del Avstro-Ogrske, po zatonu Beneške republike, je Koper izgubil svojo moč in nekdanji pomen. Prehitel ga je Trst, čigar razvoj je podpirala dunajska vlada. Koprčani so se tedaj ukvarjali zlasti z ribištvom, pridobivanjem soli, ladjedelništvom in primestnim trgovanjem. V tem času je bilo mesto s kopnim povezano z nasipom in cesto po njem.

Pogled na mesto leta 1909.

After the fall of the Venetian Republic, Koper was included in Austria Hungary, which resulted in the loss of its power and former significance. It was surpassed by Trieste, which had the support of the government in Vienna. The townspeople of Koper were then predominately working in fishing, salt-panning, shipbuilding, and local trade. At this time, the town was linked to the mainland by an embankment road. A view of the town in 1909.

Živahnost okoli Da Pontejevega vodnjaka na Prešernovem trgu je bila upodobljena leta 1903.

removed to be used as building material for new structures. The only preserved small part of this monumental stone-built protective structure frames the once most important town gates – the mainland door, better known among townsmen as “Mudina vrata”.

This was the only door of twelve in the town walls, which lead to the bridge between the island and the mainland. “Mudina vrata” and the spacious square behind them continue to serve as a prominent point of entry into the old town centre. Its core is made up of two squares (groupings of squares are a typical occurrence in Italian urbanism) and the streets connecting them. The central square, formerly known as “Platea Communis” and currently as “Titov trg”, evolved at the juncture of the east-west route (the backbone of the traffic through old town core– streets named Kidričeva and Cankarjeva) and the north-south route (lateral streets known as Čevljarska and Verdijeva). This is also the juncture of several other narrow winding roads linking to smaller squares, which evolved next to the former town gates.

The central stone-paved square is the location of the most important and admirable urban buildings: the unique Praetorian Palace, which was formed in the 14th century through combining two older administrative structures, the Romanesque town tower, which was transformed into a church bell-tower at the start of the 15th century, the Cathedral of the Assumption (St Nazarius), which reflects the varied panorama of construction activities from the 9th all the way to the 18th century, and the gorgeous Loggia, which was and remains the heart of the townspeople’s social life. “It is important to remember that the first pilaster façade in Slovenia was fashioned already in the 15th century, on the cathedral church in Koper, which was also part of the Venetian territory.” (Šumi, 2001: 15) The Loggia, a two-storeyed house (including the ground floor) decorated on the ground floor by Venetian Gothic pointed arches with crests, was the result of an exhaustive remodelling of the Gothic-styled house built in 1464. The primary intent of the building was to serve administrative functions and as a centre where townspeople would hold professional or social gatherings.

The above and other eminent neighbouring buildings outlining the rectangular frame of the main square, attest to the continuity of Koper’s rich and unique history. The distinct features of its architectural appearance reveal local adaptation of architectural language, which evolved and became established in Venice, from various periods. Aside from characteristic buildings on Titov trg, there are also several architecturally interesting and special urban houses in the nearby Brolo square, as well as by the sides of the main streets that flow into both squares. Wealthy townspeople erected marvellous buildings boasting ornate frontages and containing function halls in the strict centre to serve as their residences in the 17th century

The liveliness around the Da Ponte Fountain at Preseren Square was captured in 1903.

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Podoba mesta v krajini. Koper je danes središče slovenskega sredozemskega sveta z razvitim gospodarstvom, trgovino in mednarodnim pristaniščem (Luka Koper).

A view of the town in the landscape. Today Koper is the centre of the Slovenian Mediterranean world with its own developed economy, commerce, and international port (Port of Koper).

Pod Benečani (od 1279 do 1797) je mesto postalo živahen trgovski center. V tem času se je sredi pozidanega otoka oblikovalo eminentno mestno središče, današnja Titov trg in trg Brolo. Na razglednici ju vidimo iz časa več kot stoletje nazaj: Titov trg leta 1900 in trg Brolo leta 1901.

Koper

Under Venetian rule (from 1279 until 1797), the town grew to become a lively centre of trade. During this period, an eminent town core evolved in the middle of the built-up island, today known as Titov trg and Brolo squares. In the postcard we can see them as they appeared over a century ago: Titov trg in 1900 and Brolo in 1901.

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uveljavil v Benetkah. Poleg reprezentativnih stavb na Titovem trgu so arhitekturno zanimive in posebne tudi mnoge mestne hiše na drugem, bližnjem trgu Brolo ter ob glavnih ulicah, ki se stekajo na oba trga. Čudovite stavbe z okrašenimi pročelji in slavnostnimi dvoranami v notranjosti so si v ožjem centru za svoja bivališča postavili bogati meščani; v 17. stoletju (palača Gravisi–Buttorai), 18. stoletju (palača Bruti, palača Gravisi–Barbabianca) in 19. stoletju (palača Škofije Koper, palača Pizzarello – Palma, palača Madonizza).

Pred baročno in klasicistično preobrazbo, preden so bile zgrajene danes najopaznejše palače, je bil osrednji mestni prostor, namenjen trženju in druženju, trg Brolo. Razvil se je za mogočno stolno cerkvijo Marijinega vnebovzetja, v bližini samostanskih kompleksov. Na njem stojijo Fontik (1392) – nekdanje skladišče za živila –, majhna cerkvica sv. Jakoba in velika mestna cisterna. Do trga Brolo vodijo ceste z vseh bližnjih mestnih četrti. Nanj so se in se še vedno stekajo tudi poti z majhnih obrobnih trgov, ki so nastali za mestnim obzidjem, ob vratih v mesto, in so bili, vsaj večina njih, povezani z majhnimi pristanišči. Med draži mesta tako poleg ogledovanja krasnih palač sodi tudi hoja po ozkih in zavitih ulicah, ki se zdaj spuščajo proti morju, zdaj od njega dvigujejo navzgor, v središče mesta.

Ob teh ulicah se dvigajo skromnejše hiše, hiše nekdanjih kmetov, ribičev in obrtnikov, ki imajo v svoja ostenja neredko vpete okrasne prvine gotike.

(the Gravisi–Buttorai palace), the 18th century (the Bruti palace, the Gravisi–Barbabianca palace), and in the 19th century (the palaces: of the Koper Bishopric, of Pizzarello – Palma, and of Madonizza).

Before Koper’s Baroque and Classicist makeovers and before its currently most noticeable palaces were built, the town’s central space intended for trade and socialising was the Brolo square. It evolved behind the mighty Cathedral of the Assumption, near the monastic complexes. It features the Fontico (1392) – a former crop warehouse –, the Small Church of St Jacob, and the large town’s reservoir. Streets from all town quarters lead to the Brolo square. It also was and remains accessible by paths from the small edges of squares, which evolved outside the town walls, next to the gates and were further linked to small ports. Therefore, in addition to the view of stunning palaces, the allures of the town also include walking down narrow winding streets either descending towards the sea or ascending into the town centre.

Alongside these streets stand modest houses belonging to fishermen and craftsmen, their walls often still displaying ornamental elements from the Gothic period. Unfortunately many are in very poor condition, and even more have been unprofessionally renovated by owners in their desire for improvement and adaptation to modern needs and tastes.

The largest of the peripheral squares is Prešernov trg, which evolved by the most important entrance into the walled town, next to the previously mentioned Mudina vrata, or mainland gates. As the name of these sole preserved gates reflects, they were the main link to the continent, they were the only to lead to a bridge there. The gates are very proportionately shaped and perfected, inciting admiration; as Stane Bernik wrote, they are a refined overture to experiencing the town. They were constructed in 1516 as the town’s main entrance, while their front reflects the Renaissance artistic style. Prešernov trg, the gates, and the Baroque-style de Ponte fountain connect to the town’s interior by narrow streets, which lead all the way to the town centre’s Titov trg and Brolo squares, to the beautiful palaces, picturesque buildings, running past simple houses and several hidden remains of small churches and monasteries that join to make an interesting and charming town.

What about the seaside? Here, the historical appearance has dissipated. The island of Koper, which was surrounded from all sides by water, no longer exists, nor do its tiny harbours. Already in 1827, the construction of a long embankment supporting a road linking the island port and the Semedela coast transformed the island into a peninsula. This is where today the town centre extends to the mainland, while the tiny harbours have been replaced by a large modern port, a new pathway into a new world.

White is the sea foam and new are the sea-boats, Crossing the waves like a swift-sailing bird floats, Above them the sun goes caressing them […]

Med arhitekturne posebnosti Kopra spadajo tudi dimniki. V 19. stoletju je bilo na strehah mestnih hiš 1930 umetelno oblikovanih dimnikov. Večina jih je bila podrtih, na peščici ohranjenih pa lahko še vedno občudujemo ustvarjalno bogastvo in neizčrpno domišljijo naših prednikov.

(Srečko Kosovel, Tam so domovi)

Among Koper’s distinct architectural features are also its chimneys. In the 19th century, the roofs of the town dwellings were decked by 1930 artfully shaped chimneys. Most have been torn down, while the handful that remains continues to attest to the creative wealth and boundless imagination of our ancestors.

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Mestno obzidje je nekoč imelo dvanajst vrat. Vrata Muda ali Kopenska vrata so bila edina, ki so mesto povezovala s kopnim. Danes pa so to edina še ohranjena vrata. Narejena so v obliki lope in oblikovana v renesančnem slogu. Postavili so jih leta 1516. Monumentalna oblika in skrbna obdelava kamnitih detajlov delujejo na današnjem obalnem pasu kot slavolok eminentni zgodovini mesta in njegovi kulturni dediščini.

Koper

There were once twelve gates in the town walls. The “Mudina” or mainland gates (constructed in 1516) were the only ones connecting the town to the mainland and are the only gates preserved to this day. They are fashioned in the shape of a shed and in the Renaissance style. Their monumental shape and details carefully worked in their stone and situation on the modern day coastline, give the impression of an arch of triumph commemorating the town’s distinguished history and cultural heritage.

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Cerkev Marijinega vnebovzetja. »Prvotna romanska bazilika je bila v gotiki in renesansi predelana. V prvi polovici 18. stoletja so cerkev obsežno baročno prezidali.

Arhitekturni členi so strogi, kar klasicistični, baročen je samo ritem oblikovane poti od vhoda proti velikemu oltarju.« (Šumi, 2007: 92) The Church of the Assumption. “The initial Romanesque basilica was remodelled in the Gothic and Renaissance periods. In the first half of the 18th century the church underwent extensive Baroque-style remodelling. The architectural elements are strict, it is only the rhythm of the path from entrance to the great altar that is in the Baroque style.” (Šumi, 2007: 92)

Žal so mnoge v zelo slabem stanju, še več pa je takih, ki so jih lastniki v želji po izboljšanju ter prilagoditvi sodobnim potrebam in okusu nestrokovno prenovili.

mimo preprostih hiš in mnogih skritih ostalin cerkvic in samostanov, ki mestno jedro naredijo zanimivo in očarljivo.

Med obodnimi trgi je največji Prešernov trg, ki je nastal ob najpomembnejšem vstopu v obzidano mesto, ob že omenjenih Mudinih vratih oziroma Kopnih vratih.

Kot pove že ime vrat, so bila le-ta glavna prometna vez s celino, saj so edina vodila na most do kopnega. Vrata so oblikovana zelo skladno in dognano ter zbujajo občudovanje; kot je zapisal Stane Bernik, so prefinjena uvertura v doživetje mesta. Kot glavni mestni vhod so bila postavljena leta 1516, pročelje pa imajo oblikovano v renesančni likovni maniri. S Prešernovega trga, od vrat in baročnega vodnjaka da Ponte v notranjost mesta vodijo ozke ulice; vse do mestnega središča, Titovega trga in trga Brolo, do lepih palač, slikovitih stavb,

In morje? Tu se je podoba preteklega časa izgubila.

Otoka Koper, ki ga je okrog in okrog objemala voda, ni več, tudi majhnih lučic ne. Že leta 1827 se je z izgradnjo dolgega nasipa s cesto od pristanišča na otoku do Semedele na obali otok spremenil v polotok. Danes je staro jedro prav v tem delu zlito s celino, majhne lučice pa je zamenjala velika sodobna luka, novo okno v nov svet.

Morje je belo in barke so nove, kot jadrni ptiči gredo čez valove, nad njimi gre sonce in boža jih […]

(Srečko Kosovel, Tam so domovi)

Titov trg po dežju. Njegov kamniti tlak je kot srebrna lesketajoča se preproga. Okrog trga stojijo dragocene palače, odete v svetlo, belo barvo. V osrednjem delu je Loža – Loggia, ki je bila in je še danes priljubljeno zbirališče meščanov. Postavili so jo sredi 15. stoletja, današnjo podobo pa je dobila s temeljito prezidavo v 18. stoletju.

Ulice v centru Kopra so ozke in zavite. Arhitektura posameznih hiš ne glede na številne predelave še vedno zrcali tesno vez, ki jo je mesto skozi zgodovino imelo z Benetkami.

O tem priča tudi množica ohranjenih gotskih elementov hiš, predvsem v kmečkem in ribiškem delu nekdanje otoške naselbine. Na slikah: nedavno prenovljena hiša z gotskimi ostalinami na Ribiškem trgu in pogled na Čevljarsko ulico.

Streets of Koper’s centre are narrow and winding. Individual houses, no matter their frequent renovations, still reflect in their architecture a tightness of the connection between Koper and Venice. This is further attested by the multitude of preserved Gothic building elements, particularly in the fishermen’s and farmer’s quarters of the former island settlement. Pictured: Čevljarska ulica (”cobbler street”) and a recently renovated house on Ribiški trg (“fishery square”) containing preserved traces of Gothic architecture.

Koper

Titov trg after rain. Its stone paving is like a silver glistening rug. Precious palaces, clad in white, surround the square. At the forefront stands Loggia, which was and remains the townspeople’s beloved meeting place. Though built in mid 15th century, it received its present-day appearance in the 18th century.

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Pretorska palača Med velikimi in razkošno oblikovanimi palačami, ki so jih v 18. in 19. stoletju v središču današnjega starega jedra zgradili premožni meščani, je Pretorska palača najimenitnejša in najpomembnejša. Palača izvirne arhitekturne oblike stoji na enem najkakovostnejših mestnih prostorov, na osrednjem, današnjem Titovem trgu, ki je bil stoletja življenjska srž mesta, njegova atrakcija in prostor, na katerem se je odvijalo javno življenje.

Pretorska palača, sedež oblastnikov in upravnikov, je tako nenavadna, da se zdi, posebej na stari porumeneli razglednici (1913), komaj resnična. Monumentalna stavba, ki zapira južno stran trga, je v pritličju srednjega dela prehodna. Podhod povezuje trg s Čevljarsko ulico, ki je v starem jedru pomembna prometnica.

Koper

The Praetorian Palace, the seat of government and administration, is so unusual, that it hardly seems real; this is even more evident when viewed in an aged yellowed postcard (1913). The monumental building closing the square on the south side can be trasversed on the ground floor. It links the square to Čevljarska ulica, a route of significance in the old town.

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Oblikovan je v matematični in proporčni strogosti, značilni za že kar pregovorno skladno oblikovan trg sv. Marka v Benetkah. Poleg Pretorske palače se na osrednjem koprskem trgu nahajajo še druge pomembne arhitekture: mestni stolp, cerkev Marijinega vnebovzetja, Loža (Loggia) ter Foresteria (Albergo nuovo) in Armeria (orožarna), ki sta od 18. stoletja

dalje povezani s skupno fasado – v tej prenovljeni zgradbi je danes sedež Univerze na Primorskem.

Pretorska palača zapira južno stran trga. Njen današnji videz je – tako kot velja za večino stavb z zgodovinsko vrednostjo – rezultat mnogih prezidav, s katerimi so oblastniki izboljševali svoje delovne prostore

Na trg usmerjeno lice palače je bilo v okviru celovite prenove v zadnjih letih 20. stoletja obnovljeno. Zaradi bogastva okrasja, kamor spadajo tudi vse v kamniti obodni zid vzidane spominske plošče, grbi in poprsja županov in drugih veljakov, obnova ni bila samo zahtevna, ampak je bila zaradi potrebnega čiščenja in restavracije arhitekturnih detajlov tudi dolgotrajna.

in sledili širše uveljavljenim kanonom lepote. Največji gradbeni poseg je bil začet v 14. stoletju. Tedaj so pričeli dve prej ločeni stavbi – v eni je bil sedež kapetana, v drugi pa župana – združevati v eno samo. Ob zaključku del sredi 15. stoletja je stavba s svojo na novo pridobljeno mogočnostjo še poudarila svoj in upravni pomen trga. »V tem obdobju je fasada dobila sedanje razmere in pa tiste beneško gotske prvine, ki so ohranjene še danes (kvadrifora na levi strani s šilastimi, ob vrhu rahlo usločenimi loki s perjanicami, portal z gotskim sklepom na desni strani ob kvadrifori, nato še monofora na desnem nadstropnem podaljšku in povrh še nekateri drugi elementi).« (Bernik, 1968: 30) Poleg gotskih stavbnih prvin pogled na stavbo razkriva, da so s popravili in obnovitvenimi deli, ki so jih izpeljali v kasnejših obdobjih, nova arhitekturna merila (renesančna, baročna) zadržano in nevsiljivo vpletli v

obstoječo arhitekturo, tako da je na stavbnem licu prvoten gotski arhitekturni videz še vedno izpostavljen.

Pročelje, ki z nenavadno kompozicijo različno oblikovanih fasadnih odprtin preprosto ugaja, izvirno dopolnjuje tudi množica spominskih plošč, grbov in poprsij različnih mestnih veljakov. Svojevrsten stavbni okras, ki poučno slika preteklost mesta, skupaj s fasadnimi odprtinami tvori domišljeno kompozicijo ter pripomore k temu, da je trdnjavski videz razkošne palače lahkotnejši. V sredini 17. stoletja so med zadnjimi večjimi prezidavami strešne vence na obeh višjih, stranskih in stolpasto oblikovanih stavbnih delih ter strešni venec na nižjem, vmesnem veznem delu nadzidali v obliki nazobčanih prsnih zaslonov, značilnih za vrhove srednjeveških obzidij. Čeprav ima nazobčan nadzidek (zobci imajo obliko lastovičjega repa, kar je srednjeveška značilnost) na palači izključno okrasno vlogo, je vtis mogočne utrdbe,

Koper

The palace front facing the square was renovated as part of its complete overhaul at the close of the 1990s. The lavish ornamentation, which includes all the memorial plaques, crests, and busts of mayors and other dignitaries built into the outer stone wall, not only made the renovation demanding but, due to the necessary cleaning and restoration of architectural details, also lengthy.

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Pogled v veliko dvorano občinskega sveta. Čeprav se na prvi pogled zdi, da se je tu čas ustavil, temu ni tako. Današnji videz dvorane je delo restavratorjev in drugih strokovnjakov, ki so z različnimi postopki – od restavriranja, rekonstruiranja, do oblikovanja novega – prostoru vdihnili pečat časa, v katerem je arhitektura stavbe dosegla visoko, lahko rečemo celo najvišjo kakovost.

Koper

A view of the municipal council’s great hall. Even though it may at first glance appear that time stopped here, this is not the case. The hall‘s present day appearance was achieved by restorers and other experts, who applied various procedures, such as restoration, reconstruction, and new creation, to conjure a sense of the period of time necessary for the architecture of the building to achieve its high, or dare we say highest, quality.

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Detajl stropa v veliki dvorani občinskega sveta.

A detail from the reconstructed ceiling in the municipal council’s great hall.

Na panoju v prostoru, kjer sta razstavljena pohištvo in oprema lekarne iz 19. stoletja, je zapisano, da je lekarna Alla Fenice stala na današnjem Titovem trgu in da je bil njen zadnji lastnik lekarnar Mario Marcollini, ki je živel v Trstu. Leta 1959 so lekarno prenovili, pohištvo pa je v hrambo prevzel Pokrajinski muzej Koper.

A panel, which stands in the space displaying the furniture and fittings of a 19th century apothecary, states that the Alla Fenica apothecary was located in the square presently known as Titov trg, and that its last owner was Mario Marcollini, who lived in Trieste. In 1959, the apothecary was renovated and the furniture moved to the storage of the Koper Regional Museum.

Tudi notranjost palače, v kateri so uradovali najvišji predstavniki oblasti (pretorji, podestati, kapetani), je bila urejena po vzoru tipičnih beneških gotskih palač. Po propadu Beneške republike so novi uporabniki notranjost precej preoblikovali, zunanjost pa je kazala vse očitnejše znake slabega vzdrževanja; vse do leta 1991, ko se je občina odločila, da s celovito prenovo palači vrne izgubljeni sijaj in izvirno namembnost.

V restavrirani palači, zlasti v obeh dvoranah, ki sta v časih pred združitvijo dveh stavb pripadali vsaka eni

palači, se danes, tako kot nekoč, razpravlja in odloča o mestu in življenju v njem.

V procesu prenovitvenih in obnovitvenih del je bila izboljšana tehnična vzdržljivost stavbe, odstranjeni so bili vsi elementi prezidav, z restavracijo posameznih stavbnih členov pa je bila celoti povrnjena izgubljena kakovost. Mnoge stavbne člene, na primer lesene stropne konstrukcije, je bilo potrebno zaradi hudih poškodb in uničenj rekonstruirati, nekatere pa celo oblikovati na novo, po novih zamislih. Poleg prostorov za župana in mestni svet je v nadstropju urejena tudi poročna dvorana, v pritličju pa ima prostore Turistično informacijski center. Ob njegovi pisarni so razstavljeni izbrani odkruški mestne zgodovine, v posebnem prostoru pa je na ogled postavljeno pohištvo in posodje iz lekarne Alla Fenice (Palma) iz 19. stoletja, ki je danes v lasti Pokrajinskega muzeja Koper.

Koper

ki vzbuja strahospoštovanje, neizbežen. To je bil tudi cilj oblastnikov, kar se nenazadnje kaže tudi v postavitvi rimskega kipa, ki so mu dodali žensko glavo, meč in tehtnico ter ga tako spremenili v kip boginje Pravice.

Kip, ki stoji v navidezni stavbni osi med razprtim nazobčanim okrasnim vrhom, in lepota stavbe prikličeta v spomin ugotovitev antičnih Grkov, da je vse, kar je najbolj pravično, tudi najlepše (Eco, 2006: 37).

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Prostor, ki je namenjen delu župana Mestne občine Koper, krasi kopija slike, ki jo je okrog leta 1600 izdelal neznan slikar. Na sliki je panorama Kopra, ena najstarejših upodobitev mesta in njegove okolice. Original, ki je za časa Beneške republike krasil sejno dvorano velikega sveta, danes hrani Pokrajinski muzej Koper, kopija pa je delo Viktorja Snoja.

Koper

The space reserved for the mayor of the Municipality of Koper is adorned by a replica of a painting produced in 1600 by an unknown artist. The painting displaying the townscape of Koper is one of the oldest depictions of the town and its surrounding area. The original painting, which hanged in the conference hall at the time of the Venetian Republic is now kept at the Koper Regional Museum. The replica was painted by Viktor Snoj.

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Praetorian Palace particularly the two halls, which were part of two separate individual palaces before they were joined, is now again the scene of discussions and decision concerning the town and its life.

In the course of renovations and restorations the structural integrity of the building was improved, all the elements added during reconstructions were removed, while the restoration of individual building parts restored the quality the architecture had lost. Many architectural elements, for example the wooden ceiling structures, were so severely damaged that they needed to be reconstructed, some even built from scratch following new ideas. The upper floor spaces are now used by the mayor and town council and include a wedding hall, while the ground floor is used by the Tourist Information Centre. Next to their office, three excerpts from the town’s history are exhibited, and a separate space displays the furniture and vessels from the 19th-century Alla Fenice (Palma) apothecary, which is currently in the possession of the Koper Regional Museum.

Koper Kranj

The Praetorian Palace is the most distinguished and significant among the sizeable and lavish palaces built by wealthy townspeople in the 18th and 19th centuries in the centre of present-day old town. Its original architectural design adorns one of the town’s foremost areas, the central square, known today as Titov trg, which was for centuries the heart of town, its attraction, and the site of public life. Its scheme is mathematically strict and proportionate, a feature paralleled in the proverbial harmonious design of Venice’s Piazza San Marco. In addition to the Praetorian Palace, Koper’s central square features other important architecture such as the town tower, the Church of the Assumption, the Loggia, and Foresteria (Albergo nuovo) and Armeria (armory); these have been sharing a common façade since the 18th century – this renovated structure today hosts the seat of the University of Primorska.

The Praetorian Palace demarcates the southern side of the square. Its modern-day appearance, as is the case with most historically significant buildings, is the result of several reconstructions aimed at improving the working spaces of the ruling class and conducted following the wider guidelines of the established measures of beauty. The greatest building intervention began in the 14th century when two individual buildings – one of which contained the captain’s and the other the mayor’s office – were combined into a single structure. At the close of works in mid 15th century, the building’s newly gained grandeur additionally emphasised its own importance as well as the significance of the square. “This period saw the addition of the façade and Venetian Gothic elements, which remain preserved today (quadrifora on the left with pointed fan vaults, slightly bowed at the top, followed by a monofora atop the expansion on the right side of the upper floor and a few other elements).” (Bernik, 1968: 30) In addition to Gothic structural elements, as even a cursory glimpse of the building reveals, the repairs and renovations conducted in later periods discreetly and unobtrusively weaved new architectural principles (of Renaissance and Baroque styles) in with the existing architecture in such a way that the original Gothic appearance remains dominant on the building face. The frontage, with its unusual composition of variously shaped façade apertures, is simply pleasing. It is inventively complemented by a multitude of memorial plaques, crests, and busts of various town notables.

This unique type of building ornamentation paints an instructive image of the town’s history and combines with façade openings to form a thoughtout composition and make the heavily fortified lavish palace appear lighter.

In mid 17th century, in the course of the last bigger renovation battlements, typical of medieval defensive wall-tops, were constructed above the cornices of both tower-shaped side-wings, as well as the cornice on the lower, connective structure between them. Though the battlements on the palace are intended purely as decorations (the merlons are dovetail-shaped, which is a medieval characteristic), it renders the awe-inspiring impression given off by the mighty structure inescapable. This was exactly the goal the lords had in mind, which is also manifest in the erection of a roman statue, which was added a female head, a sword, and scales, thus becoming transofmred into a representation of Justice. The statue stands in the implied axis of the building, above the open ornamental battlements; in combination with the beauty of the building, it recalls to memory the finding of ancient Greeks that that which is most just is most beautiful. (Eco, 2006: 37) The interior of the palace, where the topmost authorities (praetors, podestás, captains) officiated, was also modelled after Venetian Gothic palaces.

After the fall of the Venetian Republic, the new residents significantly altered the interior, while the exterior showed ever greater signs of poor upkeep; this continued until 1991, at which point the municipality, determined to return the building to former splendour and original use, commissioned comprehensive renovations. As it once was, the restored palace,

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Cerkev sv. Frančiška Asiškega protokolarno-prireditvena dvorana Poznana grafična veduta Kopra, ki sta jo v 18. stoletju izdelala slikar Francesco del Pedro in Marco Sebastiano Giampiccoli (ta je slikarjevo risbo vrezal v baker), nam razkriva, da je glavni vhod v obzidano mesto, ki tedaj še ni bilo del celine, varovala mogočna renesančna utrdba, imenovana Levji grad (podrli so jo leta 1819).

Staro mesto se je razvilo na otoku in je bilo stoletja zaščiteno z delno srednjeveškim, delno renesančnim visokim in debelim kamnitim obzidjem. Na veduti mesta iz leta 1781 (Francesco del Pedro, Marco Sebastiano Giampiccoli) opazimo izstopajoče zvonike cerkva. Med njimi so tudi zvoniki cerkva znotraj samostanskih kompleksov osmih redov, ki so bili stoletja vpeti v življenje mesta.

Koper

The old town evolved on the island and stood for centuries in the protection of partly Mediaeval and partly Renaissance-period tall and thick stone-built walls. A townscape from 1781 (Francesco del Pedro, Marco Sebastiano Giampiccoli), features markedly prominent church bell-towers. These include bell-towers of the churches incorporated in monastic complexes of eight orders, which were an integral part of the town’s life in for centuries.

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Stala je na sredi mostišča, edine vezi med mestom na otoku in kopnim. Narisani pogled na mesto pa nas pouči tudi, da so arhitekturo mesta poleg mestnega stolpa, palač oblastnikov in trgovcev ter številnih enodružinskih hiš, v katerih so živeli obrtniki, kmetje, ribiči in solinarji, sestavljale tudi številne cerkve. Večina jih je stala na trgih, ki so se razvili za obzidjem, ob vhodih v mesto, ne-

kaj pa jih je bilo del samostanskih kompleksov redovnic in redovnikov, ki so živeli in delovali po pravilih svojih ustanoviteljev in so v mestnem življenju predstavljali žarišča duhovnih vrednot, vzgoje in izobrazbe.

V mestu so si med 13. in 16. stoletjem na izbranih lokacijah, najpogosteje ob že obstoječih sakralnih objektih in

ob mestnih prometnicah, svoja bivališča postavili meniški redovi klaris, avguštink, frančiškanov, kapucinov, servitov, dominikancev, gregoritov in minoritov. Večina stavbnih kompleksov posameznih redovnih skupnosti, samostanov s cerkvami, ki so jih redovnice in redovniki postavili po širše uveljavljenih pravilih samostanske gradnje, je danes še ohranjenih in obnovljenih oziroma prenovljenih tako, da je v največji možni meri ohranjena njihova zgodovinska in umetnostna vrednost, in to kljub spremembi uporabnosti; vsi samostanski kompleksi so po razpustitvi redov in predvsem po nacionalizaciji po drugi svetovni vojni namreč služili raznim posvetnim namenom. V seznam zadnjih kakovostnih prenov objektov v sestavi samostana je vpisana tudi prenova cerkve sv. Frančiška Asiškega, ki so jo postavili redovniki minoritskega reda in jo umetnostni zgodovinarji umeščajo med značilne gotske cerkve beraških redov. »Minoriti so se na travniku Caprile pri že obstoječi cerkvi naselili leta 1260 in leta 1265 začeli z gradnjo nove cerkve F. Asiškega in samostana. Pri tem so novo cerkev uravnali po izročilu stare.« (Radovanovič, 2008: 113) Enoladijska gotska cerkvena stavba je bila sredi 18. stoletja temeljito predelana tako, da je njeno izvirno gotsko podobo deloma prekrila baročna.

Tudi ta samostan s cerkvijo, ki je v sestavi samostanske arhitekture najpomembnejša in najimenitnejša zgradba, je po razpustitvi minoritskega reda leta 1806 služil raznim posvetnim potrebam. Sprva so v samostanskih

V procesu prenove cerkve so bile izpeljane tudi arheološke in umetnostnozgodovinske raziskave, ki so odstrle vse arhitekturne in umetniške dragocenosti, prekrite v obdobju zadnjih preoblikovanj objekta. Na sliki so predstavljene restavrirane poslikave, ki so izvorno krasile cerkev. Narejene so bile v tipični maniri italijanske gotike.

In the process of the church’s renovation archaeologists and art historians conducted research, which uncovered all architectural and artistic valuables that had been covered in the structure’s final remodelling. The image displays restored murals fashioned in the typical Italian Gothic style, which originally adorned the church.

Pogled na obnovljeno fasado cerkve sv. Frančiška Asiškega, ki so jo v 13. stoletju v sklopu svojega samostana postavili minoriti. Skromnost – vodilo njihovega beraškega reda – se zrcali tudi v arhitekturi cerkve in njenega pročelja, usmerjenega na današnji Martinčev trg. Na levi strani je cerkev s kontaktnim zidom s preslico povezana s samostanskim objektom.

Koper

A view of the renovated façade of the Church of St Francis Assisi, which was built in the 13th century by Minorites as part of their monastic complex. Modesty – the mendicant order’s main principle – is also reflected in their Church’s architecture including its frontage facing the square presently named Martinčev trg. On the left side, the church links to the monastery structure by a connecting wall with a bell gable.

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Prenova cerkve sv. Frančiška Asiškega je vzoren primer razvojnega varstva stavbne dediščine. Obnovljena arhitektura z vsemi restavriranimi oziroma rekonstruiranimi stavbnimi členi ima posebno kulturnozgodovinsko vrednost, ki dopolnjuje in plemeniti v njej delujočo protokolarno-prireditveno dvorano.

The renovation of the Church of St Francis Assisi is a representative example of developmental protections of architectural heritage. The renovated architecture, including all the restored or reconstructed building parts, holds special cultural-historical value, which complements and exalts the protocolary and function hall currently operating within its walls.

Koper

prostorih uredili učilnice za osnovnošolce, kasneje pa so celoto preuredili v srednješolski izobraževalni kompleks s telovadnico, ki je bila urejena v notranjosti cerkve.

Gimnazijci so z urjenjem fizičnih veščin v cerkvi prenehali leta 1991, ko je bila stavba zaradi varnostnih razlogov za več let zaprta.

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Prostorno enoladijsko cerkev z dragocenimi ostalinami zgodovine so pričeli prenavljati leta 2012 ter jo sklenili preurediti v protokolarno-prireditveno dvorano. Prenova je bila izpeljana z upoštevanjem mednarodnih in domačih načel varstva posebej vrednih arhitektur, spomenikov nepremične kulturne dediščine. Obiskovalca danes na prvi pogled prevzame restavriran baročni stropni okras – poslikava in okrasje v štuku z bogatim, profilirano izdelanim vencem, ki je prav tako obnovljen v izvorni obliki. Toda med obnovo ostrešja so bile restavrirane tudi v dobi baroka prekrita prvotna gotska stropna poslikava in vse ostale ostaline tistega časa, ki so danes tako ponovno postale vidne – od okna in rozete, do kamnitega portala in ometa. Vse inštalacije in naprave, potrebne za delovanje prireditvene dvorane, ki je opremljena tako, da lahko streže tudi strogim zahtevam protokola, so domišljeno skrite v debeli plasti talne plošče, ki jo prekriva na novo oblikovan tlak iz umetnega kamna. Poleg tlaka je na novo izdelana tudi fasadna zavesa med stavbnim volumnom cerkve in samostanskim delom kompleksa.

Zagotovo se vsakomur, ki si v prenovljeno cerkev pride ogledat kakšen kulturni dogodek, le-ta zapiše v spomin tudi zaradi prostora, ki z odlično svetlobo, akustiko, prostornostjo in lepoto umetniško izdelanih stavbnih členov nadgrajuje doživeto izkušnjo.

Samostanska cerkev, v kateri je bila dolga leta telovadnica koprskih gimnazijcev, je bila zaradi resnih poškodb leta 1991 zaprta. Pogled v enoladijsko cerkev s simetrično oblikovanim kornim delom pred prenovo.

The monastic church, which for years contained the gymnasium of Koper’s secondary school students, was closed in 1991 due to serious damage. A view of the aisleless church and its symmetrically shaped chancel before the renovation.

The Church of St Francis Assisi Protocolary and Function Hall stallations and equipment necessary for the operation of the function hall, which is designed to accommodate even the strict ceremonial demands of protocol, have been ingeniously concealed in the thick layer of flooring, which is covered by newly fashioned pavement from artificial stone. In addition to the flooring, the façade draping separating the church structure and the monastic wing of the complex has also been newly fashioned.

There is no doubt that all who visit the renovated church to view a cultural event, will remember it fondly in part also because the space enhances the experience with its excellent illumination, acoustics, spaciousness, and the artistic beauty of the artfully fashioned structural elements.

Koper

The famous graphic of the Koper townscape produced in the 18th century by painter Francesco del Pedro and Marco Sebastiano Giampiccoli (the latter etched the painter’s drawing in copper), divulges that the main entrance to the fortified town, which was not yet connected to the mainland, was protected by a mighty Renaissance-style fort, known as the lion’s castle (demolished in 1819). It towered at the centre of the bridgehead, the only link between the town on the island and mainland. The same depiction of the town also informs us that the town’s architecture featured numerous churches in addition to the town tower, the palaces of the men in power and merchants, and the numerous family homes inhabited by tradesmen, farmers, fishermen, and salt workers. Most of the churches stood in squares, which had formed inside the town walls by the entrances to the town, while a few formed part of monastic complexes housing monks and nuns living in accordance with the rules of their founders and stood as the town’s sources of spiritual values, instruction, and education.

Between the 13th and 16th centuries, monks and nuns of various orders made their homes in select locations across town, most frequently next to existing sacred structures and traffic routes. The town’s monastic communities included the female orders following the rules of St Clare and St Augustine as well as Francsicans, Friars Minor Capuchin, Servites, Dominicans, Gregorian Tertiaries, and Minorites. The majority of the building complexes belonging to individual religious communities, monasteries with adjacent churches, which the nuns and monks erected in line with the widely accepted guidelines of monastic architecture, today remain preserved and have been renovated or restored in a way that preserved as much of their historic and artistic value as possible. This is in spite of the change of their intent; after World War II, after the dissolution of orders and most monasteries, particularly after they have been nationalized, all monastic buildings were used for various lay purposes. The list of the latest high-quality renovations includes the renewal of the Church of St Francis of Assisi, which was built by the friars of the Minorite Order and is classified by art historians as a typical Gothic-style church associated with mendicant orders.

“Minorites settled the meadow of Caprila by the existing church in 1260 and in 1265 began work on the construction of the new Church of Francis Assisi and the monastery. They modeled the new church on the tradition of the old one.” (Radovanovič, 2008: 113) The aisleless Gothic church building underwent significant alterations in mid 18th century, when its original Gothic appearance was partly covered in Baroque-style coating.

After the dissolution of the Minorite Order in 1806, their monastery with its church, which stands as the monastic complex architecture’s most significant and refined building, also served various lay purposes. First, primary school classrooms were established in the monastic spaces and later the entire complex was converted into a secondary education complex with a gymnasium inside the church. Physical education in the church ceased in 1991, when the building closed for several years due to safety concerns.

The renovation of the spacious aisleless church containing valuable historic remains began in 2012, when the decision was made to transform it into a protocolary and function hall. The renovations were conducted in compliance with international and domestic principles of the protection of architectural monuments of immovable cultural heritage of significant value. The present-day visitor is instantly captivated by the renovated Baroque-style ceiling décor - painting and stucco ornamentation and an opulent profiled garland course, which has also been returned to its original state. However, the renovation of the roof structure also restored the later original ceiling murals, which had been covered in the Baroque period, and all other remains from the Gothic period, such as the window and rosette, the stone portal, and plaster, so that they can be viewed again. All the in-

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Taverna večnamenski prireditveni prostor v nekdanjem skladišču soli Kdo ne pozna zgodbe o močnem, pogumnem in lisičje zvitem Martinu Krpanu, ki je na svoji krhki kobilici z morja čez Notranjsko v notranjost dežele tovoril morsko sol in cesarski Dunaj rešil pred nasilnim Brdavsom?

Skladišče soli sv. Marka je svojo uporabno vlogo izgubilo z ukinitvijo solin leta 1912. Danes je objekt, ki je pred tem služil tudi trgovsko-gostinskim dejavnostim, preurejen v večnamenski prireditveni prostor.

Koper

The salt warehouse of St Mark lost its primary purpose following the abolishment of salt panning in 1912. Today the structure, which had interim also served trade and hospitality activities, has been transformed into a multi-purpose event space.

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Nesel je Krpan po ozki gazi na svoji kobilici nekoliko stotov soli; kar mu naproti prižvenketa lep voz; na vozu je pa sedel cesar Janez, ki se je ravno peljal v Trst. […] Krpan odgovori: „Poslušajte me tedaj! Moje otepanje z Brdavsom vem, da je imena vredno. Kaj se zna? Morda bodo postavači še celo skladali pripovedovavke in pesmi, da se bo govorilo, ko ne bo ne vas ne mene kosti ne prsti, če ne bo magister Gregor dal drugače v bukve zapisati. Pa naj stori, kakor če; meni

se ne bo s tem ne prikupil ne odkupil. Ampak vendar je vsak delavec vreden svojega plačila, to sem v cerkvi slišal. Če je vaša draga volja, dajte mi tedaj pismo, ki bo veljavno pred vsako duhovsko in deželsko gosposko; pa tudi svoj pečat morate udariti, da bom brez skrbi nosil angleško sol po svetu. Če mi to daste, naj bom ves malopridnež, kolikor me je pod klobukom, ako vam bom kdaj kaj opotikal, dokler bom tovoril!”

(Fran Levstik, Martin Krpan)

Robustna arhitektura nekdanjega skladišča oblikuje zahodno mejo ozkega in nepravilno oblikovanega trga, ki ima ime po beneškem slikarskem mojstru Vittoreju Carpacciu (1465–1520). Mojstra je pot zanesla v Koper in v nizu stanovanjskih hiš, ki stojijo na trgu nasproti Taverne, pozornost pritegne dvonadstropna stavba, oblikovana v arhitekturnem stilu beneške gotike. V hiši, ki je bila v 20. stoletju dvakrat obnovljena, je živel sin poznanega slikarskega mojstra, prav tako slikar, Benedetto Carpaccio (1500–1560). Poleg slikarjeve – Carpacciove

– hiše prostor pravokotno oblikovanega trga plemenitita še vodnjak v značilni obliki kapitela iz sredine 15. stoletja, ki so ga leta 1935 prinesli iz Benetk, in Justinin steber iz leta 1572. S stebrom, ki je pred premestitvijo stal na drugem mestu, so trg oplemenitili med obema svetovnima vojnama.

S solinarstvom so se stoletja ukvarjali tudi prebivalci Kopra. Žetev soli se je ob ugodnem vremenu začela meseca maja in se je zaključila konec avgusta ali septembra, sicer pa so imeli solinarji polne roke dela tudi izven tega časa – z vzdrževanjem solnih polj.

For centuries Koper’s residents panned salt. If the weather conditions allowed, the salt harvest began in May and concluded in August or September, though the upkeep of salt pans kept the salt-panners plenty busy outside this period as well.

Sol so solinarji z barkami pripeljali do velikih skladišč. Pogled na veliko skladišče soli v Kopru leta 1906.

Using their boats, salt panners would transport their salt to large warehouses. A view of a large salt warehouse in Koper in 1906.

Koper

Sol, dragocena in pomembna začimba, je bila zaradi svoje uporabnosti, tudi pri konzerviranju hrane in izdelavi smodnika, stoletja ne samo pomembno strateško trgovsko blago, ampak je bila tudi kazalec bogastva in moči.

In meščani Kopra so sol imeli. Izkoristili so naravne danosti severovzhodne obale Jadranskega morja in se ob kmetijstvu in ribištvu ukvarjali tudi s solinarstvom. S solnih polj ob obali so pobirali sol in jo hranili v namensko urejenih skladiščih. Postavili so jih ob pristaniščih, ki so se razvila ob nekaterih vhodnih vratih v z obzidjem utrjeno srednjeveško mesto. Eno od nekdanjih skladišč soli, skladišče sv. Marka, ki je na robu majhnega trga stalo že v začetku 17. stoletja in je bilo leta 1935 temeljito predelano, še stoji. Danes je poznano pod imenom Taverna.

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Pogled na majhen, pravokotno oblikovan Carpacciov trg, ki ga na zahodni strani omejuje masivna, ozka in dolga stavba – nekdanje skladišče soli sv. Marka. Arhitekturno ureditev trga plemenitita vodnjak, kamnoseška stvaritev iz 15. stoletja, in Justinin steber, umetnostni izdelek iz 16. stoletja.

A view of the small rectangular Carpaccio’s square, delineated in the west by a massive, narrow, and elongated building – the former salt warehouse of St Mark. The architectural arrangement of the square is adorned by a fountain – a work of stonemasonry from the 15th century, and the Column of St Justine – a work of art from the 16th century.

Koper

Imeniten trg se po izpeljani prenovi nekdanjega skladišča soli (Taverna) neposredno povezuje z obalnim pasom ob morju. Pri prenovi objekta v večnamenski prireditveni prostor so namreč predrli stene med polkrožnimi loki in s tem ustvarili novo arhitekturno podobo stavbe, ki spominja na dolg, obojestransko odprt arkadni hodnik. Širina stavbe je povsem primerna za organizacijo različnih prireditev, plitka žlebičasta streha pa jih ščiti tudi pred vremenskimi vplivi. Masivne stene kljub predrtju ustvarjajo občutek ločenosti prireditvenega prostora od mestnega vrveža, po drugi strani pa pridobljena prehodnost prostora omogoča njegovo občasno razširitev na arhitekturno urejen trg.

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Nekoč je bila stavba razčlenjena na lopo s tržnico, urade in veliko skladišče. Z ukinitvijo solin leta 1912 so stavbo namenili trgovsko-gostinskim dejavnostim.

Ob trgovini sta tam dolgo delovali še ribarnica in restavracija. In prav restavracija je stavbo zaznamovala z današnjim imenom. Kljub novi podobi arhitektura stavbe danes z ohranjeno masivnostjo ostaja materialna priča močne in pomembne gospodarske dejavnosti iz preteklosti. Na to opominjata tudi relief beneškega leva in manjša kamnita fontana, vpeta v ostenje med loki na fasadi, ki gleda na morje.

The Tavern A Multipurpose Function Hall in the Former Salt Warehouse In the past, the structure was apportioned into a market shed, offices, and a large warehouse. After the salt ponds were abolished in 1912, the building was used for new commercial and hospitality activities. In addition to the store, a fishery and restaurant operated there for a long time. It was the restaurant that gave the building its current name. In spite of its new appearance, the building architecture with its preserved massive character remains a substantiating testament to the strong and important economic activity of its past. The same significance is attested by the bas-relief depicting the Venetian lion and a minor stone fountain looking out to sea, incorporated in the wall between the façade vaults.

Koper

What Slovenian doesn’t know the story of the strong, brave and cunning Martin Krpan, who trafficked sea-salt on the back of his brittle mare from the sea inland across the Notranjska region, and saved Vienna from the barbarian Brdavs?

Krpan was carrying his mare laden with a few hunderweights of salt along a narrow trek in the snow; just then a beautiful carriage clanks towards him; sitting in the carriage was Emperor John, who was just making his way to Trieste. … Krpan replies: “Hear me then! My tussle with Brdavs, I know, is well worth mentioning. Who knows? Idle men may even compose tell-tales and songs about me, so that there will be tell after your bones and mine and out dirt are gone, that is if master Gregor doesn’t have it otherwisedly written in books. Let him do as he will; he will win or lose no favours with me either way. However, still, every worker is worth his payment, this I heard in church. If it is your valued will, then grant me a letter valid to both landed and sacred lords; and you must also stamp it with your seal so that I will carfree carry English salt around the world. If you give me that, then let me be known as a good-for-nothing if I am ever found to reproof you for as long as I am moving my wares. (Fran Levstik, Martin Krpan) Due to its usefulness in conserving food and in the production of gunpowder, salt, the precious and important seasoning, was for centuries not only a strategically important trade commodity but also an indication of wealth and power. The townsmen of Koper had salt. They took advantage of natural resources of their position on the north-eastern shore of the Adriatic Sea, and, in addition to farming and fishing, also practiced salt-panning. Each day they gathered salt in the salt fields and stored it in warehouses they established expressly for this purpose. These stood by the ports, which had evolved by some of the gates in the walls of the fortified medieval town. One of these former salt warehouses, the warehouse of St Mark, which stood at the edge of a small square already at the start of the 17th century and was fundamentally remodelled in 1935, still stands today. It is known as “Taverna” (the Tavern).

The former warehouse’s robust architecture shapes the eastern rim of a narrow and irregularly shaped square named after the Venetian master painter Vittore Carpaccio (1465–1520) who also found his way to Koper.

In the string of houses across from the Tavern there stands an eye-catching three-storey house (including the ground floor) designed in the Venetian Gothic architectural style. The house, which was renovated twice in the 20th century, was woccupied by the son of the noted master painter, himself a painter, Benedetto Carpaccio (1500–1560). Next to the painter Carpaccio’s house, the space of the rectangular square is also distinguished by a characteristically designed fountain in the typical shape of an early 15th century capital brought there from Venice, and St Justina’s Column from 1572. The column, which was also brought from elsewhere, first began distinguishing the square in the period between the World Wars.

With the completion of the renovation of the former salt warehouse, or Tavern, the distinguished square became linked directly with the shoreline.

Namely, when the structure was transformed into a multi purpose function space, the walls between the semi-circular vaults were pierced, which gave the building a new architectural shape of a long vaulted hallway open at both ends. The width of the building is entirely appropriate to hold various events, while the shallow barrel-tiled roof shields it from the elements.

Though it is pierced, its massive walls create the sense that the event space is separated from the bustle of the town, while the gained transitivity enables the event space to be extended into the architecturally ordered square.

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Kostanjevica na Krki

CostanjnĂŤvca Kostajnevca

Mesto od leta 1252 dalje Town rights since 1252 Starodobno mesto, ki leži na robu Krške ravni, ob severnem vznožju Gorjancev, v objemu smaragdno zelene reke Krke, vedno znova očara. Kostanjevica je najmanjše mesto v mehko valoviti dolenjski pokrajini. V ohranjenih listinah je prvič omenjena leta 1091, že leta 1252 pa je pridobila mestne pravice.

Na dolgi poti svojega razvoja je doživela mnoge vzpone in padce. Je edino slovensko mesto na otoku – umetni otok je nastal, ko je bil prerezan večji okljuk Krke – in edino slovensko srednjeveško mesto, ki nikoli ni bilo zaščiteno z obzidjem.

Kostanjevica na Krki

Z

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okrasnimi obrambnimi vrati in stolpoma sta bila zavarovana le oba vhoda v mesto – ob severnem (zgornjem) in južnem (spodnjem) mostu. Zakaj to trgovsko in obrtno pomembno mesto z gradom, ki je bilo središče kostanjeviškega gospostva, v turbolentnih časih turških vpadov ni imelo obzidja, je vprašanje, ki nima enoznačnega odgovora. Do neke mere je bilo zaščiteno s sámo lego na otoku, a morda glavni razlog razkrivajo pisni viri, iz katerih lahko razberemo, da za dokaj zahtevno gradnjo obzidja na mehkih tleh nikoli niso zbrali dovolj denarja.

Razen tega, da mesto nikoli ni imelo obzidja in da sta bila njegova vhoda ob obeh mostovih zaščitena s stolpoma in mestnimi vrati, verjetno nikoli ne bo znano, kakšna je bila podoba Kostanjevice vse do 17. stoletja.

Obstoječi pisni viri so skromni in pomanjkljivi; v arhivskih mapah najstarejše risbe in načrti gradenj datirajo v 17. oziroma 18. stoletje. Znano je, da so mesto do tedaj redno pestila raznovrstna uničenja, ki so jih pozvročale naravne ujme, bolezni in človeške roke.

Od srednjega veka dalje je nazadovalo in pogosto bolj životarilo kot živelo, a v drugi polovici 18. stoletja se je zanj posebej zavzela monarhinja Marija Terezija.

Z njenim posredovanjem si je Kostanjevica ponovno utrdila status lokalnega upravnega središča. Leta 1774 je mestu dodelila nove upravne funkcije, kar je spodbudilo razvoj, ki se je nadaljeval tudi v obdobju jožefinskih reform.

Naselbina je tedaj že imela izoblikovani dve glavni vzporedni prometnici in tri trge, od katerih sta se dva razvila ob razcepu obeh prometnic na severu in jugu mesta, medtem ko je tretji – največji – nastal ob razširitvi zahodne prometnice, nekoč imenovane »Mali plac«, danes pa Oražnova ulica. V Kostanjevico se je konec 18. stoletja vrnilo blagostanje in omogočilo njen nadaljni razcvet. V mesto so prihajali novi prebivalci, povečal se je promet ljudi in pretok denarja, kar se je kazalo tudi v živahni gradbeni dejavnosti. Mnoge lesene hiše so zamenjale zidane, ki so bile oblikovane po

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Kostanjevica na Krki

Kostanjevica na Krki Town rights since 1274 This age-old town at the edge of the Kško plain by the foot of northern Gorjanci hills embraced by the emerald green Krka river, never ceases to charm. Kostanjevica is the smallest town in the softly undulating Dolenjska landscape. Its first preserved written mention dates to 1091, and as early as 1252, Kostanjevica already held township rights. Its long development included several high and low points. It is the only Slovenian town located on an island – artificially constructed by connecting two ends of a larger bend in the river. Consequently it is the only Slovenian medieval town never to erect defensive walls, though the town’s two points of access, the northern (upper) and southern (lower) bridge, were protected by means of ornate defensive gates and towers. There is no simple answer as to why this important commercial and craft hub, which contained a castle and served as the centre of the Kostanjevica estate, was left to face the turbulent time of Turkish raids with no defensive wall. To a degree, it was safeguarded by its island location; however, sources testify that sufficient funds to cover the demanding construction of ramparts on the soft soil were never gathered.

Beyond the fact that the town never had protective walls and that the access routes across the two bridges were protected by town gates and individual towers, the town’s general appearance before the 17th century will most probably remain a mystery. Existing written sources are modest and lacking; the oldest drawings and construction plans in the archival maps date to the 17th or 18th centuries. It is known that at this time the town was devastated due to various natural events, diseases, and human actions. The Middle Ages saw the town decline and often persevere on the cusp of ruin rather than thrive. However in the second half of the 18th century, empress Marie Thérèse took special notice of the town; through her involvement, Kostanjevice regained its status as the local administrative centre. In 1774, she granted the town new administrative assignments inciting development, which carried on throughout the period of the Josephinian reforms.

At the time, the settlement already boasted two main parallel traffic routes and three squares, two of which evolved at the junctions of the two roads at the northern and southern edges of the town, while the third and largest square developed at the widening of the western route, known previously as ‘mali plac’ (the small square) and currently

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sodobnih likovnih vzorih. Cerkvi sv. Jakoba in sv. Miklavža – prva iz časa romanike, druga pa iz obdobja gotike – sta bili razširjeni in olepšani. Tudi tako imenovani novi grad ali stari farovž so tedaj razširili in prilagodili novim upravnim funkcijam in bivanju mestnih gospodov. Prvotni utrdbeni grad so na severu otoka – natančna lega ni znana – v 13. stoletju postavili koroški vojvode Spanheimi. V 15. ali 16. stoletju je bil grad najverjetneje porušen, novi grad pa so zatem postavili na lijakasto oblikovanem trgu ob Oražnovi ulici, na mestu neke prej pogorele stavbe.

V naslednjih desetletjih je »novi grad« doživel več arhitekturnih preoblikovanj in zamenjal številne lastnike; rodbine Valvasor, Moscon, Barbo, Auersperg, Zrinjski, nato ga je v upravo dobil kostanjeviški samostan in od leta 1793 do 1985 so ga za župnišče uporabljali kostanjeviški duhovniki – od tod izvira tudi ljudsko poimenovanje stari farovž. Danes je del gradu namenjen predstavljanju likovne umetnosti. V spomin na Vladimirja Lamuta (1915–1962), slikarja in grafika, ki je po diplomi na zagrebški likovni akademiji poučeval risanje na novomeški gimnaziji, je razstavni prostor imenovan Lamutov likovni salon.

Poleg omenjenega gradu na južni strani lijakastega trga na Oražnovi pogled pritegne tudi skrbno vzdrževana enonadstropna hiša v oker barvi. V pročelje vgrajena plošča oznanja, da se je v hiši, ki je bila zgrajena leta 1831, rodil Ivan Oražen (1869–1921), zdravnik in mecen Medicinske fakultete v Ljubljani. Drobce iz življenja moža, ki je vse svoje premoženje zapustil Medicinski fakulteti za dodeljevanje pomoči socialno šibkim študentom medicine, razkriva

spominsko urejena soba v pritličju hiše. V njej so na ogled postavljeni osebni predmeti, pohištvo, fotografije iz njegovega življenja ter pomembne diplome in odličja. Na trgu pa na pomen stavbe, v kateri je otroštvo preživel ta spoštovani in širokosrčni zdravnik, opozarja njegov doprsni kip, delo akademskega kiparja in grafika Staneta Jarma.

Bogato urbanistično in arhitekturno dediščino starega mesta nadgrajuje živahna umetniška, kiparska in slikarska ustvarjalnost. Cerkev sv. Miklavža na Kambičevem trgu krasijo poslikave domačina Jožeta Gorjupa (1907–1932), v urejenih razstavnih prostorih pa navdušujejo razstave v širšem dolenjskem okolju delujočih umetnikov

Fotografija mestnega jedra iz leta 1914. Ker se je v preteklosti večina prebivalcev preživljala s kmetijsko dejavnostjo, je bil tudi videz naselja bolj vaški kot mestni.

Photograph of the town core from 1914. Since the majority of the residents lived off farming, the settlement had a more rural rather than urban appearance.

Kostanjevica na Krki je v slovenskem prostoru poznana tudi po živahnem umetniškem utripu. Mesto je s svojim izgledom, arhitekturo, ujeto v milino reke Krke, pogost motiv umetniških stvaritev. Na fotografiji je delo dolenjskega umetnika Vladimirja Lamuta.

In Slovenian space Kostanjevica na Krki is known for its vibrant artistic pulse. The view of the town architecture ensnared in the suppleness of the Krka River, is a constant motif of artistic creation. The photograph features the work by the Dolenjska region’s native artist Vladimir Lamut.

as Oražen street. At the close of the 18th century, prosperity returned to Kostanjevica, which could then begin flourishing again.

New residents were attracted, the flow of people and money increased. This started to reflect in vivacious building activities. Many wooden houses were replaced by stonebuilt structures in contemporary visual styles. St Jacob’s and St Nicholas’ (Miklavža) Churches, the former hailing from the Romanesque period and the latter from the Gothic period, were expanded and decorated. At the same time the ‘novi grad’ (new castle) or ‘stari farovž’ (old presbytery) was also expanded and adapted to new administrative functionality and to the residential needs of the town’s gentry. The Carinthian Dukes of Spanheim built the first fortified castle in the 13th century, somewhere in the northern part of the island, though a more precise location remains unknown. In the 15th or 16th century the castle was most probably demolished and the “new castle” eventually erected in place of a building that had burned down in the funnel-shaped square by Oražen street.

In the following decades the ‘new castle’ underwent several architectural alterations and frequently changed hands, passing between the Valavasor, Moscon, Barbo, Auersperg, and Zrinjski families until it came into the possession of the Kostanjevica monastery.

Between 1793 and 1985 it was used by the priests of Kostanjevica as a parish church (Župnišče), hence the popular designation “stari farovž” (old presbytery). Today a part of the castle serves as an exhibition space for fine arts. The exhibition space was dubbed Lamut’s Art Salon in commemoration of Vladimir Lamut (1915-1962), a painter and graphic artist who, after graduating from the Zagreb Academy of Arts, taught drawing at the Novo mesto grammar school.

On Oražen street, apart from the “new castle” on the southern side of the funnel-shaped square, the eye is also drawn to the carefully maintained ochre coloured single-storey building. The plaque built in to the main face of the building declares that this was the birthplace of Ivan Oražen (1869-1921), a physician and patron of the Ljubljana Medical Faculty. He left all of his belongings to the Medical Faculty for the purpose of aiding socially disadvantaged medical students. A memorial room has been set up to celebrate his life, displaying some of his personal artefacts, furniture, photographs from his life, as well as his more significant diplomas and awards. The location of the house where this respected and generous doctor spent his youth is marked in the space of the square by his bust, sculpted by the academic sculptor Stane Jarm.

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Urbano stavbno tkivo poleg kmečkih domačij sestavljajo tudi nadstropne hiše, ki so jih lastniki – trgovci, gostinci, obrtniki – dali zgraditi po mestnih vzorih. Take stavbe so zgoščene ob Kambičevem trgu.

Kostanjevica na Krki

The urban building tissue is comprised both of farming homesteads and storeyed houses commissioned by merchants, hospitality workers, and tradesmen following urban models. These types of houses are clustered in Kambič square.

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Kljub vzponom in padcem, naravnim nesrečam, boleznim, vojnam in človeškim pustošenjem je naselbina ohranila svojo značilno srednjeveško zasnovo z dvema vzporednicama, ki se združita v trg ob južni in severni povezavi mesta z mostovoma.

Though it had ups and downs, suffered natural disaster, diseases, wars and manmade devastation, the settlement retained a typical medieval outline of two parallel routes joining to form a square by the southern and northern connection of the town with the bridges.

Obnovljena župnijska cerkev sv. Jakoba je ena od treh največjih in najbolj izpostavljenih stavb v mestu. Postavili so jo v sredini 13. stoletja, zaznamuje pa jo dolga razvojna pot, ki jo je moč razbrati kljub temeljiti predelavi v 17. stoletju, s katero so cerkev odeli v baročni plašč.

The renovated parochial St. Jacob’s Church is one of the three largest and most exposed buildings in the space of the town. Built in mid 13th century, it is distinguished by a long evolutionary journey that is clearly visible, in spite of the 17th century remodelling that clad the church in Baroque garb.

– že omenjenega Vladimirja Lamuta, Božidarja Jakca, Dušana Tršarja in drugih. Poleg tega mesto krasijo tudi številne plastike.

Izvirni kiparski izdelki iz toplega in prožnega hrasta že desetletja nastajajo na kiparskih prireditvah ali simpozijih, imenovanih Forma viva, na katerih domači in tuji kiparji izmenjujejo izkušnje in ustvarjajo v odprtem prostoru in za odprt prostor, ki jim je istočasno tudi vir navdiha. Tovrstni kiparski simpoziji so se v slovenskem prostoru udejanjili na pobudo kiparjev Jakoba Savinška in Janeza Lenassija.

Zagotovo ni bilo naključje, da je bilo za prvo Forma vivo izbrano krajinsko slikovito in arhitekturno dragoceno okolje Kostanjevice, v katerem je bila z razvito galerijsko dejavnostjo slikarska in kiparska umetnost že močno vtkana v življenjski vsakdan. Postopoma se je delovni prostor umetnikov z vrtov kostanjeviškega samostana razširil proti vzhodu na poljane pod Gorjanci in segel tudi v urbani prostor Kostanjevice, v staro in novo mesto, ki se razrašča na bregu reke Krke onstran južnega mosta.

Forma viva – kiparska dejavnost, ki je zaživela v parkih samostana in se postopoma s svojimi stvaritvami širi v stari in novi del mesta. Pogled na leseno skulpturo avtorja Toneta Demšarja (1976) s samostanom v ozadju.

Forma viva – sculpting activities that began their lives in the monastery’s parks and are gradually spreading into the space of the old and new town. A view of the wooden sculpture by Tone Demšar (1976) with the monastery in the background.

The rich urbanism and architectural heritage of the old town is complemented by lively artistic, sculpting and painting activity. St Martin’s church in the Kambič Square was ornately painted by local artist, Jože Gorjup (1907-1932), while the well-ordered exhibition spaces display enthralling works by artists from the wider Dolenjska area – such as the above mentioned Vladimir Lamut, Božidar Jakac, Dušan Tršar, and others. In addition, the town is adorned by several effigies. For decades original sculptures made of warm and supple oak are made at the sculpting events and symposia known as “Forma viva”, where Slovenian and foreign sculptors exchange experience and create in and for open-air spaces which double as a source of inspiration. Sculpting symposia of this type have been made a reality in Slovenian space at the instigation of sculptors Jakob Savinšek and Janez Lenassi.

Surely it was no coincidence that the chosen location for the first Forma viva was the picturesque landscape of the architecturally rich Kostanjevica environment, where the deeply engrained gallery tradition had profoundly woven sculpting and painting into daily life.

Gradually, the artistic workspace of the Kostanjevica monastery expanded towards the east, to the lands beneath the Gorjanci hills and grew to include the urban space of Kostanjevica, encompassing both the new and old town, and extending beyond the southern bridge.

The old Cistercian monastery building, commissioned in 1234 by the then proprietor of Kostanjevica, Carinthian Duke Bernhard von Spanheim, was then and continues to be closely linked to the town. At first, the ties were formed by the monastic land proprietors and later, at the end of the 18th century, after the monastery was disbanded, the lords of the time dedicated the monastic spaces to residential and various administrative uses. The disbanding of the monastic community marked the start of hard times for the monastic architecture. The building complex sustained additional and particularly deep wounds during World War II. Even after the war, the structure continued to suffer neglect up until mid 20th century, at which time gradual renovations of the vast vaults and monastic church comprising this highly valuable architectural heritage finally began.

Extensive and demanding renovations are currently coming to a close, and the monastic complex, which had been adapted for gallery use – in 1974 the spaces have been taken over by the Božidar Jakac Art Museum – again displays its artistic treasures derived from various stylistic periods of the Middle Ages and the moden period.

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Stavba cistercijanskega samostana, ki jo je izven poselitvenega jedra mesta leta 1234 dal postaviti koroški vojvoda Bernhard von Spanheim, tedanji lastnik Kostanjevice, je bila in je še danes z mestom tesno povezana. Sprva so vezi spletali samostanski zemljiški posestniki, kasneje, konec 18. stoletja, po ukinitvi samostana, pa so tedanji oblastniki prostore samostana namenili bivanju in različnim upravnim dejavnostim.

Z razpustitvijo meništva se je začel za samostansko arhitekturo neprijazen čas. Posebej globoke rane je nato

vanjo zasekala še druga svetovna vojna, pa tudi po njej je bila stavba zanemarjana vse do sredine 20. stoletja.

Tedaj so pričeli dediščinsko visoko vredno arhitekturo z obsežnimi arkadami in samostansko cerkvijo postopno prenavljati. Obsežna in zahtevna prenovitvena dela se dandanes zaključujejo, samostanski kompleks, prilagojen novi kulturni namembnosti – leta 1974 se je v prostore naselila Galerija Božidar Jakac – pa ponovno razkriva svoje umetnostno bogastvo, ki izhaja iz različnih slogovnih obdobij srednjega in novega veka.

Na lijakastem trgu, v katerega se na jugu razširi Oražnova ulica, stoji »novi grad« ali »stari farovž«. Del stavbe z dolgo in bogato zgodovino je bil leta 1958 preurejen v razstavni prostor – v Lamutov likovni salon.

Where the south Oražen street opens into a funnel shaped square stands ‘novi grad’ (new castle) or ‘stari farovž’ (old presbytery). In 1958, the part of the building with the long and rich history was adapted to serve as an exhibition space and dubbed the Lamut Fine Art Salon.

Kostanjevica na Krki

Med nadstropnimi stavbami mestnega videza je tudi rojstna hiša zdravnika in mecena Medicinske fakultete, Ivana Oražna (1869–1921). Stavba je bila na mestu svoje – domnevno lesene – prehodnice postavljena leta 1831.

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Among the storeyed houses of urban appearance, stands the birthplace of the doctor and patron of the medical Faculty, Ivan Oražen (1869–1921). The building was constructed in 1831 in place of its, presumably wooden, predecessor.

Cistercijanski samostan Sredi 13. stoletja so se na rob plodne krško-brežiške ravnine, pod planotasto hribovje Gorjancev naselili cistercijanski menihi. Samostan jim je v bližini cerkvice sv. Lovrenca ustanovil koroški vojvoda Bernard Spanheimski, in sicer v času, ko je bližnje naselje ob ribolovni reki Krki razvil v upravno središče svojih obsežnih dolenjskih posesti in mu leta 1252 podelil tudi mestne pravice.

Valvasorjeva upodobitev samostana, okrog leta 1680. V arhitekturnem kompleksu samostana izstopa cerkev s šestintrideset metrov visokim zvonikom.

V začetku 17. stoletja je pod upravo samostana, ki je ves čas spadal med najbogatejše in največje zemljiške posestnike v tedanji Kranjski – podložnih mu je bilo nad sto vasi – prišlo tudi celo mesto, vendar to ni kaj dosti pripomoglo k uspešnemu razvoju tedaj hirajoče Kostanjevice.

Skozi čas se ni razraščala in spreminjala samo samostanska posest, ampak so menihi z dozidavami in prezidavami dopolnjevali in (spreminjajočim se okoliščinam) prilagajali tudi poslopja svoje ustanove. Na podlagi številnih pisnih virov – od listin, kronik, do

starih popisov premoženja in dajatev ter razčlenjevanja arhitekturnih ostalin – raziskovalci in ocenjevalci zgodovinskega razvoja stavbnega kompleksa samostana sklepajo, da je le-ta svojo današnjo podobo dobil v 17. stoletju. Po razpustitvi cistercijanskega reda in ukinitvi samostana Fons beatae virginis Mariae oziroma Fons sanctae Mariae leta 1786 pa je poslopje, ena najodličnejših slovenskih arhitektur svojega časa, začelo počasi propadati. Postopen razkroj in rušenje zvezno razvite samostanske arhitekture sta se v naslednjem stoletju in pol zlagoma stopnjevala. Posebej uničujoč udarec je bil samostanskemu kompleksu zadan med

Kostanjevica na Krki

Valvasor’s depiction of the monastery’s circa 1680. The church with a thirty-six-metre bell tower stands out from the architectural complex.

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Stare fotografije so neme priče propadanja samostana, ki je bil s svojo arhitekturno umetnostjo in dejavnostjo stoletja ne samo spodbujevalec gospodarskega, ampak tudi kulturnega razvoja pokrajine med reko Krko in Gorjanci. Na sliki je porušen zahodni trakt.

Kostanjevica na Krki

Old photographs bare silent witness to the ruin of the monastery, the architectural art and activities of which had for centuries instigated not only economic, but also cultural development of the region between river Krka and the Gorjanci hill range. The image shows the demolished west wing.

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Ob stopu v samostanski kompleks se zdi, da se je tu čas ustavil. Morebiti v času baroka, stila, kateremu vsakovrstnega okrasja ni bilo nikoli preveč. Da temu ni tako, dajejo misliti le številne po vrtovih samostana razporejene lesene umetniške strukture, izdelki kiparskih delavnic Forme vive.

Upon entering the monastery complex, one gets the impression that time stood still. Possibly in the Baroque period, when there could never be too much varied ornamentation.

The products of the Forma viva sculpting workshops, numerous wooden artistic structures spread out in the gardens of the monastery, signal otherwise.

drugo svetovno vojno, ko so bile požgane in uničene strehe in ostrešja, leta 1956 pa je bil porušen še šestintrideset metrov visoki cerkveni zvonik. A po tem letu se je naposled le začela prenova objekta in po desetletjih skrbnega in zahtevnega strokovnega dela – kljub temu, da le-to še ni v celoti zaključeno – ta spomenik neprecenljive kulturne dediščine živi novo življenje.

Obiskovalec, ki danes vstopi skozi vrata v kamnitem varovalnem obzidju kompleksa in uzre mogočno veduto baročno okrašenega cerkvenega pročelja, asketsko oblikovan dvonadstropni zahodni trakt samostana ter rokokojsko živahen, poslikan in z dvema okroglima stolpoma poudarjen glavni vhod, povrhu pa še sodobne lesene kiparske mojstrovine v parku pred samostanom, si obsežno in zahtevno restavratorsko delo, ki je bilo vloženo v obnovo objekta, le stežka predstavlja.

Prav tako ga težko zazna v objemu velikega notranjega dvorišča, ki ga uokvirjajo cerkev in štirje dvonadstropni samostanski trakti. »Ko stopimo na dvorišče, se nam odpre pogled na mogočna krila samostanskih zgradb z arkadnimi loki, ki jih v pritličju nosijo masivni kamniti slopi iz sivega apnenca, v nadstropjih pa v južnem in vzhodnem krilu čokati 'toskanski' stebriči iz lokalnega peščenca. V arkadnem dvorišču lahko naštejemo čez dvesto lokov.« (Smrekar, 2015: 74) Stanje pred reinkarnacijo tega mogočnega arhitekturnega kompleksa nam razkrivajo stare fotografije, ki so na posebni razstavi, posvečeni projektu prenove poslopja, na ogled v delu samostanskih prostorov.

Med posameznimi samostanskimi objekti posebej izstopa župna cerkev Brezmadežne Device Marije. Njena notranjost je v pravem nasprotju z baročnim pročeljem, na katerega se naslanja pravkar prenovljeni zahodni samostanski trakt. Notránjščina je namreč gola in brez opreme, v njej pa kljub baročni prezidavi lahko zaznamo mnoge skrbno restavrirane ostaline prvotne stavbe iz 13. stoletja. Mednje sodi kamnoseški okras konstrukcijsko pomembnih delov cerkve, ki krasi kapitele obločnih snopastih stebrov in je »največje likovno in umetnostno bogastvo prvotne kostanjeviške cerkve. Prav z njim se njena arhitektura vidneje odlikuje med slogovno in tipološko sorodnimi cistercijanskimi cerkvami, ki so raztresene po vsej Evropi.« (Zadnikar, 1994: 136) Monumentalni samostanski kompleks je danes preurejen v hram umetnosti. Že sama arhitektura je seveda umetnina zase, ki s svojo mogočnostjo in v razvoju stoletij doseženo harmonijo razveseljuje čute. Z vstopom v samostanske prostore pa se občudovanje umetnostnih dosežkov še nadaljuje in nadgradi. Od leta 1974 namreč glavnino prostorov zaseda Galerija Božidar Jakac. S sprehodom iz prostora v prostor si lahko ogledamo stalne zbirke slikarjev Božidarja Jakca, Franceta in Toneta Kralja, Jožeta Gorjupa, Zorana Didka ter kiparjev Franceta Goršeta, Janeza Boljke in Bogdana Borčiča, pa tudi dela drugih umetnikov na priložnostnih razstavah.

Since 1974, the renovated monastic spaces host the Božidar Jakac Art Museum, featuring permanent collections of painters and sculptors as well as various temporary exhibitions.

Kostanjevica na Krki

V prenovljenih samostanskih prostorih od leta 1974 dalje deluje Galerija Božidar Jakac, kjer so na ogled postavljene tako stalna zbirka slikarjev in kiparjev, kot tudi različne priložnostne razstave.

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Pogled na zahodni trakt, ki so ga od leta 2000 dalje postopoma dvigali iz ruševin in ga prilagajali novi galerijski dejavnosti.

Kostanjevica na Krki

A view of the west wing; Beginning in 2000, it had been gradually restored from ruin and adapted to new gallery activities.

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V letu 2016 se zaključuje dolgoletna prenova zahodnega trakta, ki je bil skoraj v celoti porušen. Na osnovi starih risb in fotografij so ostaline kamnitih in opečnih zidov dopolnili, jih statično utrdili in prekrili z novo streho. V postopku popravil in rekonstrukcije so posebno pozornost namenili tudi zaščiti ostenja pred talno vlago in vdori vode, ki je ob obilnem deževju neprestano namakala zidovje. Različno velike in med seboj povezane notranje prostore, ki so večinoma dostopni z atrijskega hodnika, so opremili s potrebnimi inštalacijami ter jih dopolnili z novimi tlaki in stavbnim pohištvom. S sijem belega opleska so tako pripravljeni za razpostavitev novih slikarskih in kiparskih mojstrovin, ki skupaj s samostansko arhitekturo spletajo predvčerajšnjo, včerajšnjo in današnjo umetniško ustvarjalnost.

Stopnišče in pogled iz zahodnega trakta – v procesu celovite in postopne prenove pred nedavnim zaključkom del. Samostanski prostori z belimi sijočimi stenami, ki jih predirajo ravno prav velika okna, že čakajo na umestitev novih umetnin.

The staircase and view from the west wing in the process of overall gradual renovation prior to the recent conclusion of works. The brilliant white walls of the monastery spaces pierced with windows of just the right size eagerly await new artworks.

Izvirna restavracija samostanske cerkve Brezmadežne Device Marije je arhitekturni vodnik njenega razvoja vse od prve srednjeveške cerkve v 13. stoletju pa do zadnjega preoblikovanja v baročno obarvanem 18. stoletju. Nekdanji sakralni prostor je poleg tega čisto poseben ambient za postavitve razstav in glasbenih ter gledaliških prireditev.

Okrasje kapitelov kamnitih stebrov, ki nosijo stropne konstrukcije cerkvenih ladij, je osupljiv prikaz raznolikega kamnoseškega mojstrstva iz vseh obdobij razvoja samostana. »Ker je gradnja tako zahtevne cerkve trajala vrsto let in so bili tudi pri izdelavi kamnoseških mojstrovin, zlasti kapitelov in konzol, zaposleni različno šolani kamnoseki, se tudi njihovi izdelki med seboj vidno razlikujejo.« (Zadnikar,1994: 136) The ornamentation of the chapters atop stone pillars carrying the ceiling structures of the church aisles is a breath-taking demonstration of the varied masterful stonemasonry from all the periods of the monastery’s evolution. “Since construction of such a demanding church object took several years and since the production of stonemasonry masterpieces, especially chapters and corbels, employed stonemasons of varied schooling, the products differ visibly from one another.” (Zadnikar, 1994: 136)

Kostanjevica na Krki

The ingenious restaurant in the monastic church of the Immaculate Virgin Mary presents an architectural overview of the church’s evolution from the initial mediaeval church in the 13th century up until its latest remodelling in the Baroque style of the 18th century.

The former sacral space also serves as an entirely unique ambient for exhibitions as well as musical and theatrical performances.

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Kostanjevica na Krki

The Cistercian Monastery

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The edge of the fertile Krško-Brežice plain beneath the Gorjanci hills was settled by the Cistercian Order in mid 13th century. Their monastery was founded by the Carinthian Duke Bernhard Spanheim near St Laurence’s church, when he was developping Kostanjevica, a nearby settlement by the fishing river Krka, to serve as an administrative centre for his vast landed properties in the Dolenjska region. The town was granted township rights in 1252. At the start of the 17th century, the monastery received control of the entire township, which was continuously among the richest and biggest land proprietors in Carniola, governing over a hundred villages. However, this did not contribute very much to a more successful development of the perishing Kostanjevica monastery.

Growth and change were not limited to the monastery’s estate but affected the monastery buildings as well; the monks remodelled and expanded the buildings of their establishment to adapt to changing circumstances.

Based on the analysis of architectural remnants and several written records, such as charters, chronicles, old property and tax surveys, experts and researchers of the development of the monastic building complex estimate that the monastery received its current shape in the 17th century. The subsequent dissolution of the Cistercian Order and the disbanding of the “Fons beatae virginis Mariae” or “Fons sanctae Mariae” monastery in 1786 brought about the deterioration of the structure, one of the most excellent Slovenian architectural gems of its time. In the following years, the continuously evolved monastic architecture gradually declined and fell further and further into ruin. The monastic complex suffered a particularly heavy blow in the course of World War II, when its roofs and gables burnt down.

In 1956 the thirty-six metres metres-tall church tower also collapsed. After this, the renovations finally begun and now, decades of careful and demanding expert work, though they are not yet entirely concluded, instilled new life in this monument of immeasurably valuable cultural heritage.

It is difficult to grasp the magnitude of the vast and demanding restoration, when the present-day visitor passes through the gate in the stone-built ramparts surrounding the complex, beholding the imposing scene of the ornate Baroque-style church face, austerely fashioned two-storey western section of the monastery, and the lively Rococo-style painted main entrance, with its two commanding round towers, and the masterful modern wooden statues in the park in front of the monastery. It is likewise difficult to grasp the extent of renovations, when standing in the embrace of the large inner courtyard, which is framed by the church and four monastic wings. “Stepping into the courtyard reveals the view of the mighty wings of the monastic structures and their arches resting on massive grey limestone piers on the ground floor, while on the first and second floors of the south and east wings the arches spring from stout ‘Tuscan’ columns made from locally supplied sandstone. The arcaded courtyard counts over two hundred arches” (Smrekar, 2015, 74). Old photographs, displayed within the monastery as part of a special exhibition dedicated to the renovation project reveal the state of this mighty architectural complex before its reincarnation.

The Church of the Immaculate Virgin Mary stands out among the monastic buildings. The interior, in contrast with the church’s Baroque-style face supporting the recently renovated west monastery wing, is bare and unfurnished. Even though the church was renovated in the Baroque period, several carefully restored remnants of the original 13th century building remain visible. The stonemasonry ornaments of the structurally significant parts of the church embellishing the capitals of the vaulted compound piers have been deemed “the greatest visual and artistic treasure of the original Kostanjevica Church. This ornamentation elevates its style in relation to other stylistically and typologically related Cistercian churches scattered across Europe.” (Zadnikar, 1994: 136).

The monumental monastery complex presently serves as an artistic hub.

Its very architecture is, of course, itself a work of art. It delights the senses with its magnificence and harmoniousness achieved through centuries of evolution. Entering the monastery spaces only amplifies our admiration for artistic achievement; ever since 1974, the majority of the monastic spaces have been home to the Božidar Jakac Art Museum. Strolling from chamber to chamber we can feast our eyes on permanent collections of painters Božidar Jakac, France and Tone Kralj, Jože Gorjup, Zoran Didek and sculptors France Gorše, Janez Boljka, and Bogdan Borčič. The museum also hosts temporary exhibitions of works by other artists.

In 2016, the several-year-long renovation of the west wing, which had been almost entirely demolished, is coming to a close. Based on old drawings and photographs, the remnants of stone and brick walls were mended, structurally reinforced and covered with a new roof. In the course of repairs and reconstruction, special efforts were directed at protecting the walls from floor dampness and water that consistently saturated the walls in heavy rainfall. The inner spaces of varying sizes, linked to each other and mostly accessible from the atrium hallway, were fitted with the necessary installations, in addition new floors and fixtures were added. Coated in white they stand ready for new painting and sculpting masterpieces to join the monastic architecture in crafting the tapestry of artistic creativity of today, yesterday, and earlier.

Vila Castanea V monografiji Kostanjevica na Krki je njen avtor Andrej Smrekar zapisal, da je hiša, med meščani poznana pod imenom Colaričeva ali tudi Ivina hiša, največja meščanska hiša na otoku.

Okrasni elementi po eni strani izražajo v času nastanka uveljavljeno prakso posnemanja preteklih umetnostno-arhitekturnih slogov, po drugi pa zrcalijo tudi izvirno mojstrstvo lokalne delavnice, v kateri so nastali. Med tedaj splošno uveljavljen in v širšem prostoru pogost tip stavbnega okrasa spadajo v ometu izdelan profiliran poudarek strešnega venca, etažnega venca in dekoracija okenskih okvirjev, medtem ko je reliefni okras, izdelan iz gline, izraz umetnostnega mojstrstva tedaj delujoče obrtne delavnice. V njem se prepletajo rastlinski in figuralni motivi, ki polnijo prostore med okenskimi okvirji in nadstreški ter – v nadstropju –

Hiša, ki so jo po vzoru klasicističnih arhitekturnih meril sezidali leta 1878, je bila do pričetka prenovitvenih del po menjavi lastništva leta 2007 dvajset let prazna, nevzdrževana in zapuščena.

The house, built in 1878, following the examples of Classicist architectural standards, stood empty, unmaintained, and abandoned for twenty years prior to a change in ownership in 2007.

Kostanjevica na Krki

Colariči so jo leta 1878 zgradili na mestu starejše porušene hiše na Velikem placu, danes imenovanem Ulica talcev. Današnje ime – Vila Castanea – izhaja iz latinščine in pomeni »kostanj«, a ga hiša ni dobila zato, ker bi bilo na kostanj kakorkoli vezano poimenovanje Kostanjevice, temveč prej ko ne zato, ker na njenem dvorišču raste veliko kostanjevo drevo. Hiša je enonadstropna in ima značilno simetrično tlorisno zasnovo. V njeni osi je velika obokana prehodna veža, ki povezuje odprt javni prostor ulice z zasebnim dvoriščem za hišo. Fasada, ki gleda na ulico, je olepšana s plastično izdelanim okrasjem v ometu in glini.

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pod okenskimi odprtinami. Med zadnjo prenovo hiše, ki bo vsak čas stara stoštirideset let, je bilo omenjeno okrasje kot velika dragocenost kostanjeviške arhitekture primerno restavrirano. Še pred leti je bil videz te imenitne hiše popolnoma drugačen. V zidove stavbe z odluščenimi zaplatami ometa se je zažrlo preveč vlage, vanje se je zajedalo rastlinje, okna so se slabo zapirala, preko stropa v temačni veži so se pričele širiti razpoke. Hiša je bila v slabem stanju, zapuščena in zanemarjena, a vendar še ne odslužena in povsem pozabljena. Njena bogata zgodovina, globoko povezana z lokalno kulturo, številni arhitekturni detajli in umetnostno okrasje ter nenazadnje lega – hiša stoji v imenitnem, spominsko zaščitenem starem delu Kostanjevice – so prepričali današnjega lastnika, da se jo je lotil temeljito prenoviti in obuditi v življenje.

Kostanjevica na Krki

Prenova stavbe iz stanovanjske hiše z gostinskimi prostori v pritličju v visoko kakovosten družinski hotel je bila obsežna in korenita. Z izjemo dodanih strešnih »frčad«, potrebnih za osvetlitev podstrešja, stavba sicer v ničemer ni spremenila zunanjega videza; tudi njena simetrična členitev z vežo in stopniščem na sredini tlorisne površine je ostala nespremenjena, a bivanjski

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standard se je po prenovi vendarle bistveno izboljšal.

Statično je bila utrjena šestdeset centimetrov debela kamnita oziroma deloma kamnita in opečna konstrukcija stavbe, ki je bila poleg tega tudi zaščitena pred nadaljnimi vdori talne vlage in obložena z dodatno toplotno izolacijo. Na novo so bili položeni streha, stropna plošča nad pritličjem in tlaki – z izjemo tistega v veži, ki jo še vedno krasi stari kamniti tlak. Novo je tudi stavbno pohištvo. A kljub omenjenim prenovitvenim posegom je v hiši še vedno moč občutiti pridih stare arhitekture.

K temu zagotovo veliko prispevajo stari debeli zidovi, skrivnostnost ločne stropne konstrukcije in svetloba, ki neenakomerno vstopa v prostore skozi številna okna. »Tu ni veliko steklenih sten, ki bi prostorom odvzele intimnost in učinke sence in atmosfere.« (Pallasmaa, 2007: 87) Prostori v pritličju so namenjeni skupnemu bivanju gostov, v nadstropju in mansardi pod streho pa so urejene hotelske sobe. Celotna hiša je opremljena s pohištvom in notranjo opremo, ki spajata preteklost s sedanjostjo na način, ki presega spremenljivo modo in teži k brezčasnemu. Vse je ukrojeno po meri in duhu Vile Castanee; njenih debelih sten, lokov, umetniško izdelanega okrasja na izpostavljenem pročelju – njenega karakterja.

Dvoriščno stran hiše v pritličju in nadstropju krasijo arkadni hodniki, medtem ko je na cesto usmerjena vzdolžna fasada okrašena s kamnitim portalom, ki uokvirja glavni vhod, ter z izvirnim profiliranim in reliefno oblikovanim okrasjem v ometu in glini.

Both on the ground and first floor, the courtyard side of the house is adorned by vaulted hallways, while the lateral façade along the road boasts a stone portal framing the main entrance and unique profiled and relief ornamentation in roughcast and clay.

Mogočna veža z obokanim stropom in širokimi enoramnimi stopnicami, ki vodijo v prvo nadstropje in potem še višje pod streho, je obnovljena. Čeprav ni videti patine časa z brazgotinami mnogoletne obrabe, obiskovalca ob vstopu v vilo prevzame prijeten občutek dobrodošlice in gostoljubja.

Tradicija se prenaša dalje. V nekdanjem gostilniškem prostoru, kjer so se ob mizah zbirali in pogosto pozno v noč modrovali Kostanjevičani, je danes urejena zajtrkovalnica, ki se ob neprijaznem vremenu prelevi v prijeten prostor za druženje gostov.

Tradition is passed on. A modern day breakfast space has been arranged in the former hospitality space of the inn, where Kostanjevica’s townspeople would gather at the tables and often carry on profound discussions deep into the night. In harsh weather it serves as a friendly space where guests can socialize.

Kostanjevica na Krki

The imposing foyer with a vaulted ceiling and wide single-flight staircase leading up to the first floor and further to the attic is renovated. Though the patina of time-inflicted scars and wear is not visible, the visitor entering the villa is overcome with a pleasant welcoming and hospitable atmosphere.

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Iz masivnega lesa izdelana in do popolnosti zglajena notranja oprema kar vabi k dotiku. Oblikovana je na način, ki pritiče stari žlahtni arhitekturi – preteklost spaja s sedanjostjo v brezčasno lepoto.

The perfect smoothness od the interior furnishings made from solid wood just begs to be touched. It is fashioned in a way appropriate for old quality architecture – binding the past with the present to form a timeless beauty.

Kostanjevica na Krki

Sobe za goste so, tako kot ostali gostom namenjeni prostori, opremljene enostavno, s smislom za uporabnost, obenem pa so likovno okrašene s pridihom nostalgije za preteklim meščanskim življenjem in razkošjem 18. in 19. stoletja.

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Guestrooms, like all spaces intended for letting, are furnished in a simple way with an eye towards usefulness while simultaneously decorated with a sense of nostalgia for a former town life and urban extravagance of the 18th and 19th centuries.

Vila Castanea at achieving timelessness. Everything is tailored to the measure and spirit of the Vila castanea, with its thick walls, vaults, and artistically fashioned ornamentation on its exposed frontage, made to fit its character.

Kostanjevica na Krki

In his monograph on the town of Kostanjevica na Krki, Andrej Smrekar wrote that the house, known locally as “Colaričeva” or “Ivina hiša”, was the largest urban house on the island. The Colarič family had it built in 1878, in place of the old demolished house on the large square, known today as Ulica talcev (‘Hostage Street’). Its present-day name - Vila castanea - is Latin for Chestnut Villa. Even though the town’s name, Kostanjevica, contains the word elements “kostanj-”, the Slovenian word for ‘Chestnut’, unlike the name of the house, the town’s name has no toponymical connection with this tree sort. The name of the house, however, is most probably due to the fact that there is a large Chestnut tree growing in its yard. The house is a single-storey structure with a typical symmetrical floor plan. In its axis a large vaulted transitional antechamber links the public street area to the private courtyard behind the house. The building front facing the street is embellished with moulded plaster and clay ornamentation.

On one hand, the ornamental elements testify to the practice of imitating past artistic architectural styles popular at the time of their creation; on the other hand they reflect the innovative creative mastery of the local workshop that produced them. The house displays the building ornament types generally established and frequent in the wider area such as plaster profiled accentuation of the roof cornice, the first floor cornice, and decorative window frames, while the clay relief decorations are the mark of the artistic skill of the then active local artisan workshop; its interwoven leaf and figural motifs fill the spaces between the window frames and the canopy above, and the frames and the window apertures below. During the last renovation of the house, which is approaching 140 years of age, the ornamentation, which is considered an invaluable feature of Kostanjevica’s architecture, was suitably restored.

Just years ago, the appearance of this distinguished house was entirely different. Patches of plaster were falling off the dampness infused crackling walls, the cracks overgrown with weeds; the windows were closing poorly, the dim antechamber’s ceiling was also showing wide cracks. The house was in poor condition, abandoned and neglected, but not entirely worn out and forgotten. The current owner was swayed by its rich history, deep ties to local culture, numerous architectural details, and artistic ornamentation, not to mention location in the old town of Kostanjevica, an eminent area of protected heritage; he undertook fundamental renovations necessary to revive the building complex.

The transformation of the residential house with hospitality spaces on the ground floor into a high-quality family hotel took great effort. With the exception of added dormers, necessary to light the attic spaces, the building exterior remained unchanged; this includes its symmetrical partitioning with the antechamber and stairway at the centre of the floor plan. The living conditions, however, were vastly improved. The sixty centimetres wide stone, or stone and brick-built, building structure was statically reinforced while the building was protected against further irruption of floor dampness and additionally insulated. The roof and the ceiling plate above the ground floor were installed anew; the same goes for all flooring, with the exception of the antechamber, which remains adorned with the old stone pavement. The fixtures are also new. In spite of the above renovation works, the architecture retains a tone of times past. In large part this impression certainly derives from old thick walls, mysterious vaulted ceiling construction and uneven distribution of light entering the spaces through numerous windows. There are no large glass walls to get in the way of intimacy and the impact of shadow and atmosphere.

The spaces on the ground floor are used as communal guest residences, while the spaces on the first floor and in the attic have been set up as hotel rooms. The entire house is fitted with furniture and interior fittings joining the past with the present by means of surpassing fleeting fashions aimed

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Kuntaričeva hiša

Kostanjevica na Krki

Vstop v starodobno Kostanjevico zaznamuje lesen most, prava tesarska mojstrovina, ki povezuje južni del starega jedra z novim predelom mesta, ležečim onstran reke Krke. Ob mostu se razpira Kambičev trg, na katerem stojijo Cerkev sv. Miklavža in večina najbolj eminentnih starih kostanjeviških stanovanjskih hiš.

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Prenova nekdaj eminentne meščanske stanovanjske hiše z gostinskimi prostori v pritličju v sodoben poslovno-stanovanjski objekt je bila izpeljana tako, da se je ohranil stavbni ovoj z izvirnimi likovnimi detajli, ki zrcalijo kakovostno arhitekturno oblikovanje 19. stoletja.

The transformation of a formerly refined urban residence with hospitality spaces on the ground floor into a contemporary economic and residential object succeeded in preserving the building exterior draping and its innovative artistic details, reflecting quality architectural designs of the 19th century.

Zgrajene so bile po vzoru meščanskih stavb, ki so jih sočasno gradili v večjih dolenjskih in drugih, bolj oddaljenih krajih (Ljubljani in Celju), dasiravno so v Kostanjevici sicer prevladovale kmečke domačije, saj se je mnogo meščanov še do nedavnega preživljalo zlasti s kmetijstvom.

Opremo dnevnega prostora med drugim sestavljajo izbrano oblazinjeno sedežno pohištvo, v mrežo kvadratov sestavljene police in velik kamin, ki je s svojo strogo in elegantno obliko središčna točka prostora. Lepoto prostora dopolnjujejo barve in svetloba, ki v prostor prihaja skozi ritmično razporejena okna.

The living space is furnished, among other things, with select pieces of padded seating furniture, shelves assembled in a mesh of squares, and a large fireplace of a strict and elegant design serving as the focal point of the space. Colours and light entering through rhythmically arranged windows complement the beauty of the space.

V preteklosti je tudi enonadstropno meščansko hišo, ki so jo na Kambičevem trgu zgradili leta 1878 – najverjetneje na mestu nižje in drugače oblikovane predhodnice – doletela žalostna usoda zapuščenosti. Ostenje ji je poškodovala talna vlaga, ki je v mestu, obdanem z vodo in visoko podtalnico, stalno in obilno prisotna, njena porozna strešna kritina pa je povrhu tega prepuščala še meteorno vodo. A kljub klavrnemu videzu je ta mogočna stara stavba na imenitni lokaciji v očarljivem

zgodovinskem mestu, obdanem z vodo in zelenilom narave, današnje lastnike tako očarala, da so jo kupili in preuredili v imeniten dom.

Popravilo objekta je bilo – z vsemi tehničnimi izboljšavami, od statične utrditve do na novo izdelane zaščite pred talno in poplavno vodo ter prilagoditve sodobnim bivanjskim potrebam – izpeljano s ciljem ohranitve vsega zdravega izvirnega stavbnega tkiva.

Z natančnim popravilom ni bil obnovljen le stavbni ovoj, členjen z okrasjem v ometu in olepšan z ločnim kamnitim portalom ter rezbarsko okrašenimi vratnimi krili, ampak tudi mnogi drugi arhitekturni elementi v notranjosti hiše. V veliki veži, ki povezuje glavni vhod s stranskim na dvorišču, je bil ohranjen kamnit tlak, izdelan iz temnosivega apnenca. Lesene stopnice, ki vodijo iz veže v prostore na podstrešju, so sicer nove, vendar so, tako kot tudi večina stavbnega pohištva, izdelane po vzoru starih, ki so bile močno poškodovane.

Kostanjevica na Krki

Lepoto in očarljivost temu majhnemu, nesomerno oblikovanemu trgu v veliki meri dajejo slikovite stavbe, ki so svojo končno podobo dobile v 19. stoletju.

Toda meščanski utrip tega obdobja ni bil dolgotrajen. Njegovo postopno usihanje se je izkazovalo v vse bolj opustelih in slabo vzdrževanih hišah. Vendar pa se vrednote in odnos do zgodovinske dediščine spreminjajo in življenje, ki je nedavno tega odteklo iz tega imenitnega mestnega predela, se vanj počasi vrača. Ob mraku so okna večine hiš na trgu spet osvetljena in svetloba, ki sili skoznje na plan, riše trakaste pramene po skrbno restavriranem okrasju, odliki v klasicizmu načrtovane arhitekture.

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Pritličje, ki je namenjeno poslovni dejavnosti, je bilo tlakovano na novo, tla pa dvignjena nad višino kamnitega tlaka v veži. S tem posegom je bila zaprta pot poplavni vodi ob morebitnem razlitju reke Krke. Kamnito ostenje je bilo pred vdori talne vlage zaščiteno z domišljeno uporabo sodobne tehnike in gradiv. Z vertikalno drenažo je bil odstranjen vir vlage, z vertikalno in horizontalno hidroizolacijo ter nanosom posebnih ometov z dodatki apna in barv pa so bili kamniti zidovi zaščiteni pred pretiranim vlaženjem. Na glavni, likovno oblikovani fasadi, je bil cokel zaščiten s kamnito oblogo, s čimer je hiši še dodatno omogočeno naravno dihanje in predvsem sušenje v toplih sončnih dneh.

Dom za družino je urejen v prvem nadstropju (bivalni prostori) in pod strešno konstrukcijo (spalni prostori).

Med posebnosti podstrešnega dela sodi igriva osvetlitev. Ustvarjajo jo zastekljene prezračevalne odprtine, ki so izvirno zaščitene z opečnimi mrežami in razmeščene po površini na dvoriščno stran usmerjene stare nadstrešnice.

Kostanjevica na Krki

Pohištvo je novo – kupljeno ali pa oblikovano in izdelano po meri prostora ter prilagojeno želeni uporabi. Izbran videz, značilen za nekdanja in današnja meščanska stanovanja, prostoru daje uporaba orehovine, posebej žlahtnega lesa, ki ga v mizarstvu zaradi tehničnih kakovosti in lepega videza – temno rjave barve in vidne pisane teksture – uporabljajo za izdelavo dragocenih izdelkov. Plemenitost prostorov dopolnjujejo tudi z navdihom starih stilov oblikovano oblazinjeno pohištvo, svetila in drobni umetnostni in okrasni izdelki.

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Stara hiša svojo klasicistično lepoto razkriva tudi navznoter. Svetlobo, ki pada na stopnišče in osvetljuje del podstrešnega prostora, opečne mreže v okroglih prezračevalnih odprtinah spreminjajo v igrive sence, ki jih prosojna ograja prepušča daleč v notranjost.

The old house interior also possesses a Classicist beauty. The brick mesh in the round air-vents transform the light that falls upon the staircase and illuminates a part of the attic space, casting playful shadows far inward through the translucent fence.

Pogled v kuhinjo z jedilnico. Oprema ravnih linij je izdelana iz orehovine, lesa, ki je med izdelovalci pohištva zaradi svoje kvalitete, lepe barve in pisane teksture še posebej cenjen. Pohištvo iz orehovine je bilo, je in bo okras vsakemu prostoru v vseh časih in stilih.

A view of the house and dining room.

The linear furniture is made from walnut, a wood sort particularly valued among furniture makers for its quality, beautiful colour, and vibrant texture. Walnut furniture had, does, and always will enhance every space no mater its period or style.

THE KUNTARIČ HOUSE wood. This wood is of a particularly superior quality, beautiful colour and grain. This is why it is reserved in woodworking for the manufacture of valuable products. The excellence of the spaces is further amplified by historically styled upholstered furniture, lighting, and fine artistic and ornamental items.

Kostanjevica na Krki

The entrance to modern-day Kostanjevica is marked by a wooden bridge, a proper masterpiece of carpentry, connecting the southern part of town to new town on the other side of river Krka. The Kambič square by the bridge incorporates St Nicholas’ Church and the better part of Kostanjevica’s most eminent old residential houses. These were built following the examples of urban structures in other larger towns in the Dolenjska region and elsewhere (Ljubljana and Celje), albeit the prevailing residential form in Kostanjevica at the time were still farmsteads, because until recently many townspeople made their livings as farmers.

The beauty and charm of this small irregularly shaped square hail largely from the surrounding picturesque buildings, which developed their current appearance in the 19th century. However, the urban pulse of this period was short-lived. Its gradual decline was reflected in an increasing number of abandoned and poorly maintained houses. Nevertheless, values and attitudes toward historical heritage fluctuate and life that had recently flowed out of this eminent area of the town is now slowly flowing back in. At dusk, most windows are lit again and runaway rays cast stripes of light on the carefully restored ornamentation, a distinguishing feature of classical architectural designs.

The single-storey urban house built in the Kambič square in 1878, most probably in place of a smaller and differently shaped predecessor, was previously abandoned and left to a sad fate of decay. Its walls were damaged by soil moisture, an ever-present and considerable issue in this water enclosed town with high groundwater level. To make matters worse, its porous roofing was leaking rainwater. This monumental and venerable building is located in an eminent area of a charming historical town surrounded by water and greenery. And so it spellbound its current owners, who bought it in spite of its dismal appearance and transformed it into an exceptional home.

The repairs included technical improvements, static reinforcement, newly fashioned protection against ground moisture and flooding, as well as adaptation to residential needs. The intervention aimed to preserve all of the healthy original structural tissue. The accurate repairs were not limited to the building’s exterior with its plaster ornamentation, stone portal, and door panel woodwork decorations; they were also performed on other architectural elements in the building interior. In the great foyer that connects the main entrance with the side door to the courtyard, the stone paving made from dark grey limestone was preserved. While the wooden stairs leading from the foyer to the attic spaces are new; like most of the fixtures, they were modelled after the heavily damaged original stairs.

The ground floor, which had been consigned to commercial use, was repaved with the floor raised above the level of the stone paving of the foyer.

This safeguarded the area from potential flooding of river Krka. The stone walls were protected from rising ground moisture irruption through well thought-out use of modern techniques and materials. Vertical drainage removed the source of the moisture while vertical and horizontal hydroisolation and the use of plaster with added lime and colouring provided the stonewalls with protection from excessive dampening. The main, visually ornate façade contained a masonry veneer wall base, which provided the house with added natural ventilation and improved its drying capacity on warm sunny days.

The family home takes up the first floor (residential area) and the attic space (sleeping quarters). Lighting is arranged in a unique fashion, utilizing glass air ducts, covered with brick mesh patterns and spread across the surface of the old jutting roof facing the courtyard.

The furniture is new, a mix of bought and designed pieces, selected to fit the space and adapted to desired uses. The choice appearance, typical of past and present urban apartments, is achieved through the use of walnut

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Kranj

Carnium Creina Chreina Krainburg

Mesto od leta 1256 dalje Town rights since 1256 Zemlja kranjska, draga mati, kdaj bo utihnil najin jok?

Al' kdaj bova vid'la vstati, bratov jaz, ti čast otrók?

Glej, kak' ljubi sreča tebe, ti drži odprt svoj rog, Kranj'c, ozri se okrog sebe, nje dari štej krog in krog! […]

Kranj

A

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ngleški popotnik, naravoslovec in kemik sir Humphry Davy (1778–1829) je v dnevnik, ki ga je pisal med raziskovalnim popotovanjem po evropskih deželah v začetku 19. stoletja, zapisal, da je dolina Save od Ljubljane do Podkorena nekaj najlepšega, kar je kdaj videl. Lepota Gorenjske tudi danes, kljub mnogim nekakovostnim arhitekturnim spremembam, ni zbledela. Široko dolino, po kateri teče najdaljša slovenska reka, Sava, Julijske Alpe in našo najvišjo goro, Triglav, v ozadju, slikovite strnjene, različno velike in stare, skrite in opazne zaselke, vasi, trge in mesta je še vedno čudovito opazovati. In čeprav dr.

France Prešeren, največji slovenski pesnik, ki se je rodil in živel na Gorenjskem, v Slovencem namenjeni žalostinki ugotavlja, da nam ni mar za dediščino lastne kulture, ogled starega dela Kranja, mesta, v katerem je pesnik delal in ustvarjal zadnja leta svojega življenja, danes kaže, da se varstvo narodove kulturne dediščine vendarle krepi in postaja podstat bodočega razvoja.

Kar ni tuje, zaničuješ, starih šeg se zgublja sled, pevcev svojih ne spoštuješ, za dežele čast si led! – […]

(France Prešeren, Elegija svojim rojakom)

Kranj je veliko in že dolgo obdobje tudi središčno mesto gorenjske pokrajine. Njegov arhitekturno preurejen Glavni trg, ki je osrednji odprti prostor v srednjeveškem mestnem jedru, številne prenove objektov, ki imajo posebno kulturno vrednost – med njimi je zagotovo najpomembnejša zadnja preureditev grajskega kompleksa – ter različne stalne in občasne postavitve muzejskih zbirk razkrivajo ne le dolgo in slikovito pot razvoja tega mesta, temveč odstirajo tudi pogled v kulturno bogastvo širšega prostora.

Kot večina starih mest se je tudi Kranj kot naselbina razvil na naravno zaščitenem prostoru ob prometni cesti. Najstarejši sledovi, ki pričajo o stalni naselitvi te ravnice na visokem skalnatem pomolu ob izlivu Kokre v Savo, segajo v čas mlajše kamene dobe, medtem ko nas opravljene arheološke raziskave poučijo, da je bilo tu v pozni antiki že cvetoče in etnično raznovrstno naselje staroselskih Romanov in pripadnikov različnih

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Kranj

KrANJ Town rights since 1256 Carniola dearest mater,

when will we dry our crying eyes?

Will we witness glory greater,

of your sons, my brothers rise?

See how much sweet fortune loves you,

offers plenty from its horn, Carniolan man, you ought to count the blessings it has born! […]

You scorn all that’s not imported,

Denying your own bards respect all trace of your customs thwarted,

glory of the land abject. […]

(France Prešeren, Elegy to Compatriots) In the diary of his explorations across European lands the English traveller, natural scientist, and chemist, Sir Humphry Davy (1778–1829), at the start of the 19th century, wrote that the Sava valley between Ljubljana and Podkoren is one of the most beautiful sites he’d ever seen.

In spite of many low-quality architectural interventions, the beauty of the Gorenjska region has never faded. It remains a most wonderful experience to take in the sight oh the wide valley of Sava, Slovenia’s longest river against the backdrop of the Julian Alps with Triglav, Slovenia’s tallest mountain, and settlements – villages, markets, and towns varying in size and age, both hidden and visible. And though in his poetic lamentation the most notable Slovenian poet dr. France Prešeren, who was born and lived in Gorenjska, maintains that Slovenians do not care for their own cultural heritage, a present-day view of Kranj’s old town, where the poet lived and worked in the final years of his life, demonstrates that the attention to the protection of national cultural heritage is growing stronger and fast becoming the basis of future development.

Kranj is a large town that has long held a major role in the Gorenjska region. The architecturally redesigned main square (Glavni trg), which is the central open-air space of the medieval part of town, the numerous renovation projects of structures of particular cultural value – the most important among them was doubtless the final renovation of the castle complex – and varied permanent as well as temporary exhibitions of museum collections reflect the long and varies evolution of this town and offer a glimpse into the cultural wealth of the wider area.

As is the case with most old towns, the early settlement of Kranj took place in a naturally shielded location by a traffic route. The earliest traces attesting to permanent settlement of the plain on a tall rocky terrace where river Kokra flows into river Sava date back to Neolithic period, while archaeological research unearthed a blossoming ethnically varied settlement of aboriginal Romanic peoples, various Germainc

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germanskih ljudstev. O blagostanju in velikosti mesta, imenovanega Carnium (Karnij), »je mogoče sklepati tudi na podlagi 720 grobov, ki so jih izkopali na ledini Lajh pod mestom. Veliko grobov so odkrili v letih 1898–1905, 'zlato dobo Karnija' pa so v letih 2003–2010 dodatno osvetlile nove bogate najdbe na tem grobišču.« (Knific, Lux, 2015: 31) V Karnij oziroma njegovo okolico so se v 8. stoletju priselili še Slovani, ki so od naselitve dalje svoje umrle rojake pokopavali ob novi, a na temeljih poznoantične zgrajeni zgodnjesrednjeveški cerkvi ter s tem ustvarili največje staroslovansko grobišče na širšem področju Vzhodnih Alp. Naselbina z izredno strateško in prometno lego se je počasi razvijala v mesto. Pod imenom Chreina je v listinah kot mesto prvič omenjena leta 1256, dasiravno ni znano, kdaj natančno so prebivalci naselja – posestniki, vojaki, trgovci, obrtniki, kleriki in drugi – dobili status meščanov. Do konca 15. stoletja se je na ravnici ob treh vzporednih cestah, od katerih se je srednja razpirala v dolg lijakast tržni prostor, ki se je nato ob Cerkvi sv. Kancijana in tovarišev še razširil v pravokoten odprt trg, gradnja hiš zgostila v strnjene nize.

Lesene hiše so bile nadomeščene z zidanimi. Leta 1422 je vojvoda Ernest Železni (Ernest Habsburški) izdal listino, s katero je meščanom zaukazal graditi hiše le iz kamenja, zato da bi se preprečilo prepogoste požare. Poleg tega se je mesto zaradi turških vpadov in drugih groženj obdalo z obzidjem, katerega ostaline so vidne še danes.

V srednjem veku razvit tloris mesta se vse do danes ni bistveno spremenil, medtem ko so hiše sledile razvoju in spreminjajočim se merilom lepega. V 17., 18. in 19. stoletju so na spremembe stavbnega tkiva vplivali tudi uničujoči

požari. Leta 1749 je tak požar zajel in uničil skoraj celotno mesto. Predelave hiš po požarih so v večini primerov prikrite in težko opazne.

Poučen in nazorno predstavljen primer stavbnega razvoja je prenovljena Pavšlarjeva hiša na Glavnem trgu. Fasado hiše, v kateri je danes galerija Prešernovih nagrajencev, so namreč obnovili tako, da je rast hiše od sredine 16. pa do konca 18. stoletja jasno vidna. Posebej nazorno je potek njenega postopnega povečevanja v širino in globino razviden iz slikarskega okrasja na hiši.

Ker je bila večina hiš zadnjič prezidana oziroma temeljiteje arhitekturno predelana v 19. stoletju, imajo stavbe na Glavnem trgu in ob vseh cestah v njegovi neposredni bližini (Prešernovi, Cankarjevi, Tavčarjevi in Tomšičevi) historicističen videz. To velja tudi za v muzej preurejeno hišo na ozki in dolgi parceli med dvema vzporednima cestama,

Veduta Kranja iz leta 1909. Izstopajo stavbe, ki so po pridobitvi mestnih pravic imele posebno vlogo v življenju mesta Kranja. To so grad in tri cerkve – sv. Kancijana in tovarišev, sv. Fabijana, Boštjana in Roka ter Rožnovenska cerkev.

Poleg tega pa slika razkriva tudi, da je med najstarejše obrti, s katerimi so se preživljali kranjski meščani, spadalo mlinarstvo ob Savi in Kokri.

A townscape of Kranj from 1909. A few buildings, which served particular purposes in Kranj’s town-life after the bestowal of township rights, stand out. These are the castle and three churches, dedicated respectively: to St Cantianus and Companions, to St Fabian, St Sebastian, and St Roch, and the Rosary Church. The image also reveals that milling by river Sava and Kokra was amongst the earliest trades by which Kranj’s townspeople made their living.

Podoba Kranja leta 1914 s tedaj novim betonskim mostom (1910) in železniško postajo. Železnica Ljubljana–Kranj–Jesenice, ki je mesto dosegla leta 1870, je pospešila njegov gospodarski razvoj. Razvila se je trgovina z lesom, delovati so začele posamezne manufakture. Prvo večje industrijsko podjetje je bil nedavno porušeni mlin na Savi.

The view of Kranj in 1914 featuring the then new concrete bridge (1910) and railway station. The railway between Ljubljana, Kranj, and Jesenice, which reached the town in 1870, stimulated its economic development. Wood trade evolved and individual manufacturing facilities began operating. The first larger industrial company was the recently torn down mill on river Sava.

peoples. The opulence and large size of the town, known in Antiquity as Carnium, can be deduced from the 720 graves uncovered on the Lajh fallow below the town. Several graves were discovered between 1898 and 1905, while the “Golden Age of Carnium” was additionally illuminated between 2003 and 2010 by new rich finds at the grave-site.” (Knific, Lux, 2015: 31) In the 8th century Carnium or its surrounding area was settled also by Slavs, who, since their settlment buried their deceased countrymen next to the new early mediaeval church, which had been built atop the foundations of a late Antique predecessor; this resulted in the largest old Slavic grave-site in the wider area of the Eastern Alps. The settlement, being located in a very favourable strategic and traffic spot, slowly evolved into a town. Its earliest written mention from 1256 refers to it as “Chreina” though it remains unknown when exactly the settlement’s inhabitants – proprietors, soldiers, merchants, tradesmen, clerics, and others, were granted the status of townsmen. By the end of the 15th century, the plain featured three parallel traffic routes, the middle one of which fanned out into a large market space, which further up, by the Cerkev sv. Kancijana in tovarišev (Church of Cantianus and Companions), widened even more to form a rectangular open square. At that time, houses were being built in condense rows. Wooden structures were being replaced by built ones. In 1422, Duke Ernest the Iron of Habsburg issued a charter ordering the townspeople to only build houses from stone with a view of preventing the all too frequent fires. Due to Turkish raids, the town was also enclosed behind protective walls, the remnants of which remain visible today.

The town layout was predominately developped in the Middle Ages and has not changed considerably since; the evolution of houses, on the other hand, followed the developing trends and changing standards of beauty. In the 17th and 18th centuries, devastating fires also prompted changes of structural tissue. The last such fire, which engulfed and nearly destroyed the entire town, took place in 1749. The renovations necessitated by fires are largely hidden from view and difficult to discern; the renovated Pavšlar House on the main square (Glavni trg), which presently houses the Prešeren Award Winners of Fine Arts Gallery, serves as an instructive and clearly discernible example of building evolution. Its façade was renovated in such a way that the growth of the house from mid 16th to the end of the 18th century is clearly visible.

The course of its growth in width and depth is additionally evident from the ornamental painting décor on the house.

Since the last of the rebuilding and more fundamental architectural remodelling of most houses date to the 19th century, the built structures on the main square (Glavni trg) and by all the roads in its immediate vicinity (Prešernova, Cankarjeva, Tavčarjeva, and Tomšičeva ul.), ex-

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V velikem mestu, ki je danes tretje po velikosti v Sloveniji in je gospodarsko, trgovsko, prometno in upravno središče Gorenjske, izstopa staro srednjeveško jedro, ki je z vzporednimi ulicami, ki se mestoma razširijo v trge (največji med njimi je Glavni trg), srčika kulturnega življenja Kranjčanov.

This large town, which is today third biggest in Slovenia, and an economic, commercial, traffic, and administrative centre of the Gorenjska region, has a prominent medieval core, with parallel streets. These at times expand to form squares, the largest among them being Glavni trg, which is the heart of Kranj’s cultural life.

Velik lijakast trg z mestno hišo in župno cerkvijo sv. Kancijana in tovarišev je bil stoletja osrednji prostor trgovanja in druženja meščanov.

Kranj

The large, funnel-shaped square with the town hall and parochial Church of St Cantianus and Companions, was for centuries the central space of trade and social life of the townspeople.

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Glavni trg, ki ima neprecenljivo kulturnodediščinsko vrednost, je s postopno prenovo objektov in novo arhitekturno ureditvijo parterja ponovno postal osrednji mestni prostor, atraktiven za obiskovalce in prijeten za meščane.

Glavni trg (the main square), being an invaluable part of cultural heritage, has undergone gradual renovation of its structures and a new architectural arrangement of its space, regaining its status as the central town space attractive to visitors and pleasant for townspeople.

v kateri je živel in delal dr. France Prešeren. Arhitekturna celota hiše z arkadnim hodnikom na notranjem dvorišču se je razvila iz dveh prostorsko popolnoma ločenih mestnih hiš, zasnovanih v 15. stoletju v poznogotski arhitekturni maniri. Stavbi sta stali ena ob današnji Tavčarjevi, druga pa ob današnji Prešernovi ulici. Ločevalo ju je skupno notranje dvorišče.

Nato so stavbo na današnji Prešernovi ulici v 17. stoletju povečali v prostor dvorišča in jo z lesenim zunanjim hodnikom v nadstropju povezali s hišo ob današnji Tavčarjevi ulici. Med zadnjimi predelavami in popravili v 19. stoletju je bil lesen hodnik, ki ga je uničil požar, nadomeščen z arkadnim, »proti sedanji Prešernovi ulici pa je stavba dobila preprosto triosno bidermajersko fasado s profiliranimi pravokotnimi okenskimi obrobami v nadstropju.« (Sapač, Lazarini, 2015: 440) Poleg hiš, ki so se razvijale postopoma in so večinoma zasnovane tako, da imajo v pritličju delovne prostore, v nadstropju pa stanovanja, arhitekturo srednjeveškega jedra sestavljajo tudi pomembnejši, izpostavljeni objekti.

To so mestna hiša, Prešernovo gledališče, grajski kompleks, ki izstopa iz mestne vedute in je bil pred nedavnim prenovljen, ter tri cerkve: Rožnovenska cerkev, ki je bila zgrajena v prvem desetletju 16. stoletja, Cerkev sv.

Fabijana, Boštjana in Roka na Pungartu – ta je stala že leta 1478, restavrirana pa je bila leta 1931 – ter največja in najpomembnejša med njimi,

V starem jedru vidno izstopa monumentalna Cerkev sv. Kancijana in tovarišev. »Prvotna cerkev je bila prastara.

Leta 1491 so okrog 100 let starejšemu prezbiteriju s čistim križastim svodovjem prizidali ladjo in zvonik v poznogotskem slogu (zvezdasta rebra). Obok je slikan pozno idealistično (1460–1470). Cerkev je bila večkrat prenovljena.« (Zupan, 1937: 240) The monumental Church of St Cantianus and Comapnions noticeably stands out in the old medieval town core.

“The original church was ancient. In 1491, an aisle and bell-tower in the late Gothic style (stellar or lierne vaults), were added to the circa one hundred year older barrel-vaulted presbytery. The vault painting is in the late idealist style (1460–1470). The church underwent several renovations.” (Zupan, 1937: 240)

hibit a Historicist appearance. The same is true for the house on the long narrow plot between two parallel roads, where dr. France Prešeren once lived and worked, and which is now arranged as a museum.

The house as an architectural whole, with a vaulted hallway in the inner courtyard, evolved from two entirely separate urban houses designed in the 15th century in the late Gothic architectural style. One of the buildings stood on modern day Tavčarjeva ulica and the other by present-day Prešernova ulica. They were separated by a shared inner courtyard. In the 17th century the building on Prešernova ulica was linked to the building on today’s Tavčarjeva ulica by way of adding a wooden external hallway on the ground floor. In the course of the last remodelling and repair works in the 19th century, the wooden passageway, having been destroyed by the fire, was replaced by a vaulted hallway, “while the side of the building facing Prešernova ulica received a simple tri-axed Bidermaier-style façade with profiled rectangular window borders on the upper floor.” (Sapač, Lazarini, 2015: 440) The architectural composition of the medieval town core comprises gradually evolved houses, which were predominately designed to use ground-floor spaces as workshops and upper floors as residences, and a few more significant, contextually exposed structures. These are: the town hall, the Prešeren Theatre, the recently renovated castle complex standing out in the townscape, and three churches; Rožnovenska cerkev (Rosary Church), which was built in the first decade of the 16th century, cerkev sv. Fabijana, Boštjana in Roka na Pungartu (Church dedicated to St Fabian, St Sebastian, and St Roch, on Pungart Hill) – standing as early as 1478 and restored in 1931, and the largest and most important among them –cerkev sv. Kancijana in tovarišev (The Church of St Catianus and Companions), which evolved on the foundations of an ancient sacred structure. In the course of centuries the latter underwent several remodels and renovations. The last renovation was conducted in 1934, headed by the leading architect of the Gorenjska region, Ivan Vurnik (1884–1971).

The old town centre features a particular urban scheme and unique architectural structures unparalleled in any other town. At first it grew due north, where after World War II business and trade buildings, and a new municipal building were constructed following the plans by the exceptional Slovenian architect Edvard Ravnikar (1907–1993). In the second half of the 20th and the start of the current century, the town spread out further and in all directions.

However, most of the new architecture is no longer based on the basic architectural premises characteristic of Kranj and its surroundings. Apartment buildings and shopping centres form town quarters of a globalised appearance, which due to their generic make-up seem superficial, tired, and languid. In such an environment the content of Prešeren’s poem resounds with our hearts.

Poem, silence! – do not proclaim

Our wounds and agony aloud, If ever should subside our shame,

Carniolan, true be to your home and proud!

(France Prešeren, Elegy to Compatriots)

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Cerkev sv. Kancijana in tovarišev, ki se je razvila na temeljih prastarega sakralnega objekta. Skozi stoletja je bila večkrat predelana in prenovljena. Zadnja prenova je bila izpeljana leta 1934 pod vodstvom vodilnega gorenjskega arhitekta, Ivana Vurnika (1884–1971).

Staro mestno jedro s posebno urbanistično zasnovo in unikatnimi arhitekturami, ki jih ni moč najti v nobenem drugem mestu, se je najprej razširilo proti severu.

Po drugi svetovni vojni so tam zrasli nova občinska stavba in druga poslovno-trgovska poslopja. Načrte za novo občinsko stavbo in trgovsko stavbo, imenovano Globus, ki so jo nedavno temeljito prenovili in del prostorov namenili novi kulturni dejavnosti (v objektu so prostori Mestne knjižnice Kranj), je izdelal izjemni slovenski arhitekt Edvard Ravnikar (1907–1993). V drugi polovici 20. in v začetku našega stoletja se je mesto še

Kranj

Stavbo, v kateri je živel in delal dr. France Prešeren, so zaradi posebne spominske vrednosti spremenili v muzej. Zadnja prenova stavbe, povezana z obnovo fasade in drugimi vzdrževalnimi deli, je bila izpeljana leta 2001. Arhitekturno podobo postopno razvite hiše ter dve sobi, opremljeni s pohištvom pesnika, dopolnjuje še razstava njegovih del, publikacij, v katerih so bile objavljene njegove pesmi, ter študij o pesnikovem življenju in delu.

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Due to its particular memorial value, the building where Dr France Prešeren lived and worked was transformed into a museum. Its last renovation, tied to the renewal of the façade and other maintenance works, was conducted in 2001. The architectural appearance of the gradually developed house and the two rooms fitted with the poet’s furniture are complemented by an exhibition featuring his works and publications containing his poetry, as well as studies of his life and work.

bolj razraslo v vse smeri. Vendar pa nova arhitektura večinoma ne izhaja več iz osnovnih arhitekturnih premis, značilnih za področje Kranja in okolice. Bloki, stolpnice in trgovska središča sestavljajo četrti, ki ne le da imajo globaliziran videz, ampak se v svoji generičnosti zdijo plehke, utrujene in otopele. In v takem okolju se nas spet dotakne Prešernova pesem: Tiho pesem! – Bolečine ne razglašaj naših ran, če nečast te naša gine, domu, Kranj'c moj, zvest postan'!

(France Prešeren, Elegija svojim rojakom)

Pogled na niz stavb, ki obrobljajo Tavčarjevo ulico in so postavljene na rob navpične konglomeratne stene kanjona reke Kokre. V stavbi na sredini se je leta 1808 rodil Janez Bleiweis, vitez Trsteniški (1808–1881), veterinar, zdravnik, publicist in politik. Sicer pa je Kranj rojstno mesto številnih znanih osebnosti; od slikarjev Layerjev – Marka (1727–1808) in Leopolda (1752–1828), do fotografa, izumitelja steklenih plošč Janeza Puharja (1814–1864), arhitekta Cirila Metoda Kocha (1867–1925) in drugih.

A view of the row of houses framing Tavčarjeva ulica at the edge of the vertical conglomerate wall of river Kokra’s canyon. The building in the middle is where in 1808 Janez Bleiweis, Knight of Trstenik (1808–1881), veterinarian, physician, writer, and politician, was born. Kranj is also the birthplace of several notable persons such as painters Marko (1727–1808) and Leopold (1752–1828) Layer, photographer and hyalotype glass-plate photography inventor Janez Puhar (Johann Pucher) (1814–1864), architect Ciril Metod Koch (1867–1925), and others.

Dvonadstropna stara mestna hiša z vogalnim stolpičem z uro je bila prezidana leta 1638. Med še danes lepe arhitekturne izvirnosti iz tistega časa sodijo dvojna arkadna odprtina, ki krasi glavno fasado v nadstropju, obočni sistem v pritličju in nadstropju ter slavnostna dvorana v prvem nadstropju, ki je opremljena z lesenima portaloma in lesenim stropom, kar je posebnost v slovenskem prostoru.

Prešernovo gledališče Kranj odlikuje čisto posebno lice, usmerjeno na trg poleg Cerkve sv. Kancijana in tovarišev. Oblikoval ga je arhitekt Jože Plečnik (1872–1957). Poleg njegovega dela je v posodobitev stavbe, ki se je v sodobno gledališče prelevila iz priljubljenega Ljudskega doma, vpeto tudi delo arhitektke in kiparke Vladimire Bratuž in arhitektov Ferdinanda Jocifa, Dušana Ogrina ter Ivana Vurnika.

The Prešeren Theatre Kranj boasts a particularly special building front facing the square by the Church of St Cantianus and Companions designed by architect Jože Plečnik (1872–1957). In addition to his work, the modernization of the building, which transformed the beloved Ljudski dom (People’s Home) into the present-day theatre, benefited from the work of architect and sculptor Vladimira Bratuž, as well as architects Fernand Jocif, Dušan Ogrin, and Ivan Vurnik.

Kranj

The three-storeyed (including ground floor) urban house with a corner clock tower was rebuilt in 1638. It’s architectural ingenuities, which retain their beauty to this day, include the double-arched aperture embellishing the main façade on the first floor, a system of vaults on the ground and first floors, and a function hall on the first floor fitted with wooden portals and wooden ceiling, which is a particularity atypical in Slovenian space.

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Grajski kompleks Khislstein muzej in prireditveni prostor V prenovljenem gradu Khislstein (Kiselštajn), v parku pred njim in na velikem dvorišču za njim, ki se je izoblikovalo med grajskim poslopjem in njemu pripadajočo prenovljeno Ullrichovo hišo, se prepletata kulturna dediščina in aktualna kulturna ustvarjalnost.

Celoten kompleks stoji na zahodnem robu težko dostopne in naravno zavarovane strnjene srednjeveške pozidave in je na veduti mesta izpostavljen.

Grad Khislstein je današnjo podobo dobil s prezidavami in dozidavami v dolgem časovnem obodobju od 13. do 19. stoletja. Današnja tlorisna zasnova je sestavljena iz dvonadstropne renesančno zasnovane stavbe, ki jo je v 16. stoletju na temeljih predhodne utrdbe sezidal uspešen podjetnik Janž (Janez) Khisl s Fužin, in mlajšega prizidka, ki so ga gradu dodali na prelomu iz 17. v 18. stoletje. Z novim prizidkom, ki je »v pritličju in nadstropju arkadiran, baročno občutene peteroločne arkade z lahno segmentnimi loki so oprte na okrogle kamnite stebriče« (Stopar, 1996: 96), je grad dobil značilen tloris v obliki črke L, ki oklepa dvorišče, v nadaljevanju povezano z velikim parkom.

Kranj

Castle Khislstein’s current appearance is the result of rebuilding and extensions running from the 13th until the 19th century. Its present-day floor plan comprises a three-storeyed (including ground floor) building designed in the Renaissance-style, built in the 16th century by the successful entrepreneur Janž (Janez) Khisl from Fužine, and a younger extension, which was appended to the castle at the close of the 17th and start of the 18th century. The new extension “is vaulted on the ground- and first floors, Baroque-styled five-vaulted arcades of lightly segmental vaults rest on round stone pillars” (Stopar, 1996: 96). It lent the castle its typical L-shaped floor-plan, framing the courtyard, which, further on, links to the great park.

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V obnovljenih grajskih prostorih, kjer domuje Gorenjski muzej, je na ogled obsežna, bogata, likovno sveža in nadvse poučna stalna razstava z naslovom Prelepa Gorenjska. Obiskovalca, ki prehaja iz ene grajske sobe v drugo, zagotovo prevzame izjemno bogastvo stvaritev, ki so nastale skozi čas, od davnine do danes, v prepletu

duhovnega in materialnega življenja na Gorenjskem, v Kranju in na gradu Khislstein. Grajsko poslopje nudi več kot imeniten okvir tej predstavitvi teka vekov. Avtorji razstave so namreč omejitve spomeniško zaščitene grajske strukture sprejeli kot oblikovalski izziv. Tako so neravne stene, grajska okna, niše v stenah, okrasne

Prenovljen grad je namenjen muzejski dejavnosti. V skrbno restavriranih prostorih je danes na ogled postavljena obsežna stalna razstava z naslovom Prelepa Gorenjska, delo Gorenjskega muzeja. Oblikovalec razstave je v postavitev subtilno vključil tudi samo arhitekturo gradu z vsemi drobnimi posebnostmi, zaradi česar je razstava pridobila na lepoti, izvirnosti in poučnosti.

The renovated castle serves as a museum. Its carefully restored spaces feature an extensive permanent exhibition titled “Beautiful Gorenjska” set up by the Gorenjska Museum.

The designer subtly weaved the very castle architecture into the exhibition, including all its little individualities, and so added to the exhibition’s beauty, originality, and educational value.

V eni od grajskih sob je predstavljena dediščina gradov in grajske gosposke z naslovom Gradove svetle zida si v oblake (naslov razstave je citat Franceta Prešerna). V pripoved o lastnikih zemlje, podložnikih in o njihovih bivališčih je vpeta tudi razlaga o izvoru imena kranjskega gradu Khislstein. »Janž Khisl (rojen okoli 1530, umrl 1593) s Fužin pri Ljubljani je bil uspešen podjetnik, lastnik mlina za izdelavo papirja in tedaj edine steklarne na Kranjskem. Papir je bil opremljen z vodnim znakom, grbom Khislov. Kot protestant je podpiral izdajanje slovenskih protestantskih pesmaric, bil je velik dobrotnik in podpornik znanosti in umetnosti.« (Perko, 2012: 38) Sredi 16. stoletja je podjetni Janž Khisl s Fužin kupil in temeljito prezidal stari dvorec ob mestnem obzidju in

ga leta 1578 z vladarjevim dovoljenjem preimenoval v Khislstein. Čeprav so se kasneje lastniki plemiške arhitekture menjavali, se je ime prvega lastnika ohranilo vse do danes. Leta 1913 je grad kupila država. Njegova namembnost se je v sledečih letih večkrat spremenila, po zadnjih dveh prenovah – prva je bila izpeljana med letoma 1984 in 1990, druga pa med letoma 2008 in 2013 – pa je stavba postala središče kulturnih dejavnosti.

Khislstein je eden naših najstarejših spomenikov grajske bivanjske kulture in arhitekture. Objekt ima tloris v podobi ključa; sestavljen je iz osrednje dvonadstropne štiriosne renesančne stavbe, ki meji na srednjeveško obzidje in je vpeta med dva dvoosna dvonadstropna obrambna stolpa, ter iz pravokotno postavljenega enonadstropnega dela, ki ima na dvoriščni strani v pritličju in nadstropju arkadne hodnike. Med zadnjo prenovo grajskega poslopja je bilo potrjeno in dopolnjeno vedenje o razvoju te grajske arhitekture. V 16. stoletju je bila utrdba, ki je na tem mestu stala že prej, prezidana v graščino, grad pa je bil kasneje še večkrat predelan in dozidan. V njegovem stavbnem tkivu na severozahodni strani je utopljen stolp, ki je bil postavljen na ostalinah

Kranj

poslikave in druge vredne in plemenite arhitekturne podrobnosti postale sestavni del razstavne scenografije. Ker se je uporabni prostor grajskega objekta razširil pod strešni krov, so avtorji tudi staro izvirno strešno konstrukcijo vključili in jo uporabili kot element stalne postavitve najmlajše muzejske zbirke, izbora umetniških del oziroma kulturne dediščine iz 20. stoletja.

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V grajski sobi, kjer imajo razstavljeni eksponati naslov Od nekdaj lepe so Kranjice slovele (po Francetu Prešernu), se obiskovalec lahko prestavi v dom bogatega meščana iz 19. stoletja. V stanovanju je bil tedaj pomemben prostor salon, ki je bil namenjen družabnemu življenju družine in sprejemanju gostov.

The castle chamber displaying the exhibits entitled “The beautiful Kranj girls have always been noted” (paraphrasing France Prešeren’s poem), enables the visitor to experience the home of a wealthy 19th century townsman. In those days, the salon held a significant importance among apartment spaces, used for family socializing and the reception of guests.

Kranj

utrdbe ortenburškega grofa Henrika II. Pisni viri in raziskave ostalin nakazujejo, da je bila utrjena rezidenca Ortenburžanov postavljena sredi 13. stoletja, kar pomeni, da je današnja celota nastajala od tega časa dalje.

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S posegi, ki so bili izpeljani med obema zadnjima prenovama, so izčistili in približali tlorisno zasnovo izvirni, restavrirali so poslikave v grajskih sobanah, utrdili konstrukcijo, celoto opremili s potrebno infrastrukturo ter zamenjali stavbno pohištvo in lesene tlake. Največji gradbeni poseg je bila prenova podstrešne etaže, ki je zdaj dostopna po novih stopnicah, postavljenih v podaljšku obstoječega stopnišča. Poleg gradu, ki ga upravlja Gorenjski muzej, ustanovljen leta 1953, pa grajski kompleks ob velikem vrtu dopolnjuje tudi v velik prireditveni prostor preurejeno dvorišče z Ullrichovo hišo. Po odstranitvi gospodarskega poslopja in dela kamnitega zidu, ki je ločeval Ullrichovo hišo in grad, je tu »nastal razmeroma prostoren trg, v katerega je arhitekt umestil letno gledališče s tribunami. Umestitev le-

tnega gledališča na to lokacijo je narekovalo varovanje zelenih površin južno od grajskega dvorišča, njegovo umestitev pa tlorisna zasnova Ullrichove hiše, ki nudi z odprtimi arkadami v veznem traktu slikovito scensko ozadje novemu odru.« (Leben, 2015: 148) Ullrichova hiša, imenovana tudi Lovski dvorec ali grajska pristava, je sestavljena iz dveh posamičnih stavb in veznega trakta, tako da ima celota tlorisno zasnovo v obliki črke U. Med prenovo hiše in urejevanjem velikega letnega gledališča so bile opravljene tudi arheološke raziskave, ki so z novimi spoznanji obogatile vedenje o antični zgodovini Kranja. V vkopanih prostorih Ullrichove hiše, katere razvoj je bil – tako kot razvoj gradu – postopen, so bili najdeni ostanki zgodnjeantičnega stolpa, kovačnice in ostanki deponije lončarske delavnice, medtem ko so bili na dvorišču odkriti ostanki antične steklarske delavnice. Zaradi pomembnosti in zgodovinske vrednosti so mesta teh najdb v Ullrichovi hiši in na dvorišču sedaj namenjena njihovi arheološki

predstavitvi. Vse omenjene ostaline, ki pričajo o davni zgodovini in življenjskem utripu naselbine na mestu današnjega Kranja, si je mogoče ogledati tudi z novega povezovalnega hodnika, ki je speljan med gradom in Ullrichovo hišo, tik ob zunanjem mestnem obzidju.

Lepota obeh celovito prenovljenih stavb, ki skupaj s svojo novo namembnostjo in vsemi razstavljenimi odkruški preteklih časov predstavljata biser slovenske kulturne dediščine, je delno okrnjena le z močno kovinsko konstrukcijo, ki je bila v sklopu preureditve dvorišča v prireditveni prostor, katerega tribune sprejmejo 445 sedežev, umeščena zaradi postavitve pomične strehe velikega razpona. Nestor varstva slovenske nepremične kulturne dediščine je v enem od svojih traktatov zapisal, da »nove zgradbe v ulicah, na trgih in v delih mesta, proglašenih, da so zgodovinskega ali umetniškega značaja, morajo biti tako projektirane in izvedene, da slika kraja ali ulice ne izgubi ničesar od svoje zgodovinske ali umetniške vrednosti.« (Stele, 1936: 31) Arhitektura novega prireditvenega prostora zagotovo ne sledi Steletovim načelom, prinaša pa v podedovano okolje nov in tudi za dolgo življenje obeh visoko vrednih arhitektur potreben življenjski utrip.

Pogled na obsežno predstavitev kulturne dediščine 20. stoletja. Razstava je umeščena v podstrešni prostor, ki so ga pred tem statično utrdili in odstranili vse poškodbe, ki jih je prizadejal čas. Opečni tlakovec, ki je prvotno pokrival celotno talno površino podstrešja, je kombiniran z novimi lesenimi pohodnimi pasovi. Lesena konstrukcija je odlična opora izvirni razstavni postavitvi.

A look at the vast presentation of the cultural heritage of the 20th century. The exhibition is incorporated in the attic, which was previously structurally reinforced and cleared of all time-inflicted damages. Clay paving tiles, which originally paved the entire floor surface of the attic, have been combined with new wooden tread strips. This wooden construction serves as an excellent support for the exhibition’s unique arrangement.

A view of the Blue Hall containing 19th century murals. The designer of the exhibition assigned this space for the presentation of men, important creators of Gorenjska’s and Slovenian culture: patron of arts – Žiga Zois (1747–1819); poet – France Prešeren (1800–1894); veterenerian, doctor, and politician Dr Janez Bleiweis (1808–1881); mountaineer Jakob Aljaž (1845–1927); photographer and inventor Janez Puhar (1814–1864); actor Ignacij Borštnik (1858–1919); poet, lawyer, and politician Dr Lovro Toman (1827–1870); linguist, professor, and librarian Matija Čop (1797–1835); and painter Leopold Layer (1752–1828).

Kranj

Pogled v Modro dvorano s poslikavami iz 19. stoletja. Prostor so snovalci razstave namenili predstavitvi mož, pomembnih tvorcev gorenjske in tudi slovenske kulture: kulturnemu mecenu baronu Žigi Zoisu (1747–1819), pesniku dr. Francetu Prešernu (1800–1849), veterinarju, zdravniku in politiku dr. Janezu Bleiweisu (1808–1881), gorniku Jakobu Aljažu (1845–1927), fotografu in izumitelju Janezu Puharju (1814–1864), igralcu Ignaciju Borštniku (1858–1919), pesniku, pravniku in politiku dr. Lovru Tomanu (1827– 1870), jezikoslovcu, profesorju in knjižničarju Matiji Čopu (1797–1835) in slikarju Leopoldu Layerju (1752–1828).

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Pogled na prenovljeno Ullrichovo hišo. V njej ima prostore Gorenjski muzej, streže pa tudi Letnemu gledališču Khislstein, ki razpolaga s prostorom, urejenim na dvorišču za grajskim poslopjem. Da bi prireditveni prostor po potrebi lahko tudi pokrili s streho, je dvorišče prepredeno s kovinsko konstrukcijo, ki deloma okrne lepoto obeh prenovljenih objektov visoko vredne kulturne dediščine.

Kranj

A view of the renovated Ullrich House. It is partly used by the Gorenjska Museum and partly as an open-air theatre Khislstein, which is in charge of the space arranged in the courtyard behind the castle structure. To allow for the space to be covered by a roof, the courtyard has been fitted with a metal construction, which is partially detrimental to the beauty of both renovated structures of great cultural heritage value.

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The Khislstein Castle Complex Museum and Event Space murals were restored, the construction reinforced, the entire complex was furnished with the necessary infrastructure, the fixtures were replaced, as was the flooring. The greatest construction endeavour was the renovation of the attic floor, which is now accessible by a new stairway mounted on an extension of the existing staircase. Apart from the castle itself, which is overseen by the Museum of Gorenjska, founded in 1953, the castle complex also benefits from a large garden as well as a courtyard and adjacent Ullrich House, which has been arranged to serve as a grand event space. The removal of the utility building and part of the stone wall, which separated the Ullrich House from the castle, resulted in the creation of “a fairly spacious square wherein the architect placed an open-air theatre with grandstands. The placement of the theatre in this location was dictated by the need to protect the green spaces south of the castle courtyard while the mode of its incorporation needed to be adapted to the Ullrich House floor plan, its open arches in the connecting hallway providing a picturesque scenic backdrop for the new stage.” (Leben, 2015: 148) The Ullrich House, also known as the Hunting Lodge or the meierhof administrative building, comprises two individual structures and a hallway structure connecting them lending the complex the shape of the letter U. Simultaneously with the house renovation and development of the great summer open-air theatre, archaeological research was conducted resulting in new discoveries, which enriched our understanding of Kranj’s history in the period of Antiquity. The examination of subterranean spaces of the Ullrich House, whose evolution, like that of the castle, was gradual, revealed remnants of a tower, smithy, and pottery depot, dating to early Antiquity and uncovered remains of a glass works from the same period was in the courtyard. Due to the significance and historical value of these finds, the sites where they were discovered, i.e. the Ullrich House and its courtyard, now serve their archaeological presentation. All the above remnants attesting to the ancient history and life pulse of the settlement, which stood in place of present-day Kranj, are also viewable from the new connecting hallway, which has been installed between the castle and Ullrich House, alongside the external town walls.

Both beautiful entirely renovated structures, including their new purpose and all the exhibited excerpts from past times, are invaluable jewels in the treasury of Slovenian cultural heritage. The complex is only slightly marred by a strong metal construction fitted to accommodate a sizeable folding roof added in the context of repurposing the courtyard as an open-air theatre, the grandstands of which hold 445 seats. In one of his tractates the Nestor of the protection of Slovenian cultural heritage wrote that “the new buildings on the streets, squares, and in the parts of town proclaimed to be of a historical or artistic nature, must be planned and executed in such a way that the view of the space or street loses no part of its historical or artistic value.” (Stele, 1936: 31) The architectural design of the new event space certainly does not adhere to Stele’s principles; it does, however, introduce new life to the inherited environment, a necessary ingredient in ensuring a long future existence of both highly valuable architectural gems.

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The renovated castle Khislstein with a park at the front and a large courtyard, which evolved in the back between the castle building and adjacent, now renovated Ullrich House, blends cultural heritage with current cultural creativity. The entire castle complex is located at the western edge of a difficult to access and naturally sheltered medieval structural complex, which stands out from the rest of the townscape.

In the castle’s renovated interior lay the Museum of Gorenjska, displaying a vast, rich, artistically fresh, and exceptionally instructive permanent exhibition, titled “Beautiful Gorenjska”. The visitor passing from castle chamber to chamber is sure to be overcome by the abundance of creations dating from prehistoric times to present day, born from entwining spiritual and material life in Gorenjska, Kranj, and Khislstein Castle. The castle building is a more than appropriate backdrop for this presentation of the passage of time. The exhibition authors have in fact taken the limitations of the heritage protected castle structure as a challenge in design. To wit, the uneven walls, castle windows, wall niches, ornamental paintings, and other valuable refined architectural details were included as parts of the exhibition’s scenery. Since the operational space of the castle complex has extended to include the attic spaces, the authors also included the original old roof-supporting construction as an element of the permanent exhibition of the youngest museum collection of select 20th century artworks or cultural heritage.

One of the castle’s chambers contains a display of the legacy of castles and their noble residents titled “Building Castles in the Clouds” (the title is inspired by France Prešeren’s poem). The tale of landowners, their subjects, and dwellings also includes the explanation of the origin of Carniolan castle Khislstein’s name. “Janž Khisl (born circa 1530, died 1593) from Fužine by Ljubljana, was a successful entrepreneur, proprietor of Carniola’s only glassworks and a paper mill. Their paper was watermarked, carrying the seal of the Khislstein family. Being a protestant, Janž Khisl supported the publication of Slovenian protestant hymnals; he was a great benefactor and supporter of sciences and arts.” (Perko, 2012: 38) In mid 16th century, the industrious Janž Khisl from Fužine purchased and fundamentally remodelled the old castle by the town wall, and in 1578 with the ruler’s permission renamed it »Castle Khislstein”. Even though the noble architectural monument later changed several hands, the initial owner’s name remained preserved until today. In 1913, the castle was bought by the state. Its purpose changed several times in subsequent years; after the latest two renovations – one conducted between 1984 and 1990 and the other between 2008 and 2013 – the building became a centre of cultural activities.

Khislstein is among the oldest monuments of castle residential culture and architecture. Its floor-plan is in the shape of a key; its central three-storeyed (ground storey and two stories above) two-axed Renaissance building, contiguous with the medieval defensive walls, and clasped between two twoaxed three-storeyed defensive towers, is combined with a perpendicular two-storeyed (ground floor and a single floor above) structure encompassing vaulted hallways on the ground level and upper storey of the courtyard side.

The castle’s last renovation confirmed and amended our understanding of this castle’s architectural development.

In the 16th century the preexisting fortification was rebuilt as a castle, which was itself subsequently repeatedly remodelled and extended. It’s northwestern structural tissue envelops a tower, which had previously been erected upon the remains of count Henrik II of Ortenburg’s fort. According to written sources and excavations of the remains, the well fortified Ortenburg family’s residence was built in mid 13th century, marking the start of the complex’s modern day evolution.

The work conducted in the course of both renovations cleaned up the floorplan scheme and brought it closer to its original state; the castle chamber

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Layerjeva hiša hiša umetnosti Živahna gradbena dejavnost je v 18. stoletju korenito preoblikovala arhitekturno podobo slovenskih dežel. Igrivost baročnega umetnostnega stila s prepletom okrasja v kamnu, lesu, ometu, štuku in barvi je tako močno osvojila tedanje prebivalce, da so v baročni plašč odevali tudi vse stare, celo umetniško vredne arhitekture.

Barok pa se ni »polastil samo cerkvene in plemiške arhitekture; zajel je tudi meščanske stavbe in celo bogatejše kmečke hiše je po svoje preobličil.« (Cevc, 1966: 113) Poleg tega je bil to tudi zadnji umetnostni stil, v katerem so se še kazale razlike med posameznimi slovenskimi pokrajinami. Splošne usmeritve baročnega stila so tedanji arhitekti in oblikovalci namreč prikrojili lastnim, na izročilo vezanim arhitekturnim normam. Pri tem so pomembno vlogo odigrale tudi umetnostne delavnice kiparjev, štukaterjev, slikarjev in rezbarjev, ki so s svojimi unikatnimi izdelki dopolnjevale in plemenitile baročno osvežene hiše. V Kranju – in na Gorenjskem nasploh – je bila med slikarskimi delavnicami najznamenitejša Layerjeva delavnica, ki je, kot ugotavljajo umetnostni zgodovinarji, kar najbolje utelešala domači, ljudsko občuteni pozni barok.

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Lepa hiša je današnjo klasicistično podobo dobila v začetku 19. stoletja. Staro Layerjevo delavnico je namreč močno poškodoval velik požar, ki je Kranj zajel leta 1811. Obnovljena enonadstropna stavba s strmo dvokapno streho ima glavno fasado okrašeno s kiparskimi izdelki in umetniškimi mojstrovinami v ometu in štuku.

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The present-day Classicist appearance of the beautiful house was shaped at the start of the 19th century. Old Layer’s workshop had just been severely damaged by a great fire, which devastated Kranj in 1811. The renovated two-storey building (including the ground floor) has a steep gable roof and features sculpted products and artistic masterpieces in plaster and stucco, which embellish its main façade.

Layerjeva slikarska delavnica je delovala v neposredni bližini grajskega kompleksa Khislstein; v hiši, ki je del strnjenega stavbnega niza današnje Tomšičeve ulice. Slikarske barve in čopiče so si Layerji podajali iz roda v rod in med zadnjimi slikarji te rodbine, še zaznamovan z barokom, je bil v Kranju in njegovi okolici močno priljubljeni Leopold

Layer (1752–1828). Leopold je slikarsko delavnico prevzel leta 1808, po očetovi smrti. Z razvitim avtorskim slogom, prepoznavnim po uporabi živih in kontrastnih barv, ter zaradi marljivosti, ljubeznivosti in človeške topline se je ta slikar med ljudmi tako priljubil, da v širši okolici Kranja malone ni bilo »večje cerkve, ki ne bi imela kakšne njegove slike, hkrati pa so prav množično našle pot tudi v številne gorenjske meščanske in trške hiše, tako da je Layer še danes eno redkih slikarskih imen, ki tudi preprostemu človeku kljub časovni odmaknjenosti ni tuje.« (Stopar, 1998: 192) Enonadstropna Layerjeva hiša je svoj klasicističen videz dobila po požaru leta 1811, v katerem je bila stara slikarska delavnica močno poškodovana. Njeno lice odtlej dalje krasijo profilirano oblikovani kamniti okenski okvirji, ki obdajajo v pet osi nanizane fasadne odprtine, in ločno oblikovan portal, ki poudarja glavni vhod v veliko vežo. K slikovitosti fasade poleg kamnoseškega okrasja prispeva tudi izvirno oblikovan okras v štuku, ki je umeščen v polja pod okenskimi odprtinami, in pa okras pod napuščem, ki ga je mojster izdelal po vzoru baročnih okrasnih elementov.

Hišo, v kateri je bila nekoč tako znana in imenitna slikarska delavnica, so kot živ spomin na preteklo ustvarjalnost, ki naj spodbuja k novi, nedavno celovito prenovili. Na dvoriščni strani so deloma na novo zgradili arkadni hodnik. V notranjosti pa so bile restavrirane stenske poslikave iz 19. stoletja, ki hiši dajejo še doda-

Prostori v nadstropju hiše so namenjeni galerijski dejavnosti. V osrednjem povezovalnem delu pritličja z nadstropjem in podstrešjem pogled pritegne poslikan ločno oblikovan strop. Kmečki motiv je delo učenca Layerjevega naslednika, Jurija Tavčarja (1820–1892). Tavčar si je kot priljubljen podeželski slikar svoj dom z delavnico po šolanju v Kranju ustvaril v Idriji.

The spaces of the house’s upper floor are used by the theatre. The central connection between the ground floor, the first floor, and the attic above, features an eye-catching vaulted ceiling; its rustic motif was painted by Layer’s pupil and successor Jurij Tavčar (1820–1892). Tavčar was a popular rural painter, who was taught in Kranj and then made his home in Idrija and established a workshop there.

V delu pritličja je urejena kavarna, ki se razteza na vrt in seže tudi do arkadnega hodnika v nadstropju.

Kavarna s čitalnico ima več kot uporabno premično opremo, vpeto v kamnito masivno ostenje in ločno oblikovano stropno konstrukcijo. Knjižne police so oblikovane nenavadno razgibano; kot da sporočajo, da je tudi uporabna umetnost večno in nikoli končano iskanje – novega, drugačnega, izvirnega ...

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Part of the ground floor is arranged as an elegant coffee house that extends onto the garden and all the way to the vaulted hallway on the first floor. The coffee house and reading room features immensely useful movable fittings, incorporated in the massive stone walls and vaulted ceiling construction. The book-shelves are arranged in unusually lively shapes, as though to communicate that useful art is also an eternal and never-ending search for novelty, variation, originality …

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tno kulturno vrednost. V banjasto obokani sobi, imenovani Layerjeva, je neznani slikar prostor olepšal s personifikacijami umetniških zvrsti in s svojim ali pa morebiti portretom stavbenika. Poslikan je tudi obok na stopnišču. Moža ob vozu s senom in volovsko vprego je leta 1840 naslikal Jurij Tavčar (1820–1892), priljubljeni podeželski umetnik, imenovan tudi »Idrijski« (njegova hiša v Idriji je prav tako predstavljena v pričujoči monografiji). Za slikarja se je izučil prav v Layerjevi hiši, pri Layerjevem učencu in nasledniku, posinovljencu Josipu Egartnerju (1809–1849). Restavrirane stenske poslikave danes dopolnjujejo in so del novih razstavnih prostorov, kjer so na ogled postavljena dela današnjih umetnikov.

V stavbi, ki jo velika vhodna veža členi na dva dela, so namreč uredili kavarno, galerijske prostore, delavnice ter – pod streho – prenočišča za gostujoče umetnike.

Za hišo se razteza posebej privlačna velika razgledna terasa z vrtom, ki jo varuje del srednjeveškega obzidja z obrambnim stolpom Škrlovec. Bogat program razstav, različnih umetniških delavnic, tečajev in drugih kulturnih prireditev kaže, da se v hiši, ki postaja stičišče kulturnega in družabnega življenja v Kranju, nadaljuje tradicija umetnostne dejavnosti.

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Iz del slikarja Leopolda Layerja veje neka posebna domačnost, »pa tudi svojevrstna trmoglava kmečka poštenost, ki ne pozna izumetničenega malomeščanskega sprevedanja in uglajenega laskanja. Takšen je tudi Leopoldov lastni portret z ženo.« (Stopar, 1998: 191) Works by painter Leopold Layer emanate a particular homely feel, “as well as a unique stubborn rustic honesty, which does not recognise disingenuous petitbourgeois pretence and its refined adulation. Such is also Layer’s self-portrait with his wife.” (Stopar, 1998: 191)

Čeprav je bila v času baroka znamenita slikarska delavnica uničena v požaru, je risanje in barvanje še vedno ujeto v stene njene na pogorišču razvite naslednice. Tu se stoletja stare poslikave sten in stropa prepletajo s sodobnimi umetninami novih pomenov in čustvenih napetosti.

Even though the famous painting workshop was destroyed in the Baroque period, drawing and colouring remains captured in the walls of the succeeding building rising from its ashes. Here, centuries-old wall and ceiling murals entwine with modern art of new meaning and emotional intensity.

The Layer House A House of Art the medieval walls and the Škrlovec defense tower. The full programme of exhibitions, various artistic workshops, course, and other cultural events demonstrates that the tradition of artistic creativity remains an active part of the house, which is becoming the junction point of Kranj’s cultural and social life.

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Lively 18th century construction activities fundamentally reshaped the architectural visage of Slovenian lands. The playful Baroque artistic style featuring ornamentation in stone, wood, plaster, stucco, and painting so thoroughly occupied the minds of the contemporaries, that they proceeded to cloak in Baroque coverings all ancient structures, including those of artistic value. However, Baroque did not merely claim ecclesiastic and aristocratic architecture but also impacted urban buildings and even reshaped larger rural houses.” (Cevc, 1966: 113) In addition, this was the last artistic style wherein differences between individual Slovenian regions were still reflected; the architects of the time adapted general trends of Baroque style to their own architectural norms, which were tied to local traditions. Artistic sculpting, stucco, painting, and carving workshops supplied unique products complementing and exalting the freshly Baroque-styled houses.

Layer’s workshop was the most notable painting workshop in Kranj and the wider Gorenjska region. According to art historians, it is the best existing embodiment of the local popular interpretation of the late Baroque style.

Layer’s painting workshop operated from the house in the condense row on modern day Tomšičeva ulica in the immediate vicinity of the castle complex known as Khislstein. The brushes and paints passed down the generations of the Layer lineage. Leopold Layer (1752–1828), one of the family’s last Baroque-style painters, was beloved in Kranj and the surrounding area.

Leopold took the workshop over in 1808, after his father’s death. He developed a distinct painting style featuring characteristic vivid and contrasting colours. His diligence, kindness, and kind disposition made him so popular that there was hardly a larger church in the wider Kranj area “that would not contain a painting of his, meanwhile multitudes of his works made their way to numerous urban and market town houses in the Gorenjska region, making Layer one of the rare painter names familiar to the general public in spite of the divide of time.” (Stopar, 1998: 192) The current Classicist appearance of the storeyed Layer house followed the fire of 1811, which severely damaged the old painting workshop. As a result its front is decorated by profiled stone window borders framing the façade openings, which are arranged in five axes, as well as a vaulted portal emphasising the main entrance leading to a large foyer. In addition to the stonemasonry décor; the picturesque façade also benefits from imaginatively shaped stucco ornaments located in the spaces under the window apertures and from embellishments under the overhang, which the master modelled on Baroque-style ornamental elements.

The house of the once so notable and eminent painting workshop was recently completely renovated and adapted to serve as a living memorial to the creativity of the past with a view to encouraging it in the present.

The vaulted hallway on the courtyard side was partially rebuilt. Inside the building, 19th century murals were restored, lending the house additional cultural value. An unknown artist embellished the barrel-vaulted space known as Layer’s room with imitations of artistic styles and a portrait of either himself or possibly the builder. The stairway vault is also painted.

In 1840, Jurij Tavčar (1820–1892) painted the “Moža ob vozu s senom in volovsko vprego« painting (“Man by the Ox-drawn Hay Wain”); he was a beloved rural artist, sometimes referred to as “the Idrian” (His house in Idrija is also presented in this monograph). He learned painting in the very Layer house, taught by Layer’s pupil, successor, and adopted son Josip Egartner (1809–1849). Today, the restored mural paintings complement exhibition spaces wherein works by contemporary artists are displayed. In the building, which is apportioned in two parts by the grand foyer, an elegant coffee shop has been established, as have gallery spaces, workshops, and – right beneath the roof – sleeping quarters for visiting artists. A particularly attractive garden terrace extends behind the house, shielded by a part of

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Kostnica ob Cerkvi sv. Kancijana in tovarišev Mogočna Cerkev sv. Kancijana in tovarišev povzdiguje lepoto velikega, lijakasto oblikovanega Glavnega trga. Cerkev je pomemben spomenik gotskega stavbarstva na Gorenjskem.

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»Razen zvonika, ki kipi pod nebo in ga močni venčni zidci, kamnoseško okrašeni z gotsko motiviko, delijo v več nadstropij, se razkazuje cerkev na zunanjščini kot velika, negibna gmota z ravnimi stenskimi ploskvami brez zunanjih znakov njenega gotskega nastanka – opornikov.« (Zadnikar, 1973: 86) Krasna zgradba s prostorno notranjostjo je bila zgrajena postopoma, postavljena pa je na ruševinah poznoantične cerkve s krstilnico iz 6. stoletja.

Arheološke raziskave, ki so bile v sedemdesetih in osemdesetih letih 20. stoletja izpeljane v notranjosti in neposredni okolici današnje cerkve, so poleg ostalin poznoantične cerkve in krstilnice odkrile tudi ostanke zidov pokopališke kapele, srednjeveške kostnice in razkrile množico grobov iz obdobja med 7. in 18. stoletjem.

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Pod na novo urejeno ploščadjo trga je na severni strani monumentalne Cerkve sv. Kancijana in tovarišev muzejsko urejeno arheološko najdišče. Vstop v podzemni prostor je iz steklenega paviljona, na ploščadi ob njem pa okenske odprtine v tlaku opozarjajo na najstarejšo arhitekturo na trgu – na poznoantično krstilnico z apsido.

The newly fashioned square north of the monumental Church of St Cantianus and Companions holds beneath its floor an archaeological site arranged as a museum. The subterranean space is accessible through a glass pavilion, while windows in the floor outside draw attention to the oldest architecture of the square – late-Antique baptistery with an apse.

Ker je arheološka dediščina osnoven zapis preteklih aktivnosti človeštva, je za zaščito in pravilno upravljanje zelo pomembna ozaveščenost širše javnosti. V temeljni Mednarodni listini o ohranjanju in upravljanju arheološke dediščine (sprejeli so jo leta 1990 v švicarskem mestu Lausanne) je zapisano, da je najboljši način ozaveščanja o pomenu, pomembnosti zaščite arheološke dediščine in širjenja razumevanja o

V zastekljenem prostoru paviljona, ki vodi dalje v arheološki muzej so desetletja dolga arheološka izkopavanja in proučevanja tega prostora predstavljena z besedilom in sliko na razpostavljenih panojih.

The glazed space of the pavilion that links to the archaeological museum, displays panels containing written descriptions and depictions of decades of archaeological excavation and research.

V Kranju, ki ga izjemna arheološka dediščina postavlja v središče slovenske in srednjeevropske kulture, si lahko danes pod tlemi trga, na severni strani Cerkve sv.

Kancijana in tovarišev ogledamo razkrite ostaline poznoantične osmerokotne krstilnice s polkrožno apsido, ostanke zidu kostnice okroglega tlorisa s konca 13. stoletja ter ostanke pokopališke kapele, ki so jo na mestu stare kostnice postavili v 14. stoletju, obnovili pa pod mecenstvom plemiške družine Egkh leta 1463. Kletni del kapele, ki je služila pogrebnemu bogoslužju in v kateri si je plemiška družina uredila svojo grobnico, je bil namenjen shranjevanju kosti iz prekopanih grobov.

Kapelo so leta 1789 podrli in zravnali z zemljo. V romaniki in gotiki so bile kostnice, karnerji ali kostenjaki pogosti sestavni deli pokopališč. Še ohranjene kostnice – večinoma so to okrogle stavbe z dvema prostoroma drug vrh drugega; v zgornjem je kapela, v spodnjem pa so shranjene kosti – danes pričajo o starosti naselij in o tem, »s kakšno pieteto so nekoč obravnavali posmrtne ostanke rajnih. Njihove kosti, ki so prišle na dan ob

prekopavanju grobov, so dostojno shranili v spodnjem prostoru takega kostenjaka, nad njimi pa je bila kapela, v kateri so brali maše za pokoj njihovih duš.« (Zadnikar, 1979: 184) Na severni strani cerkve se na razširjenem delu Glavnega trga del cerkvenega ostenja preslikava na steklene stene kockasto oblikovanega paviljona, ki kot velika prosojna kapa pokriva vhod v arheološki muzej. Spust po kovinskih stopnicah, ki se hitro razčlenijo v levo in desno betonsko ramo, nas pripelje v vlažen in nizek podzemni prostor svojstvenega vonja. O arheološkem najdišču, o vsem spodaj razstavljenem, nas pred vstopom v podzemni svet pouči obširna razlaga na panojih, razpostavljenih v pritličju paviljona. Kljub ustreznemu pričakovanju pa je pogled na veliko stekleno komoro z urejeno zloženimi kostmi, ki so jih sem prenesli leta 1981 iz najdenega staroslovanskega grobišča ob cerkvi, osupljiv in strašljiv. Kdo so bili, kakšni so bili, s čim so se ukvarjali, zakaj so umrli? Jih je pokosila kuga, ki je bila od vseh vojsk hujša in bolj množična morilka meščanov v utrjenih srednjeveških mestih? Najverjetneje so tu živeli, zagotovo pa so tu umrli.

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izvoru in razvoju modernih družb, strokovna predstavitev odkritij. Če se le da, na samem mestu odkritja.

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Pogled na arheološke najdbe in na novejšo kostnico z zloženimi plastmi kosti pokojnikov. Kostnice, karnerji ali kostenjaki – prostori za posmrtno shranjevanje človeških kosti – so bili v času romanike in gotike v alpskem svetu sestavni deli pokopaliških kapel. Nekateri viri navajajo, da so kostnice nastale v času množičnih smrti prebivalstva in so bile posledica premajhnih pokopališč – posvečenih prostorov ob sakralnih objektih.

A view of the archaeological finds and the newer ossuary with assembled layers of the deceased. Ossuaries – spaces intended for posthumous storing of human bones – were constituent parts of cemetery chapels from the Romanesque and Gothic periods. Some sources state that ossuary buildings were constructed in periods of mass deaths as a consequence of insufficiently-sized cemeteries – consecrated areas next to sacred structures.

Število odkritih in tudi nazadnje prekopanih grobov kaže le, da je bil prostor današnjega centra Kranja v tem času gosto poseljen.

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Da je bilo v jedru naselbine okrog obeh bogoslužnih stavb – prve romanske in druge gotske – urejeno pokopališče, pa poleg arheoloških ostankov priča tudi današnja lega cerkve v prostoru srednjeveškega naselja. Čeprav je cerkev s svojim licem, v katerega je utopljen veličasten kamnit zvonik, postavljena v gradbeno linijo trga, je prostostoječa, s krožnim obhodom. Raziskovalci razvoja mest kot vzrok za tako postavitev navajajo bivše pokopališče. Od tu je bilo pokopališče prestavljeno na severno obrobje mesta, in sicer v 18. stoletju.

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Odstrte naložene plasti stavbne in umetnostne dejavnosti človeka – poznoantična krstilnica, kostnica iz 13. stoletja in pokopališka kapela iz 15. stoletja; na tako majhnem, a v življenju naselja in mesta zagotovo pomembnem prostoru nam pomagajo razumeti, da smo zakoreninjeni v kontinuiteti časa in v svetu, ki ga je izoblikoval človek.

Revealed layers of structural and artistic human activity – a baptistery from late Antiquity, an ossuary from the close of the 13th century, and a cemetery chapel from the 15th century; their accumulation in such a small, though surely significant space for settlement and town life, helps us appreciate that we are rooted in the continuity of time and in a world shaped by mankind.

The Ossuary The Ossuary by the Church of Sts Cantius, Cantianus, Cantianilla, and Protus here in 1981 from the Old Slavic gravesite discovered by the church. Who were they? What were they like? What did they do, and what did they die of? Were they cut down by plague – a more terrible and more proficient killer of fortified medieval towns’ residents than any army? They most probably lived and certainly died here. A number of discovered and unearthed graves attests to a dense population of the area of modern-day Kranj’s town centre.

The location of the church in the space of the mediaeval settlement signals the existence of a cemetery in the nucleus of the settlement next to the two religious structures. Although the church face, which envelops a magnificent bell-tower, is in line with the structural axis of the square; the building itself is free-standing and there is space enough to circle all the way around it. Urban development experts estimate that this is due to the church once possessing a cemetery. This cemetery was relocated to the northern outskirts of town in the 18th century.

Kranj

Kranj’s large funnel-shaped main square (Glavni trg) is adorned by the presence of the mighty church dedicated to St Cantianus and companions. The church is a significant monument to Gothic-period building in the Gorenjska region. “Aside from the bell-tower piercing the sky, divided into several floors by thick belt courses ornate with stone-carved Gothic motifs, the church gives an outward impression of a large motionless mass with clean wall surfaces baring no outwardly evidence of its late-Gothic creation – i.e. no supports.” (Zadnikar, 1973: 86) The marvellous structure of a spacious interior was built gradually, erected on the ruins of late Antique church and baptistery dated to the 6th century. In addition to these two structures, archaeological research, conducted in the 1970s and 1980s in the church and its immediate vicinity, unearthed remains of the walls, cemetery chapel, and mediaeval ossuary, as well as uncovering several graves from the 7th up until the 18th centuries.

Archaeological heritage is the foremost record of mankind’s past activities, which is why its protection and proper management strongly benefit from as much public awareness as possible. According to the fundamental international Charter for the Protection and Management of the Archaeological Heritage (adopted in 1990 in Lausanne), the best way to raise awareness of the meaning and significance of protecting archaeological heritage and promoting the understanding of the origin and development of modern societies is by means of expert presentation of discoveries, if possible at the site of discovery (in situ preservation).

In Kranj, whose exceptional archaeological heritage earned the town a central role in Slovenian and Central European cultural realm, under the floor of the square on the northern side of the Church of St Cantianus and companions, it is now possible to see excavated remains of a heptagonal baptistery with a semi-circular apse, remains of an ossuary with a circular floor-plan from the end of the 13th century, and remnants of the cemetery chapel, which was built in place of the ossuary in the 14th century and renovated in 1463 under the patronage of the Egkh family. The basement of the chapel, which was used for cemetery services and housed the noble family’s tomb, was intended as a storage facility for bones unearthed when graves were dug out. The chapel was torn down and levelled in 1789. In the Romanesque and Gothic periods, ossuary structures were common parts of cemeteries. Most ossuaries were round buildings comprising two spaces atop each other; the top space contained the chapel and the lower served to store bones. Preserved ossuaries are now viewed as indications of the venerable age of their respective settlements and testaments to the “level of piety formerly exerted in the treatment of mortal remains, when the bones, which were unearthed as graves were re-dug, were respectfully stored in the lower space of such an ossuary, while there was a chapel in the space above where masses were read for the benefit of their souls.”

(Zadnikar, 1979: 184) The part of the church walls at the wider end of the main square (Glavni trg), on the northern side of the church, is reflected in the glass surfaces of the cube-shaped pavilion, which covers the entrance of the archaeological museum like a large translucent hat. The descending stairway, which quickly separates into a left and a right flight of concrete stairs, leads to a damp and low subterranean space of a particular smell. Even before entering the underground world, one can examine panels arranged throughout the pavilion on the ground floor, containing extensive information about the archaeological site and everything on display below. In spite of such adequate preparation, it is a startling and frightening experience to behold the large glass chamber containing neatly arranged bones brought

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Newestat Rudolfswerde Rudolfswerth

Mesto od leta 1365 dalje Town rights since 1365 V okljuku globoke smaragdno zelene reke Krke se na naravnem pomolu razrašča mesto, ki se edino v Sloveniji ponaša z ohranjenim pravnim aktom o podelitvi mestnih pravic. Akt je leta 1365 podpisal avstrijski vojvoda Rudolf IV. Habsburški, ko je mesto ustanovil in po sebi poimenoval Rudolfswerde (Rudolfswerth). Naselje je bilo tedaj zaščiteno z obzidjem; z okoliškimi kmetijami, zaselki in mesti pa je bilo povezano z Ljubljanskimi (ali Gorenjimi) in Karlovškimi (ali Dolenjimi) vrati.

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V

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njem sta se kmalu začeli razvijati obrt in trgovina, toda vsestranski napredek in blagostanje meščanov skozi zgodovino nista bila zvezna.

V 15. in 16. stoletju se je – tedaj že Novo mesto – znašlo v središču obrambnih bojev proti Turkom. Pogosti vdori in roparski pohodi so izčrpavali mesto, kot tudi vso deželo, in ga potisnili v globoko krizo. Šele po prenehanju turških vpadov se je za Novo mesto spet začelo prijaznejše obdobje. Pod absolutistično vladavino Marije Terezije (1740–1780) je postalo sedež okrožnega urada za Dolenjsko, kar je – s kratko prekinitvijo med drugo svetovno vojno – ostalo do danes. V dobrih dvesto letih se je razvilo v močno kulturno in gospodarsko središče ter se razširilo daleč izven obzidja prvotno zasnovanega srednjeveškega mesta.

Najlepše v tem velikem mestu z razvito farmacevtsko in avtomobilsko industrijo je še vedno staro mestno jedro z znamenitim osrednjim trgom lijakaste oblike.

Kolikor je njegova oblika oziroma velikost očitni kazalec pomembnosti Novega mesta v srednjem veku,

so skozi čas spreminjajoče se hiše ob trgu znamenje ustvarjalnosti meščanov – obrtnikov, industrialcev, gostilničarjev, lekarnarjev, zdravnikov, sodnikov, šolnikov, uradnikov in vsakovrstnih trgovcev – na prelomu iz 19. v 20. stoletje. Na današnji izgled starega mestnega trga je pomembno vplivala tudi zadnja temeljita prenova poškodb, ki so bile mestu prizadejane med vihro druge svetovne vojne. Vodil jo je novomeški arhitekt Marjan Mušič. »Na vhodu skozi nekdanje obzidje pod Kapitljem je iz zgodovinskih ostankov komponiral namesto nekdanjih mestnih vrat nov vhod v mesto, ki ga krasijo zgodnja kiparska dela Jakoba Savinška.

Obnovil je trg tako, da je obnovil in dopolnil slikovite pritlične arkade pod fasadami hiš, pred rotovž pa postavil kipa Ketteja in Trdine, obnovil pa tudi vodnjak levo odtod […]« (Stele, 1971: 152) Medtem ko so se v starem jedru konec 19. in v začetku 20. stoletja arhitekturno dodelale, izpopolnile in baročno oziroma klasicistično ozaljšale stare stavbe, se je Novo mesto tudi opazno povečalo. Razširilo se je ob

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NOVO MESTO Town rights since 1365 Extending on the cut bank of a meander in the emerald green Krka River, lay the only Slovenian town to boast a preserved legal charter bestowing its township rights. The charter was signed in 1365 by the Austrian Duke Rudolf VI. of Habsburg, who named the newly founded town after himself – Rudolfswerde (Rudolfswerth; German for Rudolf’s peninsula). At the time the settlement was protected by ramparts. It was connected to the Ljubljana Gap (Ljubljanska vrata, alsso called Gorenja vrata) and Karlovac Gap (Karlovška – also Dolenja vrata) through surrounding farms, hamlets, and towns. The town soon developed a trade and commerce, however the history of its overall progress and prosperity was not consistent. In the 15th and 16th centuries the town, by then known as Novo mesto, was at the heart of the defensive battles against the Turks. Frequent incursions and raids were taking their toll on the town as well as the countryside and caused a profound state of crisis. It was not until the Turkish raids ceased that Novo mesto entered gentler times. Under the absolutist rule of Empress Marie Thérèse (1740–1780), the town became the seat of the district office for Dolenjska, a status it continued to hold, with the exception of a short period during World War II, until today. In a good two hundred years, the town evolved into a strong cultural and economic centre, expanding far beyond the ramparts of the medieval township.

The most beautiful part of this settlement, otherwise characterised by a developed pharmaceutical and automobile industry, remains the old town nucleus with the renowned funnel-shaped central square.

Whereas its shape and large size clearly testify to Novo mesto’s significance in the Middle Ages, the ever-transforming houses by the square attest to the creativity of the residents in the 19th and 20th centuries: tradesmen, industrialists, innkeepers, apothecaries, doctors, judges, educators, officials, and various types of merchants. The current shape of the town square was also considerably influenced by the latest fundamental repairs of the damage incurred in the turmoil of World War II. The repairs were headed by local architect Marjan Mušič. “At the passage through the former ramparts beneath the Kapitelj (Chapter) he assembled historical remnants and composed, in place of the old town gate, a new entrance, adorned by sculptor Jakob Savinšek’s early works. He remodelled the square by refurbishing and replenishing the picturesque vaults on the ground floor,

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Pogled na Novo mesto v sredini 19. stoletja. V nebo se dvigata obe osrednji cerkvi – Cerkev sv. Lenarta in Kapiteljska cerkev. Risba je delo risarja, topografa in založnika Jožefa Wagnerja (1803–1861).

A view of Novo mesto in mid 19th century. The two main churches – St Leonard’s Church and the Chapter Church – are towering into the sky. The drawing is by sketcher, topographer, and publisher Jožef Wagner 1803–1861).

novi cesti, ki je starodobno središče ob vznožju Kapiteljske cerkve povezala z železniško postajo ob novo zgrajeni dolenjski železnici (1894).

Toda zlasti majhne hiše, ki se stiskajo ob Bregu nad lenobno Krko, in imenitnejše stavbe na trgu so s svojo slikovitostjo še naprej pritegovale in navdihovale umetnike, ki so gospodarsko močno naselje povzdignili še v kulturno ambiciozno središče. V delih mnogih novomeških umetnikov – pisatelja Janeza Trdine (1830–1905), pesnika Dragotina Ketteja (1876–1899), slikarja Božidarja Jakca (1899– 1989), skladateljev Marjana Kozine (1907–1966) in Ignacija Hladnika (1865–1932) – so izraženi nepre-

cenljivi pokloni mestu, meščanom, Gorjancem v ozadju in bližnji Trški gori.

Tiha in nema se vije krog mesta in ga objema kot ljubica zvesta.

Zadnja luč sije še tam izmed vej, Krka se vije počasi naprej […]

(Dragotin Kette, Na Krki) Čudovita lega ter bogastvo in harmonična raznolikost starih meščanskih hiš srednjeveškega jedra tvorijo očarljivo veduto Novega mesta, ki je skozi zgodovino navdihnila tudi številne slikarje. Upodobljena je tako na risbah in slikah

Simbol novega mesta je postala od daleč in od povsod vidna zgodovinsko pomembna Kapiteljska cerkev. Graditi so jo začeli kmalu po nastanku mesta, a jo skozi stoletja večkrat prezidali in prenovili. Zaradi arhitekturne neenotnosti, prepleta gotskega in baročnega stila, je še posebej mična.

The historically significant Chapter Church, being visible from a distance, became the symbol of Novo mesto. Its construction began soon after the town was founded, but has been rebuilt and renovated several times in the course of the centuries. Its architectural inconsistencies displaying a mix of Gothic and Baroque styles make it particularly fetching.

starih mojstrov, na primer Ivana Klobučarića (okrog 1550–1605) in Janeza Vajkarda Valvasorja (1641–1693), kot tudi na novodobnih umetninah Božidarja Jakca (1905–1981), Borisa Kobeta (1905– 1981), Jožeta Kotarja in mnogih drugih slikarjev. Na veduti starega dela Novega mesta sta v gruči sto in več let starih stavb najbolj izpostavljena frančiškanski samostan s Cerkvijo sv. Lenarta, ki jo odlikuje ena najkakovostnejših neogotskih (1866) fasad pri nas, ter Stolnica sv. Nikolaja, imenovana tudi Kapiteljska cerkev sv. Nikolaja oziroma sv. Miklavža ali na kratko Kapitelj. Bahata stavba, ki je svojo današnjo podobo pridobivala tekom stoletij, je kulturni in zgodovinski biser Novega mesta. Cerkev so na izpostavljeni, najvišji izravnavi nad reko začeli graditi kmalu po ustanovitvi mesta leta 1365. Prezidave prvotne preproste kamnite cerkve z elementi pozne gotike v današnjo monumentalno arhitekturo so bile sklenjene v baroku, v začetku 17. stoletja, medtem ko je bila notranjost dopolnjena v 19. stoletju.

Tedaj so cerkev olepšali z novim oltarjem, v katerega so umestili veliko sliko znamenitega beneškega slikarja Jacopa Comina Tintoretta (1519–1594), »umetnino, ki je vsa ostala Slovenija ne premore.« (Zadnikar, 1973: 130) Novomeščani pa so še posebej ponosni na daljno zgodovino, na bogato prazgodovinsko naselbinsko tradicijo od konca bronaste dobe do pozne antike. Na ozemlju mesta so namreč odkrili tako ostanke grobišč kot tudi ostanke gradišč.

Del teh dragocenih najdb je na ogled postavljenih v Dolenjskem muzeju Novo mesto, kjer so ustanovili tudi specializirano restavratorsko delavnico za arheologijo.

Med posebej dragocene najdbe iz časa staroselske naselbine v 1. tisočletju pred našim štetjem sodijo

beneath the house frontages, and commissioned statues of Kette and Trdina to stand in front of the town hall; he also renovated the fountain to the left […]” (Stele, 1971, 152).

At the close of the 19th and start of the 20th century, the old buildings in the town centre were architecturally developed, perfected, and embellished in the Baroque and Classicist styles. At the same time Novo mesto grew noticeably in size. It stretched out along the new road that connected the old centre at the foot of the chapter church with the railway station on the recently built Dolenjska railroad (1894). However, the picturesque appeal of the predominately small houses nestled on the Breg (Embankment) above the lazy Krka River and the more eminent buildings in the square, continued to attract and inspire artists. They elevated the economically strong settlement into an ambitious cultural centre. Novo mesto’s artists that created abounding priceless tributes to the town, its inhabitants, the Gorjanci hillrange in the background and the nearby Trška gora, are, for example, writer Janez Trdina (1830– 1905), poet Dragotin Kette (1876–1899), painter Božidar Jakac (1899–1989), and composers Marjan Kozina (1907–1966) and Ignacij Hladnik (1865–1932).

Quiet and voiceless The mistress embraces, Gently enfolding comely town spaces, The last passing glimmer Peers through the tree, Leisurely Krka winds on past the quay [...]

(Dragotin Kette, On river Krka) The marvellous location, lavishness, and harmonious diversity of old town dwellings in Novo mesto’s mediaeval core make a charming townscape that inspired numerous painters throughout history. It is featured in drawings and paintings by old masters, such as Ivan Klobučarić (circa 1550–1605) and Janez Vajkard Valvasor (1641–1693), as well as in more recent artworks by Božidar Jakac (1905–1981), Boris Kobe (1905–1981), Jože Kotar, and several other painters. Two buildings stand out especially from the group of over a century-old structures that make up the old part of Novo mesto: the Franciscan monastery with adjacent Church of St Leonard, which is distinguished by one of the best quality examples of Neo-gothic facades in Slovenia (1866) and St Nicholas Cathedral also known as St Nicholas Chapter Church or St Miklavž, or simply Kapitelj (Chapter). This boastful structure, resulting from centuries of evolution, is Novo mesto’s cultural and historical treasure. The church construction

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okrašene, vedrom podobne bronaste posode – situle.

Posode, ki se jih je kot prestižne objekte polagalo v grobove pomembnih ljudi, so izdelane iz tanke bronaste pločevine, krasijo pa jih prizori iz stvarnega sveta. Shematične okrasne risbe, oblikovane iz mehkih krožnih in krivih linij, učinkujejo dinamično in sproščeno ter veljajo za izvirno situlsko umetnost. Navadne bronaste vrče povzdigujejo v umetniška dela, poleg tega pa nas na svoj način seznanjajo tudi z utrinki iz življenja v 4. in 5. stoletju pred našim štetjem. Z značilno tolčeno in vrezano risbo so na situlah v treh pasovih običajno prikazane religiozne slavnosti z značilnimi motivi uživanja pijače, rokoborbe, sprevodi vojščakov in drugi utrinki iz vsakodnevnega življenja, ki zrcalijo tedanje običaje.

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Gospodarsko močnemu mestu s tradicionalno razvito kulturno dejavnostjo so nove prazgodovinske najdbe dodale arhaično privlačnost, ki je ne moremo prezreti.

Staroslavna dediščina Novega mesta po številu in kakovosti najdb sodi med dragocenosti evropskega pomena. Največ najdbišč je bilo odkritih prav v starem jedru, ki s postopnim prenavljanjem stavb in urejanjem prostih površin ponovno postaja najprivlačnejši del mesta. Čez leto ali dve bo izpeljana tudi zamisel arhitekturne preureditve glavnega trga, ki se bo iz sedanjega parkirišča prelevil v človeku prijazen prostor za druženje ob različnih kulturnih, športnih in drugih javnih dogodkih.

Poleg obrtne proizvodnje je bistveno podlago za razvoj mest predstavljalo trgovanje. Pogosto se je odvijalo na odprtih javnih površinah, na različno oblikovanih in velikih trgih. Na sliki je utrinek s tržnega dne na novomeškem glavnem trgu med obema vojnama.

In addition to crafts the town’s development was also strongly dependent on commerce. Selling often took place in open public spaces, large squares of various shapes.

The image captured an instant in Novo mesto’s main square on a market day in the period between the two World Wars.

Vizualizacija bodoče ureditve najimenitnejšega in v slovenskem prostoru največjega srednjeveškega lijakastega trga.

Arhitekturo trga zaznamujejo številna pritličja hiš z arkadnim hodniki, ki imajo na trg odprte oboke. Močno poškodovano stavbno tkivo je bilo po drugi svetovni vojni restavrirano pod vodstvom Marjana Mušiča, arhitekta domačina.

A representation of the planned arrangement of the largest and most distinguished funnel-shaped square in Slovenian space. The architecture of the square with its mediaeval funnel floor plan scheme is framed by numerous ground floors with vaulted hallways, their vaults opening into the space of the square. After World War II the severely damaged building tissue was restored under the supervision of Marjan Mušič, a local architect.

Ob stranicah trga nanizane hiše premožnejših meščanov s svojo arhitekturno podobo, ne glede na to, ali so bile prezidane ali pa na novo postavljene, zrcalijo čas 19. stoletja; čas, ki so ga v arhitekturi navdihovali slogi preteklih obdobij. Med imenitnimi hišami na trgu je najimenitnejša leta 2006 obnovljena mestna hiša – Rotovž. Zgrajen je bil leta 1905 po načrtih Adolfa Wolfa, arhitekta Kranjske stavbinske družbe.

The houses along the sides of the square belong to the wealthier townspeople. No matter whether they were rebuilt or newly constructed, their architectural appearance reflects the 19th century, a period inspired by styles of the past. The Rotovž (town hall), renovated in 2006, is the most excellent among the excellent houses in the square. It was built in 1905, following the plans by Adolf Wolf, architect employed by the Kranjska stavbinska družba.

began soon after the town was founded in 1365 in the exposed space atop the highest plateau above the river. The transformation of the original simple stone-built church with elements of the late Gothic period into today’s monumental architectural structure was concluded at the start of the 17th century, in the Baroque period. The interior, however, was completed in the 19th century. The Church’s beauty was augmented through the addition of a new altar, which was fitted with a large painting by the celebrated Venetian painter Jacopo Camin Tintoretto (1519–1594), “an artwork unparalleled anywhere else in Slovenia.” (Zadnikar, 1973: 130) The residents of Novo mesto are especially proud of their ancient past, the rich prehistoric settlement tradition dating to the period between the close of the Bronze Age and late antiquity. To wit, both gravesites and construction sites were uncovered in the town area. Some of these precious finds are exhibited in the Dolenjski muzej Novo mesto, where a specialized archaeological restoration workshop has been organised. Among especially valuable finds from the settlement of the first millennium B.C. are ornate situlae, bronze bucket-like vessels. These were prestigious objects, included with the gravegoods of important people. They are made from thin sheet metal and decorated with depictions of scenes from daily life. Schematic ornamental figures drawn in soft circular and curved lines of a dynamic and relaxed appearance are deemed original designs, typical of situlae. Through it, ordinary bronze vessels become elevated among works of art. In addition they acquaint us, in their own way, with excerpts from life in the 4th and 5th centuries B.C. The characteristic hammered and carved images are usually divided in three strips and depict religious festivities with typical motifs of enjoying drink, wrestling, military processions and other excerpts from daily life reflecting customs of the time.

These prehistoric finds added an un-ignorable archaic appeal to the already economically developed town with strongly developed cultural activity. Novo mesto’s heritage of ancient fame is a treasure of European significance both in number and quality of finds. The most finds were unearthed in the old town centre, which is, through gradual building renovations and arrangement of open spaces, fast shaping up to be the most attractive part of town. In one-to-two years the main square will be redesigned, with the enacting of the architectural proposal transforming the current parking area into a friendly space for socializing in the course of various cultural, sporting, and other public events.

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Na mestni trg, ki je še vedno središče novomeškega javnega življenja, se stekajo številne ozke ulice, v katerih so živeli manj petični meščani v skromnih, a svojevrstno slikovitih hišah. Najbolj izpostavljen tak predel starega mesta je Breg, strnjen sestav hiš, ki so bile na ostalinah v potresu leta 1786 porušenega srednjeveškega obzidja zgrajene na strmem bregu reke Krke.

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The town square remains the focal point of Novo mesto’s public life. It is the confluence of several narrow streets, which were formerly occupied by affluent townspeople in modest though uniquely picturesque houses. The most visible of these areas is Breg (the Bank), a condensed string of houses that were built on the steep bank of river Krka atop remains of the medieval ramparts, which had been demolished in the 1786 earthquake.

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Breg s svojo lego in izvirno arhitekturo ni le navdih za umetnike, ampak tudi privlačen kraj za njihovo bivanje.

Zagotovo je Dolenjski in Novemu mestu vtisnil velik umetniški pečat Božidar Jakac, Novomeščan po rodu in duši. Na sliki je pogled v atelje v hiši na Bregu, kjer danes ustvarja v Parizu izučeni slikar Jože Kotar (slika desno) in njegovo občutenje Mesta ob zeleni reki (1997, slika levo).

The location and innovative architecture of the Bank is an inspiration as well as an attractive residential space for artists. There is no doubt that Božidar Jakac, Novo mesto’s native in descent and heart, left a strong artistic imprint on Novo mesto and the region of Dolenjska. The image depicts a view of the atelier in the house on Breg, which currently serves the creative process of Jože Kotar (right), a painter educated in Paris and his take on the Town by the Green River (Mesto ob zeleni reki) (1997, left).

Situla Na stičišču dveh ulic, Dilančeve in Germove, ki se stekata na velik lijakast trg, stoji dvonadstropna hiša z mansardo. Na trg, v preteklosti imenovan tudi Na trgu, Veliki trg oziroma Trg kraljeviča Petra, je usmerjena z vogalom, ki ga poudarja zanimivo oblikovan napis Situla.

Razgibano zasnovana arhitektura stavbe, ki se v pritličju na ulico in naprej proti trgu odpira z arkadnim hodnikom, je bila pred nekaj leti prenovljena in preurejena v študentski dom Situla in v hostel z restavracijo in kavarno.

V prenovljeni meščanski hiši, postavljeni na stičišču dveh na trg iztekajočih se ulic, je s spominom na pradavno poselitev urejen študentski dom Situla in hostel z restavracijo in kavarno.

The renovated urban building on the junction of two streets leading to the square, houses the Situla student residence memorialising local prehistoric settlement, and a hotel with a restaurant and coffee house.

S povojno obnovo in preureditvami, ki so sledile kasneje – zadnja je bila zaključena leta 2008 – je arhitektura mogočne hiše delno izgubila pečat, ki ji ga je vtisnil slog 19. stoletja. Toda s skrbno obnovo, ki je sledila načrtom arhitekta Marjana Mušiča, z dodanim vogalnim

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Hiša je skozi zgodovino ostajala v senci drugih, na trgu bolj izpostavljenih meščanskih hiš in je ne najdemo v predstavitvah pomembnejših slovenskih arhitekturnih stvaritev, a njena razvojna pot je bila dolga, zapletena in najverjetneje ne bo nikoli do konca raziskana. V 19. stoletju je bila, tako kot pri drugih, bolj eminentnih trških hišah, njena funkcija dvojna; v pritličju se je ustvarjalo in trgovalo, v nadstropju pa stanovalo. Hiša je imela zaprto pritličje, v katerega so vodila velika polkrožna vrata, in fasade, oblikovane v historičnem slogu. Med drugo svetovno vojno je bila med letalskim napadom močno poškodovana.

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arkadnim hodnikom in z loki, ki so naslonjeni na čokate kamnite stebre in so tako kot vse okenske odprtine poudarjeni z obrobo v beli barvi, se je dragocen vtis starosti dvonadstropne stavbe z mansardo po svoje še povečal. Povojne prenove niso okrnile izvorne arhitekturne identitete hiše, na kateri se še vedno zrcali njen postopni razvoj skozi zgodovino. Opazimo lahko, da so se spremenili volumen, velikost, oblika in ureditev fasadnih odprtin, spremenjena je bila notranja členitev prostorov in njihova prehodnost, obodne stene pa so bile prilagojene krivini Germove ulice.

Lepa stavba s prijetno restavracijo in kavarno, ki se v toplih mesecih razširi tudi na arkadni hodnik, s katerega lahko gostje spremljajo dogajanje na trgu, ima poleg svoje zanimive arhitekturne zgodovine tudi posebno spominsko vrednost. Leta 1964 so v pritličju hiše odprli ribjo restavracijo, ki je postala več kot le priljubljeno gostišče. Desetletja so se v njej vsakodnevno zbirali meščani in z mestom tako ali drugače povezani obiskovalci. Priljubljena restavracija, ki so jo z dozidavo v zadnjem delu in razširitvijo v pritličje sosednjega objekta kasneje še povečali, je obratovala do leta 1996, ko je zaprla vrata.

Prazna stavba je nato počasi in komaj opazno propadala. Na nekdanjo živahno življenje in dejavnost je spominjal le zaprašen napis Restavracija pri vodnjaku.

Na srečo pa je imenitna hiša s še bolj imenitno lokacijo

kmalu dobila nove lastnike. Prenova s temeljito obnovo obstoječe stavbne konstrukcije, ki so jo s spoštovanjem in upoštevanjem priporočil o varovanju arhitekturne dediščine prilagodili sodobnim standardom in novim potrebam razširjene gostinske dejavnosti, je bila zaključena leta 2008.

Pri notranjem opremljanju prostorov so oblikovalci sledili starim, a še vedno nadvse aktualnim načelom, ki jih je v arhitekturnem oblikovanju kot nasprotje z umetnostnim okrasjem preobloženi in bahavi arhitekturi postavil Adolf Loos (1870–1933). Pohištvo izkazuje izčiščene, ravne linije in ima ostre robove ter odlično komplimentira oziroma poudarja preplet po velikosti in obliki različnih prostorov, pri katerih je pravokotna tlorisna oblika prej posebnost kot splošna značilnost.

Prostori nenavadnih oblik, zamejeni z debelimi in neravnimi stenami, ter okrasni elementi – nenavadne risbe človeških podob, ki v različnih tehnikah, od risbe na steklo do tiska na tkanino, krasijo prav vse prostore v hiši – obiskovalce kavarne, restavracije in hostla opominjajo tako na zanimivo preteklost hiše kot na bogato prazgodovino Novega mesta. Izbran notranji okras, ki plemeniti in dopolnjuje na novo prenovljeno hišo, namreč predstavlja situlsko umetnost, ki se je na tem področju razvila v 1. tisočletju pred našim štetjem. V spomin na ta pomemben del zgodovine mesta je ime dobila tudi hiša sama – Situla.

Pritličje imenitne stare hiše je bilo že v letih pred povojno obnovo prilagojeno trgovsko–gostinski dejavnosti. Ribja restavracija, Restavracija pri vodnjaku in Situla tako ena za drugo zvezno sledijo tej izvirni namembnosti. Pogled na stavbo pred zadnjo prenovo.

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Already in the years before World War II, the excellent old house’s ground floor has been adapted to commercial and hospitality uses. The Ribja restavracija seafood restaurant, Restavracija pri vodnjaku restaurant, and Situla demonstrate a sequence of uses that continues in the same vane.

A view of the building before its latest renovation.

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Pogumna umestitev vogalnega arkadnega hodnika v kontekstu celovite prenove Glavnega trga po zamisli arhitekta Marjana Mušiča je arhitekturo 19. stoletja oplemenitila s klasičnimi elementi lepega in jo tako še bolj izpostavila.

Z mizami opremljen arkadni hodnik je privlačen del kavarne, ki je od notranjosti oddeljen s stekleno steno, poslikano s podobami, značilnimi za pradavno situlsko umetnost.

Podobne like so na tanko bakreno pločevino s posebno oblikovalsko tehniko nekoč nanašale spretne roke pradavnih mojstrov, ki so tu živeli v 1. tisočletju pred našim štetjem.

The vaulted hallway is an attractive part of the coffee house. It is filled with tables and separated from the interior by a glass wall painted with images characteristic of prehistoric situla art. In the distant past, similar shapes were introduced onto thin copper sheets by prehistoric masters, who lived here in the 1st millennium B.C., using special techniques.

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A brave inclusion of a vaulted hallway in the context of the main square’s complete renovation as imagined by architect Marjan Mušič refined the 19th century architectural design by adding to it classical elements of beauty, thereby accentuating it further.

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Osrednji prostor v pritličju je velika jedilnica, ki se odpira na notranji atrij – skriti vrt, neposredno dostopen tudi z Dilančeve ulice. Asketsko opremo ozke in dolge jedilnice dopolnjujejo s črno črto oblikovane risbe po motivih s situl – kovinskih posod iz davne preteklosti, najdenih na območju starega jedra Novega mesta.

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The dining room is the dominant space of the ground floor. It opens into the inner atrium – a hidden garden, which is also directly accessible from Dilanc street. The austerely furnished narrow and long dining room is complemented by black outline paintings in the vein of the motifs of the situlas – metal vessels from the prehistoric past, which were uncovered in the space of Novo mesto’s old town core.

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Motivi situlske umetnosti so prisotni tudi v vseh sobah za goste, ki so urejene v nadstropnih etažah in pod streho. Tako kot celotni gostinski objekt, tudi sobe zaznamuje notranja oprema čistih in ravnih linij, ki je omejena le na nujno potrebno.

Situla art motifs are also found in all guestrooms on the upper floors and in the attic. As in the entire hospitality structure, the interior fittings in the rooms outline clear and straight lines, and are limited to bare essentials.

Situla

Throughout its history, the house remained overshadowed by other structures with better exposure in the square. This is why it is not represented in works about major Slovenian architectural designs. However, its evolution was long, complex, and will most probably never be fully researched. Like so many other more celebrated square houses, it served two purposes; the ground floor was used as a workshop and storefront while the first floor was used as a residence. The house’s closed ground floor was accessible via a large semi-circular entrance and its facades were designed in the Historicist style. It was severely damaged during a World War II air raid.

Repairs after the war and later overhauls, the last of which concluded in 2008, left the architecture partially bereft of its 19th century stylistic imprint. However, in their own way, careful renovations following the plans of architect Marjan Mušič granted the two-storied house with a mansard an even more valuable air of venerable age. The renovations included the addition of a corner vaulted hallway, arches leaning on broad stone pillars accentuated with white borders akin to the borders around all window apertures. Post-war renovations did not detract from the house’s original architectural identity, which continues to reflect its gradual historic evolution.

We can clearly follow the changes in volume, size, shape, and arrangement of façade openings, and see how the division of interior spaces and their transitivity were altered and the outer walls were adapted to the bend of Germ Street.

The beautiful structure houses a pleasant restaurant and coffee shop, which in the warm months extends into the vaulted hallway, enabling the patrons to observe the bustle of the square. In addition to its fascinating architectural history, the restaurant also holds a particular commemorative significance; in 1964, a seafood restaurant opened on the ground floor and soon became more than just a beloved inn. For decades, it was a daily meeting place for townspeople and visitors with various ties to the town.

The cherished restaurant later received an extension and was expanded to include the ground floor of the neighbouring structure. It operated until it finally closed its doors in 1996.

Afterwards the empty building slowly and barely noticeably deteriorated.

The dusty inscribed words “restaurant by the fountain” were the only testament to its former vibrant life and activity. Luckily, this distinguished house in an even more distinguished location soon got new owners. A thorough renovation of the existing building structure was conducted with adherence to recommendations concerning the preservation of architectural heritage; the house was adapted to modern standards and needs of the newly introduced hospitality activities; the renovation was completed in 2008.

The designers furnished the interior in accordance with the old, yet still relevant principles of architectural design established by Alfred Loos (1870– 1933) as a contrast to the boastful architecture overladen with artistic ornamentation. The furniture outlines are clean and straight, its edges sharp complementing or accentuating the intertwining of the spaces of varied sizes and shapes, where a rectangular floor-plan is more often the exception than the rule. Every space in the house is decorated by unusual drawings of human figures in different techniques, ranging from glass painting to fabric print. The so-decorated spaces of unusual shapes recall, in the minds

of the coffee shop, restaurant, and hostel visitors, the house’s interesting past as well as Novo mesto’s rich pre-history. Namely, the select interior decorations embellishing and complementing the newly refurbished house are representations of the Situlae artwork, which had evolved locally in the first millennium B.C. The house itself was dubbed Situla, in honour of this important segment of the settlement’s past.

Novo mesto se od leta 2006 dalje imenuje tudi »mesto situl«. V Dolenjskem muzeju Novo mesto je na ogled razstava nekaterih izmed najkakovostnejših in najštevilnejših prazgodovinskih najdb iz 1. tisočletja pred našim štetjem. Situle so svojimi okrasnimi motivi simbolno vpete tudi v sodobnost, kot dragocenost mestne razpoznavnosti.

Ever since 2006, Novo mesto is also known as the “town of situlas”. The Dolenjski muzej Novo mesto museum displays one of the highest quality and most frequent prehistoric finds from the 1st millennium B.C. Situlas and their ornamental motifs are also symbolically tied to the present as a treasured town’s distinctive feature.

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By the large funnel-shaped square at the junction of the Dilanc and Germ streets stands a two-storey house with a mansard. An intriguingly designed “Situla” inscription embellishes the corner of the house facing the square, formerly also known as Na trgu (in the square), Veliki trg (The Great square), or King Peter’s Square. The building opens out onto the square through a vaulted hallway; a few years ago its diversely devised architecture was renovated and transformed into “Situla” student housing and hostel with adjacent restaurant and coffee shop.

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Knjigarna Goga spomin na Dogodek v mestu Gogi Med hišami, ki s svojimi lepimi fasadami oblikujejo stranice velikega trga v novomeškem starem jedru, izstopa med letoma 1903 in 1905 postavljeni in nedavno obnovljeni Rotovž, reprezentativna stavba mestne uprave.

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»Stavbo so zasnovali po vzoru baročnega Rotovža v Ljubljani, razgibano pročelje z izstopajočim osrednjim delom in strešnim stolpičem pa oblikovali v poznohistorični maniri s prevladujočimi neogotskimi in neorenesančnimi elementi.« (Sapač, Lazarini, 2015: 550) A s severne strani na dvonadstropni Rotovž meji manjša enonadstropna hiša strogega, klasično lepega videza. Njeno profilirano oblikovano okrasje je zadržano in nevsiljivo, tri okna v nadstropju in trije na čokato oblikovanih kamnitih stebrih sloneči loki arkadnega hodnika v pritličju pa tvorijo harmonijo arhitekturnih razmerij pročelja.

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Tako kot večina stavb na trgu, se tudi ta hiša razteza v globino. Čeprav je stavba dobila današnji videz v zadnji četrtini 19. stoletja oziroma v sredini 20. stoletja – tedaj je bilo pritličje prebito z arkadnim hodnikom –, je trgovsko-stanovanjski dejavnosti prilagojena tlorisna zasnova tesno povezana s tradicijo, porojeno v srednjem veku.

V pritličju so ob hodniku, ki vodi na notranje dvorišče, uredili trgovski lokal, zadaj so bile delavnice in skladišča, bivanju pa so namenili prostore v nadstropju. Tako kot je še vedno lepo starodobno pročelje, tudi domišljena razporeditev prostorov še vedno ustreza svojemu

Historični likovni videz v globino razvite ozke enonadstropne stavbe s strmo streho je bil izvirno dopolnjen po drugi svetovni vojni, in sicer z arkadnim hodnikom, ki gleda na trg. Zgrajen je bil v sklopu celovite prenove trga po načrtih arhitekta Marjana Mušiča.

This steep-roofed single-storey building extends inwards. After World War II, its Historicist artistic appearance was ingeniously complemented by the addition of a vaulted hallway looking onto the square. It was constructed following the plans by architect Marjan Mušič as part of a complete renovation of the square.

Mestni trg na fotografiji, posneti leta 1901. Ob starem Rotovžu – novega so pričeli graditi dve leti kasneje – stoji hiša, v kateri je danes knjigarna Goga. Vidi se, da stavba, ki je bila preoblikovana leta 1876, v pritličju ni imela arkadnega hodnika.

A 1901 photograph of the town square. By the old Rotovž (town hall), the construction of the new one began two years later, stands the house currently used by the Goga bookstore. As is evident, there is no vaulted hallway on the ground floor of the building, which had been remodelled in 1876.

Med zadnjo preureditvijo in prilagoditvijo stavbe je bil v senci bukove krošnje urejen še vrt, ki mimoidoče zdaj vabi v notranji atrij in naprej v majhno, a imenitno knjigarno z imenom Goga. Lastniki so jo poimenovali po groteskni drami v Novem mestu šolajočega se Slavka Gruma (1901–1949) Dogodek v mestu Gogi.

A Goga ni le knjigarna, temveč s svojo dejavnostjo utrjuje in razvija tudi kulturo pisanja in govora, branja in poslušanja. Vrt na trgu in atrij v osrčju hiše se namreč pogosto prelevita v prostore raznovrstnih kulturnih prireditev, ki povrhu vsega popestrijo življenjski utrip glavnega mestnega trga.

Tako kot se v namembnosti hiše prepleta javno in zasebno, odprto in zaprto, hrupno in mirno, se v arhitekturi staro z novim. V skrbno obnovljeno staro vežo, atrij in prostor knjigarne je umeščena nova notranja oprema. Oblikovana je v sodobnem duhu »manj je več« in odlično prilagojena dejavnosti knjigarne. V proda-

jalni je kot osnovni motiv izpostavljena knjiga; njeno moč – moč pisane besede – simbolno poudarja temen grafičen odtis teksta na beli prečni steni, ki deli prostor knjigarne na dva dela. Ta močan stenski detajl je edini likovni okras knjigarne, v kateri neprestano diši po svežem tisku, medtem ko nas povsod razpostavljene knjige z izbrano leposlovno in znanstveno vsebino vabijo k dotiku in branju – v knjigarni, atriju, na vrtu ali doma.

Obsežno, mrtvo poslopje, kakor zapuščena graščina, nasproti dve, tri hiše, polne sob in usodnosti. Stanovalci teh sob ne hodijo mnogo na prosto, odhajajo samo še po neizbežnih poslih, potem pa se zopet hlastno zaklepajo med svoje stene. Kakor prilepljeni so med ogledali, stenskimi slikami, omarami. V nekaterih sobah ni prednjih sten in tako je pogled vanje občinstvu popolnoma svoboden.

(Slavko Grum, Dogodek v mestu Gogi)

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namenu. V nadstropju so še vedno stanovanja, prostori v pritličju pa so tako kot nekoč namenjeni dejavnostim, ki povezujejo življenje v notranjosti hiš z javnim življenjem na trgu.

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Od kod izvira ime knjigarne, izdajajo izbrani stavki iz drame Slavka Gruma Dogodek v mestu Gogi, odtisnjeni na slope stene, ki prostor knjigarne deli na dva dela.

The origin of the bookstore’s name is revealed by the selected sentences from the play by Slavko Grum “Dogodek v mestu Gogi” (“The Event in the Town of Goga”), which are imprinted on the partition wall dividing the bookstore in two.

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Majhen, a dovolj osončen in prijeten atrij je povezan s knjigarno, urejeno v zadnjem delu pritličja stavbe. V atriju se zadržujejo in družijo obiskovalci knjigarne, v toplih mesecih pa se v njem odvijajo tudi različne kulturne prireditve.

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The bookstore links to a small yet sufficiently sun-lit and pleasant atrium, which is arranged in the building’s rear ground floor area. The visitors of the bookstore frequent the atrium and socialize. In the summer months it is the location of various cultural events.

Majhna knjigarna zaseda nekdaj sekundarne stavbne prostore, a ni zato nič manj privlačna, pomembna in dragocena. Preprosta notranja oprema čistih in ravnih linij v sivo-beli kombinaciji je izjemno uporabna in predstavlja domišljeno ozadje za knjige, knjige in še enkrat knjige.

The spaces occupied by the small bookstore were formerly deemed secondary, but this does not make it any less attractive, significant, or valuable. The simple interior furnishings draw a clear and straight outline in white/grey colour combinations. It is extremely useful and serves as a well planned backdrop for books, books, and more books.

The Goga bookstore and the memory of “The Event in the Town of Goga”

Jakob Savinšek, ilustracija za knjigo Dogodek v mestu Gogi (1957).

Jakob Savinšek, illustration for The Event in the Town of Goga published edition (1957).

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Rotovž, the recently renovated town hall representative building, was first erected between 1903 and 1905. It stands out among the houses framing the great square in Novo mesto’s town centre. “The structure was modelled after the Baroque-style Ljubljana Town Hall. Its lively face with its dominant central part and roof turret was shaped in the late eclectic style dominated

by Neo-gothic and Neo-renaissance elements.” (Sapač, Lazarini, 2015: 550) In the north, the two-storey town hall borders on a smaller singlestorey house of austere classical beauty. Its stucco ornamentation is modest and unobtrusive, while the three windows on the first floor complement the three stocky vaults resting on the stone piers of the vaulted hallway on the ground floor in forming a building face of harmonious architectural proportions.

Like most buildings in the square, this house also extends inwardly. Although its modern-day appearance harks to the final quarter of the 19th century and partly mid 20th century, when the ground floor was pierced by a vaulted hallway, the adaptation of its floor plan to commercial and residential needs is closely tied to medieval traditions. A storefront was set up on the ground floor next to the hallway leading to the inner courtyard; workshops and storage spaces were established in the back, while the residential spaces were placed on the first floor. Just as the old-fashioned frontage remains beautiful, so does the thought-out arrangement of spaces still serve its original purpose. The first floor remains residential and the ground floor spaces continue to be used for activities connecting the life inside the houses with the public life in the square.

During the building’s last rearrangement and adaptation, the space in the shade of the beech tree below was turned into a garden that now invites passers-by to enter the atrium and continue onwards to the small yet excellent bookstore by the name of Goga. The owners named it after the grotesque drama “The Event in the Town of Goga”, written by Slavko Grum (1901-1949), who studied in Novo Mesto. However, Goga is more than merely a bookstore, it works towards strengthening and developing the culture of the written, spoken, read, and heard word. The garden in the square and the atrium at the heart of the structure often become scenes of various cultural events that, among other things, add to the verve of the main town square.

Just as the use of the house combines the public and the private, the open and the closed, the tumultuous and the serene, so does the architecture fuse the old with the new. The carefully renovated old foyer, atrium, and bookstore space have been fitted with new interior fixtures. These were designed in a contemporary spirit of “less is more” and superbly adapted to the activities of the bookstore. The central element exposed in the space of the store is the book; its power – the power of the written word – is symbolically represented in a dark graphic imprint of text on a white partition wall, dividing the store space in two. This dominant detail is the bookstore’s only visual ornament, while the constant smell of fresh print in the air and countless literary and scientific books on display compel us to touch and read them, either in the store, in the atrium, or at home.

A vast, dead structure, like an abandoned castle in front of two or three houses, filled with rooms and fatefulness. The residents of said rooms do not go outside often, they leave their confinement only for the sake of unavoidable errands, and then hastily lock themselves away behind their walls again. They reside as though glued between mirrors, paintings on their walls, and wardrobes. Some of the rooms lack front walls, enabling the audience to gaze freely inside.

(Slavko Grum, The Event in the Town of Goga)

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Podstrešno stanovanje v belem Druga polovica 19. in začetek 20. stoletja sta v razvoju Novega mesta živahno in plodovito obdobje, kar nenazadnje potrjujejo številni ohranjeni viri, na podlagi katerih se nam sestavlja slika prostorskega, gospodarskega, kulturnega in socialnega razvoja mesta.

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Na starih risbah in fotografijah glavnega trga si med drugim lahko ogledamo hiše tedanjih tvorcev novomeškega mestnega življenja. Primerjava takratnega in današnjega stanja kaže, da se je, kljub nekaterim spremembam, v veliki meri ohranila arhitektura, ki se je na trgu razvijala skozi stoletja in je zadnjo razvojno stopnjo dosegla za časa umetnostnega historizma ozi-

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roma neoklasicizma. Najbolj opazne spremembe, ki so se izvršile odtlej, so na novo uvedeni arkadni hodniki v pritličjih hiš in povečano število frčad – oblikovanih nadzidkov z okni, s katerimi so predrte strme strehe.

Nekdaj velika in temačna, le dobro prezračevana podstrešja z majhnimi strešnimi linami so tako bila preoblikovana v imenitne bivalne prostore.

Jakovljevićeva hiša je svojo današnjo podobo dobila leta 1861. Pročelje s fasadnimi odprtinami, postavljenimi v pet navpičnic, in s širokim ločnim kamnitim portalom je likovno poudarjeno z enostavnimi okrasnimi elementi v ometu.

The modern day appearance of the Jakovljević house hails back to 1861. The front features façade openings arranged in five vertical strips and a vaulted stone portal. It is further visually highlighted by simple ornamental elements in plaster.

Nove frčade so v ritmu okenskih osi razporejene tudi po strmi strehi hiše, ki stoji v nizu na zahodni strani spodnjega trga, na vogalu s Čitalniško ulico. Stavba, znana pod imenom Jakovljevićeva hiša, je sestavljena iz dveh krakov in ima starodobno tlorisno zasnovo iz 17. stoletja. Leta 1861 je dobila novo, enostavno oblikovano pročelje v tedaj uveljavljenem bidermajerskem slogu. Fasadne odprtine so razvrščene v pet navpičnic, v osi pročelja pa hišo poleg skromnega okrasja v ometu lepša velik ločni kamniti portal z nadportalno polico in vklesano letnico nastanka v sklepnem kamnu.

Izložbene odprtine, ki precej kazijo celostno podobo hiše, so nastale v drugi polovici 20. stoletja.

Del fasade, usmerjene na ozko, slabo osončeno ulico, je prekrit z umetnino slikarja Jožeta Marinča. Tako hiša, kot tudi Čitalniška ulica in sam Glavni trg so z umetniškim delom postali bolj privlačni, zanimivi in kulturno vrednejši.

A part of the façade looking onto the narrow and poorly sun-lit street is decked in artwork by painter Jože Marinč. The artwork elevates the house, as well as the whole of Čitalniška street and the very main square, enhancing their attraction, allure and cultural value.

Podstrešno stanovanje pod dobro izoliranim strešnim krovom je en sam velik prostor, namenjen različnim domačim opravilom in aktivnostim. Izjema je le s stenami in s stropno ploščo zamejena spalnica. V kontekstu celote je stropna plošča izkoriščena kot galerijski prostor – kotiček za klepet, povezan dalje z majhno teraso.

The attic apartment beneath the well-insulated roof covering comprises a single large space intended for various domestic tasks and activities. The bedroom is the sole exception, as it is apportioned by walls and a ceiling plate. In the context of the entire space, the ceiling plate doubles as a gallery – a chit-chat nook leading out to a small terrace.

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Poleg lepega pročelja stavbo krasi tudi čisto poseben likovni poudarek – velika umetniška slika, ki jo je izdelal slikar Jože Marinč. Slika prekriva severno stran hiše, usmerjeno na ozko Čitalniško ulico, na katero sonce nikoli ne posije. Naslovljena je Simfonija pomladi in upodablja zgodbo o hiši in prostoru okoli nje, zgodbo o najlepšem trgu v mestu, o Krki, predvsem pa ljudeh, ki so tukaj bivali v preteklosti in bivajo sedaj.

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Nekoč je bila vhodna veža hiše prehodna in glavni vhod vanjo je bil z velikega mestnega trga. S sodobno ureditvijo hiše in delitvijo notranjosti na več stanovanjskih delov pa se je vežo pregradilo, tako da se v novo podstrešno stanovanje dostopa po stopnišču z dvoriščne strani. Na dvorišču se s pogledom na zadnjo stran večkrat prezidane in predelane stavbe razkrije tudi njena dolga in zanimiva zgodovina; njen življenjski utrip skozi čas, v katerem so v njej delali in živeli razni mojstri – čevljar, urar, ranocelnik in, nazadnje, prednik današnjega lastnika, ki je kot krojaški mojster v hiši imel in vodil veliko krojaško delavnico s tudi do dvajset pomočniki in vajenci.

belih sten in stropov prevladujoče belo pobarvano tudi pohištvo, bele so stopnice, ki vodijo na galerijo, urejeno kot kotiček za sprostitev, bele so okrasne tekstilije, in tudi tlaki so svetli, v naravni barvi lesa.

Ob močni svetlobi jasnih dni belina še bolj svetlo zažari, toda bela barva ni izbrana izključno zaradi želenega vtisa prostornosti, ampak tudi zato, ker v kontrastu z njo do

izraza pridejo okrasne podrobnosti in potemnela lesena strešna konstrukcija, tako značilna za mnoga podstrešna stanovanja. Posamezni kosi notranje opreme prostorov so delno novi, delno podedovani.

Vse novo pohištvo, od mize, stolov, omar, omaric, do postelj in raznovrstnih predalnikov, je likovno preprosto in ne drago, medtem ko staro pohištvo odlikuje tako uporabnostna kot spominska vrednost.

Novo mesto

V podstrešnem stanovanju obiskovalca najprej presune prostorska razsežnost. Občutenje prostornosti velikega bivalnega prostora z jedilnico in kuhinjo, v katerem višina med tlakom in slemenom dosega približno šest metrov, dodatno poudarjata prevladujoča belina in malo pohištvene opreme. Bela barva je postavljena, tako kot njej nasprotna črna, na skrajni konec barvne lestvice; bela je absolutna, nima odtenkov, pozna le niz odbojnosti, od motnega do lesketajočega se, zato pomeni ali odsotnost ali vrhunec barv. V podstrešnem stanovanju Jakovljevićeve hiše je poleg

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Prostornost stanovanja dodatno poudarja belina, ki preveva prostor. Na belem ozadju izstopajo stari temni elementi, zlasti v patino časa odeta lesena strešna konstrukcija.

The roominess of the apartment is further emphasised by the pervading whiteness of the space. Through contrasting them, it accentuates old dark fittings, particularly the aged patina of the wooden roof construction.

The Attic Residence in White The white shines even brighter bathed in the strong light of sunny days. However, white was not selected exclusively with a view to amplify the impression of spaciousness, but also to contrast and so emphasise the ornamental details and darkened roof construction, so characteristic of many attic apartments. Individual pieces of interior furnishings are partly new and partly inherited. All of the new furniture, from table, chairs, wardrobes, cupboards, to beds and various chests, is simple in appearance and modest in worth, while the old furniture holds both practical and commemorative value.

Stavba, ki v obliki črke L oklepa notranje dvorišče, kljub nekaterim spremembam še vedno proseva nekdanjo organizacijo življenja in dela v meščanski hiši.

Though it underwent a few alterations, the L-shaped structure framing the inner courtyard still displays the former workings of life and work in the urban house.

Novo mesto

The second half of the 19th and beginning of the 20th centuries was a vibrant and productive period of Novo mesto’s history; this is evidenced in numerous preserved sources presenting an outline of the town’s spatial, economic, cultural, and social development. Old drawings and photographs of the main square, as of other subjects, allow us to glimpse the houses of the pacesetters of Novo mesto’s town life of the time. Aside from a few changes, the comparison between the state of the town then and now demonstrates a general preservation of the architecture, which had developed through the centuries and reached its final evolutionary stage in the period of artistic Historicist, or Neo-classicist style. The most evident alterations that followed thereafter are the newly introduced vaulted hallways on the ground floors and the augmented number of dormers – fashioned superstructures containing windows, piercing steep roofs. Thus, the formerly dark large attics pierced only by tiny air-vents, were transformed into excellent residential spaces.

New dormers aligned with the window axes of the house have also been added to the steep roof in the line of structures at the corner of Čitalniška Street, on the western side of the lower square. The building, known as the Jakovljević House, is comprised of two tracts with an old floor plan dating to the 17th century. In 1861 it received a new façade of a simple design in the then popular Bidermayer style. The façade openings are arranged in five vertical rows. In addition to the modest roughcast ornamentation, the house is also embellished in the central axis of the frontage by a vaulted stone portal with an above-portal shelf and the year of construction carved into the keystone. The display windows that considerably disturb the general appearance of the house are the product of the 20th century.

Aside from its beautiful frontage, the house’s appearance benefits from an entirely unique artistic highlight, a large artistic painting by painter Jože Marinč. The painting covers the house’s northern wall oriented towards the narrow Čitalniška Street, perpetually shaded from the sun. Entitled “The Symphony of Spring”; the artwork depicts the story of the house and the space it inhabits; the story of the most beautiful square in town, of river Krka, and above all the story of the people inhabiting it in the past and present.

Previously the entrance foyer was traversable and accessible via the main entrance from the great town square. Because of the contemporary arrangement of the house with the interior space divided into several residential areas, the foyer was partitioned to allow autonomous courtyard access to the stairs leading up to the attic apartment. The view of the rear of the house from the courtyard displays the long and interesting history of this repeatedly remodelled and refashioned building; it offers a glimpse of the pulse of the time when it served as the place of residence and work for various tradesmen, a cobbler, a watchmaker, a physician, and, not the least, the current owner’s ancestor who owned and managed a large dressmakers’ shop employing up to twenty assistants and apprentices.

The first thing to impress upon the visitor in the apartment is its vastness.

The impact of the spaciousness of the large residential area with the dining space and kitchen, where the distance between the paving and the ridge is about 6 meters, is additionally emphasized by the dominance of white and sparseness of furniture. The colour white, like its opposite – black, stands at the very edge of the colour spectrum. White is absolute, it does not have shades, all it has is a range of reflectivity from matte to glossy and is so either the absence or apex of colours. Like the walls and ceilings, the furniture in the attic apartment of the Jakovljević house is also white, as are the stairs leading up to the gallery arranged as a relaxation corner; decorative textiles and flooring are also bright, in the colour of natural wood.

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Piran

Pyrrhanum Piranom de Pirano Pyranum Piranum

Mesto od leta 1331 dalje Town rights since 1331 V današnjo podobo privlačnega letoviškega Pirana, mesta z ostanki obzidij, imenitnimi trgi in mrežo ozkih ulic, je vtkan tisočletni tok njenega neprestanega spreminjanja in razraščanja.

Najstarejša ostalina mesta je zagotovo njegova urbanistična struktura. Smiselna razporeditev ozkih ulic, ki se na stičiščih razširijo v različno velike odprte prostore – trge nepravilnih oblik, izvira iz najzgodnejše tradicije oblikovanja mest v sredozemskem prostoru, iz starorimskega izročila.

Piran

S

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prehod po Punti, najstarejši mestni četrti, po njenih ozkih ulicah, ki so bile zasnovane v davni preteklosti, je svojevrstno doživetje. A ne samo ozke ulice, v katere sonce posije le za kratek čas dneva, tudi kamnite hiše, ki se dvigajo ob njih, razkrivajo nekdanje življenje piranskega solinarja, ribiča ali trgovca vse od srednjega veka dalje. Z nekaterih pročelij večnadstropnih hiš in načina razporeditve fasadnih odprtin, obrobljenih s kamnitimi okenskimi okvirji, se da razbrati, da so jih predelali ali na novo postavili v 16. stoletju, času renesanse, medtem ko druga razkrivajo, da so bila preoblikovana v mlajšem, baročnem obdobju. »Ob intimnem Židovskem trgu stoji ozka dvonadstropna hiša, ki kaže gotski in renesančni značaj. Fasade stavb kažejo obličje nenehnih predelav vse do našega stoletja. Tako srečujemo poleg bogatih baročnih oken obdelavo fasad s secesijskimi elementi, pa tudi »funkcionalne« posege naših dni.« (Bernik, 1968: 159)

Poleg mnogih hiš na Punti sijaj kiparskega okrasja v kamnu krasi tudi imeniten Prvomajski trg, velik prostor nepravilne oblike, ki ga omejujejo cerkvica sv.

Donata in v baročne plašče odete večnadstropne palače. Tako kot večina arhitektur na Punti in na trgu je tudi cerkvica svojo končno baročno podobo dobila v 17. stoletju, s prezidavo starejše predhodnice. Trg pa je bolj kot po svoji velikosti in stavbah, ki ga obkrožajo, poznan po mikavnem in umetnostno vrednem baročnem vodnjaku, veliki cisterni. Ta zavzema skoraj ves osrednji prostor trga ter s svojo obliko, z vzdignjeno ploščadjo, stopnišči, okrasnimi figurami in velikostjo daje vtis velikega gledališkega odra, na katerem se bo vsak hip začela predstava.

Za Piran je značilna zgoščena pozidanost. Skrajni rob ali – gledano z morja – začetek mesta oznanjata na rtu polotoka stoječi in od daleč vidni zgradbi: svetilnik in Cerkev sv. Klementa, ki je v zgodovinskih virih prvič

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Piran

Piran Town rights since 1331 The modern-day appearance of the attractive holiday resort town of Piran, with the remains of its ramparts, brilliant squares, and a network of narrow streets, is a tapestry of a thousand years of constant change and growth. The town’s oldest remnant is certainly its urban structure. The orderly layout of its narrow streets, widening at junctures to form open spaces of various sizes – irregularly shaped squares, stems from the ancient Roman tradition, the earliest tradition of town formation in the Mediterranean area.

It is an exceptional experience to stroll through Punta, the oldest town quarter, and its streets devised in the distant past. Not only the narrow streets, only exposed to sunlight for a short part of day, but also the stone houses overlooking them, paint a picture of the lives of Piran’s saltern workers, fishermen, or merchants of the past from medieval times onwards. It is possible to discern, from the multi-storey buildings’ frontages and from the way façade openings with ornate stone trimmings have been distributed, that some of the fronts have either been remodelled or newly built in the 16th century, in the Renaissance period, while other frontages disclose renovations dating to the earlier, Baroque period. “Near the intimate Židovski square, stands a narrow two-storey house displaying a Gothic and Renaissance character.

The building façades demonstrate constant remodelling up until our century. Thus we can encounter, in addition to opulent Baroque style windows, a Secessionist-style façade treatment, as well as ‘functional’ interventions from our present time.” (Bernik, 1968: 159).

Aside from embellishing several houses on Punta, sculpted ornaments in stone also decorate the exquisite Prvomajski square, a large irregularly shaped space delineated by the Church of St Donatus and multi-storey palaces clad in Baroque coverings. Like most architectures in Punta and in the square, the church received its current Baroque-style appearance in the 17th century, when its predecessor was remodelled. More than for its size and for the surrounding buildings, the square is known for its fetching and artistically valuable Baroquestyle fountain. Its large basin takes up nearly the entire central space of the square; its elevated platform, staircases, ornamental figures, and size appear like a theatrical stage, where a performance is set to begin at any moment.

Piran is characterized by a dense grid of built structures. The town’s edge, or observed from the sea, its beginning, is demarcated by two buildings standing on the cape visible from afar: the lighthouse and the Church of St Clement, which has been mentioned in sources

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omenjena že v 13. stoletju. Jedrni del mesta pa je postal prepoznaven zlasti po mlajšem predelu z velikim Tartinijevim trgom, ki ga je konec 20. stoletja arhitekturno na novo uredil arhitekt Boris Podrecca. Še do leta 1894 je tja segalo pristanišče oziroma morski zaliv, ki so ga takrat zasuli, da bi pridobili več prostora na kopnem. Dolgo obdobje je bilo to pristanišče izven obzidanega dela mesta. »Postavitev občinske palače zunaj obzidja ob notranjem pristanišču je na tem prostoru sprožila strnitev tudi drugih municipalnih javnih ustanov, tako fontika in loggie kot tudi cele vrste plemiških in meščanskih stanovanjskih stavb. Te so sklenile v štirinajstem in petnajstem stoletju stavbno verigo okrog mandrača in vanjo vključile tudi cerkvico sv. Petra, edino stavbo, ki je stala že prej (1272) na tem mestu.« (Bernik, 1968: 161, 162) Arhitektura, ki danes obroblja Tartinijev trg, je – z izjemo posameznih stavb – nastala ali bila v današnjo podobo predelana v 19. stoletju. V tem času so današnjo podobo dobile prav vse palače na severozahodni strani trga: občinska hiša (1879), sodna palača (1891) in Kazina (prva četrtina 19. stoletja). Oko opazovalca, ki danes na velikem odprtem prostoru ob spomeniku glasbenemu umetniku Tartiniju uživa ob pogledih na severni stavbni lok trga in na hiše, ki se v njegovem ozadju pnejo na vzpetino polotoka, zagotovo pritegneta vsaj dve arhitekturi. Prva s svojo izstopajočo podobo in druga s svojo dominantno lego. Prva, znana pod imenom Benečanka, je stavba, ki stoji na skrajnem zahodnem robu severnega niza. Pozornost pritegne zato, ker je svoj beneško-gotski obraz iz 15. stoletja ohranila vse do danes. Likovno privlačna arhitektura s svetlo barvo ometa (ki naj bi bil podoben izvirnemu) in lesketajočo se belino kamna, ki okrasno poudarja prav vse fasadne odprtine, je izviren zgodo-

vinski dokument časa, ki nas poveže z življenjem premožnega meščana v umetnostno plodnem renesančnem obdobju, ki so ga zaznamovali velikani svetovne umetnosti Leonardo da Vinci, Michelangelo Buonarroti, Raffaello Santi, Francesco Petrarca, Dante Alighieri, William Shakespeare in mnogi drugi.

Druga stavba ali, bolje, arhitekturni kompleks, ki pa ni viden samo s Tartinijevega trga, ampak s skoraj vsake točke Pirana in bližnje okolice, saj je postavljen na najvišjo točko piranskega mestnega jedra, pa je sestav Cerkve sv. Jurija, samostojno stoječega zvonika in krstilnice. Tudi arhitektura teh treh stavb, kot mnogih v Piranu, ni nastala istočasno, temveč je rezultat dolgoletnega razvoja in neprestanih dopolnitev in prilagoditev sodobnim potrebam in estetskim merilom.

Kraj, ki je bil poseljen že v predrimskem času, od takrat dalje pa nepretrgano do danes, zaznamuje – poleg značilnih sredozemskih kamnitih hiš – tudi stavbna zgoščenost. Najlepše je vidna z bližnjih vrhov; na primer z grebena Mogorona ali z vrha zvonika pri Cerkvi sv. Jurija.

The town, which had been settled already in pre-Roman times, has continuously been and remains the site of typical Mediterranean stone houses as well as characteristically dense building clusters. It is most beautifully perceivable from the nearby peaks, for example from the Mogoron ridge or from the top of the bell tower by St George’s Church.

Med Strunjanskim in Piranskim zalivom je na polotoku, ki sega daleč v morje, izoblikovano najlepše slovensko obmorsko mesto – Piran. Med najbolj značilnimi piranskimi vedutami je pogled (z morja) na južno stran, kjer se polotok, ki ga zaznamujeta svetilnik in cerkvica sv. Klementa, izteka v morje.

On the peninsula extending far into the sea between the bays of Piran and Strunjan lay Piran, the most beautiful Slovenian coastal town. The view (from the sea) of the southern side of the peninsula stretching into the sea marked by the lighthouse and St Clement’s Church is among the most representative townscapes of Piran.

dating as far back as the 13th century. The town core became distinguishable later by the younger part with the large Tartini Square, which was renewed at the end of the 20th century by architect Boris Podrecca. As late as 1894 the square was still right by the harbour or bay, which was subsequently filled in order to gain space. For a long time the harbour remained outside the town walls. “The erection of the municipal palace outside the walls by the inner harbour gave rise to the construction of a condensed grouping of other municipal public buildings such as fontico, loggia as well as a plethora of residential buildings belonging to nobility and the bourgeoisie. In the 14th and 15th centuries these formed a string of buildings around the Mandrač harbour; the string included the church dedicated to St Peter, the only building that stood in this location before (1272).” (Bernik, 1968: 161, 162).

With the exception of a few buildings, present day architecture currently framing the Tartini square was created or attained through remodelling in the 19th century. At the time each and every palace on the northwestern side of the square received the appearance they still hold today: the municipal building (1879), the court palace (1891), and the “Kazina” public space (first quarter of the 19th century). The onlooker standing in the large open space by the monument to the great musical artist Tartini, taking in the view of the northern structural arch of the square and houses rising along the slope of the peninsula in the background, surely takes notice of at least two architectural gems. The first, for its prominent appearance, and the second, for its dominant location. The former, known as Benečanka (the Venetian), stands at the far western edge of the northern string of buildings.

It commands attention by virtue of its VenetianGothic face, which remains preserved from the 15th century. Visually pleasing architecture with its bright-coloured plaster (which is a purposeful approximation to the original), and glistening white of the stone, which decorates every single façade opening, is an innovative testament to history; it connects us with the life of a well-off townsman in the artistically fruitful Renaissance period, marked by giants of the art world, such as Leonardo da Vinci, Michelangelo Buonarroti, Raffaello Santi, Francesco Petrarca, Dante Alighieri, William Shakespeare, and many others.

The other building, or better-put architectural complex, is St George’s church. Located at the highest point of Piran’s city nucleus, it is not only visible from the Tartini Square, but also from virtually every part of Piran and its surrounding area. The complex comprises the church, an individually standing bell-tower, and a baptistery. As is the case with so many other buildings in Piran, the architectural com-

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Na robu najstarejšega dela mesta se je ob notranjem pristanišču Mandraču razvil nov, danes najimenitnejši mestni predel. Pogleda nanj v 19. stoletju in leta 1921.

Piran

At the edge of the oldest part of town, by the inner port Mandrač, a new part of town evolved, which is presently the most distinguished. Views of said area from the 19th century and 1921.

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Raziskave so pokazale, da je bil v 17. stoletju na novo zgrajen dejansko le zvonik, in sicer po vzoru beneškega zvonika sv. Marka, medtem ko sta ostali dve stavbi, cerkev in krstilnica, bili tedaj samo predelani, tako da sta zasijali v baročnem izrazu.

Prav v tem času, namreč ko so preuredili omenjeno cerkev, posvečeno svetniku krščanskemu vojaku, ki so ga meščani Pirana izbrali za svojega zavetnika, in ko so ob cerkvi sezidali nov zvonik, pa se je v mestu rodil skladatelj, glasbeni teoretik in violinist Giuseppe Tartini (1692–1770). Njegova rojstna hiša, ki stoji na današnjem Tartinijevem trgu, levo od cerkvice sv.

Petra, je bila oblikovana na ostalinah gotske stavbe iz 14. stoletja, s pridruženjem dveh srednjeveških hiš. Po večkratnih predelavah je današnjo podobo dobila v zadnjih stoletjih. Proti koncu 18. stoletja je Tartinijev nečak, kapitan Pietro, stavbno pročelje dal oplemenititi s poznobaročnimi okrasnimi elementi v ometu in kamnu in s poslikavami, dopolnjenimi z okrasjem v štuku olepšal tudi notranje prostore. Razvoj stavbe se je nadaljeval v 19. stoletju s prenovo, povezano z velikimi spremembami v notranjosti stavbe (tudi s preslikavami stenskih in stropnih podob) in nadzidavo zadnjega stavbnega dela. Lastništvo stavbe tedaj ni bilo več v rokah Tartinijev. »Po nekaj nekakovostnih posegih, ki jih umeščamo v čas druge polovice 20. stoletja, ko so bila v stavbi urejena stanovanja in prodajalne v pritličju, so stavbo celostno prenovili, tako da je zasijala v popolni lepoti meščanske arhitekture beneškega zaledja v severozahodni Istri. V stavbi, ki jo vidno oznanja z dvojnimi pilastri razčlenjeno ostenje, je sedež Skupnosti Italijanov in Tartinijeva spominska soba. V njej so na ogled glasbenikovi rokopisi, oporoka, portreti, posmrtna maska, Amatijeva violina in fotografsko gradivo o odkritju Tartinijevega spomenika leta 1896.« (Deu, 2006: 174)

Leta 1894 so plitek zaliv – Mandrač – zasuli in nastal je velik trg, ki ga obkrožajo imenitne palače, med njimi tudi rojstna hiša glasbenika Giuseppeja Tartinija. Zdi se, da stavbe z žlahtnostjo podedovanega nekako ne pripadajo sodobni arhitekturni ureditvi parterja, ki ga oklepajo. Kot da sta se tu srečala dva svetova, ki se še nista navadila drug na drugega.

In 1894 the shallow Mandrač bay was filled creating room for a large square space surrounded by grand palaces, among them musician Giuseppe Tartini’s house of birth. It appears as though the building with its inherited nobility somehow does not fit in with the architectural arrangement surrounding the floor. As though two worlds meeting here have not yet grown fully accustomed to each other.

position of this complex was also not achieved in a single moment in time, but rather results from several years of development, constant improvement, and adaptation to contemporary demands and aesthetic standards. Research has proven that only the bell-tower was newly constructed in the 17th century, following the model of Venetian St Marco’s bell-tower, while the other two structures – the church and the baptistery – only began to shine in Baroquestyle splendour as a result of remodelling which took place at the same time. When they remodelled the church, which was consecrated to the Christian soldier saint chosen by the people of Piran as their protector, and when they constructed a new bell-tower beside it, the musical theoretician and violinist Giuseppe Tartini was born (1692-1770). His native house, which stands in today’s Tartini square, to the left of St Peter’s church, was formed by merging two medieval houses standing atop the remains of a Gothic structure from the 14th century. In the last centuries, after much remodelling, the structure’s current appearance was finalized.

Towards the end of the 18th century, Tartini’s nephew, captain Pietro, commissioned an embellishment of the building face through addition of late Baroque-style decorative elements in plaster and stone, and embellished the interior spaces with mural paintings enhanced by stucco. The buildingg’s evolution continued in the 19th century when renovations brought about significant alterations of the interior (including painting over wall and ceiling murals) and an extension atop building’s rear part. The Tartini family was no longer in the possession of the building. “After a few low-quality interventions dated to the second half of the 20th century, when apartments were set up in the building and a store on its ground floor, the building was renovated in its entirety, so that it began to glow in the perfect beauty of subVenetian urban architecture of northern Istria.

The walls apportioned by double pilasters visually accentuate the building, which currently serves as the seat of the Italian Community and houses a Tartini Memorial Room. The latter displays the musician’s manuscripts, last willand-testament, portraits, death mask, Amati’s violin, and photographic documentation of the unveiling of the Tartini monument in 1896.”

(Deu, 2006: 174).

Soon after the Turkish danger ceased, Piran rapidly increased both due south, where the Marciana and Borgo town quarters evolved, and further to the east. At every step it reveals new architectural and artistic sights. When it comes to this venerable town, the French writer Georges Duhamel’s (1884–1966) finding that moving through space is moving through history more than holds up. This is also the greatest cultural, social, and economic value of this protected heritage site by the Gulf of Piran.

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Sicer pa Piran, ki se je kmalu po prenehanju nevarnosti turških vpadov skokovito razširil tako proti jugu, kjer sta nastali mestni četrti Marciana in Borgo, kot dalje proti vzhodu, na vsakem koraku razkriva nove in nove arhitekturne in likovne znamenitosti. Ugotovitev fran-

coskega pisatelja Georgesa Duhamela (1884–1966), da je premikanje po prostoru premikanje po zgodovini, za to staroslavno mesto še kako drži. To je tudi največja kulturna, socialna in gospodarska vrednost tega spomeniško zaščitenega mesta ob Piranskem zalivu.

Benečanka, tako domačini imenujejo najimenitnejšo stavbo na Tartinijevem trgu, je bila postavljena v sredini 15. stoletja. Po mnenju arhitekturnih ocenjevalcev sodi med najkvalitetnejša dela beneško-gotske arhitekture na naših tleh. Fotografiji prestižne palače sta nastali v letu 1903 oziroma 1914.

“The Venetian” as the most excellent building in Tartini square is known among the locals, was constructed in mid 15th century. According to architectural evaluators, the house belongs among the highest-quality Venetian Gothic architectural works on Slovenian soil. The featured photographs of the prestigious palace were taken in 1903 and 1914.

Piran

V mestno tkivo ujeti plemeniti starinski svet je poleg mile klime in vonja po morski soli in algah zagotovo tisto, kar v Piranu navdušuje. V tem izjemnem zgodovinskem in umetnostnem mestu-spomeniku so si mnogi ustvarili nov, stalen ali začasen dom. Pogled na eno izmed piranskih ulic.

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In addition to its mild climate and the smell of sea salt and algae, it is surely the noble world of Antiquity contained within Piran’s urban tissue that rouses most enthusiasm. Many have built either permanent or temporary new homes for themselves within this exceptional historic town and monument. A view of one of Piran’s streets.

Še ne dolgo tega je bilo vsakdanje življenje bistveno bolj vezano na opravila izven hiše, zato urbano tkivo Pirana tvorijo mnoge ulične razširitve ter veliki in manjši trgi. V osrednjem delu najstarejšega mestnega dela (Punta) je posebej lep trg z velikim, baročno oblikovanim vodnjakom – cisterno. Stopnišče, ki vodi na ploščad vodnjaka, krasita kamniti figuri Pravice in Postave.

Not long ago, everyday life was far more closely tied to outdoor chores, which is why Piran’s urban tissue is comprised of several widening streets, and squares, big and small. The central area of the oldest part of town (Punta) encompasses a particularly beautiful square with a large Baroque-style fountain – cistern. The staircase leading up to the fountain is decorated by two stone statues, figures representing Justice and Law.

Tako kot skoraj vsa srednjeveška mesta, je bil tudi Piran zaščiten z obzidjem. Ostaline prvega zidu, postavljenega v 7. stoletju, so vtkane v stavbno tkivo najstarejših mestnih četrti, ostaline mlajšega, postavljenega v 14. stoletju, pa še vedno vidno ščitijo mesto. Pogled na mogočno obzidje ob nekdanjem glavnem kopenskem vstopu v mesto, s povezovalne ceste Pirana z zaledjem, položene po grebenu Mogorona.

Like almost all mediaeval towns, Piran was protected by ramparts. The remnants of the original walls erected in the 7th century are woven into the structural tissue of its oldest town quarters, while the remnants of the younger wall dating to the 14th century continue to protect the town. A view of the mighty town walls by the former inland access to the town, the route connecting Piran to its hinterland, running along the ridge of Mogoron.

Če se ponovno vrnemo k sliki mesta: zaznamujejo ga strnjena pozidava, mogočni zidni oporniki na severni strani ter najbolj izpostavljena in markantna arhitektura Pirana – kompleks stolne Cerkve sv. Jurija s krstilnico in ločenim zvonikom.

Returning to the depiction of the town: it is manifest for its dense clustering of buildings, mighty wall supports on the northern side, and Piran’s most exposed and imposing architectural structure – the complex of St George’s cathedral church with a baptistery and separate bell tower.

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Akvarij Piran podvodni in podzemni svet

Piran

Med zanimivostmi Pirana, živahnega turističnega letovišča, ki ima v urbanizmu in arhitekturi vse polno odtisov preteklih časov, je tudi največji slovenski morski akvarij.

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V informativnem gradivu Akvarija Piran (Aquarium Piran) je zapisano, da lahko v njegovih mnogovrstnih steklenih akvarijskih posodah oziroma bazenih opazujemo rastlinski in živalski svet, značilen za morje, ki obdaja mesto: različne vrste alg in spužev, male morske ježke, velikega morskega pajka, raroga, navadno hobotnico, pa ciplje, špare, babice, menole, zobatce, brancine, pisane ustnače, glavače, bodike, vrane, redke in samotarske kirnje, morske pse trneže in tako dalje. Akvariji so domišljeno sestavljeni in vpeti v stene, izdelane iz svetlega istrskega naravnega kamna. Poleg tega, da je naravni kamen lepega videza in da ob rahlo osvetljeni modrini akvarijske vode odslikava doživeto sliko sveta pod morsko gladino, je tudi s praktičnega vidika nadvse primeren, saj ga odlikuje nadpovprečna odpornost na agresivno delovanje slane vode.

Ves Akvarij je skrbno osvetljen tako, da je poudarjen prikaz življenja v morju, iz polteme pa izstopa tudi osvetljeni del zastekljenega betonskega tlaka. V globini pod stekleno talno ploščo se nam pred očmi izrišejo kamnite ostaline, neme priče človekovega ustvarjanja v davni preteklosti. In prav to srečanje dveh od vsakodnevnega življenja oddaljenih svetov, naravnega in kulturnozgodovinskega, je dodana vrednost tega sodobnega, arhitekturno in tehnično prenovljenega akvarija.

V pritličju palače, v kateri je večji del prostorov preurejen in prilagojen hotelski dejavnosti (Villa Piranesi), je urejen največji slovenski morski akvarij. Monumentalna stavba ima lice usmerjeno na majhen trg, ki je povezan z nabrežjem notranjega pristanišča. V osi stavbe, ki jo lepša rustificiran okras v ometu, je velik ločno oblikovan portal – vhod v objekt in prostore Akvarija.

The ground floor of the palace, with most of its spaces remodelled and adapted to serve hotel purposes, houses the largest Slovenian marine aquarium. The monumental building faces a small square that ties to the bank of the inner port. The aquarium is accessible via a large vaulted portal in the axis of the building decorated by rustic plaster ornamentation.

Arheologi so posamezne najdbe, izdelke človeških rok, razvrstili v čas od 1. do 16. stoletja. »Na podlagi historičnih virov in načrtov je bila poleg pričakovanih arhitekturnih ostankov ‘Lazareta’ (karantena), ki je bil postavljen leta 1825 in v katerega sklop sodi tudi kapela, odkrita tudi kamnita struktura polkrožne oblike, ki jo nekateri interpretirajo kot apsido sakralnega objekta, ki je stal na tem mestu.

V vsakem primeru gre za starejši objekt, mogoče prvotno cerkev sv.

Nikolaja, ki je verjetno stala na tem mestu še pred koncem 13. stoletja.« (Stokin, Predan, Lazar, 2008: 5)

Z morjem je povezana tudi zgodovina te, danes večnamensko uporabne palače (v pritličju je Akvarij, glavnina prostorov v nadstropjih pa služi hotelski dejavnosti). Prvotno je bila v stavbi carina; arhivski viri s konca 19. in začetka 20. stoletja natančno opisujejo ves tovor, ki je z ladjami prihajal in odhajal iz piranskega pristanišča. Nato so sredi petdesetih let prejšnjega stoletja v to stavbo na pouk hodili dijaki Slovenske pomorske trgovske akademije. Kasneje se je šola

preimenovala v Pomorsko srednjo šolo, palačo z urejenimi kabineti in delavnicami ter kovačnico in strugarno v pritličju pa je uporabljala do leta 1961. Tri leta zatem je pritlične prostore zasedlo Društvo akvaristov Slovenske obale. Akvaristiko je kot nadaljevanje učnega laboratorija in delavnic ribiškega programa prevzela Srednja pomorska šola Portorož, Akvarij – Aquarium – pa se je z zadnjo povečavo in ureditvijo razvil v razpoznavno piransko znamenitost.

Prenovljeni Akvarij Piran je urejen v pritličju velike prostostoječe dvonadstropne stavbe z mezaninom, ki skupaj s prav tako samostojno stoječim Gledališčem Giuseppe Tartini (1909) na eni ter palačo Barbojo Fonda Trevisini (1826) na drugi strani tvori grajeno strukturo obrežnega pasu, ki se je z nasipavanjem morja ob zasutju mandrača povečal in razširil na južni strani srednjeveškega Pirana.

Med prenovo Akvarija (2008) so bile najdene ostaline preteklih rodov in stavb, ki jih je zabrisal čas. Med slednjimi so tudi ruševine, za katere sklepajo, da so bile v 13. stoletju del cerkvice sv. Nikolaja, ki je stala izven takratnega mestnega obzidja, na obali ob vhodu v pristanišče. Posvečena je bila zavetniku mornarjev in ribičev.

In the course of the Aquarium’s renovations (in 2008), remains were uncovered of former generations and of buildings, which time erased. Some among the found ruins are thought to have formed part of St Nicholas’ Church, which in the 13th century stood outside the city walls on the shore by the entrance to the port. It was dedicated to the patron of sailors and fishermen.

Piran

Stavba je ukrojena po vzoru imenitnih hiš, kakršne so na prelomu 19. in 20. stoletja gradili v Trstu. Na nabrežje je usmerjena z ozko dvoosno čelno fasado. Njena reprezentativno oblikovana vzdolžna fasada je olepšana s klasicistično oblikovanimi okrasnimi elementi v ometu, fasadne odprtine pa ima urejene v sedem okenskih osi.

Skupaj s stransko fasado sosednje palače Trevisini oblikujeta manjši, proti morju odprt trg, kjer se nahajajo sramotilni steber, vodnjak v obliki delfina in kamnite mize, na katerih se občasno prodaja sveže ribe. V simetrični osi glavnega pročelja je velik ločno oblikovan portal – glavni vhod v Akvarij.

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Akvarij je oblikovan in tehnično opremljen tako, da k popolnemu doživljanju sveta pod morsko gladino pripomoreta tudi zvok in svetloba. Večina akvarijskih bazenov je mojstrsko osvetljena z umetno svetlobo, ki sledi naravni barvi in moči prodiranja sončnih žarkov v morsko globino.

Piran

The aquarium’s design and technical equipment are geared towards making use of sound and light in accomplishing a comprehensive experience of the world beneath the surface of the sea. Most of the aquarium tanks are masterfully lit with artificial light imitating the natural colour and strength of sunbeams piercing the depths of the sea.

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Za brezhibno delovanje akvarijskega sistema in za kakovost življenja morskih organizmov vseh vrst, od splošno do manj poznanih, pogostih ali redkih rib, mehkužcev in različnih alg, skrbi akvarist, ki obvlada tudi potapljaške veščine.

An aquarist, skilled in diving, ensures the smooth working of the aquarium system and the quality living conditions for all manner of sea organisms ranging from generally to lesser know species and from rarer to more common fish, molluscs, and various algae.

Piran, a lively holiday resort, its urbanism and architecture teaming with imprints of the past, counts among its many attractions the largest Slovenian marine Aquarium. The informative materials of Aquarium Piran state that its varied aquarium tanks and pools display vegetation and animallife characteristic of the sea surrounding the town, such as different types of algae and sponges, tiny sea urchins, a large sea spider, spiny lobster, ordinary octopus, mullets, annular seabreams, stone loaches, picarels, dentexes, European seabass, wrasses, European bullhead, hollies, brown wrasses, rare and solitary dusky groupers, spiny dogfish etc. The aquariums are thoughtfully assembled and secured to the walls made of bright Istrian natural stone. The natural stone is not only of beautiful appearance, reflecting the vivid image of the world beneath the gently lit aquarium water, but is also practically appropriate since it possesses above average resistance to the aggressive effects of salt water. The entire aquarium is carefully lit to accentuate sea-life. The concrete pavement also half emerges from the dusk behind the glass. In the depth beneath the glass floor, outlines of stone remains bare silent witness to human creativity of the distant past. It is this very meeting of two extraordinary worlds outside daily life, the natural and cultural-historical, that lends added value to this architecturally and technically renovated aquarium.

Archaeologists sorted individual manmade finds chronologically from the 1st to the 16th century. “Going by historical sources and plans, in addition to the expected architectural remnants of the ‘Lazaret’ (quarantine) erected in 1825, which included the chapel, a semi-circular stone structure was discovered, interpreted by some as an apse of a sacred object that stood in this space. Whatever the case, it is an older structure, possibly the original St Nicholas’s Church that may have stood in this location before the end of the 13th century.” (Stokin, Predan, Lazar, 2008: 5) The renovated Aquarium Piran has been established on the ground floor of the large free-standing two-storey building with a mezzanine that joins the free-standing Giuseppe Tartini theatre (1909) on one, and the Barbojo Fonda Trevisini (1826) palace on the other side in forming the structure of the constructed coastal belt, when Mandrač harbour was filled and the belt on the southern side of mediaeval Piran was enlarged and widened.

The building pattern follows the examples of excellent houses built in Trieste in late 19th and early 20th centuries. It faces the bank with a narrow two-apsed façade. Its imposingly shaped lateral façade is embellished by Classicist-style ornamental plaster elements, while its façade openings are arranged in seven window axes. Along with the side façade of the neighbouring Trevisini palace it forms a smaller sea-facing square with a pillory, dolphin-shaped fountain, and stone stands where fish are occasionally sold. A large vaulted portal in the symmetrical axis of the main building front serves as the Aquarium’s main entrance.

The history of this multi-purpose palace (with the aquarium on the ground floor, and the majority of the rooms on upper floors serving hospitality purposes) is also tied to the sea. Primarily the building housed a customs office; archival sources from the end of the 19th and beginning of the 20th century provide precise descriptions of the freight items on boats arriving to and departing from the Piran port. In mid 1950s, the building was populated by the students of the Slovenian Merchant Marine Academy. Later, the school was renamed to the Maritime Secondary School but continued to use the palace and its studies, workshops, smithy and woodturning shop on the ground floor until 1961. Three years later the spaces on the groundfloor became the residence of the Aquarian Society of the Slovenian Coast.

Fishkeeping was taken over by the secondary maritime school in Portož, as an extension of its teaching laboratory and workshops of the fishery programme. Meanwhile, through its latest expansion, the Aquarium evolved to become Piran’s renowned attraction.

Piran

Aquarium Piran The Underwater and Underground World

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Multimedijski muzej v nekdanjem Godbenem domu V mestnem predelu, ki se za Tartinijevim trgom dviga proti mestni »akropoli« – Cerkvi sv. Jurija, postavljeni na slemenski izravnavi Mogorona, so se v enonadstropni hiši, vpeti v strnjen stavbni niz Kumarjeve ulice, desetletja zbirali glasbeniki.

Hiša je zato še danes poznana pod imenom Godbeni dom. Njeno zunanjost zaznamujejo likovne podrobnosti, značilne za ustvarjalno ozračje druge polovice 19. stoletja. Ozka in dolga stavba, ki ima na kamnito obodno ostenje naslonjeno plitko dvokapno streho, prekrito z opečno žlebičasto kritino, je na ulico usmerjena z licem, ki ga členijo v pet navpičnic razporejene fasadne odprtine. Ritmična razporeditev okenskih in vratnih odprtin je dopolnjena z okrasno oblikovanim ometom, ki še dodatno členi na cesto usmerjeno fasadno ploskev.

Pritličje ima rustikalno izdelan omet, ki se zaključuje s trakasto oblikovanim etažnim vencem, v nadstropju pa je fasada obdelana z gladkim ometom. Dva navpična pasova rustike členita obe etaži na poudarjeni osrednji stavbni del in na dva stranska. Z izjemo treh oken v osrednjem delu nadstropne etaže so vse ostale fasadne odprtine brez lepotnih poudarkov v ometu.

Piran

Stavbo Godbenega doma so v slogu historicizma zgradili med letoma 1973 in 1889 v strnjenem uličnem nizu. Simetrično zasnovano fasado z okni, razporejenimi v pet navpičnic, dopolnjuje še členitev fasadne površine z različno obdelavo ometa in dodan okras v ometu in kovini (okenske mreže v pritličju).

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The Godbeni dom building was built between 1973 an 1889 in the Historicist style as part of a densely packed street row. The symmetrically designed façade featuring five vertical strips of windows is complemented by the apportioning of the surface through various methods of plaster working and by added ornamentation in plaster and metal (window meshes on the ground floor).

Ambiciozno oblikovana hiša je bila zgrajena po vzoru mestnih hiš v bližnjem Trstu. Kljub vzdrževanju in sprotnemu prilagajanju različnim potrebam pa so jo leta počasi vidno obrusila. Leta 2005 so se zato pričela temeljitejša popravila in preureditev. A med čiščenjem nasutja pod talno ploščo v pritličju hiše so delavci naleteli na arhitekturne ostaline iz preteklega časa. Pot popravil stavbe je bila od te točke dalje preusmerjena v raziskovanje odkritih podzemnih ruševin. Najdene so bile ostaline iz različnih zgodovinskih obdobij in podrobne analize so potrdile kontinuiteto poselitve oziroma zazidave tega dela zemlje skozi stoletja. Pisni viri razkrivajo, da so predhodnica Godbenega doma in okoliške stavbe, skupaj z baročno olepšano cerkvijo sv.

Antona Puščavnika iz 14. stoletja, pripadale bratovščini sv. Filipa Nerija. V 17. oziroma 18. stoletju je bila hiša nazadnje temeljiteje preoblikovana, nato pa so cerkev in hiše bratovščine v 19. stoletju porušili.

Sodobna arhitekturna ureditev notranjosti z izvirno oblikovano multimedijsko predstavitvijo mestne zgodovine – od urbanističnega in arhitekturnega razvoja do posameznih dejavnosti, zlasti solinarstva – se svojstveno sklene z razstavljenimi ruševinami, ki živo kažejo, kako je vse nekdanje življenje zamrlo in kako reven je spomin na nekdanjo prostorsko in arhitekturno veličastnost.

V nadstropju večino tlorisne površine ob stopnicah in servisnih prostorih zavzema velika večnamenska dvorana, kjer se multimedijska predstavitev zaključi z ogledom krajšega filma o mestu in njegovi tisočletni zgodovini.

On the first floor, most of the floor-plan by the stairs and maintenance spaces is occupied by the large multi-purpose hall, where the multimedia presentation concludes with a viewing of a short film about the town and its thousand-year history.

Piran

The interior houses a newly designed multimedia presentation of town history ranging from urban and architectural development to individual activities, particularly salt panning. Its contemporary architectural arrangement innovatively concludes with a display of ruins, vividly demonstrating how all past life expired and how meagre the remnants of former spatial and architectural grandeur are.

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Do odkruškov nekdanje arhitekture, ki so bili stoletje in več skriti v podtalju mlajše hiše, vodijo stopnice. Izdelane iz kovine in lahkotno oblikovane ob masivnem oboku poskrbijo, da je občutenje dveh svetov, starega in sodobnega, še bolj doživeto.

The fragments of former architecture, which was hidden for over a century under the floors of a younger house, are accessible by stairs. Made from metal and of jovial design that juxtaposes the massiveness of the nearby vault, they ensure that the sense of the two worlds, the old and the contemporary, is all the more profoundly imparted.

Arheologi predvidevajo, da je bila stavba Godbenega doma postavljena na deloma podrtem objektu, v katerem je omenjena bratovščina imela svoj sedež. »Ohranjen je večji del kletnih prostorov omenjene stavbe na lokaciji sedanjega Godbenega doma (Kumarjeva 3) in tudi del njenih pritličnih zidov. V severovzhodnem delu Godbenega doma so med arheološkimi izkopavanjih v letih 2007 in 2008 odkrili kletni, na pravokotnem tlorisu pozidan prostor najverjetneje še srednjeveške stanovanjske stavbe. Gradnja zidov je kamnita, ohranjen je tudi večji del opečnega tlaka.« (Weigl, 2008: 9)

Piran

Arheološki arhitekturni ostanki, ki pričajo o dolgem in zanimivem razvoju stavbe, so razlog, da skozi okna Godbenega doma odslej ne bo več slišati glasbe.

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Hiša je namreč po novem namenjena drugi, muzejski dejavnosti. V njej so na ogled postavljene najdene ostaline, odkruški zgodovine arhitekture tega področja, a ne samo to. Na ekranih, ki so razporejeni po prostoru okrog razpostavljenih ruševin in stopnic, ki vodijo niže do njih, si je moč ogledati dolgo razvojno pot Pirana in dejavnosti, ki so ga zaznamovale – od solinarstva, do predstavitve znanih Pirančanov in Pirana, kot živi danes. Izvirno oblikovana mestna silhueta v črni kovini predstavlja oblikovalsko-vsebinsko rdečo nit, ki vodi od ene do druge zgodovinske zgodbe. Multimedijska predstavitev zgodovine Pirana obiskovalca vodi iz prostora

v prostor in se sklene v večnamenski dvorani v prvem nadstropju.

Za skrbno restavriranim pročeljem hiše, ki stoji na ruševinah svojih predhodnic, se tako na svojevrsten način povezuje preteklost s sedanjostjo. Sodobna tehnologija nas popelje na virtualno potovanje skozi čas, medtem ko s pogledom na razstavljene ohranjene ruševine občutimo prisotnost daljne preteklosti. V prostoru se tudi sicer prepletata staro in novo – stare in nove tehnike gradnje, gradiva in materiali, ki nas opominjajo na dolgo in razgibano kulturno zgodovino.

For decades musicians gathered in a single-storey house in the dense string of buildings on Kumarjeva street, in the part of town that rises towards the town “acropolis” – St Georges Church – set atop the levelling of the ridge of Mogoron. This is why the house remains known to this day as the “Music Home”. Its exterior is marked by artistic details typical for the creative atmosphere of the second half of the 19th century. The building is long and narrow. A shallow gable roof covered with cylindrical tiles rests on its stone-built exterior walls. The face overlooking the street is divided in five vertical strips of façade openings. A rhythmical distribution of windows and doors is amplified by ornate plaster mouldings, which further apportion the street-facing façade surface. The plaster on the ground floor is moulded in a rustic fashion and concludes with a ribbon-shaped stringcourse while the plaster on the first floor is smooth. Two vertical strips of rustica divide both storeys into an emphasised central building section and two side sections.

Apart from three windows in the central section of the first story, all the remaining façade openings have no plaster embellishments.

The ambitiously designed house construction followed the examples of urban houses in nearby Trieste. In spite of its regular upkeep and concurrent adaptation to various needs, time slowly took its toll. This is why exhaustive repairs and renovations began in 2005. However, during the clearing of backfill under the subfloor of the house’s ground level, the workers came upon architectural remnants of the past. From this moment on, the focus of the repairs was diverted to the research of the discovered underground ruins. Remnants from various historical periods were found and detailed analyses confirmed built settlement continuity in this area through the centuries. Written sources disclose that the predecessors of the Music Home and its surrounding buildings, including the embellished in the Baroque style St Antony’s Church from the 14th century, belonged to the Congregation of St Philip Neri. The house was last thoroughly remodeled in the 17th and 18th century, but by the 19th century the church and chapter house were demolished. Archaeologists estimate that the of Music Home building was constructed on a partly demolished structure wherein the afore mentioned congregation had its seat. “Most of the basement spaces of said building, where the current Music Home (Kumarjeva 3) is located, are preserved as is part of its ground floor walls. In the northwestern part the Music Home archaeological excavations of 2007 and 2008 uncovered a constructed basement space with a rectangular floor-plan, most probably left over from a mediaeval residential building. The walls are built from stone and most of the brick floor tiles are preserved.” (Weigl, 2008: 9) Archaeological architectural finds testifying to the building’s long and interesting evolution are why music will no longer be resounding from the windows of the Music Home. The house is newly adapted to a different – museum activity. Inside, the excavated remnants are exhibited, fragments of the architectural history of the area. What’s more, the screens arranged around the displayed artefacts and stairs leading down to them show the long route of Piran’s evolution and activities that impacted it – from salt panning to the presentation of notable Piran’s townspeople and Piran life as it is today. An originally fashioned town silhouette in black metal is both artful and useful. It serves as a thread leading from one historical story to the other. The multimedia presentation of Piran’s history leads the visitor from space to space and concludes in a multipurpose hall on the first floor.

And so, behind the carefully restored house front atop the ruins of its precursors, the past and the present meet in a singular way. Modern technology takes us on a virtual journey through time, all the while, in view of the preserved ruins on display, we sense the presence of a distant past.

Throughout, the space combines the old and the new – old and new building techniques, building supplies, and materials, all of which recall a long and diverse cultural history.

Piran

Multimedia Museum in the Former “Music Home”

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Počitniška hiša na Pusterli sodobnost v objemu preteklosti Eno najslikovitejših območij najstarejšega mestnega predela, imenovanega Punta, je Pusterla, sestav hiš preprostega, hladnega videza, stoječih ob cesti, ki v rahlem vzponu vodi vse do impozantne baročne Cerkve sv. Jurija.

Hiše z renesančno urejenimi fasadnimi odprtinami in tankimi apnenimi ometi, skozi katere mestoma preseva kamnito tkivo obodnih zidov, tvorijo razgibano arhitekturo, iz katere pa še posebej izstopa pred manj kot desetletjem prenovljena stavba v barvi zrelega kakija.

To več kot štiri stoletja staro hišo na odlični lokaciji so današnji lastniki kupili kot propadajočo in zapuščeno kamnito stavbo, in sicer z namenom, da s prenovo osebno prispevajo k postopni ozdravitvi imenitnega in kulturnodediščinsko pomembnega starodobnega predela, ki je bil v bližnji preteklosti žal prepuščen neprimerni oskrbi ali sploh zapuščen. Hiša ima značilno skromno zasnovo obmorskih kamnitih bivališč; pravokotna kamnita enota, pokrita s plitko streho, je v notranjosti po višini členjena z lesenimi stropovi, etaže pa med seboj povezujejo zelo strme in ozke stopnice. Novi lastniki so jo preuredili v objekt s počitniškimi apartmaji.

Piran

S prenovo močno poškodovane hiše na slikoviti Pusterli v najstarejšem mestnem predelu, imenovanem Punta, je bil kljub vsem spremembam ohranjen duh primorskega oziroma sredozemskega stavbarstva. Zaradi dolgoletne zapuščenosti in propadanja hiše pa se je izgubila za primorske hiše značilna konstrukcija, ki deloma sloni na antičnem (staroveškem), deloma pa celo na arhaičnem (prastarem) izročilu.

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Even though it introduced several changes, the renovation of the strongly damaged house in the picturesque Pusterla in Punta, the oldest part of Piran, maintained the spirit of littoral or Mediterranean architecture. However, several years of abandonment and ruination brought about the loss of its typically littoral construction, which in part leans on antique (hailing from ancient times) and in part even on archaic traditions (from prehistoric times).

Pred tem je hiša, stoječa ob tlakovanem in rahlo dvigajočem se delu cestišča, nenaseljena več kot desetletje počasi propadala. Ko ji je naposled popustila še streha, so imeli sonce, močan dež in veter

Vse štiri etaže (pritličje in tri nadstropja) v ozki in visoki hiši so opremljene kot samostojne bivalne enote. Odlikuje jih domišljena zasnova majhnih površin. V enem prostoru je vse, kar potrebujemo: majhen kuhinjski niz, ki ga po potrebi zastira zavesa, omara v višini človeka pa oddeli prostor za spanje od jedilnice in dnevnega prostora.

All four floors (the ground floor and three upper levels) of the narrow and tall house are furnished as standalone residential units. They are notable for their well-planned utilisation of small space. A single space contains everything one might need: a small kitchenette, which, if needed, can be separated from the rest of the space by drapes, while a wardrobe the size of a man separates the bedroom from the dining and living space.

Kamnite obodne stene so med seboj povezali z novimi armiranobetonskimi stropnimi ploščami, ki so jih vpeli v novo, izvirno oblikovano nosilno stopniščno jedro, postavljeno na mestu nekdanjih lesenih stopnic.

Sestavljeno je iz eliptičnega oboda, zavitih enoramnih stopnic s praznim vretenom in iz podestov, ki so istočasno tudi vstopni prostori v tri nadstropne bivalne etaže. V vsaki etaži, tako v pritličju z ozko vstopno

Hoja po zavitem zaprtem stopnišču spominja na vzpenjanje v starodobnem stolpu.

Zavita linija stopnišča, usločene bleščeče bele stene ter posebej izbrana pisana lesena obloga nastopnih ploskev pa le še poudarjajo ekstravaganten karakter hiše.

Ascending the winding closed staircase is reminiscent of climbing an ancient tower.

The curved contour of the stairwell, arched glistening white walls, and especially selected colourful wooden panelling of ceiling surfaces only further accentuate the house’s extravagant character.

Piran

prosto pot v njeno notranjost. Novi lastniki so morali zato odstraniti vse uničene in močno poškodovane lesene dele stavbe in od stare hiše je ostal le razrahljan kamnit stavbni ovoj, predrt z navpično razporejenimi okenskimi odprtinami. Ta je bil kot dragoceni del celostne podobe prostora obnovljen, medtem ko sta uničenje starega lesenega tkiva in vizija nove namembnosti hiše narekovala večje spremembe notranjosti. Izpeljane so bile z zavedanjem, da je dolgo življenje starih hiš povezano s preoblikovanjem, s subtilnim dodajanjem novega in ohranjanjem vsega, kar se je skozi preteklost izkazalo kot vredno ohranitve. Zato kljub večjim spremembam v notranjosti in domala ekstravagantnim dodatkom, navzven patina vsaj štiristoletne hiše ostaja neokrnjena, kar je pri prenovi na pol porušenih starih stavb bistvenega pomena.

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vežo, kot tudi v preostalih treh nadstropjih nad njim, je na sorazmerno majhni talni površini urejeno po eno samostojno bivališče. Z majhnimi sanitarijami in kratkim kuhinjskim nizom, ležiščem in drugo potrebno notranjo opremo je vsako uporabno kot samostojna počitniška enota. Če je to potrebno, pa se lahko po dve manjši stanovanji združita v eno večje. Izvirno zamišljena sestavljivost prostorov – iz štirih manjših v dve večji stanovanjski enoti – je zahtevala tudi posebej skrbno načrtovanje notranje opreme. Vse lesene izdelke – od kratkih kuhinjskih nizov, ki se jih da zastreti, ko se jih ne uporablja, do garderobnih omar, omaric, miz in mizic – so po načrtih arhitektke izdelali lokalni mizarski mojstri.

Poleg tega, da ima hiša novo notranjo konstrukcijo, ki je povezana tudi z obodnim kamnitim zidovjem, in da

Valjasto jedro stopnišča in krivina stene ob njem zanimivo sooblikujeta podobo notranjih prostorov. Nenavadna oblika le-teh pa seveda zahteva posebej oblikovano in po meri izdelano notranje pohištvo.

Piran

The cylindrical core of the stairwell and the curvature of the wall around it combine to give the interior spaces an interesting appearance. Their unusual shape, naturally, calls for especially designed furniture to be made to measure.

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je bila njena notranjost na novo opremljena po današnjem okusu in potrebah, tudi navzven izkazuje nekaj sodobnih dopolnitev. Nad drugo je na novo urejena tretja etaža z veliko teraso, zamejeno s polnim ograjnim zidom, ki ga predirajo v dve vrsti urejene kvadratne odprtine. Gledajoč od zunaj, te odprtine na ograji delujejo kot okrasni poudarek, a med sedenjem na terasi se njihova vloga spremeni. Postanejo majhna okna, skozi katera se sestavlja slika okolice in morja, lepa in zanimiva v vseh letnih časih in urah dneva. Prispodoba hiše-stolpa, na katero navaja v ovalni ovoj ujeto stopnišče, se tako še utrdi s pogledom s terase. Takšen pogled v daljavo in širino prostora namreč ponavadi omogočajo le visoke razgledne ploščadi ali nekoč z drugimi nameni v višino oblikovane stavbe – stolpi.

V vseh ozirih praktično in lepo oblikovano notranjo opremo dveh stanovanj s skupno vežo, od koder vodijo stopnice do obeh stanovanjskih etaž, v najvišjem nadstropju dopolnjuje še majhna terasa za sanjarjenje in poslušanje morja, ki že stoletja brusi polotok in imenitno varuje mesto, ugnezdeno na njem.

The wholly practical and beautifully designed interior furnishing of the two apartments sharing a common entrance hall containing the staircase that leads up to both residential floors is complemented on the topmost floor by a small terrace suitable for reverie and listening to the sea, which has been brushing against the peninsula for centuries, perfectly defending the town nestled on it.

A VACATION HOME IN PUSTERLA The New in the Embrace of Old Stone Walls sea, beautiful and interesting in all seasons of the year and hours of the day. The appearance of a tower house, already heralded by the oval stairway casing is thereby amplified with the sight from the terrace. Such a wide view of distant space is usually reserved for elevated observation decks or buildings built vertically for different purposes – i.e. towers.

Piran

One of the most picturesque areas of Punta, Piran’s oldest town quarter, is Pusterla, an assembly of houses of a simple and neutral appearance.

It stands by a road slowly climbing up to the imposing Baroque-style St George’s Church. The houses create an animated architectural entity by virtue of their Renaissance-style arrangement of façade openings and thin limestone plaster, thin enough in places, to allow a glimpse of the stone tissue of external walls beneath. The building renovated less than a decade ago in the colour of ripe persimmon, stands out particularly.

When the present owners bought the over four hundred year-old house in an excellent location it was in an abandoned and decayed state. They intended to take the renovation as a chance to personally contribute to the gradual healing of the excellent significant cultural heritage of the old quarter, which had in recent times unfortunately been insufficiently taken care of or entirely abandoned. The house purports a modest design, typical of maritime stone residences; the rectangular stone unit is covered with a shallow roof; the interior is vertically divided by wooden ceilings, while the floors are linked by very steep and narrow stairs. The new owners remodelled the building to accomodate holiday rentals.

Before, the house on the slowly rising incline of the road was uninhabited, slowly decaying for over a decade. When the roof finally gave out, the sun, hard rain, and wind were free to enter. The new owners had to remove all the destroyed and severely damaged wooden elements of the building.

Only the loosened exterior stone walls were left standing, pierced with vertically aligned window apertures. As a significant part of the integral image of the space the walls were renovated, while the state of ruin of the old wooden tissue and the vision for new use dictated significant alterations of the interior. Aware that long lives of old houses are tied to change, the owners introduced the changes with subtle addition of the new and retention of everything that history has proven worth preserving. And so, in spite of significant changes to the interior and nearly extravagant additions, outwardly the patina of the at least four hundred year-old house remains intact, which is essential in renovating demolished old buildings.

The stone exterior walls were secured together by means of new armoured concrete ceiling plates fastened to a new, especially designed load bearing staircase nucleus positioned in place of the previous wooden stairs. It comprises an elliptical rim, a single winding tread with a hollow newel, and landings that double as entrances to the three residential floors. All three relatively small spaces: the ground floor, which features a narrow entry foyer as well as the other three stories, have been arranged as individual autonomous residential units. With a small bathroom, a small cooking area, a bed, and other necessary furnishings each of them can be used as an individual holiday unit. Should the need arise, two smaller apartments can be joined to form a larger unit. Due to the innovatively conceived capacity to combine four apartments into two larger residential units furnishing needed to be planned with particular care. All wooden products, ranging from short kitchenettes that can be closed off when not in use, to wardrobes, cabinets, tables, and coffee tables, were made to order by local carpenters following the architect’s plans.

Aside from the new construction of the interior, which is linked to the outer stone walls, and in addition to the new furnishings in accordance with current tastes and demands, the house exterior also displays a few modern enhancements. Above the second, a third floor has been newly arranged, which contains a large terrace with a full fence pierced by square openings arranged in two horizontal lines. Observed from outside, the openings in the fence serve as ornamental emphases, but when viewed from the terrace, they take on a different role; they become small windows through which we can piece together the image of the surrounding area and the

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Ptuj

Poetovio Pettau

Mesto od leta 1250 dalje Town rights since 1250 Spoštovan slovenski arhitekt Maks Fabiani, raziskovalec podedovanega ustroja mest in načrtovalec njihovega razvoja, je v enem od svojih številnih teoretičnih sestavkov zapisal, da »mesta spoznavamo po spomenikih, cerkvah, palačah, po trgih, nasadih, cestah in panoramah. Zapomnimo si po navadi vsak najvidnejši znak mesta in po njem se spominjamo nanj.

O

Ptuj

bičajno je tak vidni znak večja zgradba, grad ali kak spomenik. Nanj se oziramo in po njem se orientiramo, če nam je mesto sicer nepoznano […]« (Rotar, 1985: 122) Spomine na mesto Ptuj, na vse, kar je v tem mestu posebnega, na vse, kar nas je v tem mestu vzradostilo, na vse, kar nas je ob obisku osrečevalo, tudi zato, ker se videne lepote nikakor nismo mogli nagledati, sestavlja splet markantnih arhitektur z razpoznavno veduto mesta. Matjaž Kmecl je v monografiji z naslovom Zakladi Slovenije zapisal, da je Ptuj, gospodarsko, kulturno in upravno središče bogatega Ptujskega polja z zaledjem, stisnjen na teraso med reko Dravo in Grajski hrib, »ohranil med vsemi slovenskimi mesti nenavadno starožiten obraz.« (Kmecl, 1979: 30) Mesto je danes res brez grdih arhitekturnih ran, ker je z zakoni že zdavnaj zavarovalo svojo lepoto. Stare stavbe imajo visoke strehe, stene toplih barv, fasadne odprtine pa so nanizane v ritmično urejene navpič-

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nice. Stisnjene ena ob drugo oblikujejo mestne ceste, ki se na stičiščih razširijo v nepravilno oblikovane in različno velike trge, kjer stojijo pomembnejše, večje in likovno bolj zahtevno oblikovane stavbe. Na Slovenskem trgu sta to Cerkev sv. Jurija in Mestno gledališče, na Mestnem trgu izstopa mestna hiša ali rotovž, na Muzejskem trgu dominikanski in na Minoritskem trgu minoritski samostan. Vsaka od teh stavb ima svojo zgodovino razvoja, v katero so s popravili, rušenji, ponovno gradnjo, preoblikovanji, restavracijami in tako dalje zarezani njeni arhitekturni vzponi in padci.

Za vzor si oglejmo dve opazni in še posebej imenitni mestni arhitekturi: gledališče in mestno hišo. »Dolgo pravokotno in visoko pritlično baročno stavbo z obokano kletjo ob župnijski cerkvi in mestnem stolpu je ptujsko in okoliško plemstvo s podporo meščanstva med letoma 1785 in 1786 prezidalo v mestno gledališče, ki se na zunaj ni bistveno razlikovalo od sosednjih hiš.« (Sapač, Lazarini, 2015: 580)

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Ptuj

PTUJ Town rights since 1250 In one of his numerous theoretical papers, the respected Slovenian architect, researcher of the inherited urban organisation, and urban developer Maks Fabiani wrote “towns are recognized by their monuments, churches, palaces, squares, green surfaces, roads, and panoramas. We normally recollect all its most evident features and remember the town for them. Usually such evident features are larger buildings, a castle, or a monument of some sort. We take these into consideration and use them as a point of reference to find our way in a strange town […]” (Rotar, 1985: 122) Ptuj’s townscape is composed of remarkable architectural marvels, which serve as memories of all that is special about the town, recalling all that delighted us there, and all that made our visit enjoyable, in part also because we could not get enough of the beauty on display. In his monograph “Treasures of Slovenia”, Matjaž Kmecl wrote that Ptuj, the economic, cultural, and administrative centre of the opulent Ptujsko polje plain and its surrounding area clasped between river Drava and Grajski hrib (the castle hill), “preserved an air of antiquity unparalleled among Slovenian towns.” (Kmecl, 1979: 30) Today the town, having long since legally protected its attractions, displays no ugly architectural wounds. The old buildings have steep roofs, warm-coloured walls, and their façade openings are ordered in rhythmically arranged vertical rows. Pressed against each other, the houses delineate town roads. At junctures they widen to form irregularly shaped squares of various sizes, the sites of the more significant, larger, and artistically more elaborate buildings.

The Slovenski trg square features St George’s Church and Ptuj City Theatre, the town square (Mestni trg) is marked by the town hall building (Rotovž), while the governing structure of the Muzejski trg square is the Dominican monastery and the Minoritski trg is dominated by the Minorite monastery. Each of these buildings has its individual developmental history chronicling architectural ups and downs of repairs, rebuilding, remodeling, restoration and the like. Let us examine two examples of manifest and particularly remarkable urban architecture: the theatre and the town hall.

“In 1785, the nobility of Ptuj and the surrounding area with the support of eminent townspeople adapted the long rectangular and tall single-storey Baroque-style building with a vaulted cellar by the parochial church and Town Tower to become the town theatre; its exterior was not fundamentally distinguishable from that of the neighbouring houses” (Sapač, Lazarini, 2015: 580). The theatre building received its present day exterior appearance in the 19th century

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Današnjo reprezentativno podobo je stavba gledališča dobila s prezidavo in dozidavo višjega vhodnega dela v 19. stoletju. Impozantno pročelje, ki ga krasijo reliefi in skulpture, je bilo oblikovano v historicističnem stilu po zamisli dunajskega arhitekta Rudolfa Klotza (1921–1986). Med drugo svetovno vojno so ga Nemci preoblikovali v izraznem načinu nacionalno obarvanega racionalizma. Nato pa je bilo pročelje restavrirano med zadnjo prenovo gledališke stavbe (2006–2007), ko je v sodobnem duhu zaživela tudi njena notranjost.

Tudi reprezentativno dvonadstropno mestno hišo so v začetku 20. stoletja postavili na mestu manjše poznogotske hiše iz 16. stoletja.

Stavba s tlorisno zasnovo v obliki črke U ima markantne strme strešine, poudarjene s središčno postavljenim stolpičem, ki ima čebulasto streho in razgledni balkon, njeno pročelje pa je široko, razgibano in secesijsko okrašeno.

Rotovž velja na Ptuju za najlepšo arhitekturo, oblikovano v slogu historicizma. Izdelana je bila po načrtu dunajskega arhitekta Maxa von Ferstela (1859–1936). In še zanimivost: okrasna dvonadstropna konzolna pomola, ki sestavljata osrednji stavbni del glavne fasade, je arhitekt oblikoval po vzoru arhitekturnega člena, ki je pripadal porušeni poznogotski predhodnici.

Poleg na kratko orisanih eminentnih arhitektur stavbno tkivo Ptuja sestavlja še nekaj monumentalnih palač, ki so bile na mestu porušenih srednjeveških zgradb v historicističnem slogu zgrajene konec 19. in na prehodu v 20. stoletje. Če bi pod kakšno izmed teh palač prekopavali tla, bi bržkone morali vmes kmalu poseči arheologi. Prostor današnjega Ptuja je namreč

nepretrgoma naseljen že več kot tritisoč let. Po mestu razpostavljene dragocene kamnite ostaline – na primer Orfejev spomenik, ki stoji na istem mestu že devetnajst stoletij (postavili so ga v 2. stoletju) in lapidariji v sestavi Pokrajinskega muzeja Ptuj – razkrivajo utrinke iz življenja antičnega mesta Poetovia, pomembnega upravnega in trgovskega središča Panonije. S pričetkom velikega preseljevanja narodov in propadom zahodnega rimskega cesarstva v 5. stoletju, se je dotlej rimsko mesto umaknilo slovanskemu gradišču. Po nekaj neuspelih poskusih, da bi Slovani v tem prostoru zaživeli politično in kulturno samostojno, je po viharju madžarskih pustošenj naposled nastal srednjeveški Ptuj.

Na griču, ki je bil poseljen tudi v davnini, je zrastel Ptujski grad. Iz življenjepisa nadškofa Konrada I.

Veduta Ptuja, utrjenega mesta z dominantno grajsko naselbino na griču nad njim. Akvarel je leta 1792 izdelal nešolan mojster Leopold Schickelgruber.

Townscape of Ptuj, a fortified town with a dominant castle settlement on the slope above. The watercolour was painted in 1792, by unschooled master Leopold Schickelgruber.

France Mihelič: Mrtvi kurent / Dead Kurent Strašljiva ptujska maska – kurent – je pogost motiv umetnikov, še posebej akademskega slikarja Franceta Miheliča (1907–1998), ki je bil učitelj likovnega pouka na Ptuju.

The frightening Ptuj’s indigenous costume – kurent – is a popular motif among artists and a particular favourite of academic painter Franc Mihelič (1907–1998), who worked as an arts’ teacher in Ptuj.

through rebuilding and by the addition of a taller entrance structure. The imposing frontage decorated by reliefs and sculptures was designed in the Historicist style adhering to the conceptions of Viennese architect Rudolf Klotz (1921–1986). During World War II the Germans redesigned it in the characteristic style of nationalist-focused rationalism. Subsequently, the building front was restored during the latest renovation of the theatre building (2006–2007), which also breathed new life into its interior.

In the 20th century, the town hall, a representative three-storey urban house was also erected in place of a smaller late Gothic 16th century house. The building has a steep roof, emphasised by the centrally positioned tower with an onion dome and an observation balcony.

Its floor plan is in the shape of letter “U”, and its wide and dynamic front display Secessionist ornamentation. The town hall is considered Ptuj’s most beautiful architectural marvel in the Historicist style. It was built following the plans

by Viennese architect Max von Ferstel (1859– 1936). As a point of interest, the architect modelled the two ornate three-storey corbel balconies comprising the central structural part of the main façade after an architectural element from its torn-down late Gothic predecessor.

In addition to the briefly described eminent structures above, Ptuj’s building tissue also features Historicist-style monumental palaces built at the end of the 19th and the start of the 20th century in place of their demolished mediaeval predecessors. Were a floor of one of these palaces dug up, archaeologist involvement would quickly be needed since the space of present-day Ptuj has been continuously settled for over 3000 years. Stone monuments spread across town, such as the Orpheus Monument, which has been standing in the same place for over nineteen centuries (erected in the 2nd c.

AD) and lapidaries in the care of the Ptuj Regional Museum provide glimpses into the life in the ancient town of Poetovia the significant Roman administrative and economic centre of Pannonia. In the large migration period and with the collapse of the Roman Empire in the 4th c.

AD, the previously roman town was replaced by a Slavic settlement. After a few failed attempts to achieve cultural and political autonomy, following the tempest of Hungarian devastation, mediaeval Ptuj was finally established.

On the hill, where settlement is attested already in prehistoric times, the Ptuj Castle was erected. According to Archbishop Konrad I. of Abensberg’s (1106–1147) biography “he commissioned the building of Ptuj Castle on the ruins of a previous one. Its remnant is the current western tower, which is generally dated to the 11th century.” (Brence, 2006: 17) Tradesmen and craftsmen quickly began building houses

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Pogled na mesto danes. Veduto še vedno zaznamujejo impozantne stavbe, ki so del slovenske kulturne dediščine: grad, oba samostana in Cerkev sv. Jurija.

Ptuj

A present day view of the town. The townscape remains marked by dominant buildings, which now form part of Slovenian cultural heritage: the castle, both monasteries, and St George’s Church.

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Grad, ki je preurejen v muzej, sestavljajo osrednja grajska stavba podkvaste oblike, konjušnica, žitnica, pet grajskih stolpov, grajska pristava s tremi objekti in okrog 1200 metrov dolgo grajsko obzidje s tremi portali, stražnico in zgodnjesrednjeveškim zemeljskim nasipom.

The castle, which has been adapted as a museum, comprises a central horseshoe-shaped building, horse stables, granary, five castle towers, the Meierhof manorhouse complex of three structures, and a circa 1200 metre-long rampart with three portals, guardhouse, and an early mediaeval rampart.

Abensberškega (1106–1147) izvemo, »da je dal ponovno zgraditi Ptujski grad na ruševinah prejšnjega. Ostanek slednjega je sedanji zahodni stolp, ki ga na splošno datiramo v 11. stoletje.« (Brence, 2006: 17) V zavetju hriba z grajskim poslopjem so na dveh vzporednih terasah ob Dravi kmalu začeli postavljati hiše obrtniki in trgovci, zrasle so cerkve, redovniki – dominikanci in minoriti – pa so postavili svoje ustanove. V 13. stoletju se je že razvito naselje obdalo z obzidjem. Dve stoletji kasneje je utrjeno mesto predstavljalo pomembno trgovsko središče za prehodno trgovino iz hrvaških in ogrskih dežel proti Primorju in naprej. Toda blagostanje ni bilo dolgotrajno.

Kljub temu, da se je naselje z gradom močno utrdilo, so bila ropanja in pustošenja Turkov vzrok za nazadovanje, ki se je zaradi epidemij kuge in pogostih požarov nadaljevalo še v 18. stoletje. Morebiten ponoven razcvet mesta pa je zavrla tudi nova komercialna cesta Dunaj–Trst, ki je mesto obšla. Na obrobje potisnjen Ptuj je postal in ostal le središče svojega agrarnega zaledja.

V času avstro-ogrske monarhije in naprej v Kraljevini Srbov, Hrvatov in Slovencev pa vse do danes je Ptuj živel in živi mirno življenje ter skrbno in ponosno varuje kulturne dragocenosti svojega dolgega razvoja. Staro jedro z vsemi palačami, cerkvami, samostani in grajskim poslopjem nad njimi oznanja nekdanjo slavo mesta in njegovih prebivalcev. V zadnjih desetletjih je bilo odkritih in raziskanih tudi mnogo arheoloških ostalin. Nekatere so na ogled postavljene v Pokrajinskem muzeju Ptuj na Ptujskem gradu.

Razvoj obsežnega grajskega kompleksa se je začel, tako kot vse v starem ptujskem jedru, na porušenih ostalinah predhodne arhitekture, in sicer v 12. stoletju. Večstoleten razvoj – današnja podoba gradu izvira s konca 18. stoletja – je vtisnjen v arhitekturo posameznih grajskih objektov. Zaznamovali so ga različni vplivi in zahteve lastnikov, razvoj graditeljskih znanj ter spreminjajoča se likovna merila v arhitekturnem načrtovanju in oblikovanju. Od 19. stoletja dalje pa vse do danes so bila gradbena dela na objektih izjemno obsežnega grajskega kompleksa omejena na popravila in obnove, ki še vedno trajajo. V obnovljenih grajskih prostorih, ki so vredni ogleda že sami po sebi, so na ogled postavljene tematsko urejene zbirke; od zbirke orožja, glasbil, fevdalne kulture, do zbirke pustnih mask. Kdo ne pozna strašljive v kožuh odete maske, ki s potresavanjem zvoncev in ježevko vsako pomlad odganja zimo? Ples kurentov, ki v prvih pomladnih dneh že desetletja preplavljajo ptujske ulice, je znan etnološki dogodek, ki – tako kot vse v današnjem mestnem razvoju – kaže, da mesto živi in diha s svojo dolgo in bogato kulturno dediščino.

on the two parallel natural terraces in the shelter of the castle hill. Churches soon followed and next the Dominican and Minorite monks built their structures. In the 13th century, ramparts were constructed around the town, which had already fully developed. Two centuries later, the fortified town was a fully established important commercial hub for transitional trade between Croatian and Hungarian lands and the littoral area in the west and onwards. However prosperity did not last.

In spite of the fortification of the settlement and its castle, Turkish raids and devastation caused a regression, which continued into the 18th century due to epidemics of pestilence and frequent fires. The town’s potential for renewed prosperity was stifled when it was left out of the new commercial route between Vienna and Trieste. Ptuj was pushed to the periphery and remained merely a centre of its own rural hinterland.

From the time of Austro-Hungarian Monarchy, through the period of the Kingdom of Serbs, Croats, and Slovenians, and until present day Ptuj lead a peaceful existence, throughout carefully safeguarding cultural treasures of its long historical evolution. The old town core, comprising all the palaces, churches, monasteries, and the castle complex above, proclaims the former glory of the town and its inhabitants. In the last decades, several archaeological remnants were discovered and examined. Some are displayed in the Ptuj Regional Museum in the Ptuj Castle.

The development of the vast castle complex began in the 12th century. Like all structures in Ptuj’s old town core, it was built atop demolished ruins of a preceding structure. Several centuries of development, manifest in the architecture of individual castle structures, concluded at the end of the 18th century, when the castle received the appearance it retains today.

Its evolution was affected by various influences, demands of different owners, advancements in the field of construction, and changing standards of architectural planning and design. From the 19th century until today, construction work on the structures of the exceptionally vast castle complex was limited to repairs and renovations, which remain on-going. The renovated spaces in the castle are themselves worthy of exploration; they display exhibitions of thematically arranged collections on topics ranging from weapons, to musical instruments, feudal dwelling cultures, and traditional carnival masks. Locally everyone knows the kurent attire, a frightening furry costume and mask with bells and wooden clubs with hedgehog skins called ježevke, used each spring to repel winter.

The kurent or korent dance (kurentovanje) that has for decades filled the streets of Ptuj in the first days of spring is a well-known and ethnologically significant event, which like all other features of the town’s evolution, demonstrates that the town lives and breathes its long and rich cultural heritage.

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Slovenski trg z obnovljenimi arhitekturami, ki lepo prikazujejo tek časa: Orfejev spomenik iz 2. stoletja, Cerkev sv. Jurija z vidnim stavbnim razvojem od 9. do 17. stoletja in mestno gledališče z imenitno fasado, ki je bila stavbi iz 18. stoletja dodana sto let kasneje po načrtih dunajskega arhitekta Rudolfa Klotza.

Slovenski trg square with its renovated buildings nicely reflecting the course of time: the Orpheus Monument from the 2nd century, St George’s Church displaying stages of structural development from the 9th to the 17th century, and the town theatre built in the 18th century, featuring a distinguished façade, which was added a hundred years later following the plans by Viennese architect Rudolf Klotz.

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Na glavno prometnico, ki povezuje dominikanski samostan in Cerkev sv. Jurija ter mestno hišo na terasi nižje, se stekajo ozke ulice, ki lahko s svojo utesnjenostjo in mračnostjo v domišljiji pričarajo življenjski utrip srednjeveških obrtnikov in trgovcev.

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The main traffic route connecting the Dominican monastery, St George’s Church, and the town hall on the terrace below, is a confluence of narrow streets whose constricted space and dark illumination can conjure in one’s imagination an image of mediaeval tradesmen and merchants going about their lives.

Podobo arhitekturno prenovljenega Mestnega trga sooblikuje reprezentativno oblikovana mestna hiša, ptujski magistrat, ki so ga postavili v 19. stoletju. Imenitna palača historičnega videza, slikana leta 1914, je arhitekturni presežek svojega časa.

The representational design of the Ptuj’s town hall building, which was constructed in the 19th century contributes to the overall impression of the architecturally renovated Mestni trg square. The prominent palace of a historic countenance, photographed in 1914, is an architectural marvel, which surpassed its contemporaries.

Med vsemi tradicionalnimi ptujskimi maskami je korant ali kurent najbolj poznan in priljubljen pustni lik. »Njegov izvor še ni pojasnjen, obstaja pa nekaj domnev, povezanih z ilirsko-keltskim izročilom, z mitskimi spremljevalci boginje Kibele, ki so jo častili na našem ozemlju v pozni antiki, s predniki Slovencev, z naseljevanjem Uskokov v 16. stoletju itd.« (Brence, 2006: 127) The “kurent” or “korant” is the most renowned of all Ptuj’s traditional masquerade Shrovetide costumes. “Its origin is as yet unexplained, though there exist a few assumptions tied to Illyrian and Celtic traditions concerning mythical companions of the goddess Cybele who was venerated in the territory of modern-day Slovenia in late Antiquity, tied to Slovenian ancestors and to the settling of Uskoks in the 16th century, etc.” (Brence, 2006: 127)

Dominikanski samostan muzej in kongresno kulturno središče V obdobju, ko so v prostoru Evrope ena za drugo vznikale ustanove – samostani, v katerih so živeli redovnice in redovniki, so na Ptuju pričeli z gradnjo objekta tudi pripadniki dominikanskega verskega reda, redovniki, ki so v svojih pravilih reda poudarjali uboštvo, teološke študije in pridigo.

Samostan, ki so ga leta 1235 dominikanci postavili na zahodnem robu mesta, se je – obdan z mestnim obzidjem – arhitekturno razvijal vse do ukinitve reda v 18. stoletju.

Pogled na veličasten stavbni kompleks na akvarelirani perorisbi Ptuja Moritza Steinbacha (1832).

Leta 1235 je na zahodnem robu mesta, na neravnem in nad reko Dravo dvignjenem zemljišču že stal stavbni sestav, »ki je v prvi fazi obsegal trietažen dvor na jugovzhodnem koncu podarjene jim parcele, prizidan, prvotno približno šest metrov krajši dvoetažni vzhodni trakt in enoladijsko ravno stropano cerkev Marijinega Vnebovzetja, ki je zaradi terasastega zemljišča stala okoli dva metra nad njim.« (Curk, Vidmar, Radovanovič, 2008: 303 in 304)

V srednjeveški obrambni sistem mesta vpet samostanski kompleks se je razraščal in umetnostno nadgrajeval vse do razpustitve reda leta 1785. Z odhodom redovnikov je samostan z vsem premoženjem prišel v last verskega sklada, ki pa ga ni vzdrževal. Najprej je opustela notranjost poslopja. Pohištvo je bilo razneseno, razprodano ali celo uničeno. Prazen kompleks z notranjim dvoriščem, ki ga obroblja nadstropni križni hodnik, dozidan v 15. stoletju (njegovi talni višini je

Ptuj

The Dominican order established the monastery in 1235 at the western edge of town. It evolved continuously up until the dissolution of the order in the 18th century.

A view of the magnificent building complex as depicted in the water-coloured quill drawing of Ptuj by Moritz Steinbach (1832).

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Pogled na vzhodni del samostana s cerkvenim pročeljem. Pročelje cerkve z izvirnim in bogatim okrasjem v štuku ter štukiranimi kipi Marije in štirih dominikanskih svetnikov je bilo obnovljeno leta 1964.

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A view of the eastern part of the monastery with the church front. The church front features original stucco ornamentation and statues of St Mary and four Dominican saints, also in stucco. It was renovated in 1964.

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bila prilagojena cerkev in večina drugih samostanskih stavb), je leta 1786 zasedla vojska. Ta je z rušenji in prezidavami sestav samostanskih stavb prilagodila lastnim potrebam; najprej vojni bolnišnici, nato vojašnici in delavnicam. Že sámo dejstvo, da so v stavbnem sestavu pomensko in likovno izpostavljeno cerkev predelali v objekt s tremi etažami in s skladiščnim prostorom v pritličju, pove, da je bila s temi posegi močno prizadeta stoletja nadgrajevana samostanska arhitektura. Dotlej se je razvijala po pravilih reda in bila nazadnje umetnostno olepšana v obdobju baroka. S svojim ritmom je vztrajno poskušala »posnemati red univerzuma, ki so ga v starih časih imenovali kosmos, torej kras, saj je kot velika žival, na kateri se blešči popolnost in skladnost vseh njenih udov. In naj bo hvaljen naš Stvarnik, ki je, kot pravi Avguštin, določil vsem stvarem število, težo in mero.« (Eco, 2004: 30)

Med obema svetovnima vojnama je od časa razjeden in od prilagajanja različnim dejavnostim izmaličen dominikanski samostanski objekt kupila občina (1928). Poleg na novo urejenih stanovanj je velik del samostanskih prostorov občina dodelila Mestnemu Ferkovemu muzeju, ki je tedaj posedoval bogato zbirko arheoloških najdb in številne, predvsem podarjene muzealije različnih vrst. Z vselitvijo muzeja, ki so ga poimenovali po donatorju in ustanovitelju, profesorju Francu Ferku (1844–1925), se je pričela zahtevna prenova samostanske celote in z njo obnova posameznih stavbnih delov s poškodovanimi ali celo prekritimi okrasnimi podrobnostmi. Prva obnovitvena dela so »zajela križni hodnik in pritličje vzhodnega trakta ter zahodno polovico cerkvenega pritličja in nekdanjo zvonico, ki so jo oddvojili od vzhodnega dela ladjinega pritličja.« (Curk, 2009: 337) Vzporedno s postopnim prilagajanjem prostorov razširjeni muzejski dejavnosti

novo imenovanega Pokrajinskega muzeja Ptuj (od leta 1963 dalje) in restavriranjem še ohranjenih slikarskih, kiparskih in umetnostnih izdelkov iz štuka, so kar se da temeljito raziskali tudi zgodovino samostana in njegov dolg ter zaradi neravnega terena tudi posebej zapleten arhitekturni razvoj.

Pogleda na samostansko dvorišče (spodaj) in v samostansko jedilnico (zgoraj), ki ima bogato okrašen ločni strop. Vidi se, da tu obnovitvena dela še niso zaključena.

Views of the monastery courtyard (above) and dining hall (below) with a luxuriously decorated vaulted ceiling. As is evident, the renovations are on-going.

Ptuj

S ciljem preureditve in dokončne restavracije dediščine izjemnih vrednosti so iz samostana v objekt ob samostanu preselili muzejsko zbirko antičnih, srednjeveških in novoveških antikvitet ter zbirki novcev in drobnega arheološkega gradiva. Izselili so tudi še zadnje stanovalce, nato pa samostan namenili novi, kongresno-kulturni dejavnosti. Do danes je zaključen le del začrtanih prenovitvenih del. Poleg restavriranega križnega hodnika v pritličju je v izvirnem volumnu zaživela notranjost cerkvene ladje, ki je preoblikovana v veliko večnamensko dvorano. Nova oprema dvorane in tudi oprema nekaterih drugih že restavriranih prostorov v pritličju je oblikovana in izdelana tako, da jo bo v prihodnosti moč nadomestiti z novejšo ne da bi uničili spomeniško vredne elemente. Doživetje arhitekture kot starine je namreč največja, stalna in izjemna vrednost, ki jo mora kot prednost izkoristiti novo kongresno kulturno središče.

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V drugi četrtini 15. stoletja je samostan dobil svojo najpomembnejšo arhitektonsko sestavino – nadstropen križni hodnik. Poleg tega, da je hodnik še danes stičišče vseh poti po objektu, je njegova neprecenljiva vrednost v tem, da nam prikazuje mojstrstvo stare gradnje in nas navdaja z občudovanjem arhitekturne in umetnostne zgodovine.

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In the second quarter of the 15th century, the monastery received its most significant architectural ingredient – the storeyed groinvaulted hall. Today, aside from serving as the modern day confluence of all the traffic routes traversing the building, the hall is invaluable as an expression of ancient mastery of construction commanding admiration in the fields of architectural and art history.

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Med prenovitvenimi deli so v sredinskem delu velike cerkvene ladje, na mestu kasneje prezidane gotske cerkvice, odkrili bogate najdbe starejšega izvora. Ker je bil nov avditorij zasnovan tako, da se dvigne nad njih, so odstrte ostaline razstavljene na kraju najdbe.

The renovations uncovered valuable finds from earlier times in the central part of the nave that was formerly the site of a Gothic chapel. Since the new auditorium was planned to stand above ground level the remains are displayed at the site of discovery.

After the dissolution of the monastic order, the church fell ever deeper into disrepair necessitating renovations, which finally started in 1950. The tenants were gradually relocated and the artificially inserted floors demolished.

The renovations recently concluded with the main space adapted to serve as a large function hall of the new cultural congress centre. The hall interior is entirely furnished in neutral black complete with black seating, which further amplifies the impact of the mighty white shell of the monastery church.

Ptuj

Prenova cerkve, ki je bila arhitekturno degradirana vse od ukinitve samostanskega reda dalje, se je pričela leta 1950. Postopoma so bili izseljeni tedanji uporabniki prostorov in porušilo se je vsiljene vmesne etaže.

Prenova je bila nedavno zaključena z ureditvijo glavnega prostora, ki danes služi kot velika prireditvena dvorana novega kongresno kulturnega središča. Vsa notranja oprema dvorane in sedežno pohištvo so v nevtralni črni barvi, kar še poudarja občutenje mogočnosti bele lupine samostanske cerkve.

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Kostanjevica na Krki Ptuj

The Dominican Monastery Museum and Cultural Congress Centre

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At a time when numerous monasteries, institutions lending a home to nuns and monks, were springing up across European space, the brothers of the Dominican religious order began constructing a building in Ptuj as well. This order placed special emphasis on poverty, the study of theology, and on preaching. In 1235, a building complex was already standing on the uneven terrain raised above river Drava at the western edge of town.

The structure was erected at the south-eastern end of the lot donated to the order. It comprised a four-storey court, an appended three-storey east wing, which has since been enlarged by 6 metres, and an aisleless straight-ceiling church dedicated to Mary’s Assumption, which stood circa 2 metres above the east wing, due to the terraced terrain.” (Curk, Vidmar, Radovanovič, 2008: 303 in 304).

The monastery was integrated into the town’s mediaeval defence system.

It continued growing and artistically developing until the dissolution of the order in 1785. After the brothers’ departure, the ownership of the monastery and all their belongings passed to the religious fund, which resulted in poor upkeep. The interior was the first to succumb. The furniture was taken away, sold, or even destroyed. In 1786, the empty complex, its inner courtyard framed by a three-storeyed cloister built in the 15th century, (the church was adapted to its height, as were most of the other monastic buildings), was settled by the military. The complex was adapted to its needs through demolition and remodelling; initially it was used as a military hospital, later as barracks and workshops. The mere fact that the church, which is a prominent feature of the structural composition both in purpose and artistic appearance, was transformed into a four-storey structure with storage space on the ground floor, makes it clear that the introduced alterations were very damaging to the monastic architecture developed through centuries of upgrades. Until this point, it had evolved in adherence to the regulations of the order and was most recently artistically embellished in the Baroque period. The rhythm of its development consistently tried “to reproduce in its rhythm the order of the universe, which the ancients called ‘kosmos,’ that is to say ornate, since it is like a great animal on whom there shine the perfection and the proportion of all its members. And praised be our Creator, who, as Augustine states, has decreed all things, in their number, weight, and measure.” (Eco, 2004: 30) In the period between the two World Wars, the ownership of the timeworn Dominican monastery complex mutilated through adaptation to various activities passed to the municipality (1928). In addition to housing newly fitted apartments, most of the monastic spaces were allotted to Ferk’s Municipal Museum, which was at the time in possession of a rich collection of archaeological finds and numerous other museum pieces of various kinds, most of them donated. The relocation of the museum, named for its founder and donor prof. Franc Ferk (1844–1925), necessitated a demanding renovation process of the monastic complex as a whole, including the restoration of its individual structural elements with damaged or even covered ornamental details. Initial renovation efforts were focused on the “cloister and ground floor of the east wing and on the western half of the church’s ground floor and former zvonnitsa (bell ringing space on the ground floor), which was separated from the eastern part of the nave’s ground floor.” (Curk, 2009: 337) During the gradual adaptation of the spaces to the expanded museum activities of the newly named Ptuj Regional Museum (since 1963) and restoration of the preserved paintings, sculptures and art in stucco, the monastery’s history including its long and, due to the uneven terrain, complex architectural development, was researched as thoroughly as possible.

Aiming to rearrange and finalize the restoration of exceptionally significant

heritage, the museum collection of relics from Antiquity, the Middle Ages, and the Modern Era was moved from the monastery to a building by the monastery, as were the collections of coins and minor archaeological material. The last of the residents also relocated, and the monastery became used as a cultural congress centre. At present, planned renovations are only partly concluded. In the original structure the cloister was restored and the nave received new life when it was adapted to serve as a multipurpose hall. The new hall fittings as well as those of some of the other fully restored ground floor spaces, were designed and crafted in such a way that its future replacement will not adversely impact the valuable elements of heritage. Because the opportunity to experience architecture as an antique is of a permanent and exceptional value, the new cultural congress centre must make use of it as the advantageous distinguishing quality that it is.

Muzikafe razkošje barv in starin Potepanje po starih mestih je zanimivo, ker je polno presenečenj. Ozke ulice, v katerih za srečanje dveh vozil ni prostora, ukrivljene in različnih naklonov, vodijo od trga do trga, tam pa poglede pritegnejo stavbe, ki odstopajo od splošnega urbanega arhitekturnega merila.

Atraktivna barvitost kakovostno obnovljene hiše je le ovoj; ovoj, ki brezčasno stavbo s kameleonskimi preobrazbami prilagaja spreminjajočim se časom, tako kot scenografija pričara vedno nove fantazijske svetove znotraj obstoječih odrskih konstrukcij gledališč.

Večje, trdnejše in posebej pozorno oblikovane dajejo vedeti, da so bile v mestu postavljene s posebnim namenom in da so imele oziroma imajo v življenju mesta posebno vlogo. Poleg mlajših mestnih hiš (rotovžev ali magistratov), gledališč, različnih javnih palač in sakralnih objektov nekatere trge v mestih z dolgo zgodovino kot občudovanja vredne posebnosti zaznamujejo tudi stavbe ali ostaline iz najzgodnejših časov mestnega razvoja oziroma poselitve prostora.

Spust po ozki ptujski ulici, ki je usmerjena s Slovenskega trga proti bregu reke Drave, prekine odprti javni prostor – manjši Vrazov trg, na katerem ob pogledu na stavbo, ki ima pročelja ovita v pisane barve, zastane korak. Atraktivna pisanost pa ne zaznamuje samo te enonadstropne hiše, ampak tudi del utrjene površine trga pred njo. Od vremena in uporabe razlomljen in obledel asfalt, s katerim so v preteklosti s trga pregnali prah, je hudomušno pobarvan tako, da je pred hišo

Ptuj

The attractive vivid colour of the house is but its exterior surface, one which undergoes chameleon changes to adapt the timeless structure to the shifting times, akin to scenery, which conjures ever new fantastic worlds within fixed theatrical stage structures.

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ustvarjena iluzija preproge – krpanke. Čeprav hiša ni primerljiva z drugimi visoko vrednimi in na ptujskih trgih dominantnimi arhitekturami, pa objekt s svojo ekstravaganco opazno zaznamuje trg in staro mestno jedro. A ne le to, odkar je prenovljena, v hiši deluje DomKULTure Muzikafe, katerega prepoznavnost že nekaj časa presega meje domačega mesta.

Vogalno enonadstropno hišo z notranjim dvoriščem je v začetku 17. stoletja zgradil ptujski stavbarski mojster Marko Marenzi. Kakšna je bila hiša tedaj, lahko le ugibamo. O njeni tedanji uporabnosti, trdnosti in lepoti pričajo le še posamezni ohranjeni ostanki, kot na primer kamnit dvoriščni portal z letnico 1618 in vklesanima inicialkama MM. Stavba je namreč današnjo podobo, strogo, z malo ali skoraj nič likovne nadgradnje, dobila s korenito predelavo v 19. stoletju. Postarana stavba zapuščenega videza je v začetku našega stoletja dobila nove lastnike, ki so hišo oživili z vizijo nove uporabnosti.

Ptuj

Postopna prenova velikega stavbnega kompleksa z zunanjo teraso in notranjim dvoriščem je trajala desetletje. Najzahtevnejši del prenove je bil povezan z ozdravitvijo poškodovanih stavbnih delov in z utrditvijo

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obstoječe konstrukcije, ki je, tako kot osnovna tlorisna shema in videz pročelij, ostala v osnovi nespremenjena. Pri načrtovanju nove namembnosti in uporabnosti prostorov se je – in to je pri ohranjanju stavbne dediščine posebej pomembno – izhajalo iz njihovih osnovnih lastnosti in posebnosti; upoštevalo se je njihovo lego v volumnu stavbe, možne povezave med njimi, njihovo odprtost navzven, velikost in oblikovanost ter danes posebne, za čas nastanka hiše pa običajne značilnosti stare konstrukcije. Tako so na trg usmerjeni prostori, ki so med seboj povezani z zunanjo teraso in notranjim dvoriščem, urejeni deloma v kavarno s prodajalno zgoščenk, deloma pa v restavracijo, medtem ko se je velika obokana klet spremenila v očarljivo dvorano – v klub, ki je namenjen glasbenim in drugim kulturnim prireditvam. V nadstropju so poleg stanovanja lastnikov urejene še sobe, ki so prve goste sprejele v letu 2010.

Tako kot je poseben v pisane barve ujet stavbni ovoj, zaščitni znak hiše, je nenavadna tudi njena notranjost.

Odlikuje jo oblikovalska spretnost lastnikov – scenografa in kostumografinje, ki sta stare arhitekturne elemente na zanimiv način spojila z izvirnimi novimi in celo hišo spremenila v nekakšen eksponat. Veliko opreme in pohištvenih kosov je restavriranih in med

Stara vogalna hiša na imenitni lokaciji v središču zgodovinskega jedra ima oster izraz, ki ga mogočna strma streha le še poudarja. Nove lastnike je pritegnila tudi razgibanost njenih notranjih prostorov in trdnost gradnje.

The old corner house eminently positioned at the centre of the historical town core displays sharp features only further accentuated by its mighty steep roof. The new owners were also attracted to the house because of its animated interior space arrangement and the strength of its construction.

Barvitost se nadaljuje tudi v notranjosti hiše. Pisane stene in stropi ter restavrirana ali s kancem hudomušne svežine prenovljena stara oprema v nizkih obokanih pritličnih prostorih s škripajočim lesenim tlakom ustvarjajo pravo kavarniško vzdušje.

Colourful vibrancy extends also to the house’s exterior. With its multi-coloured walls and ceilings alongside the old furnishings restored or renovated with a touch of playful freshness on the squeaky wooden floor-boards of the low vaulted ground-floor spaces it bares resemblance to old coffee shops.

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seboj domiselno združenih v nove enote, ki pa še vedno razkrivajo tudi umetnostno in tehnično mojstrstvo starih načrtovalcev in izdelovalcev pohištva. Med opremo je namreč veliko pohištvenih elementov in drugih uporabnih predmetov, ki spadajo med vrhunske izdelke svojega časa. »Vintage«, bi s tujo besedo lahko označili notranjo opremo hiše, ki nas ne le popelje v preteklost, ampak nas tudi pouči o dragocenih uporabno-umetnostnih izdelkih, ki so s svojo oblikovalsko in izvedbeno kakovostjo prestali sodbo časa.

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Zdi se, da se vsakdo, ki se sprehodi skozi prostore v hiši DomKULTure Muzikafe, sprehodi tudi skozi različna obdobja obrtniškega in industrijskega oblikovanja ter izdelave pohištva in drugih drobnih uporabnih predmetov. Notranja oprema poleg zbirateljske strasti lastnikov zrcali tudi njuno oblikovalsko inovativnost. Izkazuje se v domiselnem sestavljanju starih elementov in novih izvirnih dopolnitvah, s katerimi so nadgrajeni.

It appears as though anyone sauntering through the spaces of the DomKULTure (HomeofCULTure) Muzikafe house is simultaneously traversing different periods of craft and industrial design, and the production of furniture and other small utilities. Interior fittings reflect the owners’ passion for collecting as well as their inventive approach to design, which is reflected in the innovative combinations of old elements enhanced with new and original additions.

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Novo uporabnost prostorov je narekovala sama zasnova hiše, poudajata lastnika. Mogočna obokana klet, nekdanje skladišče, se je prelevila v zanimiv in izjemno akustičen prostor, namenjen različnim glasbenim in kulturnim prireditvam. V poletnih mesecih se glasbena, literarna in druga kulturna srečanja preselijo na notranje dvorišče ali pa kar na trg pred hišo.

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The owners emphasise that the house design itself dictated the new uses for the spaces. The mighty vaulted cellar, a former warehouse, was converted into an interesting space with exceptional acoustic properties intended for varied musical and cultural events. In the summer months the musical, literary, and other cultural gatherings are held in the interior courtyard or in the square right in front of the house.

Muzikafe A Cornucopia of Colours and Antiques house into a sort of exhibit piece. Most furnishings and furniture pieces are restored and cleverly combined to form new units, which, however, continue to demonstrate the artistic and technical mastery of past furniture designers and makers. Many furniture elements and other useful items belong among the products of the highest excellence of their time. “Vintage’ is the term that may best describe the interior furnishings with the capacity to take us back in time as well as teach us about precious practical artistic products whose design and execution quality withstood the test of time.

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Strolls through old town centres are interesting because they are full of surprises. Streets, which are too narrow to allow for two vehicles to meet, curved and in various inclines, run from square to square. There the eye is drawn to buildings standing out from common architectural standards.

The larger and firmer ones, those made with particular attention to design, display that their role in the life of the town was, or is, special. In addition to younger town halls (the so called ‘rotovži’ and ‘magistrati’), theatre buildings, various public palaces, and sacred objects, some squares in towns with longer histories feature remarkable buildings and remains from the earliest times of the development of the towns or initial settlement of their space The descent down the narrow Ptuj street running from Slovenski trg towards the bank of river Drava is also disrupted by an open public space – a relatively small Vrazov trg sq., where the passer-by is stopped in their tracks by a view of a structure featuring vividly coloured faces. The attractive vibrancy is not limited to the single-storey house but also spills over a part of the reinforced floor surface in front of it. The weathered, broken, and pale asphalt in front of the house, which had replaced the dust previously covering the square, is playfully painted to give the illusion of a patchwork rug. Even though the house does not compare to other highly valuable architectural marvels dominating Ptuj’s squares, its extravaganzze is a noteworthy feature distinguishing the square and the old town centre. In addition, ever since the house has been renovated, it houses the DomKULTure (CULTural home) Muzikafe, which has long since become renowned well outside its hometown.

The single-storey corner house, which features an interior courtyard, was built at the start of the 17th century by Ptuj’s building master Marko Marenzi. How it originally appeared is a matter of conjecture. Its use, structural integrity, and beauty at that time are only attested in individual preserved remnants, such as for example the stone courtyard portal displaying the year 1618 and inscribed initials MM. This is because the building’s present-day appearance of little to no artistic embellishment was introduced in the 19th century, after the building underwent significant alterations. At the start of this century the aging structure, now with an air of abandonment, got new owners; they revived the house through realizing their vision for its usefulness.

Gradual renovations of the large building complex with an exterior terrace and interior courtyard lasted a decade. The most demanding part of the renovation was tied to the recovery of damaged building elements and to the reinforcement of the existing construction, which was left unaltered, as did the floor plan scheme and the appearance of building faces. The plans for the adaptation to the new intended utilisation of spaces aimed to retain their basic character, which is a particularly important element of the preservation of architectural heritage; their locations in the building space were taken into consideration, as was possible passage between them, their communication outwards, size and design, and the characteristics of old structures, which today appear unusual, but which were habitual at the time of their construction. The spaces facing the square, linking to each other via an external terrace and interior courtyard, are thus in part arranged to serve as a café-and-cd-shop, and in part as a restaurant; the cellar was made into a charming hall – a club intended for musical and other types of cultural events. The rooms on the first floor, next to the owners’ residence, received their first guests in 2015.

Like the house’s trademark colourful building exterior, its interior is also unusual. It demonstrates the the space-designing skills of the owners – a set designer and a costume designer – who ingeniously blended old architectural elements with new and innovative ones, transforming the entire

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Murkova ulica 3 preteklost v objemu sodobnosti Bogastvo kulturne dediščine se v mestu Ptuj razkriva na vsakem koraku. Na Slovenskem trgu, na stičišču Prešernove, Murkove in Slomškove ulice, pa ob pogledu, ki drsi od antičnega Orfejevega spomenika (2. st.) preko podstavka visokega srednjeveškega mestnega stolpa (1556) vse do pročelja imenitnega starega gledališča (1892–1896) in naprej navzdol po fasadah strnjeno postavljenih mestnih hiš, oživi že velikokrat objavljena misel slavnega nemškega pesnika Goetheja:

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»Kar vidimo od narave, je sila, ki jo použiva druga sila; nič stalnega, vse prihaja in gre, tisoče kali je poteptanih, tisoče se jih vsak trenutek poraja, velikih in pomembnih, raznolikih tja v neskončnost; lepo in grdo, dobro in zlo, vse z isto pravico obstaja drug ob drugem!« (Bredel, 1964: 169) Zdi se, da se v neskončnost spreminjajo tudi stare hiše, ki so zaradi svojih zgodovinskih vrednosti in arhitekturne lepote starega mesta varovane z zakonom. Nevidno, pa vendar so mnoge za svojim stoletnim videzom, kolikor to le dopuščajo stare konstrukcije, izvrstno prilagojene sodobnemu času.

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V Murkovi ulici, v hiši s hišno številko 3, je bila nedavno zaključena prenova stanovanja, ki v stari enonadstropni spomeniško zaščiteni stavbi s strmo dvokapno streho streže najvišjim zahtevam sodobne stanovanjske kulture. Današnji obseg in historično arhitekturno podobo je stavba dobila z združevanjem in predelavami še starejših hiš, in sicer na prelomu 19. in 20. stoletja. Tedanji lastnik, trgovec z mešanim blagom, si je v pritličju uredil prodajalno, v nadstropju pa veliko in po takratni modi petičnih

Nadstropna stavba je bila konec 19. stoletja s temeljito prezidavo obstoječe grajene strukture prilagojena novim arhitekturnim merilom, trgovski dejavnosti in bivanjskemu standardu premožnega meščana. Na glavno ulico usmerjeno lice ima pravokotno oblikovane fasadne odprtine (le-te so v pritličju neprimerno predelane), ki so razporejene v šest osi in poudarjene s profilirano oblikovanimi okrasnimi elementi, valovitimi zatrepi in podokenskimi obrobami.

Prav tako sta profilirana tudi oba venca – etažni in strešni.

At the end of the 19th century the storeyed building underwent thorough remodelling of the existing built structure adapting it to contemporaneous architectural standards, commercial use, and residential demands of wealthy townsmen. The façade looking to the main street features rectangular window openings arranged in six vertical rows (on the ground floor these were inappropriately remodelled), which are emphasised by profiled ornamental elements, wavy gables, and trims beneath the windows. The belt course and cornice are profiled in the same way.

Stare hiše so očarljive tudi zaradi lepote, skrite v starih tehnikah gradnje. Stanovanjski prostor s križno obokanim stropom je redka dragocenost, ki sodobno bivanje dopolni s svojevrstno žlahtnostjo. Zaradi višine in mogočne konstrukcije je majhno stanovanje videti veliko.

Pogled iz predprostora v kuhinjo in naprej proti jedilnici ter obratno. Svetloba v ozek in dolg prostor, v katerem se stilsko prepletajo pretekli in sedanji slogi, prihaja skozi okno, usmerjeno na cesto, in skozi zastekljena glavna vhodna vrata.

Part of the charm of old houses lay in the hidden beauty of old building techniques. A residential space boasting a groin-vaulted ceiling is a rare find, one which lends the modern dwelling a unique graciousness. The height and firmness of the structure make the small apartment appear large.

The kitchen and dining room are visible from the foyer and vice versa. A window facing the street and the main glass door let light into the long narrow space combining past and present styles.

Že sam vhod v stanovanje, ki je dostopno le z notranjega minimalistično ozelenjenega dvorišča, je nenavaden. Do njegovega predprostora se je potrebno povzpeti po okroglih litoželeznih in umetelno oblikovanih stopnicah. Konec 19. stoletja, ko je bila po tedanjih likovnih merilih preoblikovana že obstoječa hiša, so

stopnice predstavljale pomembno pomožno vez med stanovanjem v nadstropju in vrtom oziroma njegovim zastekljenim delom (zimski vrt) v pritličju. Tako kot vhod je tudi notranjost doma – oblikovanost in oprema prostorov – močno oddaljena od predstave o izgledu sodobnega stanovanja v nebotičniku, bloku ali novi stanovanjski hiši.

Podedovano stanovanje, oblikovano sredi 20. stoletja s pregraditvijo manj kot polovice prej eminentnega meščanskega stanovanja, v katerem so dolga leta prebivali sposobni trgovci, je bilo sprva vse prej kot navdušujoče. Toda arhitekturna preureditev je turobno in slabo osvetljeno stanovanje prelevila v prijeten dom. Trditev, da je bila odsluženemu bivališču v prvem nadstropju stare hiše s tem povrnjena nekdanja kakovost, izgubljena odličnost in prestižnost, niti ni preveč domišljava.

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meščanov urejeno stanovanje z velikimi prehodnimi sobami. Na dvorišču, dostopnem z nižje stranske ulice, skozi ozek prehod med sicer strnjeno postavljenimi hišami, pa je uredil skladišča in postavil hleve za konje.

Zadnji lastniki trgovske hiše, tudi sami trgovci (po spominu prebivalcev so v trgovini prodajali metrsko tekstilno blago), so po delni nacionalizaciji razprodali njim pripadajoče prostore in se odselili. V hiši se je nato ob ohranjenem trgovskem lokalu uredilo štiri majhna stanovanja. Enega od njih je pred leti podedoval današnji lastnik in s soprogo sta si v njem uredila prijeten dom z očarljivim pridihom preteklosti.

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Dediči so prenovljeno stanovanje opremili z veliko starega pohištva. Ničesar še uporabnega ali popravila vrednega, podedovanega in najdenega v starem stanovanju, niso zavrgli. In tako so mnoge stare omare, skrinje, kovčki, svetila in porcelan, katerega spominsko in zgodovinsko vrednost lahko občudujemo v stekleni vitrini, še vedno v uporabi.

The heirs furnished the renovated apartment with several pieces of old furniture. They discarded none of the items they inherited or found in the apartment, which were fit for use or worthy of repair. And so, many old wardrobes, chests, coffers, lighting fixtures, and china – which is displayed in a glass case safeguarding its memorial and historical value – remain in use.

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Predprostor, vhodna vrata in vrata, ki vodijo naprej v kuhinjo, so zato, da bi bilo stanovanje bolje osončeno, zastekljeni. Ozka kuhinja s sodobno opremo in živo pisanim tlakom se nadaljuje v jedilnico, osvetljeno z okensko odprtino, ki predira na ulico usmerjeno stavbno lice. Križno obokana jedilnica je z dvema na novo izdelanima odprtinama ločne oblike povezana z veliko dnevno sobo. Velik bivalni prostor je osvetljen z naslednjima okenskima odprtinama v nizu fasadnih odprtin, ki razporejene v enakomernem ritmu navzven oblikujejo stavbno lice. Z veliko vratno odprtino je dnevni prostor dalje povezan z delovnim, s stopnicami pa tudi z majhnim spalnim predelom, umeščenim tik pod strm strešni krov. Nadih brezčasnosti, ki zaradi mogočne zidane konstrukcije preveva stanovanje, dopolnjuje tudi domišljeno sestavljena podedovana in nova notranja oprema.

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In kam vodijo lesene stopnice v kotu glavnega bivalnega prostora? V spalni del s kopalnico in majhno spalnico, v kateri je pod strmo streho prostora komaj za posteljo.

And where do the stairs in the corner of the main residential space lead? To the sleeping area with adjacent washroom and tiny bedroom that barely allows enough space under the steep roof, to fit a bed.

Murkova ulica 3 The past Living in the Embrace of Modernity the building. The groin-vaulted dining room is connected to the large living room by two newly constructed vaulted passages. The spacious living area receives its light through the next two windows in a row of façade apertures forming the rhythmically arranged building front outside. There is a large door connecting the living room with the workspace and a staircase leading to a small bedroom just under the roof deck. The mighty built structure instils in the apartment a sense of timelessness, which is further amplified by the ingeniously arranged interior fittings, some inherited and some new.

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The town of Ptuj displays a wealth of cultural heritage at every turn. From the vantage point on Slovenski trg (square), at the juncture of Prešernova, Murkova, and Slomškova streets, the eye is drawn to the ancient Orpheus Monument (2. century), thence over the base of a tall medieval town tower (1556), gliding all the way down to the frontage of a prominent old theatre (1892–1896), and from there downward across the facades of clustered urban houses. This view recalls to memory the often quoted thought of the renowned German poet Goethe “What we see of nature is force devouring force, nothing present, everything transient, thousands of seeds trodden to death every moment, thousands born, great and significant, infinitely varied: beautiful and ugly, good and evil all existing side by side with the same right.”1 It appears as though the old houses, protected by law for their historical value and architectural beauty of the old town, are transcending into eternity. Invisibly but surely, beneath their hundred year-old surface many of them are excellently adapted to the present time, as much as their old structures allow.

In an apartment in a two-storey house with a steep gable roof, which is a protected monument, on Murkova St. 3, renovations have recently concluded. The apartment has thus been brought in line with the highest demands of contemporary residential culture. The building’s current size and historic architectural form resulted from combining and remodeling of older houses at the end of the 19th and start of the 20th centuries. The owner at the time was a merchant selling mixed wares. He set up the ground floor as a store and arranged a large apartment on the first floor. Following the fashion of wealthy townspeople of the time he opted for spacious transitional rooms.

Below, there was a courtyard accessible from a lower side street by way of a narrow passage between otherwise tightly huddled houses. There, the proprietor erected horse stables. The last owners of the merchant house were also traders (the residents remember them selling fabric by the metre); after the partial nationalization they sold the spaces they were left and moved away. Afterwards, the shop was preserved while the other spaces were transformed into four smaller apartments. A few years ago the current owner inherited one of them, and together with his wife turned it into a pleasant home with a charming air of past times.

The apartment is only accessible from the internal courtyard with minimal vegetation. The very entrance itself is unusual; in order to reach the antechamber, one must climb circular cast iron and artfully shaped stairs. At the close of the 19th century, when the existing house was remodelled to fit the artistic trends of the period, the stairs served as an important link between the apartment upstairs and the garden, that is its glasshouse (winter garden), on the ground floor. Like the entrance, the interior – the design and furnishing of the home – is far from the perceived notion of what a modern apartment in a skyscraper, apartment building, or new residential house should look like.

The inherited apartment was formed in mid 20th century by partitioning off less than half of the previously eminent urban residence, which was inhabited by capable merchants. In this state it was less than spectacular, however through architectural adaptation the dreary and poorly illuminated apartment was transformed into a pleasant home. It would not be overly immodest to say that the worn-out dwelling on the first floor of the old house regained its former quality, its lost excellence and prestige.

In order to open the apartment to more sunlight, the foyer, the entrance, and the door leading to the kitchen were glazed. The narrow kitchen boasts modern fittings and a lively colourful floor. It links to the dining room, which is illuminated through a window aperture piercing the street-facing side of

1 Eudo Colecestra Mason, Goethe’s Faust: Its Genesis and Purport, (Berkeley, 1967), p. 160

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Hiša usnjarja Jerneja v Dravski ulici V razpravi o obrti in njeni organizaciji v srednjeveških mestih je belgijski zgodovinar Henri Pirenne (1862–1935), poznan raziskovalec življenja srednjeveške Evrope, zapisal, da je »vsako mesto, tako majhno kot veliko, imelo znotraj svojih zidov lepo število obrtnikov različnih strok, pač v sorazmerju s svojim pomenom, zakaj nikjer ni moglo meščansko prebivalstvo prebiti brez obrtniških izdelkov, ki jih je rabilo za vsakdanje življenje. […]

Srednjeveški obrtni mojster je torej v pravnem pomenu besede nekak manjši podjetnik. K njegovi imovini je vedno spadala hiša, kjer je imel delavnico, in prav tako vse orodje, potrebno za obrt. Število osebja, ki so ga cehovski predpisi strogo določali, je bilo zelo omejeno in je znašalo po enega ali največ dva vajenca in prav toliko pomočnikov; le redkokdaj je bilo pomočnikov več.« (Pirenne, 1956: 302) Tudi na novo ometana, prebarvana in v družinski hotel preurejena hiša, ki stoji v strnjenem nizu stavb na Dravski ulici, nasproti velike stare in danes zapuščene tovarne usnja, je bila v preteklosti v lasti mestnih obrtnikov – usnjarjev.

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Na dejavnost, ki se jo je stoletja opravljalo in od nje živelo v danes prenovljenem stanovanjskem kompleksu, opozarja ime na stavbi: Hiša usnjarja Jerneja. Jernej je bilo ime usnjarju, ki je v hiši, ki je na tem mestu stala pred današnjo, kože obdeloval že v 13. stoletju. Danes stoječa hiša ob Dravski cesti pa je sedanjo podobo dobila v 17. stoletju, kar naznanja tudi v sklepni kamen ločnega portala vklesana letnica.

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The name on the building commemorates the activity which has been the bread and butter of its residents for centuries: Tanner Jernej’s House. Jernej was the tanner who, in the 13th century, tanned hides in the house that stood on this location. The house presently standing on Dravska cesta received its appearance in the 17th century, as is marked by the inscription on the keystone of the vaulted portal.

Arhivski viri pripovedujejo, da je bila v srednjeveškem Ptuju četrt, v kateri so delali usnjarji, imenovana kar usnjarska ali strojarska četrt in da se je v drugi polovici 15. stoletja današnja Dravska ulica imenovala Usnjarska. V nizu hiš, v katerih so živeli obrtniki, ki so izdelovali usnje, je bila tudi hiša usnjarja Jerneja. Usnjarsko četrt je leta 1684 uničil požar in potomec usnjarja Jerneja Jurij Kramberger, tudi sam usnjar, je na ostalinah pogorele dal postaviti novo, večjo hišo s sodobno usnjarsko delavnico.

Obrtniki, ki so na Ptuju predelovali živalske kože v usnje, so bili združeni v usnjarski ceh, ki je urejal in usmerjal njihovo dejavnost vse do sredine 19. stoletja. Tedaj je tradicionalno ročno strojenje in pripravo kož pričela izpodrivati nova tehnika, razvita na osnovi novih odkritij in znanj.

The craftsmen who tanned animal skins in Ptuj were organised in a tanners’ guild that managed and directed their activities up until mid 19th century. Later, the traditional manual tanning began to be replaced by a new technique developed based on new discoveries and knowledge.

V gostinski vrt spremenjeno dvorišče si je težko zamisliti v času razcveta usnjarske dejavnosti. Nekdanji vrvež je zamenjala spokojnost, oster vonj po lužilih in kožah pa vonj cvetoče glicinije.

It is difficult to imagine what the courtyard, which now serves as a restaurant garden, was like in the heyday of tanning activity. The former bustle has been replaced by tranquillity and in place of the sharp scent of mordant the air is filled with the fragrance of wisteria blossoms.

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V stoletjih, ki so sledila, se je enonadstropna stavba razširila. Z zadnje strani so ji bili dodani delavniški in tudi bivalni prostori, tako da je stavbni kompleks sčasoma segel do zidu sosednje hiše in zaobjel notranje dvorišče.

S ceste se do dvorišča dostopa skozi veliko križno obokano vežo, ki ima tla utrjena s prodniki v velikosti mačjih glav. Vhod v veliko vežo, ki vodi dalje na delovno dvorišče, na stavbnem licu izstopa ne le zaradi velikosti, ampak ga poudarja tudi velik ločno oblikovan kamnit portal, ki ima v sklepni kamen vklesane podatke o letu gradnje, dejavnosti in lastništvu. Razberemo lahko letnico 1690, usnjarsko cehovsko znamenje – usnjarski čeber s prekrižanima strojarskima nožema – in inicialki, ki povesta, da je bil tedanji lastnik usnjar Jurij (Georg) Kramberger (Khramberger). Poleg simbolnega znamenja, ki krasi kamnoseško oblikovani portal, tudi sama arhitekturna zasnova hiše razkriva, katero obrt se je nekdaj tu opravljalo. Njena strma streha je na primer polna nizkih prezračevalnih odprtin, kar je značilnost usnjarskih hiš, ki so praviloma imele na prostornih podstrešjih urejene sušilnice kož. Usnjarska dejavnost je v tej hiši ostala vse do 20. stoletja. Stavba ima sicer strog in urejen videz. Njene fasadne odprtine so urejene v štiri navpičnice in so – z izjemo vhoda, ki ga krasi kamniti okvir – poudarjene s trakasto obrobo v ometu.

Enako sta oblikovana tudi etažni in strešni venec.

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Očiščeni trdni oboki stropa v zajtrkovalnici so izdelani iz dvakrat žgane opeke. Vtis veličastnosti je še večji ob zavedanju, da so tudi mojstrska znanja zidarjev, ki so tako gradnjo obvladali, že postala stvar kulturne dediščine.

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The cleared firm ceiling vaults are made from twice-burnt brick. The impression of majesty is even greater when one is conscious that the skilful mastery of builders, who commanded the skill of such building, has already passed into the realm of cultural heritage.

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Lastniki hiše so se skozi čas seveda menjali, danes pa je v lasti enega od dedičev družine, ki je v hiši živela še pred drugo svetovno vojno. Hišo je prevzel v nezavidljivem stanju, saj se jo je v zadnjih petih desetletjih nekakovostno prilagajalo hitro spreminjajočim se bivanjskim potrebam njenih stanovalcev. Med drugim so se na njenem dvorišču razbohotile vsakovrstne dodatne lope in podobne pritikline. A sedanji lastnik, ki je na hišo tudi čustveno navezan, saj se je v njej rodil, jo je postopoma preuredil v turistični objekt s sobami in apartmaji za goste. Prenova je potekala tako, da so bile ohranjene vse značilnosti stare, usnjarski dejavnosti prilagojene gradnje, ki je temeljila na tedaj splošno priznanih načelih dobre arhitekture: trdnosti, uporabnosti in lepoti. Prenovljena in popravljena je bila stara stavbna konstrukcija, ki se jo je tudi zaščitilo pred nezaželenimi vplivi okolja (talna vlaga), notranjost pa je bila prilagojena zahtevam nove – hotelske dejavnosti.

A zlasti posebnosti stare arhitekture so tisto, kar obiskovalcu po odhodu iz hiše danes ostane v spominu; iz kamna in opeke upognjeno grajeni stropi, prostorni, delno vkopani pritlični prostori, kjer so usnjarji nekoč obdelovali živalske kože, notranje dvorišče – nekdanje in današnje stičišče življenja v hiši – ter venec značilno

oblikovanih zunanjih hodnikov, ki sobe v nadstropju povezujejo z zunanjim in notranjim stopniščem. Prav nič bahava, a preprosta in lepa arhitekturna celota.

V nadstropju hiše so poleg stanovanja lastnika urejeni apartmaji in sobe za goste, v pritličnem delu pa so skupni in vsi potrebni gospodarski prostori. Oprema sob je preprosta, nič odvečnega, samo najnujnejše; minimalizem, ki je ne le prijeten na pogled, ampak tudi globlje pomenljiv. Življenje in kultura bivanja manj premožnih meščanov, obrtnikov, namreč nikoli nista bila preveč razkošna.

In addition to the owner’s apartment, the upper floor of the house also comprises guestrooms and apartments to let, while the ground floor contains all common areas and all necessary commercial spaces. The room furniture is simple; nothing is superfluous, only the bare essentials are featured. This type of minimalism is not only a pleasant site, but also holds a deeper significance, namely that life and residential culture of the less wealthy town’s craftsmen were never very extravagant.

Tanner Jernej’s House on Dravska ulica (Dravska St.) vated and repaired as well as protected against undesirable environmental effects (floor dampness), while the interior was adapted to the demands of the newly introduced hotel activity. However, it is the the distinguishing features of old architecture that are most prominent in the memories of visitors as they leave the house. These are the arched stone- and brickbuilt ceilings, spacious partially interred ground floor spaces where tanners once worked animal skins, the interior courtyard being the past and present intersection of life in the house, and a wreath of characteristically shaped external hallways connecting the spaces on the first floor with both the external and internal stairwell. The house is a simple and beautiful architectural whole with not a single shred of boastfulness.

Ptuj

In his treatise on craft and its organisation in medieval cities, Henri Pirenne (1862–1935), a known researcher of life in mediaeval Europe, wrote that “Every city, big or small, contained within its walls a number of tradesmen skilled in various crafts, proportionately with its significance; for nowhere could urban residents exist without the products of crafts necessary for daily life […] Thus, the master craftsman was in every sense of the term a small entrepreneur. His sole capital consisted of his house and the tools indispensable to his craft. His personnel, strictly limited by the regulations, was composed of one or two apprentices and journeymen, whose number very rarely rose above these figures.”1 Much in this vein, the newly plastered and painted house in the clustered row of buildings on Dravska street facing the now abandoned leather factory, which had been transformed into a family hotel, was in the past in the possession of town craftsmen – tanners.

Archival sources refer to a town quarter in mediaeval Ptuj, where tanners worked, known locally as the leather or tanning quarter. They further attest that in the second half of the 15th century modern day Dravska ulica was called Usnjarska ulica (Tanning Street). In the cluster of houses inhabited by leather makers, stood the house belonging to tanner Jernej. The tanning quarter was destroyed by fire in 1684 and a descendant of tanner Jernej had a new and larger house built on the burnt down remains, which included a modern leather-working shop.

In the centuries that followed, the building was expanded. Workspaces and residences were added in the back, resulting in a two-storey building complex, which gradually expanded all the way to the wall of the neighbouring house and enclosed the inner courtyard. From the road, the courtyard is accessible via a large groin-vaulted vestibule, its floor paved with gravelstones the size of cats’ heads. The entrance to the large vestibule leading to the courtyard workspace stands out from the rest of the building front.

In part this is due to its immense size, and in part to its large vaulted stone portal with the keystone inscribed with the year 1690, tanners’ guild sign – leather-workers’ bucket and crossed tanning knifes, and initials indicating that the owner at the time was tanner Jurij (Georg) Kramberger (Khramberger). The trade that formerly operated in the house is evident, not only from the symbol decorating the stone-carved portal, but also in the very architectural design of the house. Its steep roof, for example, is filled with low air vents characteristic of tanning houses, which generally used their spacious attic spaces for drying skins. The house served as a leatherworking facility until the 20th century. The building is of a strict and orderly appearance. Its façade openings are arranged in four vertical lines, and, with the exception of the entrance, decorated by a stone frame, these are emphasized by plaster borders. The first floor stringcourse and the cornice are of the same design.

Of course the house changed owners through the years and is today in possession of an heir descended from the family that resided there even before World War II. When he took possession of it the house was in abject condition. In the previous five years it underwent poorly executed adaptations to the fast changing needs of its residents. Among other things, the courtyard was thick with all manner of supplementary sheds and similar additions. However, the current owners had a particular emotional attachment to the house, in which he was born. He slowly adapted it to be used as a hospitality building with guest rooms and apartments. The renovation preserved all the tanning-specific characteristics introduced through the old principles of building founded on the then acknowledged values of good architecture: strength, usefulness, and beauty. The old building was reno-

1 Henri Pirenne, Economic and Social History of medieval Europe, Routledge (Oxon, 1936), p. 187

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Radovljica

Ratmansdorf Radoldorf Radolca

Mesto od leta 1510 dalje Town rights since 1510

»Pristno sladka Radol’ca«, upravno in gospodarsko središče Radovljiške kotline, je mesto, ki mu urbanistično-arhitekturna dediščina daje močnejši pečat od sicer premišljeno izpeljane sodobne arhitekture. Na osrednjem, pravokotno oblikovanem trgu, ki se ga je v 18. stoletju imenovalo kar Mesto, so vidne ostaline časov vse od srednjega veka dalje.

Radovljica

S

likovit je tudi predel, ki se je na prelomu 19. in 20. stoletja razvil ob starem mestnem jedru. Med palačami in vilami, razpostavljenimi po tedanjem urbanističnem vzoru vrtnega mesta, posebej izstopa nekdanja posojilnica Čebelica, secesijska stavba, ki je delo arhitekta Cirila Metoda Kocha.

Občutena prijetnost stavb in dražestnost trga – najstarejšega dela mesta – je povezana s preteklostjo. Iz ohranjenih starih listin, v katerih je naselbina poimenovana Radmannsdorf, Ramansdorf, Rasmandorf, Ratmastof, Radmsdorf, Radmanstorf, Rotmosdorf in tudi Rattamsdorf, izvemo, da se je naselbina pričela razvijati v 12. stoletju, in sicer ob cerkvici in gradu – bivališču posestnika. V nemirnem odbodju 14. oziroma 15. stoletja se je strnjena, urbanistično že povsem izoblikovana naselbina z dominantno izstopajočimi stavbami cerkvene in posvetne oblasti, obdala z zaščitnim obzidjem in pridobila mestne pravice. V 16. stole-

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tju je imela Radovljica svoje sodstvo, trgovino z vinom in soljo ter mitnice v mestu, v Bohinju in na Jesenicah.

Od tedaj pa do danes so se stavbe v srednjeveško utrjeni naselbinski strukturi (področje današnjega starega jedra) razvijale v skladu z zahtevami bivanja in kanoni lepega ter se večkrat preoblikovale. Tudi po obnovi poškodb ognjenih zubljev, ki so staro mestno jedro razdejali leta 1835, je Radovljica ohranila svoj baročni izraz z vidnimi usedlinami preteklosti.

Graščina, Cerkev sv. Petra, župnišče in vse mestne hiše, posebej še Šivčeva, Vidičeva in Malijeva, nam s svojimi gotskimi, renesančnimi in baročnimi podrobnostmi skupaj z velikim glavnim trgom omogočajo videti in razumeti vekov tek. Arhitekt Juhani Pallasmaa je v knjižnem delu z naslovom Oči kože zapisal: »Arhitektura nas povezuje z mrtvimi; s stavbami si lahko zamislimo vrvež na srednjeveški ulici in si naslikamo

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Radovljica

RADOVLJICA Town rights since 1510 “Radol’ca - honestly sweet” is the Radovljica plain’s administrative and economic centre. Here the architectural and urban heritage outshines modern architectural trends, though even these are here followed with confident ingenuity. The central rectangular square, which was dubbed Mesto (Town) in the 18th century, prominently displays stages of its historical evolution from mediaeval times onwards. At the end of the 19th and turn of the 20th century, an innovative and scenic part of town evolved right outside the old city centre. The palaces and villas were arranged following the urban trend of the garden city movement. The former savings and loan bank stands out from among these structures. Dubbed “Čebelica” (Honey Bee), this building was designed by architect Ciril Metod Koch in the Art Nouveau style of the Secession period.

The manifest picturesque appearance of the buildings and the endearing appeal of the square are tied to the town’s historical background. According to preserved historical evidence the settlement began to develop in the 12th century next to a church and castle – a landowner’s residence. It appears in various sources as Radmannsdorf, Ramansdorf, Rasmandorf, Ratmastof, Radmsdorf, Radmanstorf, Rotmosdorf, and Rattamsdorf.

By the 14th and 15th centuries a fully formed condensed urban settlement evolved complete with dominant buildings for the use of lay and ecclesiastic authorities. At that time, the town received town rights and defensive walls. By the 16th century, Radovljica had the rights of jurisdiction (a town court), wine and salt trade, and tolls in the town itself, as well as in Bohinj, and Jesenice. Since then, the mediaeval structures evolved in accordance with the demands of daily occupancy and aesthetic principles undergiong several transformations. Even after the fire that demolished the old city centre in 1835, the renovations maintained Radovljica’s Baroque-style expression, interspersed with the sediments of the past.

The flow of ages can be clearly observed and understood by noting the Gothic, Renaissance, and Baroque features of the historical buildings. These include the castle building, St Peter’s church, the presbytery and all urban houses, particularly Šivic’s, Vidič’s 1 Pallasmaa, J., The Eyes of the Skin: Architecture and the Senses 2nd Ed., John Wiley & Sons Ltd. (Chichester, 2005), p. 52.

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Življenjski utrip v središču starega mestnega jedra leta 1908.

The bustle of daily life in the old town core in 1908.

slovesno procesijo h katedrali. Čas arhitekture je zaustavljen čas; v največjih stavbah stoji čas čisto pri miru«. (Pallasmaa, 2007: 92) Ko se opazovanju pročelij, ki se stiskajo druga ob drugo v živo pisan in razgiban stavbni niz, domišljeno členjen s poudarjenimi okenskimi odprtinami in vrati, pridruži še starodoben vonj po sladkorju in medu iz muzejsko urejene lectarije, nas nehote ponese v čas, ko se je v osrednjem odprtem prostoru, prašnem in pogosto tudi blatnem, odvijalo živahno javno življenje in so v pritličnih prostorih mestnih hiš rokodelci ustvarjali številne za življenje potrebne uporabne predmete. To je bil čas, ko je na Dunaju študiral, raziskoval in pisal najznamenitejši Radovljičan Anton Tomaž Linhart, nadarjeni sin pletilskega obrtnika in trgovca Venceslava, lastnika tedaj največje enonadstropne mestne hiše, postavljene ob vhodu na glavni trg.

Na Dunaju ga je med študijem jezikov in upravnih ved pritegnilo tudi gledališko življenje in spoznavanje novih nazorskih razmišljanj evropske intelektualne elite.

Po ustalitvi v Ljubljani je uspešen državni uradnik, vključen v Zoisov kulturni krog, veljal za odločnega in svobodomiselnega človeka, ki je v času utrjene monarhije Habsburžanov prvi zahteval družbeno in jezikovno enakopravnost.

Med posebne dosežke njegovih razsvetljenskih prizadevanj poleg del, povezanih s šolstvom in ustanovitvijo prve slovenske javne kulturne ustanove, Znanstvene knjižnice na Kranjskem (1791), spadajo zlasti njegova literarna dela – prve gledališke igre, napisane v slovenskem jeziku. »Z njimi je ta domiselni spodbujevalec dejavnega humanizma premagal čas, kakor je to že napovedal v znanem epitafu France Prešeren:

and Mali’s, as well as the large open space of the town square. In his book, “The Eyes of the Skin”, architect Juhani Pallasmaa wrote: Architecture connects us with the dead; through buildings we are able to imagine the bustle of the medieval street, and picture a solemn procession approaching the cathedral. The time of architecture is a detained time; in the greatest of buildings time stands firmly still. (Pallasmaa, 2005: 52)

Srednjeveška naselbina se je počasi širila izven okvirov mestnega obzidja.

Na sliki iz leta 1909 je predel mesta, ki se je razvil na prelomu 19. in 20. stoletja v smeri proti Lescam. Oblikovan je bil ob kostanjevem drevoredu po vzoru vrstnega mesta. Palače, oblikovane v likovnem jeziku klasicizma in secesije, so razpostavljene po odmerjenih gradbenih parcelah v natančno določenih gradbenih linijah.

The old settlement slowly outgrew the constraints of the old city walls. The image from 1909 displays the part of town that evolved between the 19th and 20th centuries in the direction of Lesce. It was designed to run along a chestnut avenue following the principles of the garden city movement. The Classicist and Secessionist-style palaces are arranged in exact building plots and precisely defined building rows.

Staro mesto odlikuje slikovita arhitektura. Prve lesene enonadstropne stavbe, postavljene na izravnavo savskega pomola, izvirajo iz 13. in 14. stoletja. Skozi čas so bile sicer nekoliko preoblikovane, a skrbno vzdrževane in le v notranjosti posodabljane, zato še danes lahko zrcalijo izvirno posebnost in mestu dajejo svojstveno očarljivost.

Prilagojena jim je tudi sodobna ureditev tlakovanih površin.

The old town is marked by picturesque architecture. The first wooden single-storey houses constructed on the landing of the Sava pier stem from the 13th and 14th centuries. Some remodelling occurred through the centuries, but the houses were carefully maintained, their renovations limited to the interior. As a result they continue to display inventive originality and lend the town a specific type of charm. The contemporary paved surfaces have been arranged accordingly.

The building fronts huddle together to form a vivacious and vibrant line-up. Their faces are imaginatively partitioned, featuring accentuated window and entrance apertures. When this view is complemented with the ancient scent of sugar and honey emanating from the “Lectarija” (“lectar” candy shop), which has now been arranged as a museum, we are unwittingly transported back to a time when the dusty and often muddy central open space was the scene of lively hustle and bustle and the ground floor shops of town dwellings were populated by artisans forging numerous objects for use in day-today life. This is when Anton Tomaž Linhart, the most celebrated Radovljica native, was studying, researching, and writing in Vienna.

His father, knitter artisan and merchant Venceslav, owned the largest single-storey urban house, which stood near the entrance to the main square. During the time he spent in Vienna studying linguistics and administration, Anton was also drawn to thespian life and was educating himself about modern ideas then advanced by the European intellectual elites. After settling in Ljubljana, he became a successful state’s administrator and joined the renowned Zois circle. He became known as a decisive and freethinking individual, one of the first people to demand social and language equality in the entrenched Habsburg monarchy.

He realized his enlightened views as an educator and by establishing the first Scientific library in Carniola (modern day central Slovenia)(1791). But they culminated in his literary works, the first dramatic plays in the Slovenian language. “Through these this ingenious promoter of active humanism defeated time, as was foretold by France Prešeren in his famous epitaph: He left his life as Germany’s Parnassus’, To spin old tales of Carniolan classes.

Matiz and mayor’s daughter always got applauses, from champions of Slovenian causes. His name, until the day the dead will rise, Will local Clio, Thalia immortalize.” (Written in Slovene by Kalan, 1979: 30 and 7).

Though Radovljica outside the old town core

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Steze popustil nemškega Parnasa, je pisal Kranja zgodbe star'ga časa.Komu Matiček, Micka, hči župana, ki mar mu je slovenstvo, nista znana?

Slavile, dokler mrtvi se zbudijo, domači bota ga Talija, Klio.”

(Kalan, 1979: 7)

Radovljica

Čeprav je Radovljica izven starega jedra sodobno oblikovano mesto, vendarle ohranja povezanost s svojo zgodovinsko podobo. Močne niti v tkanju vezi med starim jedrom, ki s svojo bogato dediščino vzbuja vedno večje občudovanje javnosti, in mlajšim upravnim središčem, razvitim v severni smeri ob cesti, ki vodi v Lesce, predstavljajo mestne svetilke. Avtorsko so jih oblikovali domači arhitekti in oblikovalci, izdelane pa so bile v kroparskih kovaških delavnicah. Razpostavljene so vse od parkirišča ob vstopu v staro mestno jedro, mimo trikotnega parka ob spomeniku Antonu Tomažu Linhartu ter po promenadi, ki se nadaljuje ob starem obzidju na robu graščinskega parka.

Unikatna mestna svetila izvirno dopolnjujejo videz celotnega mesta, na poseben način pa preteklo ustvarjalno moč Radovljičanov, ki ni usahnila vse do danes, odslikavajo zlasti tista, ki so bila oblikovana s spominom na umetnostno ustvarjanje ustanovitelja in prvega učitelja na Oddelku za arhitekturo Tehnične univerze

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Na vhodu v staro mestno jedro stoji s patino treh stoletij zaznamovana hiša, ki je bila nazadnje predelana (stavbni ovoj je bogato okrašen po merilih klasicizma) po požaru leta 1835. Poleg starosti ima stavba tudi pomembno spominsko vrednost, saj se je v njej rodil prvi slovenski dramatik Anton Tomaž Linhart. Njegov oče, pletilski obrtnik in trgovec Venceslav Linhart, je – tedaj enonadstropno – stavbo kupil leta 1773.

The entrance to the old town core is marked by a house bearing three centuries of history, its latest renovation dating to the wake of the fire of 1835. In addition to its venerable age, the building boasts significant commemorative value – it is the birthplace of the first Slovenian playwright Anton Tomaž Lihart. His father, a knitter and merchant Venceslav Linhart bought the then single-storey building in 1773.

v Ljubljani, arhitekta Ivana Vurnika (1884–1971). Izjemno ustvarjalen arhitekt, avtor ene najlepših arhitektur tistega časa, Zadružne gospodarske banke v Ljubljani (1921–1922), se je rodil v radovljiški družini enega tedaj najboljših slovenskih cerkvenih kiparjev.

Po osemintridesetih letih življenja in dela v Ljubljani se je arhitekt vrnil domov, v rodno Radovljico. Rojstno hišo kmečkega videza, v kateri je bila od leta 1841 dalje podobarska, kamnoseška in rezbarska delavnica, je skupaj z življenjsko družico, slikarko Heleno, rojeno Kottler (1882–1962), preuredil v prijeten in ustvarjalen dom. Arhitektura stavbe, ki stoji ob starem mestnem jedru, se z vkopano kletjo prilagaja brežini, petinsedemdeset metrov visoki savski terasi, ki jo je globoka in ozka dolina na vzhodu oblikovala v strmo odsekan pomol. Po smrti obeh umetnikov je bila stavba dolgo zapuščena. Danes je obnovljena, novi lastniki pa skupaj z občino načrtujejo še ureditev spominske sobe, v kateri bo poleg Vurnikove delavnice predstavljen tudi pomen umetniške dejavnosti Ivana in Helene Vurnik v slovenskem kulturnem prostoru. Ogled stavbnega ovoja z vsemi avtorsko dodanimi podrobnostmi, na primer skupino mozaikov, ki je postavljena v os vhodnega portala na dvoriščni nadstropni fasadi, »odstira poleg velike ustvarjalne moči tudi odkruške zadnjih razmišljanj od življenja utrujene in umetnosti predane dvojice, slikarke in arhitekta.« (Deu, 2008: 214)

V kulturnem okolju Slovencev gotovo ni gledališča, ki v svojem programu ne bi imelo uprizoritve Županove Micke in Ta veseli dan ali Matiček se ženi, dveh veseloiger, ki jih je v 18. stoletju po tujih vzorih napisal Anton Tomaž Linhart. V orisu njegovega življenja in dela je Igor Grdina zapisal, da je bil mož, ki je napisal prvi slovenski dramski deli, »slovenski preroditelj ter zagovornik razsvetljenskih načel in idej; pesnik, dramatik, zgodovinar, šolnik in priložnostni skladatelj«. (Grdina, 2005 : 547) Kostumi, izdelani za obe gledališki igri, so razstavljeni v Mestnem muzeju Radovljica.

There are surely no theatres in the Slovenian cultural environment that never staged “Micka, the Mayor’s Daughter” or “This Merry Day or Matiček’s Wedding”, two comedies written by Anton Tomaž Linhart following foreign models. In a depiction of his life Igor Grdina described the man who wrote the first two Slovenian dramatic works as a “Slovenian revivalist and proponent of the principles and ideas of the enlightenment movement; a poet, dramatist, historian, educator, and occasional composer.” (Grdina, 2005, 547) Costumes made for both plays are exhibited in the Municipal Museum of Radovljica.

Prenovljeno rojstno hišo arhitekta Ivana Vurnika (1884–1971) zaznamujejo gladko oblikovani stavbni ovoj, strma dvokapna streha, zaključena s čopoma, fasadne odprtine, ki so oblikovane in razporejene v skladu s celoto volumna, ter dva likovna poudarka: kamnit vhodni portal in vogalna niša. Slednjo krasijo kamnita plastika, izdelana v Vurnikovi delavnici, in manjši mozaiki, ki so avtorsko delo arhitektove žene Helene. Zakonca Vurnik sta zadnje življenjsko obdobje preživela v mojstrovi rojstni hiši.

Architect Ivan Vurnik’s (1884–1971) renovated house of birth displays a smooth exterior covered with a steep gable roof ending in two hips, façade apertures arranged harmoniously with the building as a whole, and two visual emphases: the stone entrance portal, and the corner niche. The latter is decorated with a stone relief ornament produced in the Vurnik workshop, and minor mosaics made by his wife Helena. The married couple spent the final years of their lives in the master architect’s house of birth.

displays more contemporary architecture, the latter did not cut ties with its historical appearance. Its streetlights serve as a common thread linking the younger administrative centre, which evolved by the northern route towards Lesce, to the inspiring and opulent historical heritage of the old town core, commanding ever increasing public attention. Architects and designers were invited from across Slovenia and from abroad to participate in designing the streetlights.

The end products were forged in the notable smithies of Kropa. These street-lighting works of art extend from the parking spaces at the access to the old town core, run past the triangular park by the monument to Anton Tomaž Linhart, continue along the promenade and alongside the old town walls at the edge of the Castle grounds park.

These unique streetlights represent an innovative addition to the impression of the town as a whole. At the same time, individual lights illuminate the history of local creativity, a history that lives on. This is especially true for those designed as homage to the artistic ingenuity of Ivan Vurnik (1884–1971), founder and first lecturer at the department of Architecture at the Technical University of Ljubljana. He was an immensely creative architect, creator of one of the most beautiful structures of the time – The Cooperative Commercial Bank in Ljubljana (1921– 1922). He was born in Radovljica, the son of one of the best ecclesiastical sculptors in Slovenia. After thirty-eight years of living and working in Ljubljana he returned to his native Radovljica. Together with his life partner, Helena, nee Kotler (1881–1962), they transformed his native house from a farmhouse, which from 1841 onwards housed a fine arts workshop, stonemasonry, and carpentry, into a pleasant and creative home. The layout of the building is adapted to the demands of the banks of the seventyfive metre Sava terrace, cut in the east by the narrow valley to form a steep terse pier.

After the two artists passed away the building lay abandoned for a long time. Today it stands renovated and the new owners and the municipality are working together to plan the layout of a memorial room displaying Vurnik’s workshop as well as the significance of Ivan and Helena Vurnik’s artistic activities to the Slovenian cultural realm. In addition to displaying their great creative might, the building surfaces, including mosaic groups in axis with the eastern portal of the courtyard at first-floor level “also unveil fragments of the painter’s and the architect’s final thoughts, thoughts of a couple devoted to art and worn out by life.” (Deu, 2008: 214)

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Vez med arhitekturo preteklosti in sodobnim oblikovanjem vzpostavljajo premišljeno razpostavljene ulične svetilke. Oblikovali so jih domači arhitekti in oblikovalci, izdelali pa kovaški mojstri v bližnji Kropi, središču kovaštva in kovaške umetnostne obrti.

The thoughtfully arranged rows of streetlights bridge the divide between the architecture of the past and modern design. They were created by architects and designers from Slovenia and abroad and forged by master smiths in the nearby Kropa centre of metalworking and blacksmiths’ art.

Radovljica

V zloženkah, natisnjenih ob priložnosti postavitve uličnih svetilk leta 2014 in 2015, je zapisano, da so se morali vsi snovalci novih kovaških izdelkov od kovaških mojstrov najprej naučiti primernega načrtovanja. »Za likovno mišljenje je namreč značilno, da umetnik vedno mora razmišljati v materialu, njegove ideje se lahko gibljejo skladno z zahtevami in prisilo materiala.« (Smrekar, 2015: 3) Toda kljub temu je mogoče poiskati njegove nove izrazne možnosti.

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The leaflets printed on the occasion of the erection of the streetlights in 2014 and 2015 state that all the designers of the new forged products first had to learn the appropriate way to design metalwork from blacksmiths. “It is characteristic of artisanal thinking, that the artist think in materials, their ideas can only work in harmony and under the constraints of the material.” (Smrekar, 2015: 3). But it is nevertheless possible to identify its capacity for expression.

Thurnova graščina sedež radovljiškega gospostva Severni del imenitnega starega mestnega trga, danes imenovanega Linhartov trg, razširjajo in zaznamujejo tri stavbe: Cerkev sv. Petra, župnišče in nekdanje bivališče radovljiških posestnikov, odeto v okrasno razkošje baroka.

S fotografij, ki radovljiško graščino dokumentirajo od leta 1941 dalje, lahko razvidimo, da je ta največja stavba v zgodovinskem delu mesta, ne glede na svoj zapleteni arhitekturni razvoj, ohranila pridobljeni baročni videz. Fasado odlikuje bogato okrasje okenskih odprtin v štuku, ki je nad okni v pritličju dopolnjeno še z doprsnimi figurami.

Fotografija iz leta 1964.

The pictures documenting the Radovljica castle from 1941 onward reveal that, no matter its complex architectural evolution, this largest structure of the historical part of town maintained its Baroque-style appearance. The façade window apertures flaunt opulent stucco ornamentation, which is complemented on the ground floor with bust sculptures.

Photograph from 1964 respectively.

Uspešno prilagoditev notranjščine baročnemu stremljenju k simetriji navzven zrcali na trg usmerjeno lice. Središče stavbne ploskve je poudarjeno z rizalitom, ki se s trikotnim čelom dviguje nad višino strešnega venca, in z glavnim vhodom, postavljenim v njegovo središčnico. Visok ločno oblikovan vhod vodi v plitko banjasto obokano vežo in dalje v veliko avlo, kamor je baročni arhitekt umestil razkošno dvojno dvoramno stopnišče. Z balustrado okrašene in v stavbno os postavljene odprte stopnice vabijo v osrednje, reprezentativno oblikovane prostore v nadstropju. Mednje sodita tudi dve različno veliki, med seboj

Radovljica

Ni znano, kdaj je bilo na mestu današnje baročno olepšane dominantne graščine, ki zavzema skoraj polovico trga, sezidano prvo gosposko bivališče in kakšna je bila tedaj njegova podoba. Pač pa na danes obstoječi stavbi lahko opazimo določene podrobnosti, oblikovane in izdelane v različnih obdobjih oziroma stilih, kar nam razkriva dolgo pot dozidav, prezidav in popravil, s katerimi so lastniki graščino neprestano prilagajali spreminjajočim se potrebam in kulturi bivanja. Do prvega preoblikovanja izvirne arhitekture je verjetno prišlo v začetku 16. stoletja; leta 1511 je najverjetneje bil preoblikovan stolpast izzidek na začelju stavbe, medtem ko je bil zadnji večji poseg izveden v 18. stoletju. Graščino so tedaj temeljito predelali njeni takratni lastniki, plemenitaši iz rodbine Thurn-Valsassina, ki je bila imetnica gospostva vse od leta 1618 do konca druge svetovne vojne. Prenovitvena dela so bila zaupana neznanemu arhitektu, ki se je moral zelo potruditi, da je heterogeni sestav graščine z debelimi in grobimi zidovi, z mračnimi stopnicami ter zastarelo razporejenimi in urejenimi sobami posodobil, ga vsaj na videz poenotil ter olepšal tako, kot so to narekovale takratne modne smernice.

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Pomembna in ugledna graščina, ki poleg Cerkve sv. Petra in župnišča zaznamuje današnji Linhartov trg, se je v sedanjo podobo izoblikovala postopoma. Prvo stavbo na prostoru današnje graščine omenjajo že pisni viri iz 14. stoletja, medtem ko so prve ohranjene upodobitve le-te veliko mlajše.

The Significant and esteemed castle joining St Peter’s Church and the presbytery in demarcating present-day Linhart Square only gradually developed its current shape. The building’s earliest remaining written mentions date to the 14th century, while the earliest preserved depictions are significantly more recent still.

Radovljica

povezani dvorani, ki se ju je lahko uporabljalo ločeno, ob večjih in posebej slovesnih prireditvah pa kot večji enotni prostor. Tovrstna smiselna in učinkovita rešitev povezave med dvema osrednjima dvoranama izkazuje kulturo bivanja najvišjega sloja prebivalev za časa baroka in je značilna za večino v tistem času oblikovanih ali preoblikovanih gradov in graščin. Vsi sprejemni ali sicer izpostavljeni prostori (ob omenjenih dvoranah še stopniščna avla in predprostor v prvem nadstropju) so bili po navodilih arhitekta in v skladu z željami lastnika olepšani s slikarskimi in okrasnimi mojstrovinami v štuku. Bogat okras v štuku pa krasi tudi simetrično urejen in v prostoru trga izstopajoč stavbni ovoj. Pritličje je rustificirano, fasadne odprtine pa poudarja bogato okrasje v štuku.

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Vsi drugi prostori, tako gospodarski kot zasebne sobe, so bili v času baročne prenove umeščeni v stari stolpasti del za avlo in vhodnim stopniščem ter razvrščeni levo in desno od osrednjega, reprezentativnega jedra poslopja. Iz vhodne avle, ki se odpira v levi in desni atrij, vodijo vhodi v levi in desni del grajskega trakta s

posebej umeščenimi stopnišči, s katerimi so povezani prostori v prvem in drugem nadstropju.

Na severovzhodni strani mestnega jedra, ki se je tedaj že začelo razraščati izven z obzidjem utrjenega dela, je bil na posesti graščine v istem času oblikovan tudi park, toda njegovo takratno podobo lahko danes občudujemo le na starih risbah (franciscejski kataster). Z izjemo tega parka pa je graščina, krepko posodobljena po načelih baročne arhitekture, z manjšimi prezidavami in popravili poškodb preživela do danes. Največje popravilo je sledilo poškodbam, ki jih je prizadel za mesto uničujoč požar leta 1835. Pogorela je grajska streha, najverjetneje se je tedaj podrl tudi z iluzionističnimi freskami okrašen strop v véliki avli in poškodoval lesen hodnik, ki je v prvem nadstropju povezoval graščino s cerkvijo. Poškodovani strop so nadomestili s sedanjim ravnim stropom, uničeni leseni hodnik pa zamenjali z zidanim.

Arhitekt, ki je izpeljal baročno prenovo graščine, je v osrednji del povečane stavbne mase umestil ovalno avlo z velikim stopniščem, ki ga poudarja mogočna ograja, izdelana iz balustrov.

Radovljica

In the central part of the expanded building mass, the architect in charge of the Baroque-style renovations incorporated an oval vestibule complete with a large stairway adorned with a mighty balustrade.

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Radovljica

Med zadnjo celovito prenovo (2006–2010), namenjeno ohranitvi te pomembne kulturne dediščine, se je izkazalo, da so v času po omenjenem požaru, še posebej pa med in takoj po drugi svetovni vojni, stavbo doletele še nekatere prilagoditve in popravila, pri katerih so bile prekrite številne likovne okrasitve iz časa baroka. Z restavracijo posameznih gradbenih elementov se je zato stavbo ne le posodobilo, temveč se ji je vrnilo tudi del izgubljenega baročnega razkošja in veličastja. Osrednje stopnišče tako znova lepšajo podokenske niše, s podrtjem predelnih sten in kasneje dodanega stropa ter po restavraciji z debelimi plastmi ometa prekritih okrasnih vzorcev v štuku in poslikav pa je v svojem izvirnem dvoetažnem volumnu in baročnem lepoti-

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čju zažarela tudi velika dvorana. Izgubljeno podobo so restavratorji vrnili tudi vzhodni dvorani, ki jo krasi stropna poslikava, izdelana po požaru leta 1835. Poleg izgubljene arhitekturne podobe je bila osrednjim veličastnim prostorom graščine na neki način povrnjena tudi izvirna uporaba; danes so namenjeni različnim pomembnim dogodkom in sprejemom v Radovljici.

V nadstropnih prostorih graščine sta na ogled postavljeni dve stalni razstavi, ki sta vezani na dediščino mesta in njenih prebivalcev. Prva nas popelje v svet čebelarstva, druga pa v svet gledališke umetnosti, povezane s piscem prvih dramskih del v slovenskem jeziku – Antonom Tomažem Linhartom.

V času zadnje prenove (2006–2010) je poleg stopnišča in avle v baročni podobi ponovno zasijala tudi vélika sprejemna dvorana. Pred prenovo je bila njena veličina zastrta z vrinjenim stropom in predelnimi stenami, ki so jo členile na več manjših prostorov, medtem ko so baročni okras prekrivale debele plasti ometov.

In addition to the stairway and entrance hall, the most recent renovations (2006–2010) restored splendour to the main reception hall. Before the restoration its magnificence was obscured by the inserted ceiling and partition walls, dividing it up into several smaller spaces, while the Baroque ornamentation was buried under thick layers of plaster.

Restavrirana stropna poslikava, nastala po požaru leta 1835, krasi manjšo, ob véliki ležečo plesno dvorano. Za izpostavljenim baročnim okrasjem pa so skrita tudi mnoga druga prenovitvena dela, povezana z utrjevanjem stavbe in odpravljanjem mnogih poškodb zoba časa.

The ceiling painting added after the fire of 1835 has been restored and now decorates the smaller adjoining dance hall. The manifest Baroque ornamentation conceals several renovation efforts tied to the fortification of the building and the treatment of the ravages of time.

V graščinskih prostorih domuje Čebelarski muzej Radovljica, ki obiskovalce z urejeno stalno razstavo pouči o vlogi, pomenu in razvoju te sladke in za kraj nekdaj in danes pomembne dejavnosti.

Radovljica

The castle presently houses the Museum of Apiculture Radovljica. Its permanent exhibition aims to educate the visitors about the role, significance and evolution of this sweet and important past as well as present local activity.

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V Mestnem muzeju Radovljica, ki zaseda del prostorov obnovljene baročne graščine, je s stalno razstavo predstavljen tudi najznamenitejši Radovljičan, tvorec slovenske kulture, avtor prvih v slovenskem jeziku napisanih dramskih iger – Anton Tomaž Linhart.

Na fotografiji: ohranjeni kostumi iz zgodnje uprizoritve gledališke igre Županova Micka.

Museum of Radovljica, occupying a part of the renovated Baroque castle, displays, among other things, the most notable Radovljica native, originator of Slovenian dramatic culture, and author of the first plays in Slovenian – Anton Tomaž Linhart.

The preserved costumes from an early staging of the Županova Micka play (Micka, the Mayor’s Daughter).

Drugi akt / drugi nastop: ANŽE

se po gosposko, pak prav nerodno priklanja. Ti si lepa kakor roža, dolga kakor smreka, brhka kakor hrast, v tvojih tatinskih očeh en fant noter sedi, kateri v mene nekaj strelja. No, kako ti to dopade?

MICKA Ljubi Anže, pusti te norčije! Nikar me še ti ne jezi!

ANŽE Kako je to? Saj še ni dolgo tega, da si take norčije štimala.

JAKA

Anže, ne bodi siten! Kar se je zgodilo, se je zgodilo. Kaj jo boš zdaj še več jezil.

(Anton Tomaž Linhart, Županova Micka)

Act two – scene two:

Radovljica

ANŽE

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a wkwardly attempts to bow in a noble manner. You are beautiful like a flower, tall like a spruce, comely like an oak, there is a mischievous boy behind your thieving eyes and he is flinging something at me, Well, how do you like that?

MICKA My darling Anže, stop with your antics! Don’t you go aggravating me too!

ANŽE

What’s this? Not long ago it was you yourself who was busy with antics of the very same sort.

JAKA

Anže, stop your sulking! It was what it was, no point in irritating her further.

Thurn’s Castle The Seat of the Radovljica Burgage fire destroyed the wooden hallway on the first floor connecting the castle to the church. The ceiling was then replaced with the straight white surface that remains today and the demolished wooden hallway was replaced with a stone-built one.

The most recent general renovation (2006–2010), which aimed to preserve this significant cultural monument, revealed that the fire and especially World War II instigated other adjustments and repairs covering ornamental artwork from the Baroque era. The restoration was adapted accordingly and was no longer limited to bringing the structure in line with the present, but rather aimed to restore some of the Baroque extravagance and grandeur. The main stairway thus again displays niches beneath the windows, while the great hall regained its lavish Baroque-style luminescence and impressive two-storey spaciousness when the added plain walls and ceiling were torn down, the thick plaster removed, and richly ornate stucco that was buried underneath could finally be restored.

The east hall also regained its lost visage through the restoration of the ceiling painting, which dates to after the fire of 1835. In addition to regaining the lost architecture, in a way, the spaces also reclaimed their original use; the halls again serve Radovljica as the venue for various significant events and receptions.

The first and second floor of the castle feature two permanent exhibitions, both of which are tied to the town’s heritage. The first exhibition acquaints visitors with the world of apiculture and the second with the world of dramatic arts in connection with the first Slovenian playwright – Anton Tomaž Linhart.

Radovljica

Three buildings expand and emphasise the northern part of the old town square, present day Linhart Square: St Peter’s Church, the presbytery, and the former residential building of landowners’ from Radovljica, draped in ornamental Baroque-style extravagance.

The appearance and date of construction of the first noble residence in the place of modern day dominant ornate Baroque-style castle, which takes up nearly half of the square, remain a mystery. However, the standing structure features details, designed and fashioned in various time-periods and styles, testifying to a long history of additions, renovations, and repairs through which varying owners continuously adapted to the ever changing demands of utilization and aesthetics. The first known remodelling of the original architecture dates to the beginning of the 16th century, most probably to 1511 when the turret projection was reshaped. The most recent large-scale intervention took place in the 18th century. At the time, it was in the possession of the noble Thurn-Valsassina family that held the estate from 1618 until the end of World War II. They entrusted the renovation to an unknown architect, who was charged with the extremely difficult task of updating and at least visually unifying the heterogeneous compound of the castle’s thick and rough walls, dark staircases, and organizing out-of-date arrangement of spaces in keeping with contemporaneous local fashion guidelines.

The face of the building opposite the square reflects the successful adaptation of the interior to Baroque-style predilection for symmetry. A centrally positioned avant-corps emphasises the balance of the building face; its triangular gable hangs above the cornice. The tall arched main entrance is positioned in the central axis and opens into a shallow barrel-vaulted vestibule, leading to a grand foyer. Here the architect chose to feature a lavish imperial stairway. The open staircases are adorned with balustrades and bisect the space of the structure. The stairway leads to the dramatic spaces on the first floor. These include two halls of different sizes that are connected but could either be used separately or, if the occasion called for it, in combination as a single space. This type of sensible and effective solution of connecting two main halls is representative of the lifestyle of the highest ranks of Baroque-era society and is typical of the majority of the castles and palaces built or remodelled at the time. Following the owner’s wishes the architect requisitioned painting and stucco ornamentation for the reception and public spaces (in addition to the halls mentioned above, these include a stairway foyer and an anteroom on the first floor). Rich stucco decoration is also featured on the building’s exterior, which stands out in the space of the square. The ground floor has a rustic flavour and its façade apertures are emphasised by lush stucco ornamentation.

During the Baroque-era renovations, all the other spaces, residential and economic, were placed in the old turret part behind the foyer and the entrance stairway and set at the sides of the central imposing core of the building. The entrance vestibule opens to the left and right atrium and boasts two individually placed staircases linking to the spaces on the first and second floors.

At the time the north-eastern part of the old town core had already begun expanding beyond the ramparts, park grounds were appended to the castle grounds. Unfortunately these remain attested only in old drawings (Franciscean Cadastre). Afterwards, with the exception of this park and a few smaller repairs and renovations, the strongly renovated building conforming to the principles of Baroque style remained unchanged to this day.

The largest-scale repairs became necessary due to the damages caused by the devastating town fire of 1835. It seems most probable that when the castle roof burned down, this resulted in the destruction of the ornate ceiling featuring illusionist frescoes in the great entrance hall. The same

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Sladka srca v Gostilni Lectar Med starimi hišami, ki s svojo dejavnostjo bogatijo sodoben življenjski utrip starega mestnega jedra, je tudi gostilna s prenočišči Lectar.

Prijeten gostinski lokal svojo posebnost gradi na izročilu – na vsem, kar so predniki v tem prostoru kakovostnega ustvarili. To je razvidno tako iz skrbno vzdrževane arhitekturne podobe hiše, kot tudi iz ohranjenega starega imena – Lectar. Pisni viri potrjujejo, kar razkriva že ime samo. Lastniki hiše, ki stoji tesno ob grajskem poslopju in je s čelno fasado usmerjena na trg, so se desetletja pred gostinstvom ukvarjali z izdelavo lecta – poltrajnega peciva iz medenega testa, olepšanega s površinskim okrasjem iz sladkorja, škroba in želatine. S sladko obrtjo, s katero je še vedno povezano hišno ime, se je leta 1766 pričel ukvarjati v hišo priženjeni Jakob Krivic. Očesu privlačni izdelki so se desetletja uspešno prodajali na sejmih in ob verskih praznikih. Največji razcvet je lectarska obrt doživela v 19. stoletju. Takrat je Lectar tudi dobil sedanji videz. Leta 1822 so hišo povečali, da so v njej lahko uredili še gostinske prostore, stavbni ovoj pa so preoblikovali v slogu tedaj modnega likovnega jezika klasicizma.

Lectovo srce je izmed vseh tradicionalnih oblik tega okrašenega medenega peciva najbolj znano in priljubljeno. Od nekdaj se ga je darovalo kot simbol ljubezni, zato je obarvano rdeče in umetelno okrašeno, pogosto pa opremljeno tudi s kratkimi verzi.

Radovljica

Out of all the traditional forms of lectar sweets, the heart is the favourite and most well known. It has always been gifted as a symbol of love, this is why it is coloured red, artfully decorated, and often features short verses.

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Ker je v začetku 20. stoletja zanimanje za okrašene medene kolače upadlo, so dejavnost, ki je bila kasneje povezana tudi z izdelavo medenega žganja in sveč, opustili. Dolga leta je na opuščeno, ne več zanimivo in nedonosno dejavnost spominjalo le še staro ime gostilne.

Toda nedavne uspešno izpeljane prenove starih slovenskih mestnih jeder so sprožile tudi trend ponovne oživitve starih obrtnih dejavnosti. Navzočnost tradicionalnih obrti danes plemeniti stara mestna jedra, jim daje zgodovinsko patino ter podkrepljuje in poudarja njihovo izjemnost. Tovrstno spoznanje je spodbudilo tudi današnja lastnika radovljiškega Lectarja, da sta v prostore hiše ob gostilni ponovno uvedla obe nekdanji dejavnosti. V nadstropju nad gostilno sta uredila t. i. tujske sobe, v sodobnem izrazoslovju imenovane sobe za goste, iz kleti pa je leta 2006 na prosto po dolgem

Tik ob graščini stoji s čelno fasado na trg usmerjena hiša, ki je današnjo klasicistično arhitekturno podobo dobila leta 1822. V njej, tako kot so nekoč, točijo vino, strežejo hrano, prenočijo goste in izdelujejo sladki lect. Seveda se je od tedaj marsikaj spremenilo, posodobilo, toda starinski pridih prostora gosta še vedno navda z občutkom domačnega razpoloženja in dobrodošlice.

The house in the immediate vicinity of the castle, facing the square, received its current Classicist architectural form in 1822. The interior, like in the days of old, features eating, drinking, lodging and baking of sweet lectar sweets. Of course, much has been changed and updated since then, however, the old-fashioned welcoming atmosphere still makes guests feel right at home.

Oživitev tradicionalne obrti se je začela z raziskovanjem lectarske dejavnosti. Obiskovanje redkih še dejavnih obrtnih mojstrov je radovljiška gostinca naposled pripeljalo v Ljutomer, v delavnico, ki sta jo tam vodila Vera in Gregor Peischl Škrajnar. Oprema delavnice je bila stara. Toda kljub patini lesenih površin z brazgotinami stoletne obrabe, je bila še vedno trdna in uporabna. Vse delovne površine, police in predalniki, izdelani iz masivnega lesa, so bili domišljeno oblikovani in prilagojeni uporabi, star les, prepojen z mešanico lectovih začimb, pa je oddajal sladek vonj, ki ga je današnji spomin že skoraj docela pozabil. Prijetnost prostora stare delavnice je radovljiška gostinca takoj osvojila. Takšna in nič drugačna mora biti tudi njuna na novo vzpostavljena delavnica, sta sklenila. Stara obrt izdelovanja lecta se mora odvijati v prostoru, opremljenim s starim pohištvom in orodjem.

Kasneje so se v ljutomerski delavnici umetnostne obrti izdelovanja figuralno oblikovanega in okrašenega peciva naučile tudi vse današnje radovljiške lectarke.

Prijateljska vez, ki se je tedaj stkala med radovljiškima gostincema in lectarji v Ljutomeru, pa je botrovala odločitvi Vere in Gregorja Peischl Škrajnar, da sta jima ob prenehanju opravljanja svoje dejavnosti odprodala vso starinsko opremo. Tako se je poleg receptov, postopkov izdelave in vseh drobnih skrivnosti, pridobljenih z dolgoletnimi izkušnjami, v Radovljico preselila tudi notranja oprema in vse potrebno orodje za izdelovanje lecta.

Pa ne le to; obisk muzejsko urejene lectarije danes daje občutiti, da se je iz ljutomerske delavnice skupaj z znanjem in opremo v Radovljico preselila in ponovno vzplamtela tudi skoraj pozabljena, a globoko vkoreninjena ljubezen do umetelnega izdelovanja starodobnih sladkarij.

Radovljica

času ponovno zavel prijeten vonj po sveže pečenem medenem testu.

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Ko se za vhodom v gostilno po kamnitih stopnicah spustimo v lectarsko delavnico, nas na pretekli čas in tradicijo ne spomni le ponovno obujena lectarska dejavnost, ampak tudi arhitektura nizkega kletnega prostora, v katerem se težka kamnita ločna konstrukcija stropa opira na debele in neravno oblikovane zidove.

Radovljica

Upon descending down the stone steps behind the entrance to the inn, we are reminded of past traditions by the activities as well as the architecture of the low cellar, where the arched ceiling construction sits on thick uneven walls.

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Današnja oprema muzejsko urejene lectarije je bila v Radovljico sicer prinešena od drugod, a s svojo starostjo in patino upravičeno spomni na zgodovino hiše, v kateri je leta 1766 lectarsko dejavnost začel njen tedanji lastnik Jakob Krivic.

The equipment currently used in the workshop was brought to Radovljica from elsewhere, nevertheless its age and patina rightly evoke the memory of 1766 when Jakob Krivic first started to make lectar sweets.

Vsa oprema lectarije je izdelana iz lesa; tako masivno pohištvo, ki je do podrobnosti prilagojeno opravljanju obrti, kot tudi obloge kamnitih sten, stare peči ter vse drobno orodje, shranjeno na policah in v predalnikih. Starost opreme se ocenjuje na sto do dvesto let.

All of the equipment in the workshop is made from wood; this includes the solidwood furniture adapted in every detail to the demands of the trade, panelling of the stone-walls, old furnaces and all the fine tools kept on the shelves and in the drawers. The equipment has been estimated to be between one and two hundred years old.

The Lectar inn stands amidst other old buildings lending their space for activities, which enrich the day-to-day life of the old town centre. The appeal of the pleasant hospitality establishment is built on the fundament of heritage comprised of everything created in times past by the owners’ ancestors. Reverence for heritage is evident from the careful upkeep of the building’s architecture and the very preservation of its original name – “Lectar”.

Written sources confirm what the name would lead us to believe; decades before the house facing the square in the immediate vicinity of the castle became an inn, it served as a bakery specialised in lectar candy – semidurable baked goods made from honey dough decorated with surface decorations made from sugar, starch, and gelatine. In 1766, Jakob Krivic, having married into the household, began practicing the sweet trade which lent the house its name. For centuries, the eye-catching products sold well at fairs and church festivities. The lectar trade’s was at its peek in the 19th century, when the candy developed the appearance it maintains today. In 1822 the house was expanded in order to fit additional guestrooms, at which time the exterior was adapted in keeping with the guidelines of Classicism, the fashionable style of the day.

Due to the steeply declining interest in decorated honey sweets in the 20th century, the activity, along with the side business of mead and beeswax candle production, was abandoned. For years, the name of the inn was the sole remnant of the now unprofitable and uninteresting activity.

However, the recent successful renovations of old Slovenian town centres incited a trend of revitalisation of old trades. Now the presence of traditional artisanship enriches old town cores, lending an air of historicity and accentuating their exceptionality. Realizing this potential Lectar’s current owners decided to reinstate both former trades in the house next to the inn.

They arranged the rooms above the restaurant in the authentic traditional fashion and in 2006 the scent of freshly baked honey dough began emanating from the cellar once again.

Their revival of the traditional craft started with researching the art of lectar baking. The search for rare remaining active lectar bakers finally brought the Radovljica-native innkeepers to Vera and Gregor Škrajnar’s workshop in Ljutomer. The equipment there was old and marked by centuries of use but was still strong and useful. All the solid wood work surfaces, shelves and drawers were imaginatively designed and adapted to their respective tasks. Old wood, saturated with a mixture of spices, emanated a sweet scent that was all but forgotten. The innkeepers from Radovljica immediately took to the workshop’s pleasant ambience. They knew then and there that their own workshop would be the same in every way. The ancient art of lectar baking had to be practiced in a space furnished with old furniture and tools.

All the subsequent Radovljica-based lectar bakers learned the art of shaping figural and ornate sweets at the same Ljutomer workshop. The ties of friendship forged between the innkeepers from Radovljica and lectar bakers from Ljutomer led Vera and Gregor Škrajnar to sell them their antique tools and furnishings after closing their workshop. And so, in addition to recipes, working procedures, and small secrets of the trade perfected through years of experience, Radovljica received the traditional interior furnishings and tools necessary for the baking of lectar sweets.

Furhtermore, in addition to the skill and tools of the trade, the imports from the Ljutomer workshop also imbued Radovljica with the nearly forgotten but deeply rooted love for artisan shaping of ancient candy, which can now be sensed at the lectar museum exhibition.

Radovljica

Sweethearts in the “Lectar” Inn

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Bogatajeva hiša Gorenjska cesta 4

Radovljica

Pred vhodom na stari radovljiški trg stoji skupek stavb, ki predstavljajo vez med starinskim in sodobnim delom vrtnega mesta. Ker so bile postavljene izven starega mestnega obzidja (ostaline le-tega in zaščitnega jarka so še vedno vidne), se jih je v 18. stoletju imenovalo Predmesto.

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Stavba je, ne glede na temeljito prenovo in prilagoditev sodobnemu življenjskemu standardu, ohranila velik del arhitekturnih značilnosti hiš, kakršne so v 19. stoletju postavljali s kmetijstvom še vedno močno povezani (pri)mestni obrtniki, trgovci in gostinci.

In spite of the fundamental renovations and adaptation to the modern lifestyle, the building preserved many architectural characteristics typical of houses built in towns or nearby in the 19th century by tradesmen, merchants, and innkeepers who were still influenced by farm-life.

Med temi ličnimi starimi hišami, katerih večina bi sicer potrebovala takšno ali drugačno obnovo, stoji tudi pred dvanajstimi leti posodobljena Bogatajeva hiša.

Gre za stavbo trškega videza, torej hišo, ki se je razvila iz lokalne kmečke arhitekture zaradi vznika različnih mestnih dejavnosti in z njimi povezanih sprememb življenjskih navad prebivalcev.

V katastrskem načrtu, ki so ga za Radovljico izdelali leta 1826, je hiša že izrisana v današnji velikosti. Kdaj je na tem mestu bila postavljena prva stavba in kakšna je bila, ni znano. Ve pa se, da je tam, v hiši, ki je tedaj najverjetneje imela drugačno arhitekturno podobo, na prelomu 17. in 18. stoletja živel in delal barvarski mojster Jurij Kunstelj. Konec 19. stoletja je hišo kupil klobučarski mojster Josip Bogataj, po čigar priimku je ta stavba med Radovljičani znana še danes.

Bogatajeva hiša je postavljena na prostoru nepravilne oblike, ki ga izrisuje razširjena Gorenjska cesta, orientirana pa je tako, da sta njeni lepo oblikovani čelna in vzdolžna fasada z glavnim vhodom v osi s cesto ter vidni z izteka starega radovljiškega trga. Hiša je nadstropna in ima strmo dvokapno streho. Fasade predirajo v visok pravokotnik oblikovane in z enostavnimi obrobami poudarjene okenske odprtine, ki so urejene v ritmično razporejene navpičnice. V osi vzdolžne fasade je z okvirjem iz zelenega tufa poudarjen glavni vhod, ki vodi v mogočno obokano vežo s stopniščem in izhodom na dvorišče zadaj.

Klobučarski mojster Josip Bogataj je trško hišo pred vhodom na stari radovljiški trg kupil konec 19. stoletja. V pritličju stavbe, oblikovane po klasicističnih kanonih, je odprl klobučarsko delavnico s trgovino, ki je prenehala delovati tik pred drugo svetovno vojno.

Master milliner Josip Bogataj bought the market town house facing the entrance to the old Radovljica Square at the end of the 19th century. On the ground floor of this Classicist-style building he launched a workshop and store, both of which closed before World War II.

Podobno je tudi danes. V pritličju zdaj posodobljene hiše so še vedno trgovsko-poslovni prostori, v nadstropju pa je urejeno stanovanje. A ker je bila hiša vmes nekaj let zapuščena, so bila popravila poškodb zahtevna. Debele kamnite zidove, v nadstropju pa mešane kamnite in opečne, se je med seboj povezalo z armiranobetonskimi ploščami. Tako utrjena nosilna konstrukcija je bila nato prekrita z novo streho. V njej so bili urejeni dodatni prostori, zato so jo dobro izolirali in predrli s frčadami, postavljenimi v obstoječe okenske osi. V nadstropju, kamor se iz veže povzpnemo po starih, restavriranih in prijetno škripajočih stopnicah,

Iz obokane veže v stanovanje vodijo stare restavrirane dvoramne lesene stopnice. Na podestu nas na nekdanjo dejavnost v hiši spominja prodajna vitrina iz trgovine in v njej klobuk, ki so ga izdelale roke mojstra Bogatajeve klobučarske delavnice.

The arched vestibule links to the apartment via two flights of restored old wooden stairs. The landing features a reminder of past activities, a display case from the old shop complete with a hat made by a master milliner from Bogataj’s workshop.

Radovljica

V pritličju hiše je mojster Bogataj konec 19. stoletja uredil klobučarsko delavnico in odprl trgovino s klobuki, ki naj bi postala družinska poslovalnica, medtem ko bi se imenitna klobučarska obrt prenašala iz generacije v generacijo. Toda usoda je hotela drugače. Nekaj let pred drugo svetovno vojno se je prostore v pritličju oddalo najemnikom, lastniki pa so še naprej stanovali v nadstropju hiše.

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so sobe za dnevno bivanje družine, ki so ostale v izvirnih velikostih in povezavah. Sodobnemu bivanjskemu standardu je prilagojena le njihova namembnost, ki jo zrcali razporeditev notranje opreme. Med pohištvom prevladujejo kosi, ki so jih spretne roke mizarskih mojstrov izdelale v nedavni preteklosti. Visoki prostori so med seboj povezani s širokimi dvokrilnimi vrati. Poleg samih prostorov ter pohištva s patino in značajem pa k trajni imenitnosti prispevajo tudi na novo izdelani tlaki; medeno bleščeč les je mestoma dopolnjen z zamolklo rdečim opečnim tlakovcem. Novo je tudi stavbno pohištvo, ki so ga mizarji z manjšimi posodobitvami vratnih in okenskih kril izdelali na osnovi starega, močno poškodovanega.

Radovljica

Osrednji dnevni prostor zaznamuje prelepa stara visoka in ozka peč z umetelno okrašenimi zelenimi pečnicami, ki ima čisto posebno vrednost. Ne le da prostoru daje značajnost in svojstvenost ter obuja spomin na stare čase, ko so hišni prostori dišali po drveh; ima tudi spominsko-zgodovinsko vrednost. Izdelana je bila namreč iz restavriranih pečnic, kot replika lončene peči iz dvorca na Uncu, v katerem je kot upokojenec živel pomembni slovenski general Rudolf Maister.

Dvorec je podedoval po mamini sestri, vdovi Matildi Sebenik, po generalovi smrti pa je bil prodan in pred časom namenjen rušenju. Lastnika Bogatajeve hiše sta po naključju izvedela, da so v omenjenem starem dvorcu zelo zanimive lončene peči, in tako sta eno rešila pred propadom.

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V prostornem in sodobno opremljenem dnevnem prostoru stoji delujoča stara okrašena lončena peč. Lastnika sta jo prenesla iz rušenju namenjenega dvorca na Uncu, ki je bil priljubljeno zatočišče generala Rudolfa Maistra.

Amidst contemporary furnishings of the spacious living room stands an old ornate ceramic stove. The owners transported it from the mansion in Unec, formerly general Rudolf Maister’s beloved sanctuary that was set to be demolished.

Med pohištvom, ki je bilo nekoč v ponos domu in je, kljub novim merilom lepega, še vedno svojstveno očarljivo, je tudi oprema jedilnice. Izdelana je bila med letoma 1920 in 1940 v tedaj uveljavljenem elegantnem in prestižnem slogu oblikovanja, imenovanem Art deco.

The furnishings that had been the pride of the home in the past and which remains uniquely charming in the face of present-day aesthetic standards includes the dining room furnishings. It was designed between 1920 and 1940 in the established and prestigious style of the day known as Art deco.

THE BOGATAJ HOUSE Gorenjska cesta 4 of the ceramic masonry stove from the Unec court, once the residence of the noted Slovenian general Rudolf Maister. He had inherited the mansion from his mother’s sister, widow Matilda Sebenik. After the general’s death the court was sold and later torn down. By chance, the owners of the Bogataj House learned that the above mansion housed very interesting ceramic stoves and decided to salvage one from ruin.

Predprostor v stanovanju je opremljen s podedovanimi kosi pohištva, izdelanimi v staronemškem stilu. Starinsko? Morda, a tudi brezčasno lepo, ki s svojo toplino domačnosti človeka prevzame.

The residential antechamber is furnished with inherited pieces of furniture made in the Altdeutsches style. Antiquated? Perhaps, but also infused with timeless beauty emanating a defeating sense of warm familiarity.

Radovljica

The row of houses standing across from the entrance to the old square in Radovljica denotes a link between the old part of this garden town and the new. In the 18th century the latter was designated “fore-town” due to its location outside the old town walls (along with the trench they remain partly visible today). Most of these lovely old houses would benefit from renovation of one sort or another. Among them stands “Bogataj’s” house. The market town exterior of the house evolved from a local rural architecture as a result of changes in the local residents’ lifestyles following the introduction of urban activities.

The cadastre plans for Radovljica from 1826 feature a depiction of the house in its current size. The time of construction and shape of the first structure in the place of the modern day building remain undetermined.

It is however known that the house that stood there between the 17th and 18th centuries, most probably of a different appearance, was the residence of master painter Jurij Kunstelj. At the end of the 19th century, the house was purchased by Josip Bogataj, a hat maker whose last name remains the house’s popular designation among the Radovljica locals to this day.

The Bogataj House stands in an irregularly shaped space outlined by the widening of the Gorenjska road. Its shapely face and side façade containing the main entrance are in axis with the road and visible from the edge of the old square. The single-storey house ends in a steep gable roof. Tall rectangular window apertures emphasised with simple trim borders pierce the façades, ordered in rhythmically arranged vertical rows. The main entrance is positioned parallell the axis of the longitudinal building face and is emphasised by a green tuff frame; it leads into an imposing vaulted lobby featuring a staircase and an exit directly on to the back courtyard.

At the end of the 19th century, master Bogataj established a millinery and hat store on the ground floor. The store was to become the family business with the esteemed milliner trade being passed down the generations. But the fates ordained otherwise. A few years before the break of World War II, the spaces on the ground floor were let out while the owners continued to reside on the first floor.

Today the situation is similar. The ground floor of the present-day renovated house continues to serve commerce and trade activities, and the first floor remains residential. But, because for a time the house stood abandoned, the repairs of the damages incurred by time were extensive.

The thick stone walls on the ground floor and the combination of brick and stone walls above were bound together using reinforced concrete slabs.

The resulting strengthened walls were then covered with a new roof. New spaces were introduced, and so the interior was well insulated and pierced with newly added dormers in line with existing window axes. The residential rooms at the top of the old, restored but pleasantly squealing, stairs remain unchanged in sizes and arrangement. The purposes of the rooms have been adapted to fit the demands of modern living, which is reflected in the organisation of the furniture. The majority of the pieces were fashioned in the recent past by skillful artisans. Wide double doors connect the tall rooms. In addition to the distinctive personality of the furniture and the rooms themselves, the newly fashioned floors amplify the residence’s lasting distinguished appearance; in places subdued red tiling tastefully interrupts the honey-like sheen of the wood. New fittings have also been made to order. Save for very few updates of the door and window wings, they were precisely modeled after the severely damaged original fixtures.

A beautiful tall and narrow stove, covered with artfully fashioned green tiles, demarcates the central living space. The stove infuses the space with a unique character and personality, recalling a time past, when the air was heavy with the smell of firewood. Furthermore, it holds a certain commemorative historical value; It was constructed from restored tiles as a replica

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Slovenske Konjice

Radaganda Lotodos Gonobitz Konjice

Mesto od leta 1964 dalje Town rights since 1964 Slovenske Konjice so v družbi zgodovinskih mest najmlajše mesto. Mestne pravice so bile temu naselju podeljene šele leta 1964, čeprav je v pisnih virih prvič omenjeno že leta 1146, naključno odkrite in nato raziskane arheološke ostaline pa so razkrile, da je bilo to področje obljudeno celo že dolgo pred tem. Slovenske Konjice ležijo na robu Dravinjskih goric, valovitega gričevja pod južnim pobočjem Pohorja, po katerih vijuga reka Dravinja.

Slovenske Konjice

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drugi polovici 20. stoletja se je mlado mesto – tudi po zaslugi odlične lege ob prometnici, ki povezuje današnje državno središče z Mariborom – razvilo v cvetoče upravno, oskrbovalno in industrijsko središče zgornjega dela doline reke Dravinje. Z razvojem mesta je bila povezana tudi živahna gradbena dejavnost. Pojavile so se razne nove, moderno oblikovane zgradbe; od industrijskih objektov do enodružinskih stanovanjskih hiš, ki so po sodobnih načelih urbanističnega načrtovanja izoblikovale zaokrožene mestne predele. Nova arhitektura je v raztočem mestu ovila in prevladala nad podobo starega mestnega jedra z dominantno Cerkvijo sv. Jurija. A sprehod po novih mestnih predelih, ki so tihi in mirni, ni posebej zanimiv, je celo dolgočasen. Italijanski arhitekt Bruno Zevi (1918–2000) je dognal vzrok.

Novodobni arhitekturi, ki ima sicer veliko dobrih lastnosti, zaradi prevelike želje po izvirnosti in drugačnosti, manjka uglajenosti. »Če opazujemo v naših novih mestnih četrtih kričečnost barv, različnih vrst marmorjev, oblik balkonov, višine napuščev, boste

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videli, kako je to stremljenje po originalnosti v svoji celoti konec koncev mnogo bolj enolično, kakor pa so nekatere skladne četrti iz 18. ali celo iz 19. stoletja, ko so se stavbe odevale v obleko po pravilih uglajenosti.« (Zevi, 1959: 130) Ugotovitev arhitekta Bruna Zevija z druge strani potrdi pogled, ki se odpre ob vstopu v staro naselbinsko jedro na drugem bregu reke Dravinje. Z dolgega trga oziroma rahlo dvigajoče se razširjene ceste, ki jo z obeh strani oblikuje strnjena gradnja eno- in dvonadstropnih hiš, lahko občudujemo navdušujočo skladnost pozidave in uglajenost teh starih stavb. Nekatere izmed njih še kažejo poznogotske poteze, sicer pa je bila večina preoblikovana in je današnji arhitekturni izraz dobila po zadnjem uničujočem požaru, ki je mesto prizadel leta 1786. Hiše v starem jedru so večinoma pripadale konjiškim trgovcem in različnim obrtnikom – v Slovenskih Konjicah so nekdaj bile vodilne usnjarska, lesarska in mlinarska dejavnost. Poleg lepih in kakovostno prenovljenih starih hiš je posebna

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Slovenske Konjice

Slovenske Konjice Town rights since 1964 Slovenske Konjice is the youngest among Slovenia’s historical towns. It got its town rights as late as 1964, even though the settlements is mentioned in written sources already in 1146, and though accidental finds and later surveys revealed that this space was settled long before that. The town of Slovenske Konjice is located at the foot of Dravinjske gorice, an undulating hill range under the southern slopes of the Pohorje Mountains where river Dravinja meanders. In part due to its excellent location by the traffic route between Slovenia’s present-day capital Ljubljana and Maribor, in the second half of the 20th century the young town became a flourishing administrative and industrial centre supplying the area of river Dravinja’s upper course. The town’s development was linked to lively construction activity. Varied new modern-shaped buildings appeared ranging from industrial structures to family houses, which shaped coherent urban areas in accordance with modern principles of urban planning. New architecture enveloped and soon eclipsed the comely old town core dominated by St George’s Church.

However, taking a walk through the quiet and peaceful new town areas is not particularly interesting, in fact it is outright boring. Italian Architect Bruno Zevi (1918–2000) surmised that this was because in its desire for originality modern architecture, though it has several good qualities, lacks refinement. “If we observe the loud colours, varied assortment of marble sorts, balcony types, overhang heights of our new town quarters, it becomes evident how this striving for originality in the end amounts to a much more monotonous whole than some harmonious quarters from the 18th or even 19th century, when buildings were clad with a mind towards refinement.” (Zevi, 1959: 130) The view from the entrance to the old settlement core on the other side of river Dravinja, in the elongated square and the slightly elevated widening in the road shaped on both sides by a dense formation of single- and two-storey houses confirms Bruno Zevi’s viewpoint; it reveals a thrillingly harmonious construction and refinement of old buildings. Some of the old buildings still display late Gothic features, though most have been transformed as a result of a devastating fire of 1786, resulting in the appearance the houses retains to this day. The houses of the old town centre were predominately owned by horse traders and various craftsmen – in the past the leading industries in Slovenske Konjice were tanning, woodworking, and corn milling. Aside from the beautiful and well renovated old houses, the mediaeval town core features another particularly significant feature – a stream running

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dragocenost srednjeveškega jedra tudi potoček, ki teče po simetrali dolgega trga. Potoček nima le enega, ampak več imen: Ribnica, Gospodična in Zmajeva slina.

Naselje se je sprva razvilo pod okriljem starega konjiškega gradu in je trške pravice dobilo v 13. stoletju. Tedaj je trg imel lastno nižje sodstvo in dobil svoj grb – belega konja na rdeči podlagi. Toda v tem in naslednjih stoletjih življenje v naselju ni bilo mirno. Razvoj so – kot v mnogih drugih slovenskih naselbinah tisti čas – ovirali pogosti vpadi Turkov, širjenje smrtonosnih bolezni in požari. Turki so naselje napadli trikrat, v kronikah je zabeleženo, da je leta 1473 prebivalce posebej zdesetkala kuga, požari pa so naselje poškodovali večkrat. Nanje še danes spominjajo posamezna obeležja, ki kot zgodovinski in umetniški pomniki prispevajo tudi k obogatitvi, lepoti in dostojanstvu mesta. Poleg ohranjenih fresk sv. Florijana, zavetnika gasilcev, ki krasijo fasade večih hiš, je najlepši tovrstni arhitekturni element zagotovo kužno znamenje sv. Florijana na Starem trgu.

Spominsko obeležje je med letoma 1740 in 1750 izdelal konjiški kipar Franc Zamlik (1708–1758).

Monumentalno kiparsko delo, sestavljeno iz kipov petih svetnikov, priprošnjikov in zaščitnikov, skupaj s potočkom krasi in je izvirna znamenitost Starega trga, ki je bil pred tremi leti (2013) tudi kakovostno arhitekturno preurejen in ozelenjen.

Stari trg, osrednji prostor starega mestnega jedra, se pod pobočjem Konjiške gore sklene s prostorsko izpostavljeno Cerkvijo sv. Jurija.

Raziskave njene zgodovine nas poučijo, da je na tem mestu kot sedež pražupnije stala romanska cerkev že pred letom 1146. Arhitektu-

ra cerkvenega objekta se je skozi čas razraščala, tako da so danes v njej ohranjeni romanski, gotski in baročni elementi. Ker je bilo neposredno ob sakralnem objektu pokopališče, je bilo tekom let v cerkev vzidanih več nagrobnikov.

Ob cerkvi, na začetku urejenega parka, ki se dviguje do in se nadaljuje nad Dvorcem Trebnik, s svojo velikostjo, starostjo in renesančno urejenostjo fasadnih ploskev preseneti tudi župnišče. »Nadžupnijska hiša je zelo stara stavba, ki je bila leta 1631 prezidana po vzoru laških dvorcev. Konjiška prafara je bila mati župnij sv. Jurija v Konjicah, Prihove, Loč, Laporja, sv. Kunigunde na Pohorju, […] in dveh pozneje ukinjenih samostanov: kartuzije v Žičah ter Dominikanskega samostana v Studenicah.« (Zupan 1937: 566)

Stari trg leta 1908. Na njem (še danes) stoji kužno znamenje sv. Florijana, ki nas opominja na grozo v očeh prebivalcev, ko so se v naselju pokazale prve kali neozdravljivih bolezni ali pa so se v nebo zarezali ognjeni zublji.

Spomenik sestavlja pet kipov – pet svetnikov in naselbinskih zaščitnikov: sv. Florijan, sv. Frančišek Ksaverij, sv.

Rok, sv. Jurij in sv. Janez Nepomuk. Umetnina je delo konjiškega kiparja Franca Zamlika.

Stari trg in 1908. It (still) features St Florian’s plague column, reminding us of the terror the residents felt, when the first signs of incurable disease were spotted in town, or when flames rose against the sky. The monument comprises five statues – five saints and protectors of the settlement: St Florian, St Francis Xavier, St Roch, St George, and St John of Nepomuk. The artwork was created by sculptor Franc Zamlik.

down the bisection of the elongated square. The stream has, not one, but several names: Ribnica (fish stream), Gospodična (miss) and Zmajeva slina (dragon saliva).

The settlement initially developed under the patronage of the old Konjice castle and received market rights in the 13th century. At the time, the market town possessed lower justice and a coat of arms – a white horse on a red background.

However in this and subsequent centuries life was not peaceful in this settlement. As that of other Slovenian settlements of the period, its development was hindered by Turkish raids, the spreading of lethal diseases, and fires. The Turks raided the settlement three times; according to chronicles, in 1473 a particularly lethal plague decimated the population; several fires devastated the settlement. These occurrences are commemorated by individual historical and artistic monuments enriching the town and adding to its beauty and grandeur. Several facades, for example, display frescoes featuring St Florian, the patron of fire fighters. Another architectural element, the most beautiful of its type, is certainly the plague column of St Florian in Stari trg square; the commemorative structure was fashioned between 1740 and 1750 by local sculptor Franc Zamlik (1708–1758). The monumental sculpture comprises the statues of five saints, intercessors and patrons. It joins the stream as an original attraction adorning Stari trg square, which was clad in greenery and renovated to a high standard in 2013.

Stari trg, the central square of the old town core, concludes under the slope of Konjiška gora terminating at the dominant structure of St George’s Church. Research of its history revealed that it was preceded by a Romanesque church which served as the seat of a protoparish even before 1146. The architecture of the church structure gradually expanded and presently comprises Romanesque, Gothic, and Baroque elements. Since there was a graveyard in the immediate vicinity of the sacred building, several gravestones became integrated into the church as it expanded through the years.

At the start of the ordered park by the church that rises and extends past the Trebnik court, stands a surprisingly large and venerable presbytery, with its façade surfaces ordered in the Renaissance fashion. “The parochial residence is very old, and was transformed in 1631 influenced by Laško courts. The Konjice proto-parish was the mother of the parish of St George in Konjice, Prihova, Loče, Lapor, St Kunigunda in Pohorje , … and two later dissolved monasteries: the Carthusian Monastery in Žice and the Dominican Monastery in Studenice.” (Zupan 1937: 566) The Trebnik court is another prominent building veiled in the greenery of the park, which gradually merges with the nature behind it. Today it is

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Staro mestno jedro se je pričelo razvijati pod Konjiško goro v srednjem veku, a dejansko je bil ta prostor poseljen že v pradavnini. Pogled na Stari trg, ki je bil še ne dolgo nazaj enovito zalit z asfaltom, sedaj pa je po nedavni prenovi arhitekturno kakovostno preurejen in opremljen s sodobno urbano opremo.

The old town centre at the foot of Konjiška gora mountain range started developing in the Middle Ages, though this space was settled already in prehistoric times. A view of Stari trg; just a short while ago its floor was uniformly paved with asphalt but it has recently undergone high-quality renovations and received modern urban furnishings.

Slovenske Konjice

Arhitekturo trga sestavljajo eno- in dvonadstropne hiše, ki delujejo enovito in uglajeno, kljub razlikam v tipu in razkošju fasadnega okrasja, ki so ga stavbarji izdelali po lastnih zamislih, upoštevajoč oblikovna in likovna načela svojega časa. Pogled na stare hiše nas navda z občutenjem lepega, prijetnega.

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The architecture of the square features two- and three- storeyed houses (counting ground floors), that give the appearance of uniformity and refinements, though they vary by type and in the level of façade ornamentation extravagance, which the builders fashioned following their own inspirations adapted to the principles of design and art of the time. The view of the old houses emanates a sense of beauty and amiability.

Izstopajoča slovenskokonjiška zgradba je tudi Dvorec Trebnik, skrit v zelenilo parka, ki se za njim staplja z naravnim okoljem. Danes je poznan po svoji zeliščno-kozmetični dejavnosti. Poleg njega pa meščani Slovenskih Konjic kot pomembno in priljubljeno ostalino preteklosti izpostavljajo razvaline starega konjiškega gradu (Gonobitz). Obsežne ruševine z impozantnim peterokrakim stolpom dajejo slutiti, kar potrjujejo pisni viri, in sicer, da je bil ta grad, ki je v listinah prvič omenjen že leta 1148, eden največjih gradov na Štajerskem. Po smrti zadnjega zakupnika Ivana Erazma Tattenbacha, leta 1671, je posest z gradom vred dobila žička kartuzija. V njeni lasti je grad pričel propadati in že v začetku 18. stoletja je bil razvalina, ki je bila za obnovo pretrd oreh; tudi za novega lastnika, kneza Werianda Windischgraetza, ki je grad kupil leta 1828.

Grajska razvalina z obnovljenim peterokotnim stolpom (1998) je danes ne samo priljubljena izletniška točka, ker grad stoji na vrhu gozdnatega hriba, odkoder je krasen razgled po Dravinjski dolini in na Pohorje, ampak je tudi učna ura dovršenih tehnik starega graditeljstva. V občudovanja vrednih grajskih razvalinah z izjemno debelimi kamnitimi stenami so lepo vidni ostanki romanskih stavb, gotskih obrambnih stolpov in obzidja ter v renesančni dobi do konca obzidanega dvorišča. Že stari zapisi opisujejo Slovenske Konjice kot snažno in ljubko naselje, primerno za letovanje. A za sprehode in razgledovanje ni prijetno le urejeno naselje z lepimi vrtovi in sadovnjaki, ampak je tudi v njegovi neposredni okolici vse polno priljubljenih izletniških točk kot so Konjiška gora, grad Konjice, žički samostan, Pohorje, vinske gorice v Škalcah in tako dalje. Če kje, potem je v tem majhnem in najmlajšem mestu – posebej, če primerjamo njegov stari in novi predel – jasno vidna pot urbanističnega razvoja, povezana z varovanjem naravne in kulturne dediščine. Milina mesta in življenja v njem je povzeta tudi v melodiji poezije v Slovenskih Konjicah rojenega pesnika Ivana Minattija (1924–2012).

Odlomek pesmi Tako čudno mi je iz zbirke Nekoga moraš imeti rad: Tako čudno mi je.

Nekdo v meni počasi zapira oči, trudne, žalostne, in se obrača v stran, da nihče ne opazi solze, ki bo kanila, da je nihče ne umaže solze poslednje, solze žalosti po lepoti [...]

(Ivan Minatti, Tako čudno mi je)

known for its herbal cosmetics. The townspeople of Slovenjske Konjice also consider the ruins of the old Konjice Castle (Gonobitz) a significant and beloved remnant of the past. The sizeable ruins with the imposing pentagonal tower present a sense of grandeur substantiated by written sources, which state that this castle, first mentioned in charters as early as 1148, was one of the biggest castles what is now the Štajerska region. Following the death of the last leaseholder Ivan Erazem Tattenbach in 1671, the estate including the castle passed to the Žice Carthusian monastery. After it came in its possession, the castle began to deteriorate and was reduced to a ruin by the beginning of the 18th century. Its poor state rendered it beyond repair. The task proved too daunting even for the new owner, prince Weriand Windischgraetz, who bought the castle in 1828.

The castle ruin, with the renovated pentagonal tower (1998), is currently a popular hiking destination. Due to its location at the summit of a forested hill, the ruin offers a marvellous view of Dravinjska valley and Pohorje mountains.

Furthermore it stands as a lesson in perfected construction techniques utilised by the builders of the past. The admirable ruins of thick castle walls include clearly visible remnants of Romanesque buildings, Gothic defensive towers and ramparts, and courtyard finalized in the Renaissance period.

Already in the descriptions of the past, Slovenske Konjice was portrayed as a tidy and adorable settlement, appropriate for vacationing.

One feels drawn to take a walk or take in the view of the orderly settlement, with its beautiful gardens and orchards, as well as of its immediate surroundings, filled with hiking destinations such as Konjiška gora, Konjice Castle, Žice Charterhouse, Pohorje mountains, wine hills in Škalce, etc. If ever there existed an evidently distinguishable course of urban evolution tied to protecting natural and cultural heritage, it exists in this small and youngest town of Slovenia, especially evident by comparing its old and new parts. The grace of the town and its life is also attested in the melodious poetry of Slovenske Konjice-born poet Ivan Minatti (1924–2012).

An excerpt form “I Feel so Strange” from the collection of poems titled “You Have to Love Somebody”: How strange I feel.

Someone in me, is slowly closing their eyes, tired, woeful, and turning away, so none would see the tear, about to fall, so that none would tarnish the final tear, the tear of sadness after beauty [...]

(Ivan Minatti, I feel so strange)

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Razvaline konjiškega gradu, nekdaj enega največjih gradov na Štajerskem. V letih 1998 in 1999 »so mogočni peterokotni gotski obrambni stolp obnovili, ga ometali, tako da s svojo belino že od daleč opozarja na razvaline na pobočju Konjiške gore.« (Jakič, 2001: 83)

Slovenske Konjice

The ruins of the Konjice Castle, once one of the largest castles in the Štajerska region. In 1998 and 1999 “the mighty pentagonal Gothic-style defence tower was renovated and plastered so that its whiteness, alerting to the ruins on the slopes of Konjiška gora, is discernible from a great distance.” (Jakič, 2001: 83)

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Cerkev sv. Jurija z Marijinim znamenjem v ospredju ima – tako kot staro mestno jedro Slovenskih Konjic – dolgo zgodovino. V njej oziroma na njej najdemo ostaline romanskega, gotskega in baročnega arhitekturnega stila, sicer pa je cerkev svoj današnji izgled dobila z zadnjo prezidavo, izpeljano v 19. stoletju. V času turških vdorov je bil prostor cerkve z visokim zidom zaščiteno pribežališče.

Like the old town centre of Slovenke Konjice, the Church of St George – with the Marian column in the forefront – has a long history; the church interior and exterior feature vestiges in the Gothic and Baroque architectural style, while the church’s present-day appearance is the result of its last reconstruction conducted in the 19th century. In the time of Turkish raids, the church behind the tall wall served as a walled shelter.

Monumentalno župnišče na stari razglednici iz leta 1912 (zgoraj) in pogled na glavno, v renesančni arhitekturni maniri oblikovano pročelje (spodaj). Tudi stavba župnišča je nastala postopoma, s prezidavami in dozidavami.

The monumental presbytery structure depicted in an old postcard from 1912 and the view of the main building front designed in the Renaissance architectural manner. The presbytery building also evolved gradually, by means of reconstruction and extension.

Dvorec Trebnik Kljub bogastvu objavljenih del, ki nas poučijo o naši zgodovini in poteku naselbinskega razvoja, si je težko predstavljati čas 12. in 13. stoletja; čas, ko so v dolinici, ki je od starega središča Slovenskih Konjic odmaknjena le dve uri hoda, kartuzijanski redovniki iz lokalnega kamna in lesa začeli graditi svojo versko ustanovo, visoko pod vrhom Konjiške gore pa je že stal mogočen utrjen grad z dva in več metrov debelimi kamnitimi zidovi.

The main and oldest part of the mansion was built between 1630 and 1636. Later it was extended to the left and right sides with two added wings of lower height, and in the 19th century the whole complex was updated receiving a Classicist-style appearance. The mansion’s appearance today.

Pod njim se je tedaj stiskalo majhno naselje z lesenimi hišami in majhno zidano cerkvijo sv. Jurija. Cerkev je takrat imela ravno krito ladjo in nizek zvonik. Ali je v tistem času na pobočju nad cerkvijo, pod gradom, že stala večja stavba – gosposko bivališče, pa še vedno ni znano.

Prvi zapis o dvoru, tedaj najverjetneje lesenem objektu pod konjiškim gradom, obstaja z začetka 14. stoletja.

Zgodovina arhitekture današnjega dvorca s pristavo pa

je precej mlajša. Leta 1621 je posest kupil grof Ivan Erazem Tattenbach, kmalu za tem pa je prešla v last Hansa Krištofa Tattenbacha. Ta je na imetnitni lokaciji, lahni vzpetini nad tedaj že povečano cerkvijo sv. Jurija, južno od jedra naselja, ki je takrat štelo okrog petdeset hiš, postavil nov, osrednji del današnjega Dvorca Trebnik. Toda posest ni bila dolgo v njegovi oziroma lasti njegovih dedičev. Že leta 1692 so postali njeni lastniki žički kartuzijani, za njimi verski sklad, nato

Slovenske Konjice

Osrednjemu, najstarejšemu delu dvorca, ki je bil postavljen med letoma 1630 in 1636, so kasneje prizidali nižja trakta, levega in desnega, celota pa je dobila klasicistično podobo s posodobitvijo, izpeljano v 19. stoletju. Zunanjost dvorca danes.

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Dvorec Trebnik, ki stoji na robu starega dela Slovenskih Konjic, je po drugi svetovni vojni počasi izgubljal svoj v stoletjih pridobljeni blišč. Novi uporabniki, najemniki in lastniki namreč niso bili kos zahtevnemu vzdrževanju. Fotografija dvorca pred drugo svetovno vojno.

Slovenske Konjice

After World War II, the Trebnik Mansion standing at the edge of the old part of Slovenske Konjice gradually lost the splendour it had gained through the centuries. The new users, tenants, and owners were not equal to the demands of its upkeep. A photograph of the mansion before World War II.

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pa so leta 1828 dvorec kupili knezi Windischgraetzi.

Za časa njihovega lastništva je postal znan kot Schloss Windischgraetz, posedovali pa so ga do konca druge svetovne vojne. Po vojni je dvorec imel vrsto različnih uporabnikov, najemnikov in lastnikov, nekaj časa je bil tam nastanjen tudi dom onemoglih (Lampretov dom). Toda vzdrževanje tako velikega objekta je bilo zanje prezahtevno oziroma predrago in stavbe ter lepo urejena okolica so postopoma začele propadati. Danes je celotna posest ponovno v rokah občine, ki se jo je namenila postopoma prenoviti.

Dvorec, ki ga je med letoma 1630 in 1636 postavil grof Tattenbach, so konec 18. stoletja povečali z dvema nižjima prizidkoma. Tako je današnja stavba sestavljena iz »sedemosnega dvonadstropnega osrednjega trakta, h kateremu se z leve in desne v nekoliko navzven zamaknjeni črti prislanjata mlajša, za nadstropje nižja, štiriosna prizidka.« (Stopar, 1991: 145) Povečano in predelano izvirno arhitekturo dvorca z veliko pristavo so svojemu okusu in tedanjim likovnim smernicam v arhitek-

turnem oblikovanju prilagodili zadnji petični lastniki v 19. stoletju. Z novim okrasjem fasadnih odprtin v ometu in s po vsej dolžini glavne fasade razpotegnjenim balkonom, ki so ga postavili na kamnite konzole, je stavbni kompleks dobil klasicističen videz. Na zahodnem robu tako olepšanega dvorca in ob njem postavljenega velikega gospodarskega objekta z arkadnim hodnikom v nadstropju so knezi Windischgraetzi uredili tudi razsežen park z vrtnarijo in rastlinjakom.

Na poti, ki vodi s Starega trga mimo Cerkve sv. Jurija in mogočnega župnišča po robu restavriranega parka proti dvorcu, srebljejo krošnje košatih dreves tople žarke opoldanskega sonca. Občutenje narave, ki ga v parku spodbudita blaga svetloba in tišina, se v popolnost razvije v notranjosti osrednjega dela dvorca. Zanj že nekaj časa skrbi najemnik, invalidsko podjetje, ki se ukvarja z vzgojo in predelavo zdravilnih rastlin, svoje izdelke pa trži pod blagovno znamko »Dvorec Trebnik«. Že v mogočni obokani veži z impozantno oblikovanim stopniščem, kjer je vzidana kamnita umivalna školjka iz

17. stoletja, se mešajo vonji številnih zdravilnih rastlin, ki se v prostorih, v katerih je muzejsko urejena trgovina zdravilnih zeli in izdelanih pripravkov, še okrepijo. Izbrana dejavnost se več kot odlično prilega parku, naravnemu okolju, pobočju Konjiške gore, poleg tega pa na svoj način nadaljuje tradicijo zadnjih plemenitih lastnikov, ki so svoje okolje urejali z veliko ljubeznijo do sveta rastlin.

V sklopu postopnega urejanja celotne posesti so bila pred kratkim zaključena gradbena dela zahtevne prenove močno uničene pristave. Celotno stavbo so statično utrdili in jo z na novo izvedenimi inštalacijami in drugimi gradbenimi posegi pripravili na novo uporabnost. Prenovljen objekt z nenadomestljivo kulturnodediščinsko vrednostjo in lepoto tehničnih mojstrovin starih graditeljskih mojstrov se bo postopoma razvil v novo kulturno in turistično središče Slovenskih Konjic.

Pogled v veliko obokano vežo, opremljeno z lesenim opažem.

Poleg dvorca stoji na posesti tudi monumentalna pristava – velik gospodarski objekt, ki prenovljen čaka na umestitev novih kulturno-turističnih dejavnosti.

Next to the mansion, stands a monumental meierhof – a large administrative outbuilding; Newly renovated, it awaits the advent of new cultural and tourism activities.

Slovenske Konjice

A view of the large vaulted foyer fitted with wood panelling.

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Prodajni prostor z urejenimi delavnicami in prikazom proizvodnje je istočasno tudi muzejska predstavitev stare kulture bivanja v dvorcu in v domovih konjiških prebivalcev v prvi polovici 20. stoletja.

Slovenske Konjice

Store spaces with tidy workshops and a display of the production process double as a museum presentation of the old culture of habitation in the mansion and in the homes of Konjice’s residents in the first half of the 20th century.

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Nova dejavnost, ki poteka v Dvorcu Trebnik – gojenje in predelava zdravilnih rastlin, je na svojevrsten način povezana tudi z njegovo dediščino. Plemiška rodbina Windischgraetz, ki je dvorec imela v lasti od leta 1828 do druge svetovne vojne, je namreč z veliko ljubezni in znanja urejala svojo posest, negovala vrtove in vzgajala raznovrstno rastlinje tudi v rastlinjaku.

New activities conducted in the Trebnik Mansion – the growing and processing of medicinal plants – are in their own way linked with the mansion’s tradition. The Windischgraetz noble family, which owned the mansion between 1828 and World War II, showed great love and skill in managing their estate, caring for their gardens, and growing a variety of plants in the greenhouse.

The Trebnik Mansion like fashion. These wares are suited to the park, natural environment, the slopes of Konjiška gora and in its own way the store carries on the traditions of the final noble owners who shaped their living environment with great reverence for plant life.

The construction works of the demanding renovation of the severely devastated meierhof utility structure, a part of the estate’s gradual adaptation, were recently concluded. The entire structure was structurally reinforced.

New fixtures and fittings were installed readying the building for renewed use. The renovated structure is invaluable as irreplacable cultural heritage and an example of beautiful technical achievements of old building masters; it is sure to become Slovenske Konjice’s new cultural and tourist centre.

Slovenske Konjice

In spite of the abundance of published works on Slovenian history and on the process of the development of settlements, it is difficult to imagine the 12th and 13th centuries, when carthusian monks first began to build their sacred structure from locally sourced stone and wood in the small valley no more than two hours of walking distance from the centre of Slovenske konjice. A mighty fortified castle boasting over two-metre thick walls was already standing above, beneath the summit of Konjiška gora. A small cluster of wooden houses and a small built St George’s church huddled below. The then church comprised a nave with a straight roof and a low bell tower. It remains unknown whether the large building and noble residence were already perched on the slope above the church at the time.

The first written record of the mansion, which was then most probably a wooden construction beneath the Konjice castle, dates to the start of the 14th century. The architectural history of the modern day mansion and meierhof buildings is considerably more recent.

In 1621, the estate was purchased by Count Ivan Erazem Tattenbach, but its ownership quickly passed to Hans Krištof Tattenbach. The latter used the excellent location of the low elevation above the already expanded St George’s Church south of the fifty-house settlement core to build a new residence, today forming the central part of the Trebnik mansion. However, he and his heirs did not hold on to the estate for long. Already in 1692, its ownership passed to the Žice carthusian order, was later transferred to the religious fund. In 1828, the mansion was bought by the Windischgraetz princely family and remained in their possession until the end of World War II. During this time the mansion was known as Schloss Windiscgraetz. After World War II the mansion exchanged several users, renters, and owners; for a while it was used as a home for the disabled (Lampret’s Home). However, upkeep of such a large structure proved too demanding and expensive; as a result the building and its beautifully kept grounds began falling into disarray. Today the entire estate is held by the municipality, which plans to conduct its gradual renovation.

The mansion built between 1630 and 1636 by Count Tattenbach, was expanded at the end of the 18th century with the addition of two lower extensions. And so the modern-day structure comprises a “seven-axed, threestoreyed central structure supporting in a slightly outward shifted line two younger one story lower four-axed extensions on its left and right sides.”

(Stopar, 1991: 145) In the 19th century, its last prosperous owners enlarged and remodelled the original architectural structure of the mansion and its large meierhof, adapting it to their tastes and the contemporaneous artistic trends in architectural design. The new plaster ornamentation of the window apertures and the balcony run the entire length of the main façade resting on stone consoles and lend the building complex a Classicist tone. The complex comprised the embellished mansion and its neighbouring large utility building, which features a vaulted hallway on the first floor. At the complex’s western edge the Windischgraetz Princes established a sizeable park, a garden nursery, and a greenhouse.

On the path running from the Stari trg (Old Square) past St George’s Church and mighty presbytery, along the restored park to the mansion, thick tree crowns soak up the warm beams of the noon sun. The sense of nature kindled by soft light and tranquillity of the park is fully developed inside the central area of the mansion’s interior. The building has for a while been in the care of a tenant – a disabled people’s company in the field of growing and processing medicinal herbs, which markets its products under the brand “Dvorec Trebnik” (Trebnik Mansion). The aroma of a mixture of numerous medicinal herbs permeates the mighty vaulted antechamber, which features an imposingly designed stairway and an inbuilt stone washbasin from the 17th century; from here the smell extends to subsequent spaces of the medicinal herbs’ and ready-made concoctions’ store, which is arranged in museum-

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Mestna galerija Riemer Stari trg 15 »Umetnost je posebna človeška materialna in duhovna ustvarjalnost, ki vsebuje prvine čutnosti, emotivnosti, intelekta, domišljije. Umetnost je sposobna estetskega izražanja najrazličnejših vsebin z govorjeno ali pisano besedo, z barvo, gibom, mimiko, s plastično obliko itn.« (Sruk, 1980: 353)

Slovenske Konjice

Redko je, da lahko na enem mestu uživamo v lepotah umetnin različnih pojavnih oblik in občudujemo lepote v različnih časih izdelanih umetniških stvaritev. V Slovenskih Konjicah je z lepoto arhitekture, obrtnega oblikovanja, slikarstva in kiparstva – pestre palete človekove materialne in duhovne ustvarjalnosti v različnih časovnih obdobjih – poleg Starega trga samega prežeta tudi hiša s hišno številko 15. Medtem ko Stari trg velja za čudovitega zaradi stare urbanistične urejenosti, dovršene in uglajene arhitekture ter nenazadnje zaradi lepega potočka, ki se komaj slišno pretaka po njegovi sredini, se hiša, ki stoji na njegovi jugovzhodni stranici, lahko pohvali ne le s svojo arhitekturno podobo, ampak v svoji notranjosti skriva tudi bogastvo umetnosti. V njej domuje Mestna galerija Riemer, galerija slikarskih in kiparskih del ter starih pohištvenih elementov.

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Hiša v sklenjenem nizu jugovzhodne stranice Starega trga svoje drugačnosti ne izkazuje z velikostjo in obliko volumna, ampak z oblikovanim okrasjem v ometu in barvi. Baročno okrasje s svojo prefinjenostjo dopolnjuje skladen in lep videz starega jedra.

The gallery house in the linked row of the eastern side of Stari trg does not express its individuality through the size or shape of its structure, but rather through plaster ornamentation, design, and colour. The refinement of the Baroque-style décor complements the harmonious and beautiful appearance of the old town centre.

V restavriranih sobah nekdanjega imenitnega meščanskega stanovanja v prvem nadstropju so stalno razstavljena slikarska in kiparska dela, več kot sedemdeset jih je, ki so nastala v poltisočletnem časovnem razponu – od 15. stoletja do danes. Prostorne sobe hiše imajo v baročnem stilu oblikovano stavbno pohištvo, lesene tlake ter ravne

Poleg stalne zbirke slikarskih, kiparskih in mizarskih izdelkov, ki je v lasti konjiškega podjetnika Franca Riemerja, kar nedvoumno pove tudi ime mestne galerije, v prenovljenih prostorih hiše, ki je bila nekoč v lasti podjetnega trgovca Kupnika, pripravljajo tudi občasne razstave slovenskih in tujih likovnih umetnikov.

Med ogledom te prepletajoče se lepote prostorov in umetnin v njih pa zaradi drugačnosti v njem razstavljenih predmetov preseneti prostor, kjer si lahko ogledamo ostanke iz razrušenega gradu Konjice in fresko, ki so jo pri raziskovanju ostalin samostana v Žičah odkrili pod ometom. Delo, ki prikazuje Jezusa na križu in svetnike, je nastalo v 15. stoletju. Na sredi sobe stoji še od zoba časa že močno načeto kužno znamenje sv.

Florijana, ki so ga prenesli s podstavka na trgu, kjer danes stoji replika.

Zanimiva je nenazadnje tudi sama arhitektura hiše in njena zgodovina. Stavba je bila postavljena na ostalini požgane predhodnice v 18. stoletju. Pod njenim baročnim plaščem se zato še vedno skriva renesančno jedro.

Hišo je v 18. stoletju dal temeljito preoblikovati konjiški trgovec Kupnik. Danes so v obnovljenih in preurejenih sobah njegovega nekdanjega stanovanja prostori Mestne galerije Riemer. Galerija ni samo slovenskokonjiška, ampak tudi vseslovenska posebnost, saj so v njej razstavljena dragocena umetniška dela iz privatne zbirke domačina Franca Riemerja.

In the 18th century, a Konjice’s local, merchant Kupnik, had the house thoroughly remodelled. Today the renovated and reorganized rooms of his former apartment serve the Riemer town gallery. The gallery is not only a unique feature in Slovenske Konjice but in the wider Slovenian space as well, as it houses an exhibition of precious artworks from the private collection of a local – Franc Riemer.

Slovenske Konjice

in ločno oblikovane stropove, ki so v prostoru, kjer je nekdaj bila privatna kapela, še olepšani s prepletajočim se rastlinskim okrasjem v štuku. Lepo obnovljene sobe so odličen okvir za popolno doživetje razstavljenih slikarskih umetnin svetovno poznanih mojstrov. Med njimi so slikarska dela Paula Cezanna (1839–1906), Gustava Klimta (1862–1918), Augusta Rodina (1840– 1917) in Amadea Modiglianija (1884–1920), najstarejša umetnina pa je slika iz 15. stoletja, ki so jo strokovnjaki uvrstili med izdelke beneške slikarske šole. Poleg naštetih in še mnogih drugih, manj znanih tujih avtorjev so na ogled postavljena tudi številna dela priznanih domačih ustvarjalcev, od Jožefa Tominca (1790– 1866), Ivane Kobilce (1861–1926), do Riharda Jakopiča (1869–1943), Franceta Pavlovca (1897–1959) in drugih.

Slikarsko zbirko dopolnjuje še nekaj kiparskih del in predvsem bogata zbirka starinskega pohištva. Pohištvo, ki so ga oblikovali in mojstrsko izdelali v mizarskih obrtnih delavnicah v 19. in v začetku 20. stoletja, odlikuje originalnost, ki izkazuje ne le poznavanje tedaj splošno uveljavljenih likovnih meril, temveč zlasti umetnostno izobrazbo in ročno spretnost izdelovalca.

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Ena izmed sob galerije; v njej se lahko naužijemo miline, lepote, vzvišenosti, ljubkosti, in še bi našli kakšen pridevnik, s katerim izražamo občudujoč odnos do preteklih stvaritev, ki so razpoznane kot neprecenljive v zakladnici umetnostnih stvaritev naroda in sveta. Poleg razstavnih eksponatov nas med sprehodom po sobah še posebej očara prostor, v katerem so imeli nekdanji petični lastniki hiše urejeno lastno kapelico. Obokan strop je bogato okrašen z razpredenim okrasjem v štuku iz pretežno rastlinskih motivov.

Slovenske Konjice

One of the spaces of the gallery; here we can drink our fill of grace, eminence, loveliness, and we could find other words to express admiration for past creations, acknowledged as priceless in the treasury of artworks of the nation and the world. Walking through the rooms, we are mesmerised, not only by the exhibits, but also by the space where former affluent house owners arranged a proprietary chapel. The vaulted ceiling features a wealth of ornamentation in stucco of predominately plant motifs.

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V nadstropju so na dvoriščni strani prostori med seboj povezani z arkadnim hodnikom, oblikovanim v času renesanse, ki je pokrit s križno grebenastim obokom.

Navzven hišo zaznamuje lice, razčlenjeno z naslikanimi pilastri in v ometu izvedenimi venčnimi zidci.

Okenske odprtine so poudarjene s profilirano oblikovanimi okvirji v ometu in slikarsko okrašenimi parapeti. Sčasoma se je ta enonadstropna hiša razširila v prostor vrta za njo. Na rob zemljišča sta bila postavljena prizidka, v katerih so bila nekoč potrebna skladišča, pa tudi delavnice in prostori za bivanje delavcev, vajencev in pomočnikov, ki so si kruh služili v mestu. Prizidka sta bila zgrajena pravokotno na stanovanjsko hišo tako, da celota oklepa veliko notranje dvorišče, ki je bilo med zadnjo prenovo prekrito s stekleno streho. Če je nekdanji stanovanjski del stavbe zasedla galerijsko-muzejska dejavnost, pa so pritlični prostori, tako kot včasih, še vedno namenjeni trgovini in gostinstvu.

Pogled v prostor, v katerem je razstavljena freska iz skoraj povsem porušenega samostana Žiče in kiparsko delo Franca Zamlika (1708–1758) – kužno znamenje sv.

Florijana. Originalno je stalo na Starem trgu, kjer ga sedaj nadomešča replika.

A view of the space featuring a fresco painting from the nearly entirely demolished Žice monastery and a sculpture by Franc Zamlik (1708–1758) – St Florian’s plague column. The original stood in Stari trg and has been substituted by a replica.

Franc Riemer Municipal Gallery Stari trg 15 a Renaissance core. A vaulted hallway hailing from the Renaissance period covered by a ribbed groin vault connects the first floor spaces facing the courtyard. The house exterior boasts a frontage apportioned by painted pilasters, plaster frames, and a string-course, also in plaster. Profiled plaster frames and ornately painted parapets also accentuate window openings.

With time, this two-story house expanded into the space of the rear garden.

Two extensions were built at the edge of the grounds that initially served as much needed storage facilities but also included workshops and residential areas for workers, apprentices, and assistants, who also made their supplementary income in town. The extensions were built perpendicular to the residential house and as a result the complex unit frames a large interior courtyard; during the last renovation the latter was covered by a glass roof.

Though the previous residential part of the building became used for gallery and museum-related activities, the ground-floor spaces continue to be used for commerce and the hospitality industry.

Slovenske Konjice

“Art is an exceptional human material and spiritual creativity, which contains elements of sensuality, emotion, intellect, and imagination. Art has the capacity to aesthetically express the widest variety of subjects through written or spoken word, through colour, movement, facial expressions, sculpting etc.” (Sruk, 1980: 353) Rarely does the same space afford one the chance to enjoy the splendour of various types of artworks while simultaneously admiring artistic creations from different times. Like the rest of Slovenske Konjice’s main square the house on Stari trg number 15 is permeated with beautiful products of architecture, skilled craftsmanship, painting, and sculpting that outline a diverse range of human material and spiritual creativity across various periods. Stari trg is considered exceptional for its urban layout, perfected and smooth architecture, and the beautiful stream traversing it; the house located by its south-eastern edge does not merely boast a beautiful architectural countenance, but also conceals within its walls an opulent artistic treasury.

It is the location of the Franc Riemer Municipal Gallery with its collections of paintings, sculptures and old pieces of furniture. The restored rooms of the former urban apartment on the first floor contain a permanent exhibition of over seventy paintings and sculptures created over the course of half a millennium, between the 15th century and the present. The spacious rooms feature Baroque-style furnishing, wooden floors, and straight as well as vaulted ceilings; in the space of the former private chapel, the ceilings are further embellished by entwining foliage stucco decorations. The beautifully renovated rooms are the perfect backdrop allowing the visitor to profoundly experience the exhibited paintings by world renowned masters. The displayed artworks include works by Paul Cezanne (1839–1906), Gustav Klimt (1862–1918), Auguste Rodin (1840–1917) and Amadeo Modigliani (1884–1920). The oldest among the displayed pieces is a painting from the 15th century, which has been classified by experts as a product of the Venetian school. Aside from works by foreign artists, including though not limited to those mentioned above, the exhibition contains several works by Slovenian artists such as Jožef Tominc (1790–1866), Ivana Kobilca (1861–1926), Rihard Jakopič (1869–1943), France Pavlovec (1897–1959), and others.

A few select sculptures are exhibited next to the assortment of paintings.

The art collection is exceptionally complemented by a rich collection of antique furniture. The furniture was designed and masterfully hand-built in the 19th century and at the start of the 20th century; it is distinguished by originality, which incorporates knowledge of the generally established artistic standards of the time as well as artistic education and high level of craftsmanship on the part of the craftsmen.

As the gallery’s name attests in no uncertain terms, the collection of artworks and furniture on permanent display is proprietary, owned by Slovenske Konjice’s own entrepreneur Franc Riemer. The renovated spaces of the house once owned by enterprising merchant Kupnik sometimes also feature temporary exhibitions of Slovenian and foreign fine artists.

The visitors admiring the beauty of these interweaving spaces and the artworks housed within are surprised when they find themselves in a space featuring exhibits differing from the rest of the collection; these include the remnants of the demolished Konjice castle and a fresco, which had been uncovered beneath the plaster among the remains of the Žice chartusian monastery. The depiction of Christ on the cross and the saints was produced in the 15th century. At the centre of the room stands a heavily damaged St Florian’s plague column removed from its base in the square and replaced by a replica.

The very architecture of the house and its evolution are interesting in their own right. The building was constructed in the 18th century, on the remains of its burned-down predecessor. Its Baroque-style coat therefore conceals

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Fotografski atelje Studio Fakin Stari trg 33

Slovenske Konjice

Arhitekturna podoba današnjega osrednjega dela starega jedra Slovenskih Konjic je zrcalo gradbene dejavnosti po velikem požaru, ki je leta 1786 močno poškodoval trško naselje s približno devetdesetimi hišami, v katerih so bivali zlasti obrtniki in trgovci.

Večina hiš, ki so bile po naravni nesreči popravljene, predelane in nekatere tudi povečane, ima zato stavbno lice oblikovano v izraznem stilu 19. stoletja, za katerega je značilno prisvajanje različnih slogovnih značilnosti preteklih zgodovinskih obdobij.

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V historičnem likovnem slogu oblikovan in kakovostno obnovljen stavbni ovoj hiše s prirezanim vogalom (hišna številka je 33) sooblikuje imeniten del Starega trga, ki ga poleg nove arhitekturne ureditve plemeniti tudi baročna mojstrovina – Marijino znamenje.

The well-renovated Historicist-style exterior coat of the building with a clipped corner (house no. 33), is part of the formation outlining Stari trg, a square which has itself been architecturally overhauled and is complemented also by a Baroque-style masterpiece – a Marian column.

»Stoletje, ki je zadoščalo samo sebi – in vendar stoletje brez lastnega sloga, ker si je vse sloge prilaščalo, samo pa nobenega spočelo.« (Cevc, 1966: 146) V obeh stavbnih nizih, ki oblikujeta prostor Starega trga, so v klasičnem in historičnem stilu oblikovane hiše, ki so po svoji arhitekturni dovršenosti izjemne. Mnoge so predstavljene v raznih umetnostnozgodovinskih gradivih,

Arhitekturo, ki se je razvila v 19. stoletju na ostalinah starih predhodnic, odlikuje kakovostna gradnja, ki omogoča zdravo in okolju prijazno bivanje; masivne stene, ravno prav velike okenske odprtine, zaprte z lesenimi okenskimi škatlami ter leseni ali opečni stropi. Velikost in razporeditev prostorov je mogoče brez težav prilagoditi novim bivanjskim zahtevam ali namembnosti. Pogled v sodobno opremljen fotografski atelje.

The architecture developed in the 19th century atop previous building ruins is distinguished by high-quality construction enabling healthy and environmentally friendly habitation: massive walls, perfectly sized window apertures enclosed in wooden casing, and wooden or brick ceilings. The size and arrangement of spaces can be easily adapted to new residential demands or uses. A view of the modernly equipped photography atelier.

Hiša s hišno številko 33 je enonadstropna vogalna hiša, ki stoji ob ozkem prehodu, nastalem v strnjenem stavbnem nizu na vzhodni strani južnega dela trga, nasproti Cerkve sv. Jurija in višje ležečega župnišča. Ima pravokoten tloris, ki pa je zaradi njene zaključne lege v sicer strnjenem stavbnem nizu vogalno porezan. Hiša je svoj bogat likovni izraz dobila v drugi polovici 19. stoletja. Njeno jedro pa je še starejše. Na trg usmerje-

na fasada je členjena na polno in prazno razporejene visoke okenske odprtine, ki so skupaj z glavnimi vrati na sredini urejene v pet navpičnic. Vhod v nekdanji in tudi današnji poslovni prostor v pritličju – fotografski atelje Studio Fakin – se nahaja na ozki stranici

Slovenske Konjice

na primer dvonadstropna stavba, v kateri je bil vse do druge svetovne vojne sedež glavarstva (Sapač, Lazarini, 2015), ali pa dolga enonadstropna stavba, v kateri je danes sedež občine, in tako dalje. V družbi teh imenitnih hiš na Starem trgu je tudi hiša s hišno številko 33.

Njen obnovljen stavbni ovoj se sklada z nizom enako vzdrževanih starih stavb, skupaj s sodobno urejenim trgom, ki ga krasijo kamniti spomenik, steber in kip sv. Marije (delo konjiškega baročnega kiparja Franca Zamlika), pa te stavbe tvorijo izjemno privlačen del Starega trga.

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Prestižnost bivanja v starih stanovanjih ne sloni le na velikih in ravno prav osončenih prostorih, temveč se skriva tudi v vrhunskih obrtniških oziroma umetniških izdelkih, kot so stavbno pohištvo, tlaki, poslikave in lončene peči.

The prestige of living in old apartments is not just a matter of large perfectly sun-lit spaces, it is also linked to highest-quality artisan products and artworks, such as fittings, floors, murals and tiled masonry stoves.

Slovenske Konjice

prisekanega vogala. Vhod je zaščiten s ploščo balkona v nadstropju, ki sloni na okrasno oblikovanih litoželeznih konzolah. Pritličje stavbe je olepšano z rustikalno izvedenim ometom, v nadstropju pa pogled pritegne bogato okrasno oblikovan strešni venec. Okras je sestavljen iz v ometu izdelane profilirane obrobe in širokega ornamentno oblikovanega pasu pod njo. Poleg tega so s profilirano obrobo v ometu poudarjene tudi vse okenske odprtine v nadstropju. Prirezana vogalna stranica fasade se na vrhu sklene z majhnim trikotnim čelom.

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Visoki prostori v pritličju, v katerih je fotografski studio, imajo obokan strop s češkimi kapami; s plitvimi potlačenimi svodi, ki so – zaradi malo druge opreme v prostoru – dobro vidni. Prefinjenost celotnemu prostoru dajeta tudi gladek omet in belina, ki sta po drugi strani odlično nevtralno ozadje za oblikovanje fotografskih scen, kar je pomembno pri kreativnem delu fotografa v studiu. Tako kot nekoč, so namreč še danes v pritličju prostori za delo, medtem ko so prostori v nadstropju namenjeni bivanju lastnikov.

Sedanji lastnik je hišo konec 20. stoletja celovito prenovil. Odpravil je vse poškodbe, ki jih je ostenju povzročila vlaga, prenovil streho, stavbo statično utrdil in jo opremil s sodobnimi inštalacijami ter drugo potrebno opremo. Omenjena popravila in posodobitve so bili izpeljani kakovostno, poleg tega pa je bilo ohranjeno vse, kar je bilo dragocenega in vrednega v stari stavbi – od stavbnega pohištva, lesenih tlakov in stropov, do lončenih peči z umetnostno oblikovanimi pečnicami.

Zdaj si svoj dom in delovni prostor v hiši že urejajo nasledniki. V pritličju je že zaživel prenovljen fotografski atelje, preureja pa se tudi veliko stanovanje nad njim.

Iz njegove salonsko opremljene dnevne sobe se z vrati na balkon odpira tudi prekrasen pogled na arhitekturno urejen trg, ki utripa v novem življenjskem zagonu.

Senca zapuščenosti, ki je dolgo ležala ne le nad tem, temveč nad marsikaterim starim mestnim jedrom, je bila iz Slovenskih Konjic pregnana. Kakovostna stara arhitektura tu nima le statusa kulturne dediščine, ampak je – prenovljena in posodobljena – postala arhitekturno vodilo kvalitetnega urbanega življenja.

Fakin Photographic Studio Stari trg 33 onto the balcony offering a view of the architecturally well-arranged square, pulsating with a renewed life force. The weight of abandonment, which has long pressed this town centre, as it does other small town cores, has been lifted from Slovenske Konjice. While it has the status of cultural heritage, the renovated and modernized local high-quality old architecture grew to become an architectural guideline of high-quality urban living.

Slovenske Konjice

The architectural appearance of present-day Slovenske Konjice’s central old town is a reflection of rebuilding after the great fire, which devastated the market town in 1786. At the time, the settlement comprised approximately ninety houses occupied by craftsmen and merchants. Following the disaster many houses were repaired, remodelled, and some were even expanded. As a result, the frontages of the better part of these buildings are designed in 19th century Historicist style, which is characterised by adopting varied stylistic features of past historical periods. “The century was selfsufficient – and yet it was a century lacking a style of its own; it was content to appropriate all styles yet never conceiving its own.” (Cevc, 1966: 146) Both rows of buildings that outline the space of the Stari trg (Old Square) comprise architecturally exceptionally refined houses designed in the classical and historicist styles. Several among them are featured in varied arthistorical literature; for example the three-storey building, which up until World War II served as the gubernatorial seat (Sapač, Lazarini, 2015), another example is the elongated two-storey building, which presently serves as the seat of the municipality, and so forth. In this eminent company stands house number 33. Its renovated exterior matches the surrounding row of similarly maintained old structures. In combination with the contemporary design of the square, which features a stone monument, a pillar, and statue of St. Mary (sculpted by Slovenske Konjice’s native Franc Zamik), these buildings shape an exceedingly attractive part of Stari trg.

The corner house number 33 comprises a ground floor and a first floor; it stands by a narrow passage in a dense row of buildings on the eastern side of the southern part of the square, opposite St George’s Church and the presbytery above. Because it is located at the end of a row of houses its otherwise rectangular floor-plan is clipped diagonally at one corner. The house received it rich artistic appearance in the second half of the 19th century. Its structural core is older still. Its square-facing façade is divided in five equidistantly arranged vertical rows of tall windows with a centrally positioned door. As in the past the ground floor commercial spaces currently occupied by Studio Fakin are accessible through an entrance located on the side of the clipped building corner. The doorway is sheltered by the deck of the balcony above resting on ornate cast iron console brackets.

On the ground floor the walls are decorated by rustic patterns in plaster, while on the first floor the eye is drawn to the opulent design of the cornice comprised of a profiled trim above a wide ornamental band. In addition, a profiled border frames all the top-floor windows. The clipped corner façade terminates in a small triangular gable.

The ceilings of the tall ground floor spaces housing the photographic studio feature pendentive vaults – shallow squished arches, rendered particularly noticeable due to sparse furnishing. The space appears all the more refined due to smooth wall surfaces and the general pervading whiteness serving as a neutral background in setting the scene for photographs, which is a vital part of the creative process of the studio photographers. As in the past, the spaces on the ground floor are still used for work, while the spaces on the floor above serve as the owners’ residences.

At the close of the 20th century, the previous owner had the entire house renovated. He repaired all the damage to the walls incurred by dampness, renovated the roof, reinforced the structural integrity of the building, and replaced all fixtures. The quality of repairs and renovations was good and preserved all the precious and valuable features of the buildings, such as the building’s fittings, wooden floors and ceiling boards, and tile stoves with artistically fashioned tiles. Presently, the next generation is adapting the workspaces to their needs. Soon the renovated photographic studio on the ground floor will begin its new life. The successors are also remodelling the large apartment above. The parlour-like furnished living room opens

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Å kofja Loka

Bischoflack Lonca Scofolotti Scofioloco

Mesto od leta 1274 dalje Town rights since 1274 Na vzhodnem robu loškega pogorja, tam, kjer se v ravno Sorško polje odpirata Poljanska in Selška dolina in kjer se združujeta Poljanska in Selška Sora, stoji Škofja Loka. Središče tega, sicer sodobnega mesta predstavlja zgodovinsko jedro z gradom. Naselbina, ki se je na prodnatih terasah vrh sotočja Selške in Poljanske Sore pričela razraščati pod utrjenim poslopjem zemljiškega gospoda, freisinškega škofa, je že leta 1274 imela mestne pravice.

Škofja Loka

N

a spodnji terasi se razprostira mlajši »Lontrg«, Spodnji trg, na zgornji terasi pa v vrsto sklenjene dvonadstropne zgradbe s strmimi strehami oblikujejo starejši »Plac«, Mestni trg. Strma pot povezuje ta veliki in znameniti mestni prostor lijakaste oblike z gradom, ki je – vpet v pobočje hriba – stoletja varoval naselbino. Za časa turških vdorov in kmečkih uporov so jo še dodatno zaščitili z visokim obzidjem.

Grad gospostva freisinške cerkve so leta 1526 zgradili na mestu, kjer je do potresa leta 1511 stala (kasneje poškodovana in mestoma najverjetneje porušena) postojanka za sodína, komornika, mitničarja, orožarja, sle, biriče, stražnike, vratarja in druge uslužbence fevdalca. Današnjo podobo je grad dobil postopoma, s številnimi prezidavami in dozidavami, s katerimi so menjajoči se lastniki izvorno arhitekturo prilagajali svojim potrebam. Grajska stavba je odprta na zahodno stran, zaznamujejo pa jo neenotno oblikovani dvonadstropni trakti in stolpi na vogalih. Zadnje večje

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spremembe je doživela v 19. stoletju, ko so si stavbo z več gradbenimi posegi preuredile takratne lastnice, škofjeloške uršulinke. Med drugim so med gradom in v mestu lociranim samostanom ustvarile novo povezavo – z lesom nadkrito pot, nekakšen zunanji hodnik.

Redovnice so grad zapustile na začetku druge svetovne vojne, sredi 20. stoletja pa je grad lastniško prevzela občina. Od tedaj dalje ga postopoma obnavljajo in preurejajo. Danes so v njem prostori Loškega muzeja, kjer zbirajo, hranijo, urejajo in postavljajo na ogled tako kulturnozgodovinske predmete, kot sodobne kulturne in umetniške stvaritve z loškega območja.

Sočasno z arhitekturo gradu se je spreminjala tudi podoba obzidane in s škofovskimi privilegiji podprte mestne naselbine pod njim. Lesene hiše so zamenjale kamnite, kamnite so se pognale v višino; gotska merila lepega so nadomestila renesančna, renesančna pa baročna. V drugi polovici 19. in v začetku 20. stoletja je starodavno mesto svoja pročelja odelo v pisane barve in dobilo vzdevek »pisana Loka«.

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Å kofja Loka

Škofja Loka (meaning “bishop’s meadow”) Town rights since 1274 The town of Škofja Loka is located in the eastern reaches of the Škofja Loka hills where the Poljanska and Selška dolina valleys connect to the Sorško polje plain. The focal point of this otherwise modern town is marked by its historical core and castle. The settlement, which first began expanding across the gravel plateaus at the confluence of the Selca Sora and Poljane Sora beneath the fortified building of the landed bishop of Freising, held township rights by 1274. The younger of the two squares “Spodnji trg” (Lower Sq.) also known as “Lontrg”, lay on the lower plateau while a series of entwined two-storey steeproofed buildings on the upper plateau form the older Mestni trg (Town Square), known colloquially as »Plac«. A steep footpath leads from this renowned and imposing funnelshaped space to the castle, which had for centuries safeguarded the settlement from its fixed position on the slope of the hill. During the Turkish raids and peasant uprisings a tall protective wall was built to protect the path.

The Freising church estate castle was built in 1526, in place of the administrative building, which had been occupied by the reeve, chamberlain, toll collector, post master, catchpole, constable, gatekeeper, armoury officer, and other feudal administrators. This administrative structure was damaged and probably partially demolished in the 1511 earthquake. The castle’s current shape developed gradually through numerous renovations and additions aimed at adapting the original architecture to the demands of a succession of individual owners. The castle building is open towards the west and marked by heterogenously shaped two-storey wings and corner turrets. The most recent alterations were conducted in the 19th century, consisting of several adaptations commissioned by the owners at the time, the Škofja Loka Ursulines. Among them was the wood-covered external walkway connecting the castle and the convent in town. At the start of World War II, the nuns moved out and in mid 20th century the municipality took ownership.

Since then the castle has been undergoing gradual renovations and transformations. It is presently home to the Škofja Loka Museum that collects, houses, organises, and displays artefacts of cultural and historical significance as well as modern cultural and artistic creations from the Škofja Loka area.

The walled township, based on bishop’s privileges, was undergoing changes concurrently with alterations to the castle’s architecture above. The wooden houses were replaced

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Podoba mesta Škofja Loka na litografiji Jožefa Wagnerja, okoli leta 1845. Naselbina, sprva imenovana Lak, Lok oziroma Lonka, je prvič omenjena leta 973. Razvila se je na prometno izpostavljenem in strateško pomembnem kraju.

A depiction of the town of Škofja Loka in Jožef Wagner’s lithograph from circa 1845. The settlement, initially called Lak, Lok, or Lonka, was first mentioned in 973; it evolved in an exposed and strategically important location.

Nekdaj strateško pomembno lokacijo kraja še danes poudarja utrjen grad, sedež velike posesti freisinških škofov.

Arhitekturo gradu zaznamuje stoleten stavbni razvoj, zaključen z zadnjimi večjimi rušenji in predelavami v 19. stoletju, ko so grad dale prenoviti tedanje lastnice – škofjeloške uršulinke.

The fortified castle, the seat of the large estate of the Freising bishops, testifies to the once strategic importance of the town’s location. The castle’s architecture is an amalgamation of over a hundred years of development with the last of the greater demolitions and renovations dating to the 19th century. These were commissioned by the owners of the time, the Škofja Loka Ursulines.

Morda bi lahko to ljubezen do barv pripisali staremu loškemu likovnemu izročilu oziroma umetnosti, ki je enega svojih viškov dosegla v 16. stoletju z delavnico slikarja Jerneja? Kakorkoli že, številne bogato poslikane cerkve in cerkvice ter množica s freskami okrašenih stavbnih pročelij v mestu in njegovi okolici razkrivajo močno slikarsko tradicijo. Prav konec 19. in na prehodu v 20. stoletje je v Škofji Loki vzklila nova umetniška smer, ki so ji pot utirali slikar Anton Ažbe in slikarska dinastija Šubicev, v svet pa ponesli slovenski impresionisti. Ivan Grohar, Rihard Jakopič, Matija Jama in Matej Sternen so se več let sestajali in ustvarjali prav v pisani Loki. Iz tega mesta in okolice še vedno prihajajo številni likovni

umetniki. »Ni kaj – če govorimo o slovenskem slikarstvu, je tod eden naših najrodovitnejših krajev; usoda loškega slikarstva je usoda slovenske umetnosti, samosvoja samota na večnem prepihu!« (Kmecl, 1979: 208) V 20. stoletju je hiter industrijski razvoj, povezan s povečanjem števila prebivalcev, vplival na oblikovanje nove mestne podobe.

Nova industrijska in stanovanjska območja so postopoma prerasla manjše, okrog srednjeveškega mestnega jedra nanizane, pretežno kmečke zaselke in naselja.

Škofja Loka ima mnogo arhitekturno zanimivih stavb, ki predstavljajo pomembno kulturno dediščino. Ena najlepših je Homanova hiša s svojo renesančno figuralno in ornamentalno poslikavo. Skupaj s pravtako renesančnim župniščem oblikujeta vzhodno mejo Glavnega trga.

There are several architecturally interesting buildings of significant cultural heritage value in Škofja Loka.

Homan’s house with its Renaissance figures and ornamental painting, is among the most beautiful. It joins the likewise Renaissance-style presbytery in forming the eastern boundary of the main square.

by stone-built structures while stone houses grew taller; Gothic aesthetic standards were replaced by Renaissance; later Renaissance aesthetics were supplanted with those of Baroque. In the second half of the 19th and early 20th century the venerable town’s facades were covered in vibrant colours which gave rise to the town’s moniker “colourful Loka”.

Perhaps the love of vibrant colours can be ascribed to local artistic traditions and creation, which peaked in the 16th century with master Jernej’s workshop? Whatever the case may be, several lavishly painted churches and chapels and the abundance of fresco-decorated building faces in town and surrounding area testify to a strong painting tradition.

Right at the end of the 19th and at the cusp of the 20th century a new artistic movement emerged in Škofja Loka, advanced by Anton Ažbe and the Šubic painting dynasty, which was diseminated abroad by Slovenian impressionists. Ivan Grohar, Rihard Jakopič, Matija Jama, and Matej Sternen met and worked right there, in “colourful Loka.” The town and surrounding area continue to produce numerous painters and artists. “There is no way around it, when it comes to Slovenian painting, this is one of its most fertile areas; the fate of Škofja Loka’s fine arts is like that of Slovenian arts, to exist in idiosyncratic seclusion and constant exposure to outwardly influences!” (Kmecl, 1979: 208).

In the 20th century the fast-paced development and resulting increase in the number of residents caused a transformation in the town’s appearance. New industrial and residential areas gradually extended over arrays of smaller, largely rural, hamlets and estates around the medieval town core. At the northern edge of the old core, on the far side of the Selca Sora, the modern-day Škofja Loka centre evolved, serving as the focal point of cultural, educational, commercial and tourist activities. The old town became obsolete, impractical and therefore unattractive to live or work in. The residents preferred living in the more contemporary parts of town. Unpleasant smells of dampness, mould, and decay began emanating from entrances and hallways of the old buildings, smells indicative of poor maintenance and gradual deterioration of the old architectural tissue. Luckily, this condition was short-lived. The locals soon resumed their appreciation of the historical, urban and unique artistic significance of their centuries-old town core. Through restorations and renovations, the historical tissue is now subtly adapting to the contemporary demands of life and work. Homan’s, Kajbe’s, Žigon’s, Martin’s and other eminent houses that had been renovated over a decade ago, are joined by at least one if not more mod-

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Srednjeveška zasnova mesta izkazuje izvrstno in samosvojo prilagoditev neravnemu terenu. Na dveh naravnih terasah sta se oblikovala dva trga: večji in starejši »Plac« (Mestni trg) stoji na zgornji, manjši in mlajši »Lontrg« (Spodnji trg) pa na spodnji terasi.

Na slikah sta ujeta v fotografski objektiv leta 1899 oz. 1933. Mesto je tedaj imelo tovarne za klobuke, tekstilne izdelke, turbine in mlinske stroje, številne obrtne delavnice in mnogo trgovin.

Škofja Loka

The town’s medieval design displays an excellent and distinctive adaptation to the natural terrain.

Two squares formed on the two natural terraces; the larger and older “Plac” (town square) is located on the upper of the two while the younger “Lontrg” (lower square) on the lower one. They have been internalized in the photographs dating to 1899 and 1933 respectively. At that time the town possesed hat-making factories, textile products, turbine and milling machines, numerous craft workshops, and many shops.

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Na severnem robu starega jedra se je onstran Selške Sore oblikoval novodobni center Škofje Loke, ki je postal središče mestne kulture, šolstva, trgovine in turizma.

Staro mesto je začelo postajati vedno bolj zastarelo, nefunkcionalno in zato neprivlačno za življenje in delo.

Ljudje so se preseljevali v sodobnejše predele mesta.

Iz vež in hodnikov starih mestnih hiš se je začel širiti neprijeten vonj po vlagi, plesni in trohnenju – vonj, ki oznanja slábo vzdrževanje in postopno propadanje tkiv stare arhitekture. Na srečo to ni trajalo dolgo.

Ločani so kmalu spoznali vrednost in prednost svojega stoletja starega, zgodovinsko, urbanistično in umetnostno gledano edinstvenega starega jedra.

Po obnovah in prenovah se dandanes zgodovinsko tkivo subtilno prilagaja sodobnim zahtevam bivanja in dela. Homanovi, Kajbetovi, Žigonovi, Martinovi in drugim imenitnim hišam, ki so jih prenovili že pred desetletjem in več, se vsako leto pridruži najmanj ena če ne več posodobljenih stavb, kar nenazadnje oznanjajo

že skrbno restavrirana pročelja, izvirno olepšana s poslikavami ali umetelno izdelanim okrasjem v ometu.

Kljub temu, da današnji utrip starega jedra ni primerljiv s srednjeveškim in kasnejšim trškim vrvežem, se s ponovnim naseljevanjem v stari center na njegove trge in ulice počasi vrača življenje. K temu veliko pripomorejo tudi prireditve. Najodmevnejša med njimi je vsakoletna gledališka uprizoritev Škofjeloškega pasijona. Predstava je zasnovana kot procesija, ki se zaustavlja na določenih točkah Škofje Loke, izpeljana pa je po predlogi, ki jo je napisal loški kapucin, pater Romuald – Lovrenc Marusič iz Štandreža v začetku 18. stoletja. Pasijon, napisan v starološkem narečju, ni samo najstarejša ohranjena dramska predloga v slovenskem jeziku, temveč je patrova režijska knjiga celo edina, ki se je iz tega časa ohranila v evropskem prostoru.

Uspešna oživitev starega mestnega jedra poleg organizacije različnih družabnih dogodkov zahteva tudi prijazno, uporabno ter s staro urbano strukturo in arhitekturo stavb usklajeno zunanjo ureditev. Le-ta je bila do nedavnega zastrašujoče skromna. Vse ulice in uličice ter trge, danes poimenovane Mestni, Spodnji in Cankarjev, ki so bili sprva peščeni, kasneje pa utrjeni s kamnitimi kockami, so v času modernizacije in opremljanja mesta s sodobno komunalno infrastrukturo prekrili z asfaltom. To je sicer lahko da bilo prikladno za avtomobilski promet, toda pusto za ljudi in uničujoče za zgodovinski in umetnostni duh pisane Loke. Nekajletni napori in iskanje načina, kako sodobno opremiti raznolike in arhitekturno izjemno zanimive ter slikovite zunanje prostore starega jedra, so se v letu 2013 zaključili z arhitekturnim natečajem. Preureditvena gradbena dela so stekla kmalu po tem, ko se je izbralo zmagovalni projekt celovite ureditve odprtih prostorov starega mesta, vključno z brežino in dostopi do grajske stavbe. S preurejenim videzom se ob severnem vstopu v mesto že ponašata Cankarjev trg in Blaževa ulica. Ponovno sta tlakovana z lepimi granitnimi kockami, pa tudi sicer premišljeno in okusno opremljena. Vsa nova oprema se imenitno prilega starim stavbam, edinstveno oblikovanemu prostoru trga in vijugasti Blaževi ulici. Občutenje lepega lahko obiskovalcu zaustavi korak ter ga vabi k druženju in zadrževanju na prostem.

Ivan Grohar: Škofja Loka v snegu / Škofja Loka in snow Številne freske in bogate poslikave hiš so gotovo velika posebnost starega mesta. Domneva se, da so tovrsten slikarski okras na ulice in trge prenesli cerkveni slikarji in podobarji. Njihova umetniška rahločutnost, domišljija in nepotešeno ustvarjalno (raz)isk(ov)anje so porodili izviren izraz, na katerega smo Slovenci lahko ponosni. Med slikarji, ki pripadajo loškemu svetu in Škofji Loki, a so s svojimi deli presegli nacionalne geografske meje in v svet ponesli umetniške posebnosti našega prostora, je tudi Ivan Grohar (1867–1903).

Numerous frescoes and lavish house paintings are a significant and unique feature of the old town. The assumption is that these types of painting embellishments were introduced to the streets and squares by church painters and fine artists. Their artistic subtlety, imagination, and insatiable creative (re)search gave rise to a unique style that the Slovenian people can be proud of. Ivan Grohar (1867–1903) is one of the painters who hailed from the world of Loka and Škofja Loka but transcended national borders and carried the unique artistic traits of our cultural realm out into the world.

ernized houses each year. This is attested by their restored faces innovatively decorated with painted murals and artful roughcast ornamentation.

Though the old town core’s present-day pulse does not compare with the bustle of its medieval incarnation or the later market town’s commotion, the renewed influx of residents into the old town core is slowly reviving its squares and streets. In large part this is due to public events. The most renowned among them is certainly the annual theatrical production of the Škofja Loka Passion Play.

The performance is devised as a procession through Škofja loka, performed at individual stops along the way. It is conducted following a draft script written at the beginning of the 18th century by father Romuald – Lovrenc Marušič, a Capuchin monk from Štandrež.

The passion play, having been written in the old Škofja Loka dialect, is not only the oldest preserved dramatic text in Slovenian, but is also the only preserved script of its time in European space.

In addition to the organisation of various public events, the successful revitalization of the old town core also demands a friendly and usefully designed exterior adapted to the old urban structure and building architecture. Until recently the efforts to this effect were eerily modest. During the time of modernization and induction of modern urban infrastructure into the town all the streets, alleys, and squares known today as Mestni trg, Spodnji trg, and Cankarjev trg, which were initially covered with gravel and have later been paved with stone cobbles, were paved over with asphalt.

Although this was a convenient adaptation to automobile traffic it impacts residents poorly and has a detrimental effect on the historical and artistic spirit of the “colourful Loka.”

In 2013, years of efforts and the search for the best way to furnish the old town core’s diverse and architecturally remarkable vibrant exterior spaces culminated in a public call, a contest for architectural solutions. Soon after the selection of the winning proposal for a complete arrangement of the open spaces of the old town core including the slope and access routes to the castle building, the renovations began. By the northern route leading into town, the Cankarjev trg Square and Blaževa ulica street are the first to boast a new visage. They have been repaved with beautiful granite cobblestones and received new fittings selected tastefully and through careful deliberation. All of the new trimmings fit wonderfully with the old buildings, the unique outline of the square, and the winding Blaževa ulica street. The pleasing aesthetics tempt the wanderer to stop in their tracks and spend time socializing outside in the open air.

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Za oživljanje starega mestnega jedra je gotovo pomembno tudi spodbujanje javnega življenja na njegovih trgih in ulicah. Tovrstno nalogo med drugim uspešno opravljajo različne javne prireditve. Najbolj odmevna in obiskana je vsakoletna postavitev Škofjeloškega pasijona, pomembnega dela slovenske kulturne zapuščine, za katerega se pripravlja nominacija za vpis na Unescov seznam nesnovne kulturne dediščine.

In reviving the old town core it is undeniably important to stimulate public life in its squares and streets. This task is accomplished, in part, by various public events. The most renowned and well frequented is the annual enactment of the “Škofjeloški pasijon”. This passion play is an important part of Slovenian cultural heritage and is in the process of being listed on UNESCO’s list of intangible cultural heritage.

Škofja Loka

Odprti prostori morajo biti primerno urejeni in opremljeni, če naj na njih vrvi življenje. Enoličen in tog asfalt, ki prostor naredi vse prej kot privlačen za zadrževanje meščanov, se bo počasi umaknil novemu, bolj uporabnemu in lepšemu tlaku. Na sliki je vizualizacija zamisli preureditve odprtega prostora Glavnega trga.

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Open spaces must be appropriately set up and equipped if they are to support bustling life. Monotonous asphalt that falls short of stirring the residents to spend time in public spaces, will slowly make way for new, more suitable and beautiful pavement. The image depicts the proposed rearrangement of the main square’s open space.

»Njeno veličanstvo« granitna kocka V zapuščini obsežnega ustvarjalnega opusa avstrijskega arhitekta Camilla Sitteja (1843– 1903), ki je izdelal tudi vizijo razvoja in ureditve v potresu leta 1895 poškodovanega mesta Ljubljane, je med drugimi knjižno delo z naslovom Umetnost graditve mest.

Nenavadno je, kako dobro v starih mestih učinkujejo prav nepravilni, edinstveni trgi ter ulične povezave med njimi. Naklonu in višinskim razlikam, ki so posledica dejstva, da se je mesto razvilo na dveh prodnih terasah, se zagotovo najbolje prilagodi tlak, ki ga sestavljajo trajne in za hojo prijetne granitne kocke.

It is unusual, how much old town centres benefit from disproprotionate and uniquely shaped squares and their street tributaries. The lasting and feet-friendly granit cobble-cube pavement is certainly best suited to adapt to the slope and diverse altitudes of the town that evolved atop two gravel terraces.

Škofja Loka

V knjigi nas arhitektova razmišljanja in spoznanja o vplivu mestnih ureditev na kakovost bivanja prebivalcev vedno znova opozarjajo na pomen likovnega oblikovanja zunanjih mestnih površin, na katerih se odvija javno mestno življenje. Po Sitteju morajo le-ta biti oblikovana tako, da s svojo lepoto spodbujajo občutenja varnosti, zadovoljstva in sreče. »Če to res želimo, pa gradnja mest ne sme in ne more biti le tehnični problem, temveč vprašanje umetnosti v prvobitnem in najvišjem pomenu besede. Taka je bila gradnja mest v starem in srednjem veku, v renesansi, povsod, kjer so gojili umetnost.« (Sitte, 1997: 6)

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Staro jedro Škofje Loke nam z bogastvom zanimivih in privlačnih prizorov vedno znova pričara doživetje lepega. Že od daleč lahko občudujemo pod dominantnim gradom strnjeno mestno podobo, iz katere silijo v višino le cerkveni zvoniki, medtem ko nas v mestu s svojo lepoto prevzame pogled na mestne hiše, grajene v različnih zgodovinskih slogih, na nesomerno oblikovane trge in skrivnostne ozke zavite ulice, ki jih povezujejo. V lepoti, ki je v škofjeloške trge in ulice vpeta tudi z domišljenim likovnim oblikovanjem, pa še posebej uživamo na severnem delu mesta, kjer so odprti javni prostori. Razvili so se kot prečen sistem povezovanja obeh velikih trgov, Mestnega in Spodnjega trga, opremljeni pa so z novo urbanistično in arhitekturno opremo.

Trenutna ureditev je le prvi del načrtovane celostne preureditve vseh javnih površin v starem jedru, ki so v nedavni preteklosti izgubile svojo privlačnost in

uporabnost z monotonim prekritjem tlaka iz žlahtnih granitnih kock z asfaltno oblogo, pod katero so se v brezimnost utopili tudi vsi okrasni poudarki, spominska in druga obeležja.

Meščani in obiskovalci, ki se napotijo od parkirišča na začetku Blaževe ulice čez Cankarjev trg, mimo v 15. stoletju zgrajene cerkve sv. Jakoba, pa do monumentalne Kašče na začetku Spodnjega trga, lahko danes ponovno stopajo po tlaku, izdelanem iz kamnitih kock.

Narejene so iz trdega in odpornega granita; prav takega, s kakršnim so bile že pred stoletjem in več nadomeščene peščene površine in jarki, utrjeni s kamnitimi prodniki. A urbanisti tovrstnega tlaka niso izbrali le zato, da bi mestnim ulicam vrnili izgubljeno podobo, ampak predvsem zaradi dobrih lastnosti tega majhnega sivega, kockasto oblikovanega kamnitega tlakovca.

Ker je sestavljen iz majhnih elementov, se odlično prilagaja vsem raznolikim naklonom razgibane tlorisne površine mesta. Njegova drobna struktura je varna in prijetna za hojo, poleg tega pa se tudi estetsko odlično prilega podedovani arhitekturi.

Škofja Loka

Tankočutno vez med preteklostjo in sedanjostjo ustvarjata srebrno siv sijaj kamnitega tlaka, v katerem so granitne kocke postavljene v ravne vrste in členjene v široke pasove s tankimi kovinskimi letvami, in lesk lesenih klopi ter iz temne kovine izdelanih ograj, svetil, mrež in držal, ki so pritrjena na ostenja hiš, kjer je to zaradi naklonov tlakovanih tal potrebno.

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S patino podedovanih hiš se zagotovo najlepše ujamejo stare, na roko izdelane in od vremena in hoje obrabljene sive granitne kocke, iz katerih so izdelani tlaki stranskih ulic, ki vodijo na Cankarjev trg. Poleg dražestnega videza na novo sestavljen tlak iz starih granitnih kock odlikuje tudi spoštovanje vedno bolj izpostavljenih načel trajnostnega, okoljevarstvenega razvoja.

Doubtless, old handcrafted and weather- and foot-beaten grey granite cobbles paving side streets leading to the Cankar Square best complement the integral patina of the houses. Aside from its graceful appearance, the newly fitted pavement of old grey cobble cubes is distinct insofar as it follows the ever more popular principles of lasting and environmentally friendly development.

Za Škofjo Loko značilen sorazmerno velik zunanji prostor nesomerne oblike je Cankarjev trg, ki s svojimi uličnimi podaljški usmerja gibanje v vse smeri mesta. Na tisti strani, kjer se trg najbolj razširi in se v naklonu spušča proti glavnemu vhodu na zahodni, čelni strani cerkve sv. Jakoba, je preoblikovan v široko, stopničasto ploščad, ki se s svojo geometrijsko obliko lepo prilega naklonu. Ploščad je s svojo obliko, svetlo sivo barvo in gladko teksturo v prostoru trga ravno prav izpostavljena, obenem pa pešcu omogoči, da lahko umiri korak, postane in si ogleda bronasti model mesta, ki je postavljen na kovinski konzoli na najvišji točki ploščadi. Z nje lahko pešec hojo usmeri tudi proti cerkvi sv. Jakoba, katere vhod poudarja v gotski maniri oblikovana lopa, prizidana leta 1870, ali dalje po poteh, ki z leve in desne objemata cerkev in vodita navzdol do Spodnjega trga. Ni kaj, lepota starega in novega sta tu, v zadovoljstvo prebivalcev in obiskovalcev, združeni v brezčasnost kakovostne arhitekture.

Naklon Cankarjevega trga so oblikovalci nove ureditve spretno izkoristili. Na zgornjem, zahodnem robu so oblikovali stopničasto ploščad, ki služi kot razgledišče za opazovanje prostora in stavb, ki so prav zaradi svoje starosti še posebej dražestne.

Drobno strukturo tlaka izrisujejo sive granitne kocke, ki so odlična vez med staro arhitekturo in sodobno opremo mesta (klopi, ograje, svetila itd.), enostavno oblikovano iz lesa in kovine.

The grey cubes that sketch out the fine structure of the pavement do a wonderful job tying the old architecture to modern simply fashioned wooden or metal fittings (benches, fences, lighting etc.).

Škofja Loka

The designers of the rearrangement made clever use of the slope of the Cankar Square. A terraced platform was fashioned at the upper, western edge. From there, onlookers can observe the space and buildings whose old age lends them particular grace.

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Škofja Loka

“His Majesty” The granite cobble

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The Austrian architect Camillo Sitte (1843-1903), who envisioned the development and arrangement of Ljubljana in the wake of the 1895 earthquake, left a vast legacy. His opus includes, among others, the literary work entitled City Planning According to Artistic Principles. His thoughts and realisations concerning the influence of urban layouts on the residents’ quality of life contained in the book continuously emphasise the significance of the visual elements of the designs of exterior urban surfaces, where public city life takes place. According to Sitte these spaces must be designed with such beauty as to evoke sensations of security, contentment, and happiness. “In order to realise this, city planning should not be merely a technical matter, but should in the truest and most elevated sense be an artistic enterprise. Such it was in Antiquity, in the Middle Ages, in the Renaissance, indeed, wherever the arts were fostered.” (Sitte, 1945, 3-4 & 2006, 141142).1 Time and again, the wealth of interesting and attractive scenes permeating Škofja Loka’s old town core conjure up a sense of beauty. The dense urban outline dominated by the castle pierced by church towers is striking from afar, while in town one is enthralled by the stunning sight of urban houses of various historical styles, disproportionate squares, and mysteriously crooked streets connecting them. The beauty, imbued in the town’s streets also through carefully planned artistic design, is even more enthralling in the northern part of Škofja Loka, where public establishments are located.

These had evolved as a system laterally linking the two major squares, Mestni trg and Spodnji trg, and are furnished with new urban and architectural fixtures.

The town’s current state is merely the first part of a planned complete reorganisation of the old town core’s public surfaces. These had recently lost their attraction and usefulness through monotonous asphalt paving over the magnificent granite cobblestones, drowning into oblivion all the ornamental emphases, memorial plaques, and other markings.

The townspeople and visitors making the trip across Cankarjev trg square to the parking space at the top of Blaževa ulica street, past the 15th century St Jacob’s Church and thence to the monumental granary at the entry to Spodnji trg square, can walk on cobble stones again. These are made from hard resilient granite of the very same type as was used over a century ago, when cobbles first replaced the sandy surfaces and ditches reinforced with gravel stones. The urban planners chose this pavement material not only in order to revive the town’s image of old, but primarily for the small, grey, cube-shaped stone-cobbles’ properties. Because it is made up of small elements it does an excellent job of adapting to all the various angles of the diverse layout of the town’s surface. Its fine structure feels safe and pleasant to walk on and fits splendidly with the aesthetics of the inherited architecture.

A subtle connection between the past and the present arises from the combination of silver grey sheen of the stone pavement made up of rows of squares divided into wide strips by means of thin metal strips, the lustre of wooden benches and dark metal railings, lights, nets, and rods, attached to the walls of the houses where the angles of the cobble-stone floors demand it.

1 Sitte, Camillo, City Planning According to Artistic Principles, Reinhold Publishing Corporation, (NY, 1945), pp. 3-4.

Collins, Christiane Crasemann; Collins, George R.; Sitte, Camillo, Camillo Sitte, The Birth of Modern City Planning: With a translation of the 1889 Austrian edition of his City Planning According to Artistic Principles (Dover Architecture) Translated, 1889, Dover Publications (Mineola, NY, 2006), pp. 141-2.

The Cankarjev trg square is an irregularly shaped exterior space typical of Škofja Loka. Its street extensions direct the flow of the traffic in all directions. Where the square is at its widest and turns downwards in the direction of St Jacob Church’s main entrance on its western, front side, it has been reshaped into a wide, terraced platform with a geometric shaped adapting perfectly to the slope. Its shape, light grey hue, and smooth texture give the platform the perfect amount of exposure in the space of the square, while enabling the passers-by to slow their pace, pause, and take in the view of the bronze model of the town set on a metal console at the highest point of the platform. From here it is possible to continue towards St Jacob’s Church, its entrance highlighted by a beautifully fashioned gothic portico added in 1870. It is also possible to take the paths that skirt the church on its left and right sides down to the Spodnji trg square. There is no way around it – here, to the delight of the inhabitants and visitors, the beauties of the old and the new are joined through excellence of timeless architecture.

Martinova hiša Mestni trg 27 Na Mestni trg se počasi spušča mrak. Neenakomerni osvetlitvi cestnih svetil se začnejo pridruževati še svetlobni prameni, ki uhajajo skozi bolj ali manj zastrta okna osvetljenih stanovanj.

Medla svetloba, ki na plan sili izza lesenih polken, spuščenih zaves ali zastrtih žaluzij, orisuje tudi okna stanovanja v prvem nadstropju Martinove hiše, ki stoji nedaleč od mestnih vrat, skozi katera se je v nemirnih časih srednjega veka z obzidjem zaščiteno mesto vezalo s svetom zunaj, posebej s potjo, ki je skozi Poljansko dolino vodila v Žiri in naprej proti Idriji in morju.

Skrbno obnovljena dvonadstropna stavba mestnega videza, ki je bila konec 19. stoletja olepšana s klasicistično oblikovanim okrasjem v ometu, odlično prikriva dolgo pot svojega gradbenega razvoja. Enako velja za večino hiš v zgodovinskem jedru mesta. Lastnikom komaj verjamemo, da je bilo današnje tlakovano in domiselno urejeno arkadno dvorišče nekoč mlakužno, da so v zadnjih kleteh meketale koze, spredaj, v gostilniških prostorih, pa se je trgovalo in popivalo. Imeti tako hišo z gostilno v pritličju, na trgu, na katerem je kar vrvelo od sejmov in trgovanja, je nekdaj pomenilo ekonomsko osnovo več družinam, danes pa je njeno lastništvo povezano z vzdrževanjem in popravili, katerim pogosto ni videti ne konca ne kraja.

The Martin House in Škofja Loka’s town square. It is deemed to be centuries old. The house’s long architectural evolution is concealed beneath an exemplary Classicist layer, the result of a renovation of the building exterior conducted in the 19th century.

Stanovanje v prvem nadstropju Martinove hiše je imeniten zgled obnove oziroma preoblikovanja starega prostora in opreme. Izvirnost le-te proseva iz vseh kotov in kotičkov tega prostornega in po meščanskih merilih zasnovanega stanovanja z visokimi, tu ločno, tam ravno oblikovanimi stropovi in tlaki.

Škofja Loka

Martinova hiša na škofjeloškem Mestnem trgu. Njeno starost ocenjujejo s stoletji.

Dolga pot arhitekturnega razvoja te stavbe se danes skriva za vzorno obnovljenim, klasicistično oblikovanim stavbnim ovojem, ki je rezultat zadnje prezidave v 19. stoletju.

Toda kakovost bivanja, ujetega v stara ostenja, je že zaradi občutka drugačnosti, varnosti, domačnosti in nadiha zgodovine vredna vseh naporov popravljanja in posodabljanja.

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Stanovanje v prvem nadstropju Martinove hiše. Osrednji prostor združuje funkcije veže, kuhinje in jedilnice. Okrog velike baročno oblikovane mize, izdelka škofjeloškega mizarja, so razvrščeni stoli, na katerih so nekoč posedali gostje gostilnice v pritličju. Stoli imajo danes kultno vrednost. Iz upognjenega lesa jih je oblikoval avstrijsko-nemški oblikovalec pohištva Michael Thonet.

The apartment on the first floor of the Martin House. The central space combines functions of an antechamber, kitchen, and dining room. Chairs that were formerly used by the guests of the inn on the ground floor, surround the great Baroque-style table made by a local carpenter. Today the chairs hold distinctive value, they were made by bentwood furniture inventor, the German designer, Michael Thonet.

Edini konstrukcijski posegi v procesu prenove so bili opravljeni z namenom spustiti več sončne svetlobe v stanovanje, stisnjeno med debele zidove sosednjih hiš na ozkih ulicah starega mestnega jedra. Z zasteklitvijo zunanjega hodnika in delnim odprtjem notranje stene se je svetlobi odprlo prosto pot v sicer slabo osončeni osrednji prostor z jedilnico in kuhinjo. Vse ostalo se je ohranilo: obokani opečni in ravni leseni stropi,

škatlasta dvokrilna okna, široka dvokrilna vrata med prostori in tudi »krožni promet« skozi sobe, ki ga prav posebej hitro zaznajo otroci, kadar potrebujejo poligon za ustvarjalno igro. Tudi tlaki so stari. Posebej izstopajo leseni, zaradi zanimivih vzorcev, ki so se na njih ustvarili z zlaganjem deščic različnih velikosti in tipa lesa ter svilnatega leska zaščitnega olja, medtem ko jim vidna obraba dodaja še dragoceno patino.

Restavrirana lončena peč še vedno služi svojemu namenu. Obdana z okrasno oblikovanimi pečnicami prostor krasi in ga ogreva s prijetno toploto. Posedanje ob njej je sproščujoč užitek.

Škofja Loka

The restored masonry stove continues to serve its purpose. Clad in ornamental fashioned stove tiles, it adorns the space and warms it with pleasant warmth.

It is relaxing and pleasurable to sit beside.

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Pohištvo v stanovanju nima le svoje primarne vloge.

Na inovativen način sta recimo izkoriščeni dve večji, s hrbtoma stikajoči se omari, ki tvorita otok in s tem nadomeščata predelno steno med spalnico in delovnim prostorom. Omari sta obenem tudi spomin na edini

družinski dobitek pri igrah na srečo – stari oče ju je namreč kot del opreme za spalnico zadel na tomboli.

Ostala oprema ni stilno enotna, saj se je nabirala skozi tri generacije. Med oblikovalske primerke sodi set Thonetovih stolov; gre za izdelke industrijskega oblikovanja z najdaljšo neprekinjeno, preko stoletno tradicijo proizvodnje. Večina drugih kosov ni imela posebne starinske vrednosti, kar pa je po drugi strani omogočilo, da se jih je lahko ustvarjalno preobrazilo in iz njih ustvarilo povsem nove pohištvene elemente. Nočna omarica iz petdesetih let 20. stoletja, obrnjena na glavo in živo pobarvana, je na primer postala kuhinjski element. Težke temne omare in okvirje slik iz orehovine so poživile žive in pisane tekstilije, preproge, odeje in okrasne blazine. Prav tako so bili predelave vredni stari fotelji, ki postajajo ponovno modni. V salonih s pohištvom so pogosto na prodaj podobno oblikovani, a manj kakovostni izdelki, saj sta masivni les in volneno blago za današnjo množično proizvodnjo predraga.

Industrijsko izdelana sedežna garnitura iz srede prejšnjega stoletja, postavljena na prelep, sto in več let star lesen tlak. Tudi oprema v drugih prostorih je večinoma starinska.

Več generacij se je nabirala v Martinovi hiši.

An industrially designed sofa set from the mid 20th century, placed on the exquisite, over a hundred-year old wooden floor. Other spaces also feature mostly antique fittings. They accrued in the Martin House over the course of several generations.

Škofja Loka

In pohištvo! Pri hiši se je očitno od nekdaj varčevalo, pregovorno za Gorenjce. Podstrešje hiše je bilo pred prenovo polno starih omar in omaric, miz, vrat in žaluzij ter celo porcelana in kozarcev iz nekdanje gostilne. Pravo razkošje za vajo v restavriranju in domiselnem preoblikovanju starega materiala, nenazadnje pa to vsako prenovo lahko tudi zelo poceni. Nova lastnica stanovanja, arhitektka in konservatorka, je v kar največji meri ohranila oziroma reciklirala vse s stanovanjem pridobljene pohištvene elemente. S tem je tudi dokazala, da je prepričanje o togosti in neustvarjalnosti prenavljanja stare dediščine zelo zmotno. Staro barvno pisano pohištvo je na primer izvirno zložila v nove uporabne sestave notranje opreme, vse skupaj pa poživila še s kotičkom, kjer so zbrani spominki in utrinki iz bližnje in daljne preteklosti.

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Škofja Loka

MARTIN HOUSE, Mestni trg 27

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Dusk is slowly settling on the town square. The uneven street illumination is enhanced by streaks of light escaping through a varied assortment of apartment window shades. The dim light is also protruding from behind the wooden shutters on the first floor of the Martin House near the town gates. In the Middle Ages, these used to link the walled town to the outside world, particularly to the road running through the Poljane Valley through Žiri onwards to Idrija and the seaside.

At the close of the 19th century the two-storey building’s carefully renovated urban appearance was further embellished with the addition of Classicist ornamentation in plaster, which further concealed its venerable architectural evolution. The same is true for most houses in the historical town core.

One can hardly believe when the current owners explain how the modernday paved and ingeniously arranged arcaded courtyard was once a muddy enclosure, how the bleating of goats formerly echoed through the hind cellars and the public space was the scene of bartering and drunken tumult.

The possession of an inn with a ground-floor public space facing a square bustling with fairs and trade once provided several families with a living. Today it demands seemingly endless repairs incurred by decades of neglect.

However, preserved within the ancient walls are the sense of individuality, safety, homey familiarity, and a sense of historical value of the quality of life making it worth the extra effort. The apartment on the first floor of the Martin House is an excellent example of how old spaces and fittings aught to be renovated and remodelled. Innovation emanates from every corner of the spacious urban apartment boasting tiled floors and tall alternately straight or arched ceilings.

The few structural alterations that were included in the renovation were aimed at enabling more daylight to enter the apartment, which stands confined in the shade of neighbouring houses’ thick walls, framing the shady narrow streets of the old town centre. The walls of the exterior passageway were replaced with glass and a part of the interior wall was removed; this exposed the previously poorly lit central dining room and kitchen to sunlight. The rest of the house remained unaltered; the arched brick and straight wooden ceilings, box frame double windows, spacious double doors linking spaces circularly, in series. This arrangement is particularly appealing to children looking for creative play spaces. The flooring is old as well; the wooden floors are particularly striking displaying interesting patterns created by arranging wooden tiles of various colours and wood type.

The sheen of protective oils and signs of wear bestow additional patina.

And the furniture! The proprietors seem to have always been frugal in the proverbial Gorenjska-region’s fashion. Before the renovation, the attic was filled with old closets, cupboards, tables, doors and shutters, even porcelain and glassware from the former inn. These luxurious collections proved advantageous to the restoration through imaginative remodelling of salvaged materials, significantly decreasing the costs of renovation. The apartment’s current owner is an architect and conservator by trade. She took special pains to preserve and recycle as many pieces of the furniture included in the sale as she could. Her efforts demonstrate the fallacy of the belief that resurrecting historical heritage always has to be stiff and uncreative. For example, she assembled and arranged old colourful furniture into new useful combinations and added a nook dedicated to displaying assembled souvenirs from the recent and distant past.

The furniture’s primary role was also augmented by inventing new uses for it. For example, two larger closets have been placed back to back, to form an island, partitioning a single space into a bedroom and study. These two closets were part of the bedroom furniture raffle prize won by the then grandfather, making them mementos of the family’s only gambling success. The rest of the furnishings are stylistically diverse because they accu-

mulated gradually, in three generations. A set of Thonet chairs is among the more esteemed designer furniture. The chairs are products of industrial design with the longest continuous tradition, totalling over a hundred years of production. Most of the other pieces hold no distinct historic value, which in turn enabled them to be creatively redesigned and become brand new furnishing elements. For example, a nightstand from the mid 1950s was turned upside down and painted in vibrant colours to serve as a kitchen element. The heavy dark closets and picture frames made from walnut wood were brought to life with the addition of lively colourful textiles, rugs, blankets, and ornamental pillows. The old armchairs, which are coming back into fashion, likewise proved worth modifying. Furniture stores often sell similarly shaped pieces of lower quality, because solid woods and quality wool prove too costly for modern-day mass-production.

Do vhoda v stanovanjski del hiše vodijo zunanje stopnice na notranjem dvorišču.

Majhno dvorišče je ozelenjeno z lončnicami in tlakovano s prodniki. Igriv vzorec v tlaku je domislica lastnice.

The entrance residential area of the house is accesible via external staircase in the interior courtyard. The small courtyard is decked in the greenery of potted plants and covered with pebble tiles. The playful pattern of the pavement was the owner’s idea.

Dom pod strmo streho v Martinčkovi hiši

Martinčkova hiša krasi Mestni trg s kar dvema fasadama, ki sta olepšani z baročno oblikovanim kamnitim (okenski okvirji) oziroma kovinskim okrasjem (naoknice in vratna krila). V velikem podstrešnem prostoru je urejeno sodobno opremljeno stanovanje.

“Martinčkova hiša” enhances the Town Square’s beauty with its two facades adorned by Baroque-style ornaments in stone (window borders) or metal (shutters and door wings). The large attic space has been converted to a contemporary furnished apartment.

Različni zgodovinsko dragoceni okrašeni stavbni členi so vpeti v harmonijo arhitekture, ki je današnjo podobo dobila s stoletnim razvojem na temeljih srednjeveško oblikovanega mesta.

Med stavbami, ki na Mestnem trgu navdušujejo s svojimi umetelno oblikovanimi fasadami, je tudi Martinčkova hiša, ki je še posebej izpostavljena, saj stoji na mestu, kjer se trg zoži, zato ima poleg vzdolžne v prostor trga usmerjen tudi del čelne fasade.

Škofja Loka

Med številnimi izvirno in raznoliko okrašenimi pročelji, ki krasijo najimenitnejši trg v mestu, je nemogoče izbrati najlepšega. Vsako zase pušča vtis na opazovalčeve čute s svojstveno lepoto.

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Nekdaj je tu stala enonadstropna stavba, ob njej pa so bila v mestnem obzidju narejena vrata, ki so omogočala prehod na cesto proti Poljanski dolini. V času velikega umetnostnega razcveta v 18. stoletju je bila stara stavba nadzidana v dvonadstropno hišo. Vanjo je vpeta dediščina preteklih obdobij, od gotskih kamnitih portalov, do renesančnega arkadnega dvorišča, toda videz te skozi stoletja preoblikovane stavbe je zlasti baročen.

Izpostavljena pročelja so slikovita in oblikovana po tedanji modi. Kamniti okenski okvirji imajo profilirano izklesane obrobe, železne naoknice in vratna krila pa so umetniško okrašena.

Škofja Loka

Ker je Martinčkova hiša v prostoru trga izpostavljena, je bolj kot pri drugih stavbah v nizu vidna tudi njena visoka, strma streha. Na njej lahko opazimo strešna okna, oblikovana v duhu starodobne škofjeloške

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Na zgornji ploskvi kvadra, ki so jo sedanji lastniki podaljšali, sta velika jedilnica s kuhinjo in kopalnica. Iz jedilnice se preko podesta pride tudi na teraso, usmerjeno na dvoriščno stran hiše.

A large dining room with adjacent kitchen, and a bathroom are located on the top surface of the cuboid, which was elongated by the current owners. The landing leads from the dining room to a porch on the courtyard side of the house.

arhitekture, izdelana pa v nedavni preteklosti, kar nam daje vedeti, da je nekdaj prazen velik prostor pod strešnim krovom postal del bivalnih prostorov. Neizrabljeno prostorno podstrešje je v osemdesetih letih prejšnjega stoletja pritegnilo pozornost arhitekta, ki je v njegovi specifični oblikovanosti, poševnih stenah in prepredenosti z lesenimi konstrukcijskimi elementi ostrešja videl izziv za oblikovanje nekonvencionalnega bivalnega prostora. Ob visok zunanji zatrepni zid je prislonil lesen kvader, zamislimo si ga kot velik kontejner, s katerim je talno površino podstrešnega prostora razčlenil na vstopni predprostor za lesenim kvadrom in veliko dnevno sobo pred njim. Predprostor in dnevna soba sta med seboj povezana s hodnikom, nastalim med vzdolžno steno kvadra in notranjim zatrepnim zidom, ki meji na zid sosednje hiše. Spalnici je uredil v notranjem prostoru kvadra, kuhinjo z jedilnico ter

Visoko podstrešje je višinsko členjeno z lesenim kvadrom, ki je postavljen na ohranjeno staro stopno ploščo. Ta izvirna oblikovalska poteza daje čutiti volumen cele podstrehe, odpira prostor ter povevezuje bivalne prostore. Iz dnevne sobe in hodnika spodaj se vidi jedilnico in kuhinjo zgoraj in obratno.

The steep attic is vertically divided by a wooden cuboid, which was built on the old top plate. This original design allows for the entirety of the attic space to be experienced, it imbues the sense of open space and connects residential spaces.

The dining room and kitchen above are visible from the living room and hallway below, and vice versa.

Zanimiva razgibanost in prostornost pod streho urejenega doma je prevzela tudi sedanje lastnike tega stanovanja. Čeprav so ga prenovili po svojem okusu in potrebah, so izvirno domislico prostorske členitve mogočnega podstrešnega volumna ohranili. Poleg nekaterih manjših sprememb – leseno obdelavo zidov je zamenjal belo obarvan omet, po vzoru starega pa je bilo izdelano novo vgradno pohištvo –, je najbolj opazno povečanje bivalno uporabnega prostora. Zgornjo

ploskev lesenega kvadra so podaljšali do obeh koncev strehe. S podaljšanjem se je na eni strani povečala jedilnica, na drugi pa so pridobili podest s stopnicami ter izhod na novo, v strešino zasekano in na notranje dvorišče usmerjeno teraso. Stopnice vodijo v novo etažo, kjer so visoko pod slemenom strehe urejeni spalni prostori. Stanovanje je z omenjenimi predelavami sicer izgubilo nekaj svoje oblikovalske veličine in prostorske odprtosti, a še vedno ga preveva občutenje topline unikatnega doma.

Škofja Loka

kopalnico pa na njegovi zgornji ploskvi. Tja vodijo stopnice, ki so vgrajene v razširjeno vzdolžno steno lesenega kvadra ob hodniku. Z izjemo spalnic so bili vsi prostori odprti v višino, s pogledi na zanimive splete tramov in plohov lesene stropne konstrukcije ter osvetljeni skozi vse okenske odprtine, ki predirajo strešini in zatrepno steno. Poleg tega je bilo iz dvignjene jedilnice mogoče videti vse prostore spodaj – predprostor, hodnik in dnevno sobo.

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Stopnice, ki vodijo iz spodnjega v zgornji del stanovanja, zaobjemajo pohištveni elementi, ki tako dobijo dvojno funkcijo; na eni strani služijo kot ograja, na drugi pa za shranjevanje predmetov – prostora v aktivnem domu z dvema otrokoma ni nikoli preveč.

Škofja Loka

The stairs leading from the lower to the upper part of the apartment are hugged by furniture elements which thus serve two purposes; on one hand they work as a railing, and on the other they are used to hold items – there is never too much utility space in an active home with two children.

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A Home Beneath a Steep Roof In the Martinček House

Hiše na trgu so se razvijale v skladu s spreminjajočimi se bivanjskimi in arhitekturnimi standardi. Kolikor je to dopuščal prostor, so se večale tudi v globino in začele stiskati in zaobjemati svoje vrtove. Namesto njih so se – da bi se le ohranil vir dnevne svetlobe – oblikovala majhna notranja dvorišča, pri bogatejših hišah obkrožena z arkadnimi hodniki.

The houses in the square evolved in step with the mutating residential and architectural standards. As much as the space allowed, they also grew inward compressing and tightly embracing their gardens. In their place, as sources of daylight, small interior courtyards appeared. In the more lavish houses these were framed by vaulted hallways.

Škofja Loka

It is impossible to select the most excellent among several original and diversely ornate building fronts that adorn the most distinguished square in town. Each of their individual beauties leaves the observer with a unique impression. A variety of historically significant building elements join to compose an architectural harmony, created by centuries of a medieval settlement’s evolution.

From among the houses on Mestni trg (Town Square) with mesmerising and artfully fashioned façades “Martinčkova hiša” is especially imposing.

Due to its position at the point where the square narrows the house faces the square both with its lateral and part of its front façade. Previously, a single-storey building stood in its place with an adjacent door in the city walls enabling passage to the road toward Poljanska dolina valley. During the great artistic upsurge in the 18th century a second floor was added to the house. The house is permeated with historical legacy ranging from Gothic stone portals to a Renaissance arcade courtyard, but after centuries worth of alterations the building appearance is now predominately in the Baroque style. The exposed frontages are picturesque and true to the fashionable designs of the period. Stone-carved profiled borders and iron grates embellish the stone window frames, while the door leaves are artfully decorated.

Since “Martinčkova hiša” stands out in the space of the square, its tall and steep roof is more visible than the rest in the row of neighbouring houses.

Though the skylights were fashioned in recent times their design follows in the spirit of Škofja Loka’s historic architecture. Their presence indicates that the vast, formerly empty attic space had been adapted for residential use. In the 1980s the unused spacious loft attracted the attention of the architect, who saw in its distinctive shapes, angled walls, and the entwined network of wooden structural elements of the roof, the potential to develop an unconventional residential space. He placed a cuboid, a sort of large container, against the gable wall. This effectively divided the space into an entryway vestibule behind the cuboid and a large living room on the other side of it. The vestibule and living room are linked by a hallway running between the cuboid’s lateral partition and the inner gable wall that borders on the neighbouring house. The architect situated the bedrooms inside the cuboid and the kitchen, dining room, and bathroom atop its upper surface.

These were made accessible by stairs built into the widened lateral wall of the wooden cuboid by the hallway. With the exception of bedrooms, all the spaces were open upward, exposing an interesting web of beams and boards, and providing the spaces with illumination through all the window apertures piercing the roof slopes and the gable wall. In addition, the view from the elevated dining room encompassed all the spaces below – the vestibule, the hallway, and the living room.

The apartment’s current owners were also captivated by the interesting variation and spaciousness of the attic home. Though it was renovated to conform to their tastes and needs, the original idea of the attic area’s imposing layout was preserved. Aside from a few smaller alterations – the wooden treatment of the walls was replaced by white plaster and new furniture was fashioned, modeled after the original – the most noticeable change was the expansion of the residential area. The upper surface of the wooden cuboid was lengthened to extend to both ends of the roof. The lengthening resulted in a larger dining room on one side, and the addition of a staircase landing with an added exit to a rooftop terrace newly built into the side of the roof overlooking the inner courtyard. The stairs lead to a new floor high above, near the ridge of the roof, where the new sleeping quarters have been established. Through these alterations the apartment design lost some of its former grandeur and spaciousness, but it nevertheless continues to retain a welcoming atmosphere of a unique home.

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Forum in Lubelino Novum Castrum Neumarkt l

Mesto od leta 1926 dalje Town rights since 1926 Ameriški zgodovinar, literarni kritik, sociolog in filozof Lewis Mumford (1895–1990) je v monografiji z naslovom Mesto v zgodovini – naboru študij o mestih in njihovem razvoju – zapisal, da življenje v srednjem veku ni bilo ne leno ne statično. Čeprav je bil tempo življenja drugačen od današnjega; ta je »pogosto ubijajoč in uničujoč, je bil srednji vek razdobje stalnih in včasih silovitih sprememb.

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esta so se množila in rasla med desetim in petnajstim stoletjem. […] Ne le da je v zgodnjem srednjem veku nastalo na tisoče novih mest, temveč so se tudi že naseljena mesta, ki so se znašla pred fizičnimi ovirami ali so bila neugodno locirana, pogumno pomikala k boljšim krajem.« (Mumford, 1969: 436) Tudi Tržič, ki je v starih dokumentih kot nova naselbina (Novum Castrum, Neumarktl) prvič omenjen leta 1320, je imel naselbinskega predhodnika drugje. To je bila višje ležeča naselbina na Lajbu (Forum in Lubelino). Stala je ob stari tovorni poti, ki je čez visokogorski prelaz Ljubelj vodila iz Celovške kotline proti Škofji Loki in naprej čez Črni vrh v Furlanijo ali pa proti Ljubljani in dalje do morja. Zakaj je bila ta prvotna naselbina opuščena, še ni povsem znano. Razlag je več, najverjetneje pa je bila vzrok uničenju naravna nesreča – plaz s Košute. Del prebivalcev se je nato preselil nižje, na bolj ugodno lokacijo v gorskem kotliču, ob

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sotočju vodotokov Tržiške Bistrice in Mošenika. Tam so ustanovili novo naselje, ki se je zaradi nove ceste čez ljubeljski prelaz (16. stoletje) in obilja vodotokov hitro razvijalo in razraščalo. Naselje je varoval tudi dvorec Neuhaus, zgrajen na mestu starejše grajske utrdbe na vzpetini. Ob tovorništvu, trgovini, fužinarstvu in železarstvu sta se še posebej močno razvili usnjarska in tekstilna obrt. Krajevni leksikon Dravske banovine iz leta 1937 nas pouči, da so bili v 17. stoletju široko poznani tržiški izdelki: mehko kozje usnje (kordovansko) v rdeči in črni barvi; trpežna in topla tkanina, izdelana iz lanu in volne (mezlan) ter različna bakrena in železna posoda. Prepoved izvoza železa s Koroške, Napoleonove vojske in požari so razvoj Tržiča za kratek čas zavrli, vendar si je vedno opomogel in konec 19. stoletja je s postavljanjem novih sodobnih industrijskih obratov postal močno industrijsko središče s kakovostnimi in želenimi čevljarskimi, tekstilnimi in kovinskimi izdelki.

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Tržič

TRŽIČ Town rights since 1926 The American historian, literary critic, sociologist, and philosopher Lewis Mumford (1895– 1990) wrote in his monograph titled “The City in History” – a selection of studies on towns and their development – that life in Mediaeval times was neither lazy nor static. Even though the pace of life differed from that of today “whose dynamism is often disruptive and selfdefeating, the Middle Ages were a period of constant, sometimes violent, change. Towns multiplied and grew, from the tenth century to the fifteenth.”(Mumford, 1961, p. 312)1 [...]

He further explains that not only did the Middle Ages see thousands of new towns founded, but also the brave migration of the established towns, which had come upon a barrier or were inconveniently located, to better sites.

Tržič, to which the old documents first refer as a new settlement (Novum Castrum, Neumarktl) in 1320, had its predecessor elsewhere. It started as a higher-lying settlement in Lajb (Forum in Lubelino), located by a freight route from Celovška kotlina, across the Ljubelj mountain pass, towards Škofja Loka, and onward over the village of Črni vrh, from there either on to Friuli-Venezia Giulia or towards Ljubljana, and from there to the sea. It is not entirely clear why this primary settlement was abandoned; there are several explanations, but it is most probable that the cause was a natural disaster – a landslide from Košuta. A part of the inhabitants then relocated lower, to a more favourable location in a mountain hollow by a confluence of watercourses Tržiška Bistrica and Mošenik.

There they established a new settlement. Owing to the new road across the Ljubelj Pass (16th century) and the abundance of watercourses it quickly evolved and expanded. The settlement was also protected by the Neuhaus palace, which was built on the slope in place of an earlier fort. Aside from freight transport, trade, steel- and metalworking, leather and textile crafts were particularly well developed. The lexicon of towns from Dravska banovina from 1937 lists the products from Tržič that were particularly widely known in the 17th century as soft goat leather (kordovansko) in red and black tint, durable and warm textiles made from flax and wool (“mezlan”), and varied copper and metal kitchenware. The prohibition of exporting iron from Koroška, Napoleonic Wars, and fires temporarily stunted Tržič’s development, however the town always recovered, and by the end of the 19th century newly established modern industrial plants transformed the settlement into a strong industrial centre producing high1 Mumford, L. (1961), The City in History: Its Origins, Its Transformations, and Its Prospects (Harcourt, Brace & World).

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Nad strnjenim poselitvenim jedrom, ki se stiska na klinasto oblikovani izravnavi med Tržiško Bistrico in Mošenikom, se dvigata Cerkev sv. Jožefa (18. stoletje) in graščina Neuhaus. Risba je delo risarja, topografa in založnika Jožefa Wagnerja (1803–1861).

Rising above Tržič’s condensed and inhabited core, squeezed on the wedge-shaped flat between Tržiška Bistirca and Mošenik, stand the Church of St Joseph (18th century) and the Neuhaus Mansion. The drawing was made by artist, topographer, and publisher Jožef Wagner (1803–1861).

Naselbinska tvorba, ki je nastala na klinasti izravnavi pred izlivom Mošenika v Tržiško Bistrico, se je nato najprej razširila na levi breg Tržiške Bistrice, v 19. stoletju pa z ustanavljanjem novih rokodelskih obratov in tovarn od sotočja navzdol še naprej proti jugu. Pretekla uspešnost tržiškega gospodarstva se dandanes ne zrcali le v tem, nazadnje razvitem območju s starimi tovarniškimi zgradbami, ampak tudi v najstarejšem delu, mestnem

jedru Tržiča. Razkriva se v imenitni trški arhitekturi, ki obdaja urbanistično dominanto – dolgo prometnico (nekdaj je bil to tržni prostor), ki jo Cerkev sv. Andreja deli na dva dela; »Spodnji konc«, današnji Trg svobode, in »Zgornji konc«, današnjo Koroško cesto, ki iz mesta vodi proti Ljubelju. Arhitekturo jedra Tržiča opazno zaznamujejo številne posebnosti, razvite v graditeljstvu gorenjskega prostora. Svojstven izgled in pečat dolge

zgodovine mu dajejo tudi številne ostaline rak – umetnih vodnih korit, po katerih se še danes pretaka voda iz Mošenika in Tržiške Bistrice, nekdaj pa je poganjala naprave, ki so bile potrebne za delo v fužinarskih in drugih delavnicah.

Vodnih naprav danes ni več, pa tudi starih malih ličnih na pol lesenih hišic, o katerih govorijo pisni viri ali jih kažejo ohranjene stare slike poselitvenega prostora današnjega mesta, ni več. Na arhitekturno podobo oziroma preoblikovanje Tržiča, ki je trške pravice dobil leta 1492, mestne pa leta 1926, so – kot na podobo mnogih drugih starih mest – močno vplivali pogosti in uničujoči požari. Za Tržič sta bila usodna zlasti dva; prvi je leta 1689 uničil okoli osemdeset hiš, drugi, leta 1811, pa celo stopetdeset hiš. »Kmalu je na požarnih razvalinah (po letu 1811) zrasel nov, ličen Tržič, ki je v bistvu do današnjega dne ohranil svoje lice. Pač so marsikateri hiši v teku let dozidali npr. eno ali drugo nadstropje ali pa so ji hišno pročelje polepšali […], toda kljub vsemu imamo dandanes Tržič, kakošen je zrastel na levem bregu Bistrice po požaru iz leta 1689, na desnem bregu pa po požaru iz leta 1811 […].« (Kragl, 1936: 16) Tržičani, ki so po letu 1811 prenavljali požgano mesto, so se pri tem zgledovali po arhitekturni umetnosti cesarskega Dunaja in deželnega središča Ljubljane. Vendar pa so tudi hiše, zasnovane po novih vzorih, ohranile mnoge značilnosti, vraščene v stavbarstvo na Gorenjskem. Izpostavljena pročelja klasicističnega videza so na primer bolj ali manj bahavo okrašena z mnogimi okrasno oblikovanimi stavbnimi členi, posebej kamnitimi in kovinskimi, ki so jih izdelali domači mojstri po lokalnem izročilu, v katerega je bilo tedaj še vedno vpeto veliko navdušenje nad barokom.

Panorama Tržiča v začetku 20. stoletja (1925). Naselje, ki se je razvilo ob pomembni trgovski poti, ki še vedno povezuje Celovško z Ljubljansko kotlino, je bilo od vsega začetka poznano po trgovini in predelavi železa – železovo rudo so kopali v okolici naselja. Tržič je trške pravice dobil leta 1492, v mesto pa je bil povzdignjen leta 1926.

The Tržič townscape at the start of the 20th century (1925). The settlement, which evolved by an important trade route that still connects the Celovec and Ljubljana Basins, was known from the outset for its iron trade and ironworking – the iron ore was mined in the surrounding area. Tržič received market rights in 1492 and town status in 1926.

quality and desirable shoes, textiles, and metallic products.

The settlement formation that evolved on the wedged plane at the confluence of Mošenik and Tržiška Bistrica first expanded to the left bank of Tržiška Bistrica, and in the 19th century building new handicraft facilities and plants further south of the confluence. Today, Tržič’s past economic success is manifest, not only here, where the development is youngest displaying all the old factory buildings, but also in the oldest part, Tržič’s town core. It is displayed in excellent market-town architecture framing the dominant urban feature – the long traffic route (formerly a market place) divided in two by the Church of St Andrew “Spodnji konc” (“Lower End”), today Trg svobode (Liberty Square), and “Zgornji konc” (“Upper end”), the modern-day street known as Koroška cesta, which leads to Ljubelj.

The architectural nucleus of Tržič is visibly marked by several particular building features, which developed in the Gorenjska region.

The numerous remnants of “rake” – artificial troughs, where waters from Mošenik and Tržiška Bistrica continue to flow, lend the settlement a unique appearance and testify to its long history; formerly, however, the water in the troughs propelled devices necessary for the operation of iron- and other works.

Today there are no more water devices, nor are there any old small neat wooden houses, which are attested in written sources or depicted in preserved old images of the residential space of today’s town. The architectural appearance of Tržič, which received market rights in 1492 and township rights in 1926, like the appearance of many other towns, was significantly altered by frequent and destructive fires. Two were particularly critical; the one in 1689 destroyed around 80 houses, and the other, in 1811, devastated as many as 150. “Soon (after 1811) a new tidy Tržič grew from the wreckage of the fire which essentially maintained the same appearance until this day. However, in the course of time, many-a house was extended by a storey or two or had its building front embellished …, nevertheless the Tržič we know today on Bistrica’s left bank is as it grew following the fire of 1689, and on the right bank following the fire on 1811 […].” (Kragl, 1936: 16) Tržič’s townspeople, who rebuilt the burnt-down town after 1811, did so following architectural art of Emperor’s Vienna and the regional centre – Ljubljana. Yet, even the houses built following new models, retained many characteristics integral in the building craft of Gorenjska. Protruding frontages of Classicist appearance are, for example, boastingly ornate to various extents featuring several decoratively fashioned structural elements, particularly in stone or metal; these were typically crafted by local masters

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Osrednja prometna ulica, stari prostor trgovanja, je bila skupaj s Cerkvijo sv. Andreja in stavbami premožnih tržanov oblikovana po požaru leta 1811. Nove hiše, ki so jih postavljali na ostalinah pogorelih, so bile zasnovane po arhitekturnih vzorih obeh bližnjih velikih mestnih središč, Dunaja in Ljubljane.

Naselbinski utrip na razširjeni prometnici (danes Trg svobode) danes in leta 1904. .

Tržič

The central traffic route, the old trading area, was constructed after the fire of 1811, simultaneously with the Church of St Andrew and buildings of wealthier market-town residents. New buildings, erected atop remains of those that burned down, were modelled following architecture of the two neighbouring large urban centres – Vienna and Ljubljana. The pulse of the settlement on the widened traffic route named Glavni trg (now the main square), today and in 1904.

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Odličen primer takšne arhitekture je Pollakova kajža. Mogočna stavba strogega videza je bila postavljena v 19. stoletju, a njeno okrasje kamnitih in kovinskih stavbnih členov v pritličju in deloma tudi v prvem nadstropju izžareva odmeve lokalno obarvanega baroka. Hiša je pripadala podjetnemu obrtniku Gašperju Pollaku (1800–1880). V pritličju hiše je imel prostore, kjer se je izdelovalo srednje debelo bombažno blago, tkano v platneni vezavi, ter barvalo tkanine v posebni tehniki, imenovani modrotisk.

Danes v tej imenitni stari hiši, ob kateri po umetnem koritu teče voda iz Mošenika, domuje Tržiški muzej. V prostorih so stalno postavljene zbirke predmetov kulturne dediščine, ki nas popeljejo v bogat in raznolik svet nekdanjih obrtnih dejavnosti in nam predstavijo visoko stopnjo tržiške bivalne kulture.

Med dragocenostmi tržiške kulturne dediščine, ki se obiskovalcem vtisne v spomin, je tudi muzejsko urejena Kurnikova hiša. Stavba stoji na levem bregu Tržiške Bistrice, kjer se je razvil od starega jedra nekoliko mlajši predel mesta. Postavili so jo v 18. stoletju, na temeljih pogorele hiše. Hiša ima tradicionalno zasnovo kmečkih domov, kakršne so gradili po gorenjskih vaseh bogati kmetje. Prav zato v okolju hiš, postavljenih po trških in mestnih vzorih, izstopa s svojo drugačnostjo. Ima zidano pritličje in leseno nadstropje ter zunanji hodnik – gank, ki vodi do prostorov v nadstropju.

Gank pred vremenskimi vplivi ščiti daleč navzven segajoča strma streha iz lesenih deščic. Kurnikova hiša je danes preurejena v muzej.

Na vzpetini nad starim mestnim jedrom je nekoč stal grad. Pogorelo arhitekturo je zamenjala graščina, ki jo je dal postaviti tedanji lastnik posestva, plemič češkega rodu in avstrijski feldmaršal Josef Radetzky (1766–1858).

Dvorec, znan pod imenom Neuhaus, je v svoji zgodovini večkrat zamenjal lastnike in vsebino, danes pa slabo vzdrževan razkriva, da prazen čaka na boljše čase.

There was once a castle on the slope above the town centre. The burnt-down structure was replaced by a mansion built by the owner, nobleman of Czech lineage and an Austrian Field Marshall, Josef Radetzky (1766–1858).

The mansion, known as Neuhaus, changed many hands and uses over time; today its poor upkeep reveals that it is empty and awaiting better times.

following local traditions, which, at the time, still exhibited a great enthusiasm for Baroque-style.

Pollak’s Mansion (Pollakova kajža) is an excellent example of such architecture. The mighty structure of strict appearance was built in the 19th century, though its ornate stone and metal structural parts on the ground, and to a degree on the first floor, still echo local adaptations of Baroque characteristics.

The house was owned by the industrious craftsman Gašper Pollak (1800–1880). On the ground floor spaces thick cotton fabrics were produced, weaved in linen binding, and textiles were tinted using a special technique known as blue print (Blaudruck). Today this distinguished old house with adjacent water troughs conducting water from Mošenik, hosts the Tržič Museum. Its spaces permanently display the collections of objects of Slovenian cultural heritage, which induct us into the rich and diverse world of the crafts of the past and introduce us to the high quality of Tržič’s residential culture.

Among precious items from Tržič’s memorable cultural heritage is the Kurnik House, which is arranged as a museum. The building stands on the left bank of Tržiška Bistrica, in the part of town, which evolved somewhat later than the old town core. The house was built in the 18th century upon the fundaments of a burnt-down predecessor. It is desgined in the traditional manner of farm-houses, such as were built by wealthy farmers in the villages of Gorenjska. It stands out in an area where most houses were built following examples from market-towns and towns. Its groundfloor is built while its upper floor is wooden and features a “gank” – an external hallway leading up to the spaces on the upper floor. The “gank” is shielded from the elements by a wood-shingled roof jutting far outward. The Kurnik house today houses an architectural museum. Its arrangement takes us back in time; it appears as though the echo of Kurnik family’s steps has only just subsided in the antechamber, central “hiša” space, karma (side chamber), črna kuhinja (smoke kitchen), and other spaces. The craftsmen of the Kurnik family, who gave the house its name, were its owners right up to the 1960s.

The picturesque scenery of the old town core, which developed in the basin beneath the steep slopes of Dobje, Pirmance, and Kriška gora, is completed by three prominent dominant architectures: the Curches of St Andrew and of the Annunciation, and the Neuhaus mansion. Both churches developed in the 19th century in place of predecessors. The presently abandoned Neuhaus mansion, standing on the vantage point on the slope above the old town core, was likewise built in place of an earlier structure – a castle which was destroyed in the fire of 1811. The neuhaus mansion was then commissioned by the owner of the estate, nobleman and Austrian Field Marshall Joseph Radetzky (1766–1858), “whose name was immortalised by the march, which Johann Strauss Sr. dedicated to him in honour of his victory at the Battle of Custoza.” (Žiberna, 2014: 31)

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Tržič je – tako kot številna stara mestna jedra – izjemen zaradi svoje dolge in plodne zgodovine, ki se danes zrcali v njegovi urbani in arhitekturni podobi ter v zanimivo opremljenih stavbah Tržiškega muzeja. Med njimi je tudi nekdanja tkalnica in barvarna obrtniške družine Pollak. Na njen pomen in gospodarsko moč poleg arhitekturne zapuščine opozarjajo tudi druge podrobnosti; dama na sliki – Pepca Pollak (19. stoletje) – je na primer oblečena v imenitno svileno obleko.

Like most old town cores, Tržič boasts an exceptionally long and fruitful history, which is reflected in its present-day urban and architectural appearance and displayed in the buildings of the Tržič Museum. These include the former weaving mill and dyeing facility of the Pollak artisan family. The family’s significance and economic might are not only reflected in this architectural heritage but also in other details; for example the lady in the painting – Pepca Pollak (19th century) – is wearing an exquisite silk dress.

Tržič

Njena ureditev nas popelje v pretekli čas; zdi se, kot da je v veži, hiši, kamri in drugih prostorih šele pravkar izzvenel odmev korakov Kurnikove obrtniške družine.

Kurniki, po katerih je poimenovana tudi hiša, so imeli stavbo v lasti vse do šestdesetih let 20. stoletja.

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K slikovitosti podobe starega mestnega jedra, razvitega v kotlini med strmimi pobočji Dobja, Pirmanc in Kriške gore, prispevajo tudi tri prostorsko izpostavljene dominantne arhitekture: cerkvi sv. Andreja ter Marijinega oznanjenja in dvorec Neuhaus. Obe cerkvi sta bili na mestih starejših predhodnic zgrajeni v 19. stoletju. Tudi danes zapuščeni dvorec Neuhaus, ki stoji na razgledni vzpetini nad starim mestnim jedrom, je bil zgrajen na mestu, kjer je prej stala druga stavba – v požaru leta 1811 uničeni grad. Neuhaus je dal postaviti tedanji lastnik posestva, plemič in avstrijski feldmaršal Josef Radetzky (1766–1858), »čigar ime je postalo nesmrtno z maršem, ki mu ga je leta 1848 posvetil Johann Strauss starejši za zmago pri Custozi.« (Žiberna, 2014: 31)

Poleg dvorca Neuhaus je v panorami mesta izpostavljena tudi Cerkev Marijinega oznanjenja, ki stoji na levem bregu Tržiške Bistrice. Notranjost cerkve, ki je današnjo podobo dobila v začetku 19. stoletja, plemenitijo poslikave dveh izvrstnih gorenjskih slikarjev – Leopolda Layerja (1752–1828) in Mateja Langusa (1792–1855).

Like the Neuhaus mansion, the Church of the Assumption on the left bank of Tržiška Bistrica is also prominent in the townscape. Embellishing the interior of the church, which attained its current form at the start of the 19th century, are murals by two excellent Gorenjska’s painters Leopold Layer (1752–1828) and Matej Langus (1752–1828).

Kurnikova hiša; v trg in kasneje mestno naselje ujeta arhitektura, ki identitetno zaznamuje gorenjsko podeželsko stavbarstvo. Danes je v njej muzej, kjer je predstavljena bivalna kultura 19. in začetka 20. stoletja ter življenje in delo pesnika in zbiratelja izročila - Vojteha Kurnika. Leta 2004 je Tržiški muzej izdal knjižico z njegovimi pesmimi.

Med hišami, ki so v Tržiču zaznamovane vsaka s svojo zgodbo, je tudi Mallyjeva, mogočna hiša klasicističnega videza. V 19. stoletju je v mestu delovalo že okrog trideset čevljarjev. Vzpon čevljarske obrti se je sklenil z ustanovitvijo tovarne čevljev, katere polovični lastnik je bil imetnik hiše na sliki, Karl B. Mally. Nekaj desetletij kasneje je bila v Tržiču ustanovljena tudi poznana tovarna obutve Peko. Spomin na uspešno tržiško obrtniško dejavnost se ohranja s predstavitvijo v Tržiškem muzeju in turistično prireditvijo, imenovano Šuštarska nedelja.

The houses of Tržič, each with its own unique story, include the Mally House, a mighty structure of Classicist appearance. In the 19th century there were about thirty active cobblers in town. The rise of the shoemaking industry peaked with the foundation of the shoe factory, a part of which was owned by the proprietor of the pictured house, Karl B. Mally. A few decades later Peko, a noted footwear factory, was also founded in Tržič. The memory of this Tržič’s succesful trade is kept by means of the display in the Tržič Museum and the tourist event known as Šuštarska nedelja (Cobbler Sunday).

Tržič

The Kurnik House; its architecture rooted in the market and later town settlement is a paragon of Gorenjska’s rural architecture. Today it houses a museum displaying the residential culture of the 19th and 20th centuries as well as the life and work of poet and collector of sayings – Vojteh Kurnik (1826–1886). In 2004, the Tržič Museum published a booklet of his poems.

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Spomenik žrtvam NOB s paviljonom Obeležje žrtvam NOB s paviljonom je eden od najbolj uspelih slovenskih arhitekturno-kiparskih kompleksov, s katerim je počaščen spomin na boj in trpljenje med drugo svetovno vojno. Sestavljata ga razstavni paviljon s ploščadjo ter kip, ki ga do želene monumentalnosti povzdigne prav arhitekturno oblikovan prostor s paviljonom.

Tržič

Skulpturo nadčloveških dimenzij je izdelal izjemno ploden mojster javnih plastik, kipar Stojan Batič (1925–2015). Ker je kipar svoje delo ustvaril v času, ko je bil spomin na drugo svetovno vojno še zelo živ, je z umetnino, ki jo je ustvaril osebno doživeto, več kot

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odlično upodobil narodovo povezanost in odločnost v skupnem odporu proti okupatorju. V snop povezane postave žena in mož imajo ponosno dvignjene glave in v močne pesti stisnjene dlani.

Tržiški spomenik uporu proti okupatorju v času druge svetovne vojne sodi med najbolj uspele arhitekturno-kiparske spominske komplekse na Slovenskem. Spomeniško celoto sestavljata skulptura kiparja Stojana Batiča na veliki ploščadi in razstavni paviljon, moderna arhitektura, ki jo je v šestdesetih letih prejšnjega stoletja zasnoval arhitekt Ciril Oblak.

Tržič’s monument to the resistance of the occupying forces during World War II is among the most successful architectural-sculpting memorial complexes in Slovenia. The memorial complex comprises a sculpture by sculptor Stojan Batič stood on a large platform, and an exhibition pavilion, a Modern architectural object designed by architect Ciril Oblak in the 1960s.

prvotnega izražanja, različno prestali tvegano rabo plastike pri formiranju arhitekturnega plašča.« (Bernik, 2004: 169, 170) Zasnovno izvirna je tudi arhitektura paviljona, ki ima notranjost členjeno z betonskimi stenami, stavbni ovoj pa je steklen. Popolna transparentnost objekta je omejena s slikovito streho, ki ima strešni ploskvi v rahlem naklonu usmerjeni na ozko izravnavo v osi stavbe. Domiselna streha z močnim in v bakreno pločevino oblečenim strešnim vencem je zgibana tako, da je v arhitekturi celote izpostavljen vhod v razstavni prostor, ki ga vidno poudarja tudi velik kovinski relief. Ta je prav tako umetniško delo kiparja Stojana Batiča, umeščen pa je v prostor med streho in ravno preklado vratnih kril. Skupaj z vrati in reliefom je ustvarjen vhodni portal. Pred vstopom v velik razstavni prostor, ki zaradi steklenih sten daje vtis zvezanosti z okolico, je komunikacijsko jedro – stopnice, ki vodijo v kletni del z dvorano in sanitarijami.

Arhitektura paviljona je odlično prilagojena neravnemu terenu. V kleti je velika večnamenska dvorana, v pritličju pa razstavna galerija. Vodilni gradivi sta beton in steklo, konvencionalnost steklene kocke pa je presežena z inovativno zgibano streho, ki jo prekriva bakrena pločevina.

The Pavillion is architecturally very well adapted to the uneven terrain. The basement holds a large multi-purpose hall and the ground floor serves as an exhibition gallery. The primary building materials used are concrete and glass; however, the conventionality of a glass cube shape is superseded with the addition of an innovatively folded roof, covered in sheets of copper.

Tržič

Leta 1969 so ob spomeniku, ki je že stal ob Predilniški cesti na robu starega jedra, postavili še paviljon.

S postavitvijo izvirno oblikovane arhitekture je bila sklenjena zamisel o oblikovanju spomeniške celote.

Arhitekt Ciril Oblak, nagrajenec Prešernovega sklada, je izkoristil padajoč teren od Predilniške ceste proti klinasto oblikovani ravnici s strnjeno staro pozidavo in paviljon v prostor umestil tako, da je klet z večnamensko dvorano in sanitarijami dostopna z nižje ležeče Blejske ceste, razstavni prostor v pritličju pa z urejene vstopne ploščadi ob Predilniški cesti. Stane Bernik, umetnostni zgodovinar in analitik slovenske arhitekture 20. stoletja, arhitekta paviljona uvršča v skupino, ki je bila v sedemdesetih letih prejšnjega stoletja ustvarjalno odmevna »z zasnovno izvirnimi rešitvami in rabo novih plastičnih gradiv pri oblikovanju celostnega slikovitega značaja arhitektur. [...] Njihove stavbe so bile oblečene v plastično oblogo – zanimivi arhitektonski eksperimenti, ki pa so, kar zadeva obstojnost in s tem v zvezi učinkovitost

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Razstava kiparja Seijija Kimota Moč in nemoč v razstavnem prostoru paviljona. Skulpture izražajo občutje groze taborišč v času druge svetovne vojne. »Še nekaj se odraža v skulpturah umetnika: kdor natančno opazuje, bo odkril tudi znake odpora. To je odpor, ki živi tudi v najglobljem poniževanju, in sicer v moči navidezno nemočnega, ki triumfira nad krivdo in jo končno premaga: odpor, ki zbuja upanje za človeško v človeku.« (Kimoto, 2016: 5) The exhibition of Seiji Kimoto’s “Power and Powerlessness” in the pavilion exhibition space. The sculptures reflect a sense of the horror of World War II concentration camps.

“Something else is reflected in the artist’s sculptures; upon careful examination the observant viewer will also discover signs of defiance. This is the defiance, which lives in the deepest of humiliations, namely in the power of the seemingly powerless who overcomes guilt and finally defeat it, the defiance, which incites hope for humanity within humans.” (Kimoto, 2016: 5)

Arhitektura paviljona je, zaradi inovativne podobe, ki kljub malemu merilu vidno zaznamuje prostor in izvrstno dopolnjuje ploščad s spomenikom, vključena v zbir pomembnih stvaritev slovenske moderne arhitekture in ima status kulturne dediščine.

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Pred dobrim letom je bil paviljon v celoti obnovljen; odpravljene so bile poškodbe, objekt pa je bil tudi dodatno utrjen in energetsko saniran. V pritličnem delu je bila urejena nova kotlovnica. Poleg omenjenih popravil in izboljšanja arhitekturne uporabnosti paviljona sta bili v juniju leta 2016 zaključeni tudi obnova ploščadi in restavracija spomenika, monumentalne prostostoječe skulpture.

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Obnovljen spominski prostor pa resnično zaživi, ko notranjost paviljona oplemenitijo umetniška dela slikarjev, kiparjev in drugih umetnikov v sklopu priložnostnih razstav. V času nastanka pričujoče mono-

grafije je bila na ogled imenitna razstava japonskega kiparja Seijija Kimota z naslovom Moč in nemoč.

Skulpture, »ki v odklonu od klasične figuralne upodobitve opominjajo, uprizarjajo in simbolizirajo človeško trpljenje, bolečino, grozote in neizbežnost smrti, so postale ikonografska podstat Kimotove umetniške ustvarjalnosti ter eden od vidikov osebne izpovedi.« (Košir, 2016: 3, 4) Umetniški izdelki, osenčeni z dnevno svetlobo, so se s svojo izpovedno močjo tako nezamenljivo vključevali v arhitekturni prostor spominskega značaja, da se je zdelo, da bi tam morali ostati za vedno.

Razstavni prostor je razčlenjen z grobo obdelanimi betonskimi stenami, steklene zunanje stene pa prostor na videz odpirajo navzven, proti zelenju in mestni soseski.

Tržič

The exhibition space is sub-divided by roughcast concrete walls, while glass exterior walls appear to open the space outwardly, towards the greenery and the town area.

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The Pavilion and Memorial of the Victims of the National Liberation Struggle is one of the most successful Slovenian memorials combining architecture and sculpting in honor of the memory of the fighting and suffering of World War II. It comprises the exhibition pavilion, its platform, and a sculpture, which is elevated to the desired monumental appearance by the architectural design of the pavilion space. The sculpture of super-human dimensions is the work of an extremely prolific master of public plastic arts, sculptor Stojan Batič (1925–2015). Since the artist created his piece at a time when the memory of World War II was very much alive, his artwork is heartfelt and more than excellently depicts the ties of a nation and its resolution to join forces against the invader. The figures of women and men tied in a sheaf hold their proud heads high and their fists in the air.

In 1969, a pavilion was added to the sculpture standing by Predilniška cesta along the edge of the old town core. The construction of this original piece of architecture was the fulfillment of the idea to create a memorial whole. Architect Ciril Oblak, a Prešeren Fund laureate, incorporated the pavilion into the sloping terrain running from Predilniška cesta towards the densely built up wedge-shaped plain. The terrain enables access points on two levels; the pavilion basement, containing a multi-purpose hall and restrooms, is accessible from the low-lying Blejska cesta, while the entrance to the exhibition space on the ground floor is from the platform formed by Predilniška cesta. Stane Bernik, art historian and 20th century Slovenian architecture analyst, names the architects of the pavillion among a selection of those artistically renowned in the 1970s for their “ingenious designing solutions and use of new plastic construction materials in the shaping of wholistic architectural character. [...] Their buildings were clad in plastic coating – interesting architectural experiments, which, in terms of resilience and the efficiency of primary expression tied to it, survived the risk of using plastics in creating architectural coating, with varying rates of success.” (Bernik, 2004: 169, 170) The pavilion architecture is also innovative in its design; its interior is divided by concrete walls while the exterior is glass. The otherwise complete transparency of the structure is limited by the picturesque roof with its two surfaces gently angled towards the narrow level surface in the building’s axis. The ingenious roof is accentuated by a substantial cornice, which is covered in copper and fit together in such a way as to place focus on the entrance to the exhibition space, which is furhter visually emphasised in the context of the architectural whole by a large metal relief. The artistic relief, which is also the work of sculptor Stojan Batič, is installed in the space between the roof and the straight lintel above the door leaves. The relief, lintel, and door combine to shape the entrance portal. Before the entrance into large exhibition space, which, due to the glass walls, appears to blend into the environment, there stands the core of traffic – the stairs leading to the hall and restrooms on the basement level. The innovative appearance, which visibly marks the space in spite of its small size, earned the pavilion’s architecture a place among significant creations of Slovenian architecture and the status of a cultural heritage monument.

Just over a year ago, the pavilion was comprehensively renovated; the damage was repaired, the building was additionally structurally reinforced and had a new power system fitted. A new boiler room was installed on the ground floor. In addition to the above mentioned repairs and improvements of the pavilion’s architectural function, the renovation of the platform and restoration of the monumental free-standing sculpture were also concluded in June of 2016.

The renovated memorial only truly comes alive, when the pavilion interior is adorned by artworks by painters, sculptors, and other artists in the scope of temporary exhibitions. As the monograph in front of you is being written,

the pavilion features the exhibition, titled “Power and Powerlessness”, displaying works by Japanese sculptor Seiji Kimoto, sculptures, “which depart from classical figural depiction to remind, stage, and symbolize human suffering, pain, horrors, and the inevitability of death, and have become the iconographical base of Kimoto’s artistic creativity, and one of the aspects of his personal expression.” (Košir, 2016: 3, 4) The expressive might of the artistic products, shaded in the light of day, fitted so integrally with the architectural memorial space, that it appeared as though they aught to remain there for ever.

Kranj

Tržič

The Memorial to the Victims of the National Liberation Struggle and the Pavilion

Fužina Germovka

Kovači v Germovki leta 1883, s svojimi izdelki – kovinskimi deli kos in srpov. Njihovo delo so usmerjala pravila ceha kovačev in kosarjev, vzpostavljena leta 1719 in dopolnjena na Dunaju leta 1748. Ceh tržiških kovačev in kosarjev je imel svoj lasten cehovski pečat, skrinjo in zastavo. Eden izmed členov pravilnika pravi: »Nobenemu pomočniku ni dovoljeno, da bi v kovačiji šušmaril ali opravljal druga dela. V ostalem imajo mojstri pravico prodajati izdelane kose in srpe na letnih sejmih, in v mestih in trgih sami ali po svojih pomočnikih.« (Mohorič, 1957: 82) Blacksmiths in Germovka in 1883 with their products – metal parts of scythes and sickles. Their work was regulated by the charter of the guild of blacksmiths and scythe-makers written in 1719 and supplemented in 1719, in Vienna. The Tržič guild of blacksmiths and scythe-makers had its own guild seal, chest, and flag. One of the articles in their charter states: “No assistant is allowed to work after hours or perform other tasks in a smithy. Generally, masters have the right to sell the manufactured scythes and sickles at annual fairs, and in towns or markets either personally or through their assistants.” (Mohorič, 1957: 82)

Pri tem jim je bil v pomoč bližnji vodotok, ki je poganjal lesena kolesa, njihovo vrtenje pa je z domiselno izdelanimi prenosi omogočalo delovanje mnogih za železarstvo in kovaštvo potrebnih naprav. Do delavnic, ki so bile bolj oddaljene od vodotoka, je bila voda speljana po umetno izdelanih koritih – rakah. Železarstvo in kovaštvo sta se v Tržiču razvila zelo zgodaj; žeblje so kovali že v 16. stoletju. Na razvoj in razcvet obrti pa ni vplivala le bližina vodotokov, ampak tudi prostrani gozdovi, v katerih je bilo moč pridobivati zadostne količine nujno potrebnega oglja. Kovači in

Tržič

Glavna tržiška prometnica je z ozkimi prečnicami povezana z vzporedno cesto, ki jo ob vodotoku Mošenik obrobljajo tesno skupaj postavljene hiše skromnejšega videza.

V tem, danes nekoliko zaspanem delu starega mestnega jedra, so nekoč stale številne delavnice, v katerih so tržiški obrtniki predelovali železo.

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kosarji so imeli v Tržiču dolga leta močno cehovsko združenje, ki je s strogimi pravili usmerjalo kovaško obrtno dejavnost. Konec 19. stoletja se je zaradi pomanjkanja kakovostne rude ter razvoja tehnike in tehnologije železarstvo in kovaštvo začelo postopoma opuščati. Najdlje so delovale obrtne delavnice, v katerih so kovači izdelovali različna orodja in posodja.

Toda tudi ta kovaška obrt je »po prvi svetovni vojni našla svojo preorientacijo, ki ji je omogočila moderniziranje obratov in razširjanje fabrikacijskega programa. Razvoj je zaključila druga svetovna vojna, ki je združila zadnji dve kosarici in z novimi investicijami povečala proizvodno zmogljivost obratov in odkrila nove smeri izvoza, kjer tržiški kovači uspešno obnavljajo sloves nekdanjega tržiškega jekla in svojih prednikov jeklarjev in kovačev.« (Mohorič, 1957: 56)

Obrtno delavnico Germovko v Paradižu so zaradi njene kulturnodediščinske vrednosti obnovili in jo muzejsko urejeno odprli za oglede. Nizka in ozka vzdolžna stavba s strmo streho, visokim dimnikom, grobim ometom in velikimi vrati, ki predirajo čelno steno, je s svojo sicer trdno, a uborno podobo izjemen kazalec težkega življenja in dela kovaških obrtnikov v ne tako davni preteklosti.

Tržič

Due to its cultural heritage value, the workshop Germovka in Paradiž was renovated, arranged as a museum, and open to the public. The low and narrow lateral building with a steep roof, tall chimney, roughcast, and large door piercing the front wall, appears firm though meager, serving as an excellent gauge of the hardships of the life and work of blacksmiths in the not-so-distant past.

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Z ugasnitvijo kovaške obrti so pričele izginjati tudi male obrtne delavnice, ki so bile stoletja vpete v arhitekturo naselja. Danes je ohranjena le ena. To je Germovka, ena od dveh najstarejših in najdlje delujočih tržiških fužin oziroma kosarn (metalurških obratov). Delovala je že v 17. stoletju, v njej pa je kovaški meh razpihoval ogenj in je 'norec' (veliko ovalno kladivo) udarjal na kovaško tnalo vse do konca druge svetovne vojne.

Germovka stoji v Paradižu. Skromna kamnita arhitektura, ki je zaradi okoliških novogradenj danes videti še skromneje, je bila ob rakah postavljena po vzoru stare, v velikem požaru leta 1811 močno poškodovane predhodnice. Hiša je vzdolžna, pritlična, ima strmo dvokapno streho, velika dvokrilna vhodna vrata, ki jih uokvirja ločni kamniti okvir, ter majhen prizidek na čelni strani ob vhodnih vratih.

Notranjost Germovke, ene od dveh najstarejših tržiških kosarn. Pogled iz kovačnice v utesnjeno brusilnico, kjer je danes razstavljen ohranjen brusni kamen z zelo redkim načinom močenja, ki ga je gnalo pogonsko-vztrajniško kolo. V kovačnici pa so na ogled stara kurišča, kovaška meha, veliko mehanizirano kladivo, imenovano norec, in druga oprema.

The inside of Germovka, one of the two oldest scythe-making facilities in Tržič. A view from the smithy to the constricting grinding-room; the preserved grindstone it displays today was wetted in an extremely uncommon way and driven by a transmission-wheel. The smithy exhibits old forges, bellows, a large mechanized hammer named “norec” (“madman”), and other equipment.

Fužino Germovko, stavbo s posebno kulturnodediščinsko vrednostjo, so z nedavno obnovo, ki še ni povsem zaključena, rešili – kot je razvidno z arhivskih fotografij – pred skorajšnjim propadom. Čeprav je šlo zlasti za projekt obnove, je Tržiški muzej staremu prostoru želel podati novo dimenzijo, zato je k sodelovanju povabil konceptualnega umetnika Mateja Andraža Vogrinčiča, ki je pripravil inštalacijo Koraki v času, v kateri se na novem lesenem podu prepredajo z žeblji narejeni odtisi čevljev, ki obujajo spomin na čas, ko so bili podplati obutve še okovani z žeblji (Bojan Knific). Obujajo pa tudi spomin na žebljarstvo, prvo in prastaro kovaško dejavnost, ter na tržiško čevljarstvo, ki je – tako kot kovaštvo – iz močno razvite obrti preraslo v industrijsko proizvodnjo.

Tržič

Kovaška delavnica v hiši, kjer so sprva izdelovali le kose in srpe, pozneje pa tudi drugo orodje, tako imenovano črnjavo (sekire, lopate, motike, vile, ...) in posodje, je bila razdeljena na dva prostora. V prvem je bila velika kovačnica, v drugem pa majhna in utesnjena brusilnica. Vodna kolesa so omogočala pogon transmisijskih sklopov, ki so poganjali številne kovaške naprave. Ostaline velikih koles so v hiši prisotne še danes. Prav tako pa tudi ostanki starih kurišč in različnih kovaških orodij. Ob vstopu v hišo obiskovalca ob pogledu nanje prevzameta občutek tesnobe ob misli na težko in zahtevno delo kovačev ter spoštovanje do njihovega bogatega znanja, ki je prehajalo iz roda v rod, do njihove mojstrske sposobnosti in volje, ki so jo morali imeti, da so v teh skromnih prostorih in težkih delovnih pogojih s preprostimi orodji izdelovali vrhunska in v širšem svetu poznana orodja.

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Prikaz stare kovaške tradicije v Germovki dopolnjuje umetniško oblikovan lesen tlak, ki spomni na prastaro tržiško obrt, žebljarstvo, in na čevljarstvo, ki se je razvilo kasneje ter zares vzcvetelo v prvi polovici 19. stoletja. Leta 1860 je bilo v tržiškem okraju triinpetdeset čevljarskih obratov. Čevlje so izdelovali ročno; tako lahke, kot težke. Slednji so imeli podplat zaščiten s kovinskimi žeblji.

The representation of old ironworking traditions in Germovka is complemented by artistically fashioned wooden flooring, commemorating Tržič’s ancient craft, nail-making, and shoe-making, which developed later and truly blossomed in the first half of the 19th century. In 1860, there were 53 shoe-making facilities in the Tržič district. Shoes were made by hand and were either of a light or heavy sort. The soules of the latter sort were reinforced with hobnails.

Tržič

Pogled na propadajoče rake in tehnično napravo, s pomočjo katere so za delo v kosarni izkoriščali energijo vodnega toka Mošenika.

Fotografija iz leta 1971.

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A view of a decaying “rake” (troughs) and technical device, which enabled the scythe makers to make use of the energy of Mošenik’s current.

Photograph from 1971.

Ironworks Germovka Matej Andraž Vogrinčič was invited to participate and prepare the installation Footprints in Time intertwining hobnailed boot prints on a new wooden floor to commemorate a time, when soles of shoes were still hobnailed.

Tržič

Narrow lateral streets connect Tržič’s main traffic route to a parallel road outlined, at the Mošenik watercourse, by a condense string of houses of modest appearance. Today this part of the old town core is somewhat sleepy, but was once filled with numerous small workshops. There, Tržič’s craftsmen extracted and worked iron, assisted by the nearby watercourse that drove the wooden wheels, which, through ingenious transfers drove several devices necessary for iron- and metalworking. The workshops further away from the watercourse received its water through artfully crafted troughs named “rake”. Iron- and metalworking in Tržič evolved very early on: nails were produced already in the 16th century. The development and flourishing of the craft were not only stimulated by the vicinity of the waterways but also by the vast forests, which provided sufficient amounts of indispensible charcoal. For years, a strong blacksmiths’ and scythemakers’ guild was active in Tržič; the metalworking trade was regulated by its strict rules. At the end of the 19th century, the lack of high-quality ore and technical and technological development resulted in slow abandonment of metalworking. The craft workshops, where metalworkers made various tools and kitchenware, were the last to disappear. However, even this metal trade “found a new direction after World War I, which enabled the modernization of the plants and widening of the fabricating program.

This development was stopped short by World War II, which merged the final two scythe-making plants and, through new investments, enlarged the productivity and capacity of the plants, and found new directions in export, wherein Tržič’s blacksmiths successfully revive the former reputation of Tržič steel and that of their steel- and metalworking predecessors.”

(Mohorič, 1957: 56).

The shut down of the ironworking trade was soon followed by the close of the small trade workshops, which had been integral in the architecture of the settlement for centuries. A single one remains preserved today; this is Germovka, one of two Tržič’s oldest and longest-working ironworks or scythe-makers’. It was already operational in the 17th century, when its bellows fanned the flames, while the ‘norec’ (madman) – a large oval hammer – struck the anvil up until the end of World War II. Germovka stands in Paradiž (Paradise). Against the backdrop of the surrounding new buildings the modest architecture of the stone-built structure today appears even more modest. It was constructed next to the ‘raka’, modelled after the previous building, which was severely damaged in the fire of 1911. The house is a lateral single-storey (having only a ground floor) structure with a steep gable roof, large double door framed by a vaulted stone border, and a small extension at the front by the entrance.

The ironworks inside the house, which initially only produced scythes and sickles, later began making other tools (axes, shovels, hoes, pitchforks, …) as well as kitchenware (the so-called “črnjava”). The workshop was divided in two spaces, a large smithy, and a small and constricting grinding room where the rotating stones drove transmissions, which ran several metalworking devices. Remnants of large wheels remain housed in the building.

The same goes for the remains of the old forges and various metal-working tools. Upon entering the house the visitor is overcome with unease at the thought of the hard and demanding work of blacksmiths and with a sense of respect for their vast knowledge, which passed from generation to generation, for their masterful skill, and the willpower necessary to create tools of the highest quality known throughout the world in these modest spaces, difficult working conditions, and using such rudimentary equipment.

The Germovka Ironworks building holds special value as cultural heritage; judging by archival footage, its recent renovation, which is still not entirely concluded, saved the building from impending ruin. Even though the project was primarily aimed at renovation, the Tržič Museum aimed to imbue the space with an additional dimension. This is why the conceptual artist

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Žužemberk

Seisenberg

Trg od leta 1377 dalje Market rights since 1377 Med starodobnimi mesti, ki jih je uničenje druge svetovne vojne nepopravljivo prizadelo, je Žužemberk zagotovo na prvem mestu. Naselje je izgubilo velik del svoje zgodovinske vrednosti in nenadomestljive urbanistične privlačnosti, ko je bila hudo poškodovana ne le monumentalna arhitektura gradu (ta je bil sicer že pred tem slabo vzdrževan), temveč je bilo porušeno tudi močno poškodovano trško jedro s cerkvijo sv. Jakoba.

Žužemberk

P

rostostoječa cerkev, ki so jo postavili leta 1317, je skupaj s kratkim nizom stavb, postavljenim tik za njeno severno stranico, tvorila središčno točko velikega odprtega prostora – trga, omejenega z nadstropnimi hišami in grajskim obzidjem. Žal lahko nekdanjo slikovitost tega osrednjega javnega prostora, ki so ga izvrstno zaključevale pomembnejše trške hiše, izvirno pa ga je členil osrednji strnjeni skupek stavb s staro cerkvijo na čelu, občudujemo le na ohranjenih starih fotografijah, posnetih pred razrušenjem, do katerega je prišlo med oziroma kmalu po drugi svetovni vojni. »Stari mojstri so, v različnih okoljih in z znanimi sredstvi dosegli zaključenost prostora. Pomagala jim je tradicija, ožina ulic, pa male prometne zahteve. Toda prav tam, kjer tega ni bilo, se je najbolj blesteče pokazala njihova intuicija, njihov talent.« (Sitte, 1997: 29) V letih pred drugo svetovno vojno je bil v Žužemberku sedež občine z okrajnim sodiščem in drugimi uradi, zdravnikom in šolo, prebivalci pa so se poleg s kmetijstvom ukvarjali še z gostinstvom, trgovino, turiz-

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mom (tujske sobe) in raznovrstnimi obrtmi. »Skoraj pri vsaki hiši so imeli kako obrt. To je bila menda še tradicija iz fevdalnih časov, ko so obrtniki živeli okoli gradu in delali za svoje gospodarje.« (Ožbalt, 2010: 96) Po prvi svetovni vojni sta se v naselju utrdili in razcveteli zlasti krznarska in čevljarska obrt, kar gre pripisati dejstvu, da so v nekdanji papirnici, stavbi, predelani iz še starejšega žitnega mlina, ki so ga pod naseljem ob reki Krki postavili Auerspergi, novi lastniki leta 1918 začeli strojiti kože.

Mnoge od naštetih dejavnosti so se odvijale v mogočnih nadstropnih trških hišah, ki so jih nadgradili ali na novo postavili petičnejši lastniki v 19. stoletju. Obdajale so osrednji, razširjeni del naselja, ki se je razvil ob prometnici Ljubljana–Novo mesto, s cerkvijo in gručo statusno izpostavljenih stavb v središču. Tu je stal »konzum, najbolj viden del sklopa dvonadstropnih hiš, kjer so bile v pritličju trgovine in delavnice, Jeričeva mesarija, Ogibova lectarija in Smrketovo krojaštvo.« (Ožbalt, 2010: 99) Tako kot se za vsak prostor,

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Žužemberk

Žužemberk Market rights since 1377 Žužemberk is certainly at the top of the list of towns damaged beyond repair by the devastation of World War II. The settlement lost a large part of its historical value and irreplaceable urban allure, when the monumental castle architecture (which was already falling into disrepair) was badly damaged. What’s more, the heavily damaged market centre and St Jacob’s Church therein were also demolished. The freestanding church was first built in 1317. Along with a short line of buildings standing immediately behind its northern side, the church marked the focal point of the large open space of the square framed by single-storey houses and castle walls. This main public space was splendidly complemented by the notabler market houses and ingeniously apportioned by the central cluster of structures dominated by the church.

Unfortunately, the past liveliness of this area can now only be admired in preserved old photographs taken before the demolition of World War II and its wake. “In various environments and utilising known methods, old masters achieved the conclusion of space. They were assisted by tradition, the narrowness of the street, and by less demanding traffic. But it was where things were different, that their intuition and talent had a chance to shine the brightest.” (Sitte, 1997: 29 – Slovenian edition, translated for this occasion) In the years leading up to World War II, Žužemberk was the municipal seat that had its own district court and other administrative offices, its own doctor, and schools. In addition to farming, the inhabitants also worked in the hospitality industry, commerce, tourism (letting rooms to foreigners), and various skilled trades. “A trade craft was practiced almost at every house. This was allegedly a tradition harking back to feudal times, when craftsmen would reside in the areas surrounding castles and work for their masters.”

(Ožbalt, 2010: 96) After World War I, it were specifically tanning and shoemaking, which blossomed in the settlement. This can be attributed to the fact that in 1918, the new owners – the Auersperg noble family – started tanning skins in the former paper mill building by the river, a structure that was established through remodelling an even older grist mill itself established by the same family.

Many of the above activities took place in mighty single-storey market town houses.

Wealthy owners either expanded or newly built these structures in the 19th century. The buildings enfolded the central wider area of the settlement with a church and a bundled group of prominent buildings at its core, which developed along the route between Ljubljana and Novo mesto. This was the lo-

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Na fotografiji iz leta 1900 vidimo Žužemberk na bregovih Krke. Na veduti izstopata razgibano grajsko poslopje ter monumentalna cerkev sv. Jakoba na osrednjem trgu.

A photograph from 1900 featuring Žužemberk on the banks of river Krka. Standing out in the townscape are the vibrant castle structure and the monumental St Jacob’s Church in the central square.

namenjen trgovanju, druženju in javnemu življenju, spodobi, je bil tudi žužemberški »plac« primerno okrašen, in sicer z zelenosivim vodnjakom iz litega železa. Zapisi o zgodovinskem razvoju mesta nas poučijo, da je bil umetelno oblikovani vodnjak na odprto površino med gradom in cerkvijo postavljen v drugi polovici 19. stoletja, izdelan pa je bil v bližnji Auerspergovi železarni na Dvoru.

Izgubljeno slikovitost osrednjega naselbinskega prostora danes postopoma nadomešča sodobna preureditev trškega jedra, ki temelji na razvojnem varovanju vse kulturnozgodovinsko pomembne arhitekture. Iz ruševin se postopoma dviga

razrušeni grad. Čeprav je do zaključka celovite prenove te v slovenskem prostoru izjemno dragocene grajske arhitekture, ki se je razvijala od 9. ali 10. vse do 18. stoletja, še dolga in zahtevna pot, že do sedaj opravljeno prenovitveno oziroma rekonstrukcijsko delo pomembno vpliva na izgled in urbanistično zasnovo naselja. V desetih letih, odkar obnova intenzivneje poteka, so bili rekonstruirani grajsko srednjeveško obzidje ter njegovi izstopajoči renesančno oblikovani okrogli obrambni stolpi. V prihodnosti bo v celoti prenovljeni grad namenjen novim dejavnostim, medtem ko bo njegova zunanjost Žužemberku vrnila še en del nekdanje arhitekturne veličine.

Na trgu še vedno stoji umetnostno oblikovani in pred nedavnim restavrirani litoželezni vodnjak, v katerem se preliva voda, ki jo v okroglo skledo na vrhu bruhajo v kačje glave oblikovane štiri izlivne cevi. Tudi stavbe, ki oblikujejo danes še posebej prostran trg in vstopne ceste, še ohranjajo poteze, mnoge pa tudi arhitekturno podobo časa, v katerem so nastale. Zdi se, da je Žužemberk naselje, ki je pričelo paziti nase in si prizadeva, da bi si kolikor se le da ozdravilo v vihri druge svetovne vojne pridobljene arhitekturne rane.

Na doživeti veduti Žužemberka – gre za umetniško delo slikarja Jožeta Kumra (1999) – takoj opazimo žužemberški grad. Dobrih štiristo let je bil v lasti plemiške rodbine Auerspergov, ki je vse do 19. stoletja z različnimi dejavnostmi spodbujala tudi vsestranski razvoj naselja.

In the expressive Žužemberk townscape painted by Jože Kumer (1999) one immediately spots the Žužemberk Castle. For a good four hundred years it belonged to the Auersperg noble family; their various activities also stimulated the settlement’s overall development until the 19th century.

cation of the “Konzum building”, the most visible part of the complex of two-storey houses, their ground floors featuring shops and workshops, Jerič’s butcher shop, Ogib’s Lectarija (lectar shop), and Smrket’s Outfiters.” (Ožbalt, 2010: 99). As befits any space used for commerce, socialising, and public life, the Žužemberk “plac” (square) was suitably embellished. It featured a cast iron greyish green fountain. Written records of the town’s historical development notify us that the artfully fashioned fountain was placed in the open area between the castle and the church in the second half of the 19th century, and that it was cast in the nearby Auersperg’s iron works in Dvor.

The lost picturesque appearance of the central settlement space is currently being gradually substituted by a contemporary rearrangement of the market core founded on the principle of developmental protection of all culturally and historically significant architecture. The demolished castle gradually rises from the ruins. Its gradual architectural evolution started in the 9th and 10th centuries and concluding in the 18th century making the castle invaluable in Slovenian space. Even though there is a long and hard way ahead before the overall renovation concludes, the renovations or reconstructions done thus far significantly impact the appearance and urban scheme of the settlement. In the ten years of fairly intense renovations, the mediaeval castle walls were restored along with its protruding renaissance-style round defensive turrets. In future, the fully renovated castle will be used for new activities while its exterior will help Žužemberk reclaim another part of its former architectural magnificence.

An artfully fashioned and recently restored cast iron fountain still stands in the square, with four snake head-shaped pipes spewing water into the round reservoir below. The square is particularly spacious today. The buildings framing it and the access roads still preserve the character, and many even the architectural form, of the period of their construction. It appears that Žužemberk as a town began to take care of itself and strives to the best of its ability to heal the wounds inflicted upon its architecture by the maelstrom of World War II. Recently, an ingeniously designed wooden pavilion was build on the site of the demolished St Jacob’s Church. It serves as a memorial while at the same time reviving local social life. The structure’s design strives towards transparency. Covered by steep gable roofs it is intended as a space where residents can socialize, rest, or simply spend time. Simultaneously, since it incorporates the remains of the old church’s walls, it also reveals and illuminates a part of Žužemberk’s history.

The structure was designed by two English students of Architecture chosen at an inter-

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Izgubljeno naselbinsko središče na razglednici iz leta 1905 (spodaj) in podoba naselbinskega jedra v štiridesetih letih 20. stoletja (zgoraj) – nekaj let pred porušitvijo cerkve, ki je prostorsko in likovno dominirala v središču razgibano oblikovanega trga, razvitega na stičišču prometnic.

Žužemberk

A postcard from 1905 (above), depicting the now gone settlement centre, and an image of the settlement nucleus in the 1940s (below), prior to the demolition of the church, which spatially and artistically dominated the dynamic square, which had developed at the juncture of traffic routes.

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Računalniška simulacija žužemberškega jedra ne predstavlja le arhitekturnih umetnin kot takih, temveč predoči tudi njihovo izvrstno vpetost v okolje; prikaže nam izvrsten občutek za prostor in umetelno gradnjo starih mojstrov.

The computer rendering of the Žužemberk town centre does not show only architectural artworks on their own, but also demonstrates their excellent integration into the environment; it reveals the exquisite sense of space and artful building of the old masters.

Literarni umetnik Jože Javoršek je v enem izmed svojih del zapisal, da slovenska naselja kot osnova slovenskih značilnosti že izgubljajo svoj značaj; da se kozmopolitsko mesto z vsemi dobrimi in slabimi lastnostmi skrivoma razširja po vsej deželi, do zadnje gorske vasi in skrite koče ter da tujstvo preplavlja naše narodno obličje in da iz dneva v dan postajamo nekaj bolj splošnega, srednjeevropsko nedoločljivega in balkansko površnega. Žužemberk v jedru svojega naselbinskega počela še kljubuje takemu razvoju in varuje svoje posebnosti kot izvirne dragocenosti.

In one of his works, literary artist Jože Javoršek wrote that the fundamental Slovenian feature – the Slovenian village – is already losing its character, that the cosmopolitan city with all its good and bad qualities is secretly spreading throughout the land, reaching the remotest of mountain villages and the most hidden of cabins, and that foreign features are taking over on our nation’s visage, transforming us, day by day, into something more general, indefinably Central European with ever more Balkan inexactness.

At the core of its settlement nature, Žužemberk continues to resist these trends and safeguard the precious originality of its proprietary features.

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Izgubljena kulturna dediščina je nenadomestljiva. Novi paviljon, zgrajen po načrtu angleškega arhitekturnega tandema, zmagovalca študentskega natečaja EASA013, je lahko le spomin in opomin na nekdaj tam stoječo cerkev sv. Jakoba – kakovostno arhitekturo, ki je bila poškodovana, nato porušena in za vedno izgubljena po drugi svetovni vojni.

Žužemberk

Lost cultural heritage is irreplaceable. The new pavilion was constructed following the plans by the English architectural tandem who won the student competition of EASA013. It can only allude to the high quality architecture of St Jacob’s Church that once stood in its place, was first damaged, and then finally demolished in World War II and so forever lost to us.

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Pred kratkim je bil na mestu porušene cerkve sv. Jakoba postavljen izvirno oblikovan lesen paviljon – kot pomnik preteklosti in tudi za obuditev družabnega življenja v naselju. Gre za transparentno zasnovano konstrukcijo s strmimi dvokapnimi strehami, ki je namenjena druženju, počitku in zadrževanju prebivalcev, obenem pa z vase vpetimi ostalinami starega cerkvenega ostenja razkriva in poučuje o delu žužemberške zgodovine. Objekt sta zasnovala angleška študenta arhitekture, ki sta bila izbrana na mednarodnem natečaju, izpeljanem v okviru srečanja študentov arhitekture EASA013. Srečanja se je udeležilo petsto študentov iz oseminštiridesetih držav. Žužemberk je naselje z dolgo, bogato in zanimivo zgodovino. Skozi stoletja se je razvil na obeh bregovih ribolovne reke Krke, z gradom in glavnim trgom na vrhu terase, ki se dviga iznad njenega levega brega. Stoji na stičišču cest, ki ga povezujejo z bližnjimi in daljnimi urbanimi središči; z Ivančno Gorico in Novim mestom, pa z Dobrničem in kraji na južnem delu Suhe krajine. Žužemberški grad je bil postavljen že v 9. ali 10. stoletju, naselje pa je silovit razcvet doživelo za časa, ko so bili grajski lastniki Auerspergi. V tem obdobju dobrih štirih stoletij so grad razvili v enega največjih gradov na Slovenskem ter pustili močan pečat ne le na naselju, temveč na celotni pokrajini. Vendar pa zgodovina Žužemberka sega še veliko dlje nazaj, daleč pred čas, ko je bil postavljen grad in je trg vzcvetel. Na hribu, kjer danes stoji in veduto Žužemberka krasi obnovljena baročna Cerkev sv. Mohorja in Fortunata, ki je bila konec druge svetovne vojne požgana, je nekoč stalo prazgodovinsko keltsko središče, utrjeno s trojnim obrambnim nasipom. Kelte so na tem področju nato nasledili Rimljani, ki so na istem mestu postavili svojo vojaško postojanko s svetiščem. Z zgodovinskimi podatki oplemeniten Krajevni leksikon Dravske banovine nas pouči, da je v kraju in v njegovi okolici že v prazgodovinski in rimski dobi cvetelo železarstvo. »Fužinarstvo se je nadaljevalo še v srednjem veku. Ob Krki proti Praprečam se še vidijo ostanki nekdanjih kovačij.« (Zupan, 1937: 498)

Nad naseljem, ki se je iz strnjenega jedra ob glavnih prometnicah razpršeno razvilo v vse smeri, dominira Cerkev sv.

Mohorja in Fortunata. Sakralni objekt z baročno arhitekturno podobo je bil med vojno sicer požgan, a nato obnovljen med letoma 1993 in 1995.

The scattered settlement, which spread out from a condensed nucleus by the main traffic routes is dominated by the Church of St Mohor and St Fortunatus above. The Baroque-style sacred structure burned down during the war but was restored between 1993 and 1995.

national competition, which was part of the EASA013 Architecture Students Assembly in which five hundred students from forty-eight countries took part. Žužemberk is a settlement with a long, rich, and interesting history. In the course of centuries it evolved on the banks of fishery river Krka, soon boasting a castle and main square at the top of the terrace rising above its left bank. It stands at the juncture of roads connecting the town to the nearby as well as distant urban centres such as Ivančna Gorica, Novo mesto, Dobrnič, and settlements of the southern Suha krajina region. The Žužemberk castle was constructed as early as the 9th or 10th century while the settlement began particularly intensely flourishing when the castle came into the possession of the Auersperg noble family. This period extended over a good four centuries, in which time the fortification evolved to become one of Slovenia’s biggest castles, leaving a strong mark not only on the town but the entire surrounding area as well. However, Žužemberk’s history extends much further into the past, predating the castle and its flourishing market. The hill, where currently the renovated (having been burned down in World War I) Baroque-style St Hermagoras’ and St Fortunatus’ Church stands embellishing the townscape, was the site of a prehistoric Celtic centre fortified with triple ramparts. Afterwards, Celts were succeeded by Romans, who built their military post and temple on the same site. The Lexicon of Dravska banovina’s towns (precursor to the Republic of Slovenia at the dawn of World War II -transl. note), which contains a wider view of historical context, conveys that already in Prehistoric and Roman times, ironworking thrived in the settlement and its surrounding area. “Ironworks remained active in mediaeval times. By river Krka in the direction of Papreče ruins of former smithies still remain visible.” (Zupan, 1937: 498) Žužemberk received market rights in 1399. At that time the settlement already possessed its own market magistrate, who even held the right of high justice (to administer capital punishment - transl. note). After the Middle Ages the settlement expanded continuously and, in spite of rises and falls, continued to grow and evolve economically and culturally up until today.

In part, Žužemberk also draws its life force from its universally creative, industrious, and knowledge-thirsty women and men, who either hail from its environment, settle there, or return to it. The seventeen significant Suha krajina’s locals, including dr. Fran Bradač, dr.

Janez Gnidovec, dr. Jože Jakša, Leon Štukelj, Rozalija Sršen, and others, are honoured by plaques and busts on the staircase of the Žužemberk primary school. The accompanying materials instructive of their lives and works are contained in display cases nearby.

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Žužemberk je trške pravice dobil leta 1399. Naselje je že tedaj imelo svojega trškega sodnika, ki je imel celo pravico do krvnega sodstva. Od srednjega veka dalje se je naselje zvezno razraščalo in se kljub vzponom in padcem prostorsko, gospodarsko in kulturno razvijalo vse do danes.

Žužemberk

Žužemberk svojo življenjsko energijo črpa tudi iz vsestransko ustvarjalnih, podjetnih in uka željnih žena in mož, ki so izšli iz tega okolja, vanj prišli ali pa se vanj vračali. Sedemnajstim pomembnim Suhokrajinčanom, od dr. Frana Bradača, dr. Janeza Gnidovca, dr.

Jožeta Jakše, do Leona Štuklja, Rozalije Sršen in tako dalje, so v predverju in na stopnišču Osnovne šole Žužemberk posvečene spominske plošče in doprsni kipi, poleg tega pa je v vitrinah razstavljeno tudi gradivo, ki nas pouči o njihovem življenju in delu.

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Nad zeleno reko pečina in na pečini grad.

Vsepovsod na njem zgodovina, rast, razcvet in propad.

Above the green waters a rock-face, there a castle so tall.

All of the past it does showcase growth, prosperity, fall.

Pomnim, v preteklosti mili, ko sem bil deček, še čisto mlad, so nas z vozovi vozili v sejem na trg pred ta grad.

Fondly I think of the old days, When I was young, wee and small, driving in carts hearing horse-neighs, to fairs at the castle so tall.

(Tone Pavček, Žužemberk)

(Tone Pavček, Žužemberk)

V jedru trga stoji restavriran litoželezni vodnjak, za njim pa grad, ki je bil za časa druge svetovne vojne porušen. Zaenkrat je bilo delno obnovljeno obzidje z obrambnimi stolpi. Z občasnim prirejanjem kulturnih dogodkov grajsko prizorišče ponovno postaja del sodobnega življenja naselbine. A pot celostne prenove, ki poteka že vrsto let, je še dolga in tako stroki kot današnjim lastnikom nastavlja nemalo različnih pasti.

At the heart of the square stands a cast iron fountain with a castle in its background. The latter was demolished during World War II. At this point the ramparts and their defence towers have been partially restored. By occasionally hosting cultural events the scene of the castle is beginning to play an active part of the settlements modern-day life again.

However, though it has gone on for several years, there is still a way to go, before the renovations are concluded presenting many varied problems for the owners and experts to solve.

Seisenberg legendarni grad Grad, osrednja stavba in simbol trškega naselja, stoji na skalnatem pomolu nad reko Krko. V ohranjenih listinah je utrjeno bivališče fevdalcev prvič omenjeno leta 1246.

Prvotni grad se je v mogočen stolp z obzidjem in obrambnim jarkom razrasel postopoma. Menjajoči se lastniki pa so v njem plemenitili in lepšali prostore tako, kot je to narekovala spreminjajoča se kultura bivanja.

Stavbni razvoj grajskega kompleksa, ki je v listinah prvič omenjen leta 1246, je potekal več sto let – vse do 17. stoletja. Neprecenljiv prikaz grajske podobe iz tega časa je vpet v zapuščino izjemno bogatega ustvarjalnega dela kranjskega plemiča Janeza Vajkarda Valvasorja (1641–1693).

Leta 1538 sta grad kot deželnoknežjo posest od cesarja Ferdinanda I. Habsburškega (1503–1564) kupila brata Jurij in Wolf Engelbert Auersperg (tudi Turjačana oz. Turjaška). V lasti Auerspergov, najbogatejše in najvplivnejše plemiške rodbine na Slovenskem, je grad ostal vse do druge svetovne vojne. Grajsko jedro, ki je bilo zaradi nevarnosti turških vpadov utrjeno z mogočnim obzidjem, iz katerega se je dvigalo sedem večnadstropnih obrambnih stolpov, so Auerspergi

nekaj let po nakupu razvili v eno svojih najpomembnejših rezidenc. Podkletiti so dali zahodni trakt, izgraditi arkadne hodnike in oblikovati imenitno zgodnjebaročno slavnostno dvorano (okrog leta 1609), ki jo strokovnjaki primerjajo s slavnostnima dvoranama v mariborskem in brežiškem gradu. Toda blišč in urejenost poslopja sta bila kratkotrajna. Ambiciozni plemiči so namreč pričeli graditi nove grajske rezidence (dvorec v Kočevju, Knežjo palačo v Ljubljani idr.) in

Žužemberk

The building development of the castle complex first recorded in 1246 evolved for several centuries up to the 17th century. The priceless depiction of the castle as it appeared at that time is part of the legacy of the bounteous creative efforts on the part of the Carniolan nobleman Janez Vajkard Valvasor (1641-1693).

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Propad grajskega poslopja se je pričel v trenutku, ko je grad izgubil vlogo reprezentativne plemiške rezidence (po letu 1793). Ko je postal za bivanje nezaželen, je za lastnike Auersperge pomenil le nepotrebno finančno breme. Končno uničenje pa je propadajočemu kompleksu zadala druga svetovna vojna. Ostali so le fragmenti zidov mogočnega obzidja in bivališča znotraj njega.

Žužemberk

The decay of the castle building started immediately after it lost its status as an aristocratic representational residence (after 1793). Having lost its appeal as an abode it remained merely an unnecessary financial burden on the Auersperg proprietors. The complex suffered its final blow of destruction in World War II. Fragments were all that remained of the mighty castle walls and the dwelling within.

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Iz ruševin se z vztrajnim restavratorskim delom počasi dviguje nekdanja grajska podoba, zaenkrat sicer omejena le na zunanji grajski plašč.

Pogled na grad leta 1999 in leta 2012.

Through persistent restoration efforts the castle’s former appearance is slowly resurging, though it is limited to the castle exterior for now.

Views of the castle from 1999 and 2012.

žužemberški grad je zapostavljen postopoma izgubljal svoj pomen. Dokončno ga je izgubil leta 1793, ko si je tedanji lastnik Viljem Auersperg zase dal urediti drugo, primernejše bivališče v bližnjem dvorcu Soteska ob Krki. To pa je bil tudi čas, ko je zanimanje rodovine Auersperg za razvoj posesti na Kranjskem pričelo usihati. V 19. stoletju so lastniki večino časa preživeli v svojih dvorcih na Češkem in v Gornji Avstriji in grad s srednjeveškim okostjem je imel le še vlogo središča zemljiškega gospostva.

razpada niso mogli ustaviti niti napori konservatorjev dunajske Centralne komisije za raziskovanje in ohranjanje umetnostnih in zgodovinskih spomenikov, ki so razpoznali veliko vrednost postopoma razvitega grajskega kompleksa in so poskušali na različne načine vplivati na lastnika kneza Karla Auersperga, da grad obnovi oziroma ga vsaj zaščiti. Dokončnega uničenja neke kresne noči pa ni povzročil Tavčarjev Martinek s svojo »strašno vodo«, temveč bombardiranje zaveznikov na koncu druge svetovne vojne.

Po odpravi fevdalnega družbenega sistema so v delu gradu, ki je bil tedaj v lasti kneza Karla Auersperga (1859–1927), namestili davčni urad in okrožno sodišče z zapori. Vzdrževanje velikega grajskega kompleksa je za kneza postalo nepotrebno breme in konec 19. stoletja se je odločil, da grad dokončno zapusti. Premično opremo je preselil v dvorec Soteska in ko sta se iz gradu v nov objekt preselila tudi davčna uprava in državno okrožno sodišče z zapori, je grad ostal prazen. Ker je lastnik iz stavbe poleg premične opreme odstranil in večinoma razprodal tudi vredne stavbne dele, peči, okna, vrata, vratne okvirje, grbovne plošče, kamnite stopnice, ograjne balustre in tako dalje, je že tako ali tako slabo vzdrževan grad dodatno ranil. Kmalu so popustile strehe, propadli so leseni stropi in eden najlepših gradov na Kranjskem je postajal razvalina. Postopnega

Gradovi, različno vzdrževani in razmeščeni po pokrajini, so bili in so neusahljiv vir za spletanje številnih zgodb in fantazijskih pripovedi o preteklosti. Tudi poznana pripoved Kresna noč, ki je nastala izpod peresa v Novem mestu živečega pisatelja Janeza Trdine (1830–1905), nas s svojevrstno in hudomušno naslikanim odnosom med preprostimi ljudmi in redko zaželenimi grajskimi petičneži popelje v pretekli svet naše srednjeveške zgodovine.

Za skalovjem sta šumela dva studenca. Tisti na levi strani se oglasi. Jaz sem polnočna voda, vse pogrudim, vse zamorim.” Oni na desni strani mu odgovori: “Jaz pa sem poldanska voda, vse ozdravim, vse oživim.” Pri studencih je ležalo več steklenic. Martinek napolni eno s poldansko, drugo s polnočno vodo pa se zamisli in za-

Pogled na grad z glavnega trga Žužemberka. Neposredna vpetost grajskega poslopja v trško tkivo jasno kaže, da je potrebno ob celoviti prenovi posameznih arhitekturnih členov hkrati načrtovati tudi novo namembnost in uporabo prenovljenih grajskih prostorov.

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A view of the castle from Žužemberk’s main square.

The direct integration of the castle structure in the space of the market town clearly demonstrates that the complete renovation of individual architectural elements must be accompanied by planning for a new purpose and use of the renovated castle spaces.

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kliče navdušeno: “Sveta kresna noč! Prisrčna ti hvala za orožje, ki mi ga pošiljaš za moj pravični lov. Grajski sršeni, pripravite se!” […] Ravbar je mislil poklicati svoje biriče in hlapce, toda “pljusk!” mu vrže Martinek v obraz polnočne vode in tako tudi njegovi babi in družini. Tisti hip so popadali mrtvi na tla in voda jih tako zgrudi in razje, da jih ni bilo treba niti zakopati. Z ostankom strašne vode oblije Martinek grajsko zidovje in tudi to se tako raztaja in skopni, da ne ostane sledu za njim, zato se še dandanašnji ne ve, v katerem kraju je stalo.

(Janez Trdina, Kresna noč)

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Uničen žužemberški grad je kmalu po koncu druge svetovne vojne ponovno postal predmet analiziranja in oblikovanja različnih predlogov zaščite, obnove in prenove. Toda strokovnjaki, od arhitekta in konservatorja Marjana Mušiča do arhitektke Maruše Zorec in konservatorja Tomaža Goloba, pri oblikovanju avtorskih vizij prenove – le-te so bile deloma tudi izvedene – niso sledili smernicam Centralne komisije, ki so predvidevale, da se zaradi izjemne kulturnozgodovinske vrednosti grad ne glede na načrtovano novo namembnost obnovi z doslednim upoštevanjem podobe iz 17. stoletja. Tako lahko po dolgi in še vedno nezaključeni prenovi gradu, s katero je bil del starodavnih grajskih zidov zagotovo rešen pred propadom, na eni strani vidimo potek razvoja impozantnega utrjenega bivališča, na drugi pa tudi raznovrstne konservatorske pristope, in to od obdobja pred prvo svetovno vojno do danes.

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Tudi z veliko mero domišljije si obiskovalec grajske notranjosti, sicer prevzet od veličastne masivne kamnite gradnje, težko naslika nekdanjo arhitekturno podobo gradu, s slikarskimi in kiparskimi umetniškimi izdelki okrašene prostore, v katerih so živeli plemiči in upravljali svoje obsežne posesti.

Even with a great deal of imagination, the visitor of the castle interior, though awestricken by the monumental massive stone building work, is hard pressed to truly visualize the castle’s former appearance, its spaces ornate with paintings and sculptures occupied by nobles managing their vast estates.

Umetniki so najobčutljivejši razlagalci prostora in dogajanja v njem. Na slikarsko platno ujeti umetniško doživeti podobi grajske arhitekture nagovarjata bodoče zahtevno in odgovorno delo konservatorjev, arhitektov in restavratorjev. Upodobitev žužemberškega gradu z južne strani: Božidar Jakac (1934) in Leopold Pehani (1936).

Artists are the most sensitive interpreters of space and the occurrences it envelops. The two artistically revived images of castle architecture address future demands of the responsible work by conservators, architects, and restorers. A depictions of the southern face of the Žužemberk Castle: Božidar Jakac (1934) and Leopold Pehani (1936).

razmer pomemben vpliv tudi aktualne modne usmeritve v arhitekturi.« (Sapač, 2010: 36 in 37) Nadaljevanje obnovitvenih del pa po svoje usmerja in spodbuja že sama prisotnost te zgodovine polne arhitekture, ki obiskovalca bodisi na prostornem in tesnobnem dvorišču za grajskim obzidjem bodisi od daleč, ujeta v pogled s trga ali nabrežja Krke, navda z občutkom veličastnosti starine, polne spominov na pretekle čase in mogočno rodbino, ki je nekdaj deželo branila pred Turki, podpirala umetnost ter skrbela za razvoj in blagostanje na okoliških posestih.

Vizija celovite prenove žužemberškega gradu temelji na restavraciji izvirne slikovitosti, subtilno prilagojene načrtovani novi uporabi.

The vision of the complete renovation of the Žužemberk Castle is based on the restoration of its original vibrancy subtly adapted to its newly planned use.

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Prenova gradu se danes nadaljuje in vzporedno z njo se je začelo razmišljati tudi o bodoči namembnosti rekonstruiranih grajskih prostorov. Odlično vodilo nadaljnemu delu je kritična ugotovitev, ki jo je v sestavku Vizija prenove žužemberškega gradu podal raziskovalec in poznavalec gradov, arhitekt Igor Sapač. Vsi dosedanji predlogi prenove »zaradi različnih razlogov niso nastali na podlagi poglobljene in interdisciplinarno zastavljene analize spomeniškega pomena gradu in njegovega širšega okolja ter široke palete potencialov, ki jih spomenik ponuja, ampak so bili večinoma v veliki meri odvisni od trenutnih usmeritev njihovih avtorjev, na katere so imeli poleg vsakokratnih splošnih

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Kostanjevica na Krki Žužemberk

Legendary castle »Seisenberg«

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The castle standing on the cliff above Krka river is the market town’s main and most symbolic structure. The earliest known record of the fortified feudal residence dates to 1246. The evolution of the primary castle structure into a mighty tower with ramparts and a defensive dyke was gradual. Ever changing owners embellished and adorned the spaces concurrently with the changing culture of living.

In 1538, brothers Jurij and Wolf Engelbert Auersperg (also known as Turjaški) bought both the castle and the land-princely estate from emperor Ferdinand I. of Habsburg (1502–1564). The Auerspergs, the wealthiest and most influential noble family in Slovenian lands, remained in possession of the castle until World War II. Because of the threat of Turkish raids the castle core was fortified adding strong defensive walls with seven multi-storey towers rising above. A few years after having bought it, the Auerspergs adapted the castle to serve as one of their main residences. They added a basement to the western wing, had vaulted hallways built, and (circa 1609) commissioned an alluring function hall designed in the late Baroque style. Experts compare it with the function halls of Maribor and Brežice castles, respectively. But the glamour and orderly appearance of the building were short-lived as ambitious noblemen soon began to build new castle residences (the court in Kočevje, the princely palace in Ljubljana etc.), which lead to the gradual decline of the consequently neglected castle of Žužemberk. It lost all significance by 1793 when the owner Viljem Auersperg commissioned the construction of another more appropriate residence for himself in the nearby court Soteska ob Krki (“Gorge at Krka river”). This period marked a general decline of the Auersperg family’s interest to develop their Carniolan estates. The proprietors spent most of their time in their Czech and upper Austrian courts, while the castle with its medieval skeleton core became merely a regional territorial estate centre.

After the abolition of the feudal social system, a part of the castle, then in the possession of Prince-Duke Karl Auersperg (1859–1927), began serving as the revenue office and the district court and prisons. The upkeep of the large castle complex became an unnecessary drain on the prince’s finances and at the end of the 19th century he decided to vacate the castle fully. He transported all movable fittings to his Soteska Court, and once the revenue office, and district court and prisons followed suit, the castle was left bare.

The owner removed and mostly sold, not only movable furnishings, but also other valuable fittings such as furnaces, windows, doors, door frames, herald plaques, stone stairs, railing balusters etc., causing further injury to the already poorly kept castle. The roofs gave out, the wooden ceilings broke down, and one of the most beautiful castles in Slovenian lands fell to ruin. Not even the efforts of restoration specialists from the Viennese Central Committee for the Research and Preservation of Artistic and Historic Monuments could halt the steady decline of the gradually developed castle complex, even though they recognized its great value and attempted to sway the owner, Prince Karl Auersperg, to renovate the castle or at least safeguard it. The ultimate destruction was not caused by Trdina’s literary hero, from his tale about Midsummer night, and his “terrible water”, but rather by an allied bombing at the end of World War II. Castles in various states of upkeep, dispersed about the countryside, were an inexhaustible source for the weaving of numerous stories and fantastic tales about the past. This includes the known tale “Midsummer Night” from under the pen of the Novo mesto resident Janez Trdina (1830–1905), which takes a unique and playful look at the life of the local simple people and rarely welcome noble fops in the Slovenian Middle Ages.

Two streams murmured behind the rocks. The one on the left whispered: “I am the midnight water, I grind all and stifle everything.” The one on the right side replied: “I am the noon water, I heal all and revive everything.” Several bottles lay by the streams. Martinek filled one bottle with noon water and an-

other with midnight water, deliberated a short while and cheerfully exclaimed: “Holy Midsummer night! Thank you kindly for the arms you supply for my righteous hunt. Castle hornets, you’d best beware!” […]

Baron Ravbar was just about to call for his catchpoles and hired men, but “splash!” Martinek threw midnight water in his face and did the same to his woman and family. In that instant they all fell dead to the ground and the water chewed them up and corroded their bodies so completely that they didn’t even need burial. Martinek used the remaining terrible water on the castle walls, which, in turn, dissolved and deteriorated until no trace was left, and so it remains unknown to this very day, in which town it stood.

(Janez Trdina, Kresna noč) Soon after World War II, the demolished Žužemberk Castle again became the focus of analyses and various proposals for protection, restoration and renovation. However, in their visions of renovation, some of which were realized, the experts ranging from architect and conservator Marjan Mušič to architect Maruša Zorec and conservator Tomaž Golob did not follow the guidelines set by the Central Commission. According to said guidelines, due to the castle’s exceptional cultural historical value, renovations should have been conducted by preserving its 17th century appearance, no matter its new intended use.

And so it is possible, after a long and still on-going renovation of the castle, which doubtless rescued part of the ancient walls from complete ruin, on one hand to discern the course of the imposing fortified residence’s development, and on the other hand to review various types of conservation methods utilized from the period before World War I until today.

The castle continues to be renovated while thought is simultaneously being given to the future use of the reconstructed castle spaces. An excellent guideline for further work is the critical finding contained in the essay “The Vision of the Renovation of Žužemberk Castle” by researcher and castle connoisseur, architect Igor Sapač, namely that all thus far proposed renovation methods “for various reasons did not follow from a detailed and interdisciplinary analysis of the memorial value of the castle as a monument and of its wider surroundings and the wide palette of potential offered by said monument, but were largely dependent on contemporaneous aims of their authors, which were influenced by their relative general circumstances as well as concurrent architectural fashion trends.” (Sapač, 2010: 36 in 37) The continuing renovation work is, in a way, directed and stimulated by the very presence of this historic architectural structure. Its spacious and anxiety instilling courtyard behind the castle walls as well as the view of the complex from the square or bank of river Krka, imbues the visitor with a sense of magnificent venerability, filled with memories of past times and of the mighty noble family that once defended the land from the Turks, supported the arts, and cared for the development and prosperity of the surrounding estates.

Zalaščkova hiša Grajski trg 49 Slabotna sončna svetloba, ki se medlikasto svetlika skozi koprenaste oblake, po osrednjem trgu čara blede dolge in kratke, pojavljajoče se in izginjajoče sence.

V tej neenakomerni igrivi svetlobi redkokdaj praznega glavnega trga, ki je že leta tudi glavno parkirišče naselja, se prikažejo različno visoke, različno oblikovane in različno stare hiše. gručasto oblikovane domačije ob vstopu na glavni trg bodisi mogočno enonadstropno stanovanjsko stavbo, katere pritlični del so namenili gostinski dejavnosti, postavili na novo.

Primerjava te velike hiše s strmo dvokapno streho z drugimi žužemberškimi in okoliškimi kmečkimi hišami, ki prav tako še imajo značilno dolenjsko oziroma

Posodobitev zgradbe, ki ima kulturnodediščinsko vrednost in mnoge bivanjske kakovosti, je bila usmerjena v utrditev in popravilo od vlage poškodovanega kamnitega ostenja ter v potrebno, predvsem tehnično, posodobitev notranjosti. Osnovna arhitektura hiše - njena likovna podoba in konstrukcija - je ostala nespremenjena.

The modernisation of the structure, valuable cultural heritage that also holds many residential qualities, was aimed at reinforcing and repairing stone walls which have been damaged by dampness and at providing the necessary largely technical modernisation of the interior. The underlying architecture of the house – its artistic appearance and construction – were unaltered.

Žužemberk

Nedaleč od gradu, ki s svojim kamnitim ostenjem in okroglim obrambnim stolpom izstopa na južni strani trga, stoji domačija, ki nas popelje na domišljijski sprehod po preteklosti. V sklepni kamen njenega ločnega, umetnostno oblikovanega kamnitega portala, ki v osi vzdolžne fasade uokvirja glavni vhod, je vklesana letnica 1789. Z njo je označeno obdobje, ko so podjetni kmetje bodisi preoblikovali obstoječo stavbo v nizu svoje

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Zalaščkova hiša na Grajskem trgu. Mogočna enonadstropna zgradba strogega videza, slikana pred zadnjo prenovo v devetdesetih letih prejšnjega stoletja.

The Zalašček House in Grajski trg square. The mighty two-storey building of a stern appearance, photographed before its final renovation in the 1990s.

Žužemberk

suhokrajinsko arhitekturno podobo s preloma 18. in 19. stoletja, kaže, da so predniki današnjih lastnikov morali biti uspešni in premožni prebivalci naselja. »Vsi kmetje so se obnašali kot ostali tržani: poznali so pravila lepega vedenja, imeli so srčno kulturo, bili so, skratka, gospoda.« (Ožbalt, 2010: 97) Pričujočo ugotovitev bolj kot strog likovni izraz stavbnega ovoja podpirata povprečnemu opazovalcu prikrita trdnost gradnje in domišljena prilagoditev prostorov tedanjim delovnim potrebam in življenjskim navadam.

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Hiša ima v prostoru naselja izpostavljeni dve fasadi, čelno in vzdolžno. Prva je usmerjena na vstopno prometnico, druga pa na današnji Grajski trg. Obe sta skromno okrašeni v ometu in kamnu ter oblikovani z doslednim upoštevanjem tedaj uveljavljene prakse osno simetrične razmestitve fasadnih odprtin. Hiša je vrhkletna, kar pomeni, da so graditelji spretno izkoristili neraven teren, v katerega so delno vkopali vse kletne prostore, ki so zato dostopni le z nižje ležeče dvoriščne strani. Na dvoriščni strani ima hiša pokrite lesene zunanje hodnike, ki povezujejo prostore v obeh etažah s straniščem, umeščenim v kratek prizidek na koncu

vzdolžne stranice. Poleg še vedno uporabne notranje razporeditve prostorov, ki jih členi velika osrednja veža s stopniščem, je odlika te preprosto oblikovane hiše tudi kakovostna masivna gradnja in njena konstrukcijska logika. Kljub poškodbam, ki sta jih stavbi zadala čas in človeška roka, so kamniti zidovi in obokani stropi v kleti in veži ostali trdni.

Pred dobrim desetletjem je bila hiša temeljito prenovljena in prilagojena sodobnemu bivanjskemu standardu in potrebam. Toda prenova ni posegla v arhitekturni videz stavbe in tudi ni preoblikovala njene izvorne kamnite konstrukcije. Nasprotno, z vrsto postopkov so jo dodatno utrdili in zaščitili pred neželenim prekomernim napajanjem s talno vlago. In ravno močno, debelo ostenje in loki, ki oblikujejo strop v veži in na stopnišču, obiskovalce, vajene prosojne in steklene, scenografske arhitekture, vedno znova navdajo z občutki lepote, varnosti, intime in trajnosti. K slednjemu pripomorejo tudi velika kamnita miza, ki stoji v prostorni veži ob težkih glavnih vhodnih vratih, ter tekstilije, okrašene s starimi veziljskimi motivi, ki plemenitijo prostore v hiši in krasijo pohištvo, kupljeno v sedemdesetih letih

Pogled v prostorno obokano vežo, ki jo že stoletje in več krasi velika kamnita miza. Letnica 1822 na njeni nogi priča, da so jo oblikovali in v vežo postavili v času (tako pripovedujejo lastniki), ko je bila v pritličnih prostorih gostilna. Ker se vklesani inicialki (TM) ne navezujeta na lastnikom poznane prednike, lahko domnevamo, da podstavek ni bil oblikovan namensko, ampak so ga pridobili oziroma prestavili od drugod.

A view of the spacious vaulted foyer, which has been for over a century distinguished by a large stone table. The inscription 1822 on its leg indicates (as the owners relate) that it was designed and set up in the foyer when the ground floor spaces were still being used as an inn. However, since the inscribed initials (TM) do not correlate with names of any ancestors known to the owners, it is likely that the base was not designed specifically for this use, but rather brought from elsewhere.

Pogled na obokano leseno stopnišče. Odlikujejo ga ne le dragocena patina in preplet preteklih in sodobnih elementov, temveč zlasti izkaz mojstrstva starih graditeljev, ki so gradnjo v avtohtonem in tedaj dragocenem kamnu dovršeno obvladovali. »Obrtniki in kmetje, posebno tisti na robu trga, so stanovali v hišah, ki so bile trdno zidane, največ iz kamna, visokopritlične.« (Ožbalt, 2010: 99) A view of the vaulted wooden stairway. It is not only distinguished by valuable patina and the blend of elements of the past end present, it is also an expression of mastery of old builders and their perfect command of building with indigenous and then valuable stone. “Tradesmen and farmers, particularly those at the edge of the market town, resided in firmly built houses, mostly made from stone, and with elevated ground floors.” (Ožbalt, 2010: 99)

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prejšnjega stoletja, ko je bila domača industrijska proizvodnja pohištva na višku svoje moči. Izvor mize, katere zgornja kamnita plošča sloni na nenavadno okrasno oblikovanemu kamnitemu podstavku z vklesano letnico 1822, lastnikom ni poznan, česar pa ne moremo trditi za tekstilije; z okrasnimi vzorci, ki se prenašajo iz roda v rod, jih je oplemenitila domača gospodinja, ki kljub častitljivi starosti osvojeno dragoceno znanje vezilje še vedno goji in prenaša na mlajše generacije.

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V kmečki kuhinji Zalaščkovih je v sodobno zasnovan kuhinjski niz vključen tudi velik štedilnik na trda goriva. Gospodinja zatrjuje, da je hrana, pripravljena v pečeh in na ploščah, ki jih ogrevajo drva, okusnejša. Poleg tega kuhinjo, posebej v bolj hladnih dneh, ogreva prijetna toplota.

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The contemporary furnishing of the Zalašček family’s rural kitchen includes among its appliances a large wood-burning stove. The lady of the house maintains that the food prepared in ovens and on stove-tops heated by wood tastes better. In addition the kitchen is warmed with pleasant heat, especially on colder days.

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Čeprav so tekstilije nežne in njihova trpežnost ni primerljiva z odpornim kamnom, vendarle na svoj način dajejo vtis trajnosti. Trajnosti, ki se iz roda v rod plete s prenašanjem znanj in tradicionalnih vzorčnih motivov.

Though textiles are tender and their resilience does not compare with the sturdiness of stone, they nevertheless exhibit their own brand of longevity, woven through the passing of skill and traditional patterns from generation to generation.

The Zalašček House Grajski trg 49 which is not the case concerning the textiles; the rich ornate patterns were embroidered by the lady of the house, who, in spite of her venerable age, continues cultivating these valuable skills and passing them on to future generations.

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Weak sunlight glistening meagrely through the veil of clouds in the central square conjures pale shadows, tall and short, to appear and disappear again. This irregular light play illuminates variously sized, shaped, and aged houses surrounding the rarely empty main square, which serves as it has for years, as the settlement’s main parking space. Not far from the castle, with its stone walls and round defensive tower standing out from the southern part of the square, lay a homestead that summons passersby into the world of the imagined past. The inscription on the keystone of its vaulted artfully shaped stone portal framing the main entrance in the axis of the lateral face reads 1789. This refers to either the time when enterprising farmers reshaped the pre-existing structure in the string of their clustered homesteads at the entrance to the main square, or erected a new mighty single-storey building with the intention to adapt its ground floor to the hospitality industry.

In comparison to other farmhouses in Žužemberk and the surrounding area, which also maintain a typical 18th and 19th century architectural appearance characteristic of the Dolenjska or Suha krajina region, this large house with a steep gable roof discloses that the current owners’ ancestors must have been successful and wealthy. “All farmers comported themselves like other market town residents; they knew the rules of good behaviour, were cultured in their hearts, in short, they were gallant.” (Ožbalt, 2010: 97) Rather than merely by the strict visual character of the building’s exterior, the above statement is confirmed by the strength of construction and thoughtful adaptation to the needs and living habits of the time, both mostly undetectable by the perception of the average viewer.

In the space of the settlement, the house exposes two facades – its front and its lateral face. The former looks upon the access route, while the latter faces the modern-day Grajski trg (Castle Square). Both display moderate plaster and stone ornamentation and strictly adhere to the to the established practice of the period insofar as their façade openings are arranged symmetrically, centred on the vertical axis. It is an above-basement house; the designers made good use of the uneven terrain, partially interring the basement spaces, which were consequentially only accessible via the lower-lying courtyard side. The courtyard side features covered vaulted hallways, which serve to connect spaces on both floors to the outhouse located in a short extension at the end of the lateral side. In addition to the continuously useful arrangement of interior spaces divided by a large central antechamber containing the stairway, this simply designed house also possesses an impressive massive substructure and sound construction philosophy. In spite of the damages inflicted upon the building by time and man, the stone walls and vaulted ceilings in the basement and on the ground floor remain steadfastly standing.

A good decade ago, the house was thoroughly renovated and adapted to fit the standards and needs of modern living. However, the renovation did not interfere with the structure’s architectural appearance, nor did it reshape its original stone construction. On the contrary, several measures have been taken to further fortify and protect it from unwanted excess floor dampness. And it is these thick walls and vaults shaping the antechamber and stairway ceilings that time and time again imbue the visitors, accustomed to the porous naturen and glass materials of scenic architecture, with a sense of beauty, security, intimacy, and permanency. The latter is further amplified by the large stone table standing by the heavy main entrance door in the large antechamber, and ornate textiles embroidered with old motifs that embellish the house spaces and decorate the furniture bought in the 1970s, at the peak of local furniture production industry. The table’s upper panel rests on an unusually and ornately shaped basis bearing the inscription 1822. The owners don’t know the origin of the table,

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Viri in literatura / Sources and Bibliography

A Arhiv Korpus slovenske arhitekture. Arhiv Republike Slovenije.

Zvezdarska ulica 1, Ljubljana.

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Ž Žiberna, Marjan. 2014: Po Tržiču in okolici. Občina Tržič, Tržič.

Kazalo citatov in viri / Index of Citations and Sources

B Bernik, Stane. 1968: 30. Organizem slovenskih obmorskih mest.

Koper Izola Piran. Mladinska knjiga, Ljubljana in Medobčinski zavod za spomeniško varstvo, Piran. 49/53 Bernik, Stane. 1968: 159. Organizem slovenskih obmorskih mest.

Koper Izola Piran. Mladinska knjiga, Ljubljana in Medobčinski zavod za spomeniško varstvo, Piran. 134/136 Bernik, Stane. 1968: 161 in 162. Organizem slovenskih obmorskih mest. Koper Izola Piran. Mladinska knjiga, Ljubljana in Medobčinski zavod za spomeniško varstvo, Piran. 136/137

Deu, Živa. 2008: 214. Arhitektura domov znanih Slovencev.

Umetnice in umetniki. Architecture of the Homes of Noted Slovenians. Artists of Both Genders. Založba Kmečki glas, Ljubljana. 214/189

E Eco, Umberto. 2004: 30. Ime rože. Založba Mladinska knjiga, Ljubljana. 164/168 Eco, Umberto. 2006: 37. Zgodovina lepote. Založba Modrijan, Ljubljana. 51/53

Bernik, Stane. 2004: 169 in 170. Slovenska arhitektura dvajsetega stoletja. Mestna galerija Ljubljana, Ljubljana. 261/264

G

Bredel, Willi. 1964: 169. Sorodniki in znanci. Mladinska knjiga, Ljubljana. 174/177

Grdina, Igor. 2005: 547. A. T. Linhart – poskus leksikonskega opisa. Vir: Svetina, Ivo. Slivnik, Francka. Štekar Vidic, Verena.

2005: Anton Tomaž Linhart. Slovenski gledališki muzej in Muzeji radovljiške občine, Ljubljana, Radovljica. 189/189

Brence, Andrej. 2006: 17. Muzejske zbirke v Ptujskem gradu.

Sprehod skozi zgodovino, pogled čez obzorje. Pokrajinski muzej Ptuj, Ptuj. 161/159

C Cevc, Emilijan. 1966: 113. Slovenska umetnost. Prešernova družba, Ljubljana. 102/105 Cevc, Emilijan. 1966: 146. Slovenska umetnost. Prešernova družba, Ljubljana. 224/227 Curk, Jože. 2009: 337. Dominikanski samostan na Ptuju.

Gradbeno zgodovinska skica. Samostan in njegova arhitektura med letoma 1786 in 2000. Vir: Mlinarič, Jože. Curk, Jože. 2009: Dominikanski samostan na Ptuju. Zgodovinski arhiv na Ptuju, Ptuj. 164/168 Curk, Jože. Vidmar, Polona. Radovanovič, Sašo. 2008: 303 in 304. Samostani na slovenskem do leta 1780. Založba Ostroga, Maribor. 163/168

D Deu, Živa. 2008: 174. Arhitektura domov znanih Slovencev.

Umetnice in umetniki. Architecture of the Homes of Noted Slovenians. Artists of Both Genders. Založba Kmečki glas, Ljubljana. 139/139

Grum, Slavko. 1968: 7. Dogodek v mestu Gogi. Zbirka Kondor.

Mladinska knjiga, Ljubljana. 125/127

J Jakič, Ivan. 2001: 83. Sto gradov na Slovenskem. Prešernova družba, d. d., Ljubljana. 214/214

K Kalan, Filip. 1979: 7. Anton Tomaž Linhart. Znameniti Slovenci.

Partizanska knjiga, Ljubljana. 188/187 Kette, Dragotin. 1965: 14. Na Krki. Vir: Kette, Dragotin. 1965: Pesmi. Mladinska knjiga, Ljubljana. 114/115 Kimoto, Ursula. 2016: 5. Umetniška razstava kot spomin na holokavst in na vse zločine proti človeštvu. Vir: Košir, Janita.

Kimoto, Ursula. 2016: Seiji Kimoto. Moč in nemoč. Tržiški muzej, Tržič. 262/262 Kmecl, Matjaž. 1979: 264. Zakladi Slovenije. Cankarjeva založba, Ljubljana. 24/24 Kmecl, Matjaž. 1979: 30. Zakladi Slovenije. Cankarjeva založba, Ljubljana. 156/158

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Pallasmaa, Juhani. 2007: 87. Oči kože. Arhitektura in čuti. Studia humanitatis, Ljubljana. 78/81 Pallasmaa, Juhani. 2007: 92. Oči kože. Arhitektura in čuti. Studia humanitatis, Ljubljana. 10/11

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Beletrina, Študentska založba, Ljubljana. 46/45

Pallasmaa, Juhani. 2007: 92. Oči kože. Arhitektura in čuti. Studia humanitatis, Ljubljana. 186/187

Košir, Janita. 2016: 3, 4. Na videz pozabljene stvari, ki na nas še vedno učinkujejo. Vir: Košir, Janita. Kimoto, Ursula. 2016: Seiji Kimoto. Moč in nemoč. Tržiški muzej, Tržič. 262/264

Pallasmaa, Juhani. 2007: 98. Oči kože. Arhitektura in čuti. Studia humanitatis, Ljubljana. 34/37

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L Leben, Nika. 2015: 148. Prenova gradu Khislstein v Kranju. Vir: Jenčič, Beba (ur.). 2015: Kranjski zbornik 2015. Mestna občina Kranj, Kranj. 98/101

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Perko, Verena (ur.). 2012: 38. Prepela Gorenjska. Vodnik po razstavi. Gorenjski muzej, Kranj. 97/101

Likar, Darko. 2004: 7. Kulturno-civilizacijske vrednote starega Kopra. Vir: Pikel, Valter (ur.). 2004: Koper. Mesto stoterih dimnikov. Identitetni elementi mestnega jedra. Mestna občina Koper, Koper. 40/42

Prešeren, France. Slodnjak, Anton (ur.). 1982: 146, 147. Poezije doktorja Franceta Prešerna. Prešernova družba v Ljubljani, Ljubljana. 88/90

Linhart, Anton Tomaž. 1996: 19. Županova Micka. Veseli dan ali Matiček se ženi. Založba Mladinska knjiga, Ljubljana. 196/196

Prešeren, France. Slodnjak, Anton (ur.). 1982: 146, 147. Poezije doktorja Franceta Prešerna. Prešernova družba v Ljubljani, Ljubljana. 94/93

M

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Radovanovič, Sašo (ur.). 2008: 113. Samostani na Slovenskem do leta 1780. Založba Ostroga, Maribor. 55/57

Mohorič, Ivan. 1957: 56. Zgodovina obrti in industrije v Tržiču.

Državna založba Slovenije, Ljubljana. 266/269 Mohorič, Ivan. 1957: 82. Zgodovina obrti in industrije v Tržiču.

Državna založba Slovenije, Ljubljana. 265/265 Mumford, Lewis. 1969: 436. Mesto v zgodovini. Prva knjiga.

Državna založba Slovenije, Ljubljana. 252/254

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Sapač, Igor. Lazarini, Franc. 2015: 420. Arhitektura 19. stoletja na Slovenskem. Muzej za arhitekturo in oblikovanje in Univerza v Ljubljani, Fakulteta za arhitekturo, Ljubljana. 29/32

Ožbalt, Irma M. 2010: 97. Spomini na Žužemberk. Vir: Rozman, Jože (ur.). 2010: Žužemberški grad. Suhokrajinski zbornik 2010.

Občina Žužemberk, Žužemberk. 288/291

Sapač, Igor. Lazarini, Franc. 2015: 440. Arhitektura 19. stoletja na Slovenskem. Muzej za arhitekturo in oblikovanje in Univerza v Ljubljani, Fakulteta za arhitekturo, Ljubljana. 93/39

Ožbalt, Irma M. 2010: 99. Spomini na Žužemberk. Vir: Rozman, Jože (ur.). 2010: Žužemberški grad. Suhokrajinski zbornik 2010.

Občina Žužemberk, Žužemberk. 272/274

Sapač, Igor. Lazarini, Franc. 2015: 550. Arhitektura 19. stoletja na Slovenskem. Muzej za arhitekturo in oblikovanje in Univerza v Ljubljani, Fakulteta za arhitekturo, Ljubljana. 124/127

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Občina Žužemberk, Žužemberk. 289/289

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Sapač, Igor. 2010: 36 in 37. Vizija prenove žužemberškega gradu.

Vir: Rozman, Jože (ur.). 2010: Žužemberški grad. Suhokrajinski zbornik 2010. Občina Žužemberk, Žužemberk. 285/286

Šumi, Nace. 2007: 92. Arhitektura 18. stoletja na Slovenskem.

Obdobje zrelega baroka. Katalog razstave Arhitekturnega muzeja Ljubljana. Arhitekturni muzej Ljubljana, Ljubljana. 46/46

Sitar, Sandi. 1987: 207. Sto slovenskih znanstvenikov, zdravnikov in tehnikov. Prešernova družba, Ljubljana. 26/28

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Smrekar, Andrej. 2015: 74. Kostanjevica na Krki. Kulturni in naravni spomeniki Slovenije: zbirka vodnikov; 218. Zavod za varstvo kulturne dediščine Slovenije, Ljubljana. 73/76

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Smrekar, Marko. 2015: 3. Kovanje umetnosti. Umetnost kovanja.

Svetilke. Skulpture v mestu. Kropa v Radovljici 2013–2015, Občina Radovljica, Radovljica. 190/190 Sruk, Vlado. 1980: 353. Filozofsko izrazje in repertorij. Pomurska založba, Murska sobota. 220/223 Stele, Franc. 1971: 152. Dolenjska in Bela krajina. Vir: Stele, Franc. Bratko, Ivan. 1971: Slovenija. Portret v podobi. Državna Založba Slovenije, Ljubljana. 112/115 Stele, Franc. 1936: 31. Problemi varstva spomenikov v Slovenskih mestih. Vir: Štrukelj, France (ur.). 1936: Kronika slovenskih mest. Številka 1, letnik III. Mestna občina ljubljanska, Ljubljana.

99/101 Stokin, Marko. Predan, Primož. Lazar, Evgen. 2008: 5. Poročilo o zaščitnem arheološkem izkopavanju na področju »Akvarija« v Piranu – Piran mesto (EŠD 24978), (parc. št. 1014 k. o. Piran).

Zavod za varstvo kulturne dediščine Slovenije. Območna enota Piran. 143/145 Stopar, Ivan. 1996: 96. Grajske stavbe v osrednji Sloveniji. Ob zgornjem toku Save. Viharnik, Ljubljana. 96/96 Stopar, Ivan. 1991: 145. Grajske stavbe v vzhodni Sloveniji. Med Prekmurjem in porečjem Dravinje. Založba Park, Ljubljana, Znanstveni tisk. Znanstveni inštitut Filozofske fakultete v Ljubljani. 216/219 Stopar, Ivan. 1998: 191. Likovno snovanje v 19. stoletju. Vir: Trenc Frelih, Irena (ur.). 1998: Umetnost na Slovenskem. Od prazgodovine do danes. Založba Mladinska knjiga, Ljubljana.

104/104 Stopar, Ivan. 1998: 191, 192. Likovno snovanje v 19. stoletju. Vir: Trenc Frelih, Irena (ur.). 1998: Umetnost na Slovenskem. Od prazgodovine do danes. Založba Mladinska knjiga, Ljubljana.

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Z Zadnikar, Marjan.1973: 86. Spomeniki cerkvene arhitekture in umetnosti. Mohorjeva družba, Celje. 106/109 Zadnikar, Marjan. 1973: 130. Spomeniki cerkvene arhitekture in umetnosti. Mohorjeva družba, Celje. 115/117 Zadnikar, Marjan. 1979: 184. Med umetnostnimi spomeniki na Slovenskem Koroškem. Mohorjeva družba, Celje. 107/109 Zadnikar, Marjan. 1994: 136. Kostanjeviški klošter »Fontis S. Mariae«. Družina, Ljubljana. 73/76 Zadnikar, Marjan. 1994: 136. Kostanjeviški klošter »Fontis S. Mariae«. Družina, Ljubljana. 75/75 Zevi, Bruno. 1959: 130. Pogledi na arhitekturo. Cankarjeva založba, Ljubljana. 208/210 Zupan, Guido. 1937: 240. Krajevni leksikon Dravske banovine.

Uprava krajevnega leksikona Dravske banovine v Ljubljani, Ljubljana. 93/93 Zupan, Guido. 1937: 498. Krajevni leksikon Dravske banovine.

Uprava krajevnega leksikona Dravske banovine v Ljubljani, Ljubljana. 279/279 Zupan, Guido. 1937: 566. Krajevni leksikon Dravske banovine.

Uprava krajevnega leksikona Dravske banovine v Ljubljani, Ljubljana. 210/211

Ž Žiberna, Marjan. 2014: 31. Po Tržiču in okolici. Občina Tržič, Tržič. 258/257

Š Šumi, Nace. 2001: 15. Arhitektura 17. stoletja na Slovenskem.

Obdobje med pozno renesanso in zrelim barokom. Katalog razstave Arhitekturnega muzeja Ljubljana. Arhitekturni muzej, Ljubljana. 42/43

299

Kazalo grafičnega gradiva in viri / Index of Graphic Materials and their Sources

IDRIJA Veduta Idrije – risba Jožefa Wagnerja (1803–1861). 18–19 Vir: Osebna zbirka kopij iz Wagnerjeve suite Kranjske, okrog leta 1845. Živa Deu, Ljubljana.

Mestni trg leta 1903. 19 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Rudarja. 28 Vir: Peljhan, Martina (ur.). 2009: 16. Idrija. Zgodba o petstoletnem srebrnem studencu. Občina Idrija in Rudnik živega srebra Idrija d. o. o., Idrija.

KOPER Pogled na mesto leta 1909. 42–43 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Da Pontejev vodnjak. Avtor: B. Lonzar. 43 Vir: Mestna občina Koper.

KOSTANJEVICA NA KRKI Kostanjevica leta 1914. 66–67 Vir: Deu, Živa. 2014: 15. Kostanjevica na Krki. Poplavna ogroženost kulturne dediščine. Občina Kostanjevica na Krki, Kostanjevica na Krki.

Vladimir Lamut: Kostanjevica. 67 Vir: Deu, Živa. 2014: 08. Kostanjevica na Krki. Poplavna ogroženost kulturne dediščine. Občina Kostanjevica na Krki, Kostanjevica na Krki.

Tone Demšar, 1976. 69 Vir: Bernik, Stane. Čopič, Špelca. 1983: 110. Forma viva 1961– 1981. Kostanjevica na Krki, Portorož, Ravne na Koroškem, Maribor. Izvršilni odbor Skupščine delegatov Forme vive, Ljubljana.

Titov trg leta 1900. 44 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

J. V. Valvasor: Kostanjeviški samostan. 71 Vir: Zadnikar, Marjan. 1994: 25. Kostanjeviški klošter »Fontis S. Mariae«. Družina, Ljubljana.

Trg Brolo leta 1901. 44 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Porušen del samostana. 72 Vir: Arhiv Galerije Božidar Jakac, Kostanjevica na Krki.

Koprski dimniki. 45 Vir: Pikel, Valter (ur.). 2004: Naslovnica – Koper. Mesto stoterih dimnikov. Identitetni elementi mestnega jedra. Mestna občina Koper, Koper. Fotograf: Lenarčič Matevž.

KRANJ

Pogled na osrednji koprski trg z Ložo v ospredju. 41 Vir: Slovenska turistična organizacija. Mestna občina Koper.

Pretorska palača leta 1913. 48 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Koper na veduti iz leta 1781. 54 Vir: Stopar, Ivan. 2013: 73. Slikovite podobe Slovenije.

Cankarjeva založba, Ljubljana.

Samostanska cerkev pred prenovo. 56 Vir: Mestna občina Koper.

Solinarji leta 1898. 59 Vir: Osebna zbirka. Slobodan Simič Sime.

300

Skladišče soli – Taverna, leta 1906. 59 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Veduta Kranja iz leta 1909. 90–91 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Podoba Kranja leta 1914. 91 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Leopold Layer: Portret z ženo. 104 Vir: Trenc Frelih, Irena (ur.). 1998: Umetnost na Slovenskem. Od prazgodovine do danes. Založba Mladinska knjiga, Ljubljana.

NOVO MESTO Veduta mesta iz sredine 19. stoletja. 114–115 Vir: Osebna zbirka kopij iz Wagnerjeve suite Kranjske, okrog leta 1845. Živa Deu, Ljubljana.

Glavni novomeški trg med obema vojnama. 116 Vir: Ložar, Slavka. 1991: 12. Stare gostilne in gostilničarji v novomeški občini. Dolenjska založba, Novo mesto.

Vizualizaciji bodoče ureditve trga. 117 Prvo nagrajena natečajna rešitev. Avtor: Jure Kobe, udia.

Vir: Občina Novo mesto.

Jože Kotar: Mesto ob zeleni reki, 1997. 118 Vir: Pregl Kobe, Tatjana. 2000: Jože Kotar. Pigmalion, Postojna.

Restavracija pri vodnjaku. 120 Vir: Hostel Situla. Fotograf: Boštjan Pucelj.

Mestni trg na fotografiji iz leta 1901. 125 Vir: Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Janko Savinšek, ilustracija za knjigo »Goga«. 127 Vir: Grum, Slavko. 1968: Dogodek v mestu Gogi. Zbirka Kondor.

Mladinska knjiga, Ljubljana.

PIRAN Notranje pristanišče – Mandrač v 19. stoletju. 138 Vir: Hoyer, Sonja Ana. 1992: 48. Hiša Tartini. Založba Lipa Koper, Koper.

Notranje pristanišče – Mandrač leta 1921. 138 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Benečanka leta 1903. 140 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Benečanka leta 1914. 140 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

PTUJ Veduta Ptuja iz leta 1792. 158–159 Vir: Stopar, Ivan. 2013: 141. Slikovite podobe Slovenije.

Cankarjeva založba, Ljubljana.

Usnjar. 179 Vir: Osebni arhiv. Janez Bogataj, Ljubljana.

RADOVLJICA Mestno jedro leta 1908. 186 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Novi mestni predel na sliki iz leta 1909. 187 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Umestitev na novo oblikovanih svetil v mestni prostor. 190 Vir: Atelje Smrekar. Avtor: Marko Smrekar, udia.

Thurnova graščina na razglednici iz leta 1964. 191 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Fotografija Bogatajeve hiše pred drugo svetovno vojno. 203 Vir: Družina Bogataj, Radovljica.

SLOVENSKE KONJICE Stari trg leta 1908. 210–211 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Kužno znamenje sv. Florijana na razglednici iz leta 1904. 211 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Monumentalno župnišče na razglednici iz leta 1912. 214 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Fotografija Dvorca Trebnik pred drugo svetovno vojno. 216 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

ŠKOFJA LOKA Škofja Loka na litografiji Jožefa Wagnerja, okoli leta 1845. 232 Vir: Osebna zbirka kopij iz Wagnerjeve suite Kranjske, okrog leta 1845. Živa Deu, Ljubljana.

Mestni trg leta 1899. 234 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Spodnji trg leta 1933. 234 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

France Mihelič: Mrtvi kurent. 159 Vir: Gobec, Mihael (ur.). 1975: 55. Ptuj. Skupščina občine Ptuj, Turistično društvo Ptuj in Spektar Zagreb.

Ivan Grohar: Škofja Loka v snegu. 235 Vir: Jaki, Barbara. 2008: 350. Slovenski impresionisti in njihov čas 1890–1920. Narodna Galerija, Ljubljana.

Mestna hiša, ptujski magistrat leta 1914. 162 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Vizualizacija arhitekturne preureditve Glavnega trga. 236 Prvo nagrajena natečajna rešitev. Arhitekti: Robert Potokar, Špela Kuhar, Primož Žitnik, Ajdin Bajrović, Andrej Blatnik. Vir: Ravnikar Potokar arhitekturni biro, d. o. o.

Kurent. 162 Vir: Ciglenečki, Marjeta. 2008: 39. Ptuj. Umetniški kabinet Primož Premzl, Maribor.

Ptuj na Vischerjevi podobi iz 19. stoletja. 163 Vir: Stopar, Ivan. 2013: 141. Slikovite podobe Slovenije.

Cankarjeva založba, Ljubljana.

Stavba Muzikafe pred prenovo. 170 Vir: Dom KULTure – muziKafe. Stanislava Vauda Benčevič in Igor Benčevič.

TRŽIČ Wagnerjeva veduta mesta. 254 Vir: Osebna zbirka kopij iz Wagnerjeve suite Kranjske, okrog leta 1845. Živa Deu, Ljubljana.

301

Panorama Tržiča v začetku 20. stoletja (1925). 255 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Glavni trg leta 1904. 256 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Pepca Pollak. 258 Vir: Knific, Bojan. 2012: Tržiška dekleta daleč slove. Ljudska univerza, Tržič.

Kovači v Germovki leta 1833. 265 Vir: Mohorič, Ivan. 1957: Zgodovina obrti in industrije v Tržiču.

Državna založba Slovenije, Ljubljana.

Pogled na Germovko pred obnovo. 268 Vir: Germovka rake, karton – 519, Tržiški muzej, Tržič.

ŽUŽEMBERK Žužemberk leta 1900. 274–275 Vir: Osebna zbirka. Boris Dolničar, Ljubljana.

Jože Kumer: veduta naselja Žužemberk. 275 Vir: Škufca Franc. 2000: 21. Občina Žužemberk. Legan, Marjan (ur.) in Rozman, Jože (ur.). 2000: Žužemberški grad.

Suhokrajinski zbornik 2000. Občina Žužemberk, Žužemberk.

Naselbinsko središče pred porušitvijo. Pogled iz zraka okrog leta 1930. 276 Vir: Občina Žužemberk, Žužemberk.

Naselbinsko središče na razglednici iz leta 1905. 276 Vir: osebna zbirka. Boris Dolničar, Ljubljana.

Računalniška simulacija starega jedra. IGDESIGN, Iztok Gliha, s. p. 277 Vir: Občina Žužemberk, Žužemberk.

Valvazorjeva upodobitev gradu. 281 Vir. Občina Žužemberk, Žužemberk.

Fotografija porušenega gradu in naselbinskega središča ob njem.

282 Vir: Občina Žužemberk, Žužemberk.

Božidar Jakac: Upodobitev žužemberškega gradu s severne strani, 1934. 284 Vir: Rozman, Jože (ur.). 2010: 34. Žužemberški grad.

Suhokrajinski zbornik 2010. Občina Žužemberk, Žužemberk.

Leopold Pehani: Upodobitev žužemberškega gradu s severne strani 27. 7. 1936. 284 Vir: Rozman, Jože (ur.). 2010: 34. Žužemberški grad.

Suhokrajinski zbornik 2010. Občina Žužemberk, Žužemberk.

Igor Sapač: Vizija prenovljenega žužemberškega gradu s severne strani. 285 Vir: Rozman, Jože (ur.). 2010: 56. Žužemberški grad.

Suhokrajinski zbornik 2010. Občina Žužemberk, Žužemberk.

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Fotografi, kazalo fotografij in viri / Photographers, Index of Photographs and their Sources Avtor fotografij – z izjemo spodaj navedenih – je Žigon Viktor.

Author of all photographs – with the exception of those specified below – is Žigon Viktor.

Benčevič Igor: str. 170, 171/z, 171/s, 172/z, 172/s, 173.

Vir. arhiv Dom KULTure MuziKafe, Ptuj.

Benčina Blažka: str. 102/s.

Vir: arhiv Slovenske turistične organizacije, Občina Idrija, Idrija.

Bezjak Albin: str: 157, 180.

Vir: Vladimir Šilak.

Blatnik Andrej: str. 237.

Vir: Ravnikar Potokar arhitekturni biro, Ljubljana.

Božič Bojan: str. 77.

Vir: Arhiv Galerije Božidar Jakac, Kostanjevica na Krki.

Deu Matjaž: str. 151/z, 151/s, 152/l, 152/d, 153, 189/z, 242/z, 242/s, 243, 244.

Deu Živa: str. 22/ds, 75/z, 75/s,76, 82, 136–137,139, 202, 203/s, 204/dz, 204/s, 205, 249.

Vir: arhiv avtorice.

Ferjan Darko: str. 47/s.

Filipčič Jernej: 38-36.

Vir. Mestna občina Koper.

Ivančič Jaka: str. 55/z, 55/s, 56/z, 57.

Vir: Mestna občina Koper.

Jeseničnik Tomo: str. 14–15,17, 20, 21/z, 21/s, 24z, 25, 25/z. 94/ds.

Vir: arhiv avtorice.

Kambič Milan: str. 182–183, 185, 187/s; 192.

Vir: Javni zavod za turizem Radovljica; Mestni muzej Radovljica, Radovljica.

Kavčič Mateja: str. 238.

Kladnik Bogdan: str. 28.

Vir: Peljhan, Martina (ur.). 2009: 16. Idrija. Zgodba o petstoletnem srebrnem studencu. Občina Idrija in Rudnik živega srebra Idrija d. o. o., Idrija.

Lenarčič Matevž: str. 45, 110–111.

Vir: Pikel, Valter (ur.). 2004: Naslovnica – Koper. Mesto stoterih dimnikov. Identitetni elementi mestnega jedra. Mestna občina Koper, Koper.

Levičar Tomaž: str. 113, 115.

Vir: Mestna občina Novo mesto, Novo mesto.

Mulec Anže: str. 65, 83, 84/z, 84/s, 85.

Vir: Foto arhiv Raziskovalne delavnice Kostanjevica na Krki 2013. Univerza v Ljubljani, fakulteta za arhitekturo. Mentor: prof. dr. Živa Deu. Pavlič Simon: str. 86–87, 213, 236.

Vir: Združenje zgodovinskih mest Slovenije.

Pelko Zvone: str. 52/ls.

Vir: Fototeka. Galerija Božidar Jakac, Kostanjevica na Krki.

Peršina Marko: str. 118; 282/ls.

Vir: Mestna občina Novo mesto, Novo mesto; Občina Žužemberk, Žužemberk.

Petek Marjan: 209.

Vir: Združenje zgodovinskih mest Slovenije.

Pleško Marko: str. 232.

Vir: Združenje zgodovinskih mest Slovenije.

Pucelj Boštjan: str. 120.

Vir: Hostel Situla.

Rovan Goran: str. 62–63.

Vir: Fototeka. Galerija Božidar Jakac, Kostanjevica na Krki.

Slabe Borut: str. 239/z, 239/s, 240.

Vir: Ravnikar Potokar arhitekturni biro, Ljubljana.

Smrekar Marko: str. 190/z, 190/ls.

Vir: Atelje Smrekar, Radovljica. Šetina Dušan: str. 270–271, 279/s, 282/ds.

Vir: Občina Žužemberk, Žužemberk.

Kočevar Sašo: str. 232/s.

Vir: Občina Škofja Loka.

Trnkoczy Ubald: str. 46/lz, 58, 60.

Vir: Mesnta občina Koper.

Korošec Andraž: str. 206–207, 212/s, 214/z, 214/ds, 214Is, 215, 225/z, 225/s, 226.

Vir: Studio Fakin Andraž Korošec, s. p.

Wedam Dunja: 22/z, 22/ds, 26/lz, 92/z.

Vir: arhiv Centra za idrijsko dediščino, Idrija.

Kostevc Vlado: str. 273, 277/s, 278/z, 280.

Vir: Občina Žužemberk, Žužemberk.

Zupan Bogdan: str. 94/ls, 188/ds, 189/ls.

Vir: arhiv avtorice.

Križ Borut: str. 123.

Vir: Mestna občina Novo mesto, Novo mesto.

Oznake: z – zgoraj, s – spodaj, dz – desno zgoraj, lz – levo zograj, ds – desno spodaj, ls – levo spodaj

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Avtorji projektov zadnjih prenov / Renovation Project Authors

IDRIJA

PIRAN

Antonijev rov: arhitektka Nataša Štrukelj; Elea iC, d. o. o.

Akvarij Piran: arhitektka Stanislava Pustoslemšek; PIA Studio d. o. o.

Golijeva hiša: arhitektka Lidija Manfreda; Studio M. Tavčarjeva hiša: arhitekt Cveto Koder.

Multimedijski muzej: arhitekti Stanislava Pustoslemšek, Uršula Koren, Pascal Fusil.

Počitniška hiša na Pusterli: arhitektka Tatjana Colloni.

KOPER Pretorska palača: arhitekt Mirko Mršnik; Invest biro projektanti.

Cerkev sv. Frančiška Asiškega: arhitekt Damjan Bradač; Elea iC, d. o. o.

Taverna: arhitekt Artur Mlinar; Proart, d. o. o.

KOSTANJEVICA NA KRKI Cistercijanski samostan: arhitekt Franc Skrbinšek.

Vila Castanea: arhitekta Goran Dominko in Iztok Perpar (abs. arh.).

PTUJ Dominikanski samostan: arhitekti Dean Lah, Milan Tomac, Polona Ruparčič, Andrej Oblak, Maruša Zupančič, Alja Černe, Tjaž Bauer, Petra Ostanek, Nuša Završnik Šilec, Nebojša Vertovšek; ENOTA arhitekti.

Muzikafe: Stanislava Vauda Benčevič in Igor Benčevič ter arhitekta Marjan Berlič in Urša Berlič; arhitekturni biro UMARH. Murkova ulica 3: arhitekt Marko Segulin; A. Kult, Studio za arhitekturo in oblikovanje.

Hiša usnjarja Jerneja: Projekta inženiring Ptuj, d. o. o.

Kuntaričeva hiša: arhitekt Goran Čala.

RADOVLJICA KRANJ

Thurnova graščina: arhitekt Aleš Hafner; Arhitekturni atelje Aleš Hafner.

Grajski kompleks Khislstein: arhitekt Jure Kobe.

Sladka srca (v Gostilni Lectar): Lili in Jože Andrejaš; muzejska oprema prenesena iz zaprte lectarije Vere Peischl iz Ljutomera.

Layerjeva hiša: arhitekt Sašo Krašovec.

Kostnica: arhitektka Urška Kranjc; LUZ, d. d.

Bogatajeva hiša: arhitektka Barbara Kokalj Bogataj.

SLOVENSKE KONJICE NOVO MESTO

Dvorec Trebnik (s pristavo – objekt B): arhitekt Vito Lužar; DIAR podjetje za projektiranje in storitve d. o. o.

Situla: arhitekt Tomaž Slak s študenti arhitekture.

Mestna galerija Riemer: -

Knjigarna Goga: arhitekt Tomaž Slak.

Fotografski atelje Studio Fakin: Drago Ratajc.

Podstrešno stanovanje: arhitekt Peter Plantan.

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ŠKOFJA LOKA »Njeno veličanstvo« (granitna kocka): arhitekti Robert Potokar, Špela Kuhar, Primož Žitnik, Ajdin Bajrović; Ravnikar Potokar arhitekturni biro /prvonagrajena natečajna rešitev/.

Martinova hiša: arhitektka Mateja Kavčič.

Dom pod strmo streho: arhitekta Aleš Hafner in Janez Križaj.

TRŽIČ Spomenik žrtvam NOB: arhitektka Monika Fink Serša v sodelovanju z avtorjem arhitekture, arhitektom Cirilom Oblakom.

Fužina Germovka: vizualni umetnik Matej Andraž Vogrinčič.

ŽUŽEMBERK Seisenberg: arhitektka Maruša Zorec.

Zalaščkova hiša: obnovo so vodili lastniki sami.

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Živa Deu Dragocenosti starih mestnih jeder The Treasures of Slovenian Old Town Centres

Izdalo in založilo / Published by

Združenje zgodovinskih mest Slovenije

Zanj generalna sekretarka / Secretary General

Mateja Hafner Dolenc

Jezikovno pregledala / Proofread by

Mina Špiler

Prevod v angleški jezik / Translated by *

Jaka Jarc

Recenzenta / Reviewers

dr. Helena Rožman, dr. Andrej Smrekar

Oblikoval in tehnično uredil / Graphic design and tehnical editor

Simon Pavlič, Standart, d. o. o.

Fotografije / Photography

Viktor Žigon, Tomo Jeseničnik, Milan Kambič, Matjaž in Živa Deu in drugi

Tisk / Print

Nonparel, d. o. o.

Leto natisa / Printed in

2016

Število izvodov / Number of copies

5300

* Tudi prevodi citatov iz znanstvenih, strokovnih in leposlovnih del so - razen kadar je v opombi označeno drugače - nastali posebej za pričujočo izdajo. * Unless stated otherwise, the cited excerpts from other works, literary and academic, have also been translated specifically for this book.

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 930.85(497.4-21) 72.03(497.4-21) 711.4(497.4)(091) DEU, Živa Dragocenosti starih mestnih jeder = The treasures of Slovenian old town centres : monografija zgodovinskih mest Slovenije = a monograph of Slovenian historical towns / [Živa Deu ; prevod v angleški jezik Jaka Jarc ; fotografije Viktor Žigon ... et al.]. - Ljubljana : Združenje zgodovinskih mest Slovenije, 2016 ISBN 978-961-285-441-6 1. Gl. stv. nasl.

286624000

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O avtorici

About the author

Živa Deu, doktorica arhitekturnih znanosti, profesorica na Univerzi v Ljubljani na Fakulteti za arhitekturo, je strokovni in širši javnosti znana predvsem kot velika in izjemno vztrajna zagovornica ohranjanja slovenske stavbne dediščine.

Živa Deu, doctor of architectural sciences, professor at the University of Ljubljana, Faculty of Architecture, is known to the general public above all as a great and exceptionally persistent advocate for the preservation of Slovenian architectural heritage.

K udejanjanju omenjenega cilja so usmerjeni vsi njeni nastopi na znanstvenih in strokovnih konferencah, srečanjih in posvetovanjih, vodenja številnih interdisciplinarnih delavnic, izobraževalna predavanja ter znanstveni, strokovni in poljudni prispevki v revijah in publikacijah, ki obsegajo več kot osemsto bibliografskih enot. Med njenimi najpomembnejšimi objavami so samostojna poglavja o slovenski stavbni kulturi v delih drugih avtorjev in avtorske monografije: Stavbarstvo slovenskega podeželja (2001), Prenova stanovanjskih stavb na slovenskem podeželju (2004), Podeželske hiše na Slovenskem / Rural Houses of Slovenia (2006), Arhitektura Hlebanjeve domačije (2006), Arhitektura domov znanih Slovencev – umetnice, umetniki / Architecture of the Homes of Noted Slovenians – Artists of Both Genders (2008), Identiteta koroških hiš (2009), Arhitektura domov znanih Slovencev – znanstvenice, znanstveniki / Architecture of the Homes of Noted Slovenians – Scientists (2011), Najlepše slovenske prenovljene hiše (2010), Najlepše slovenske prenovljene hiše (2012), Kostanjevica na Krki – poplavna ogroženost kulturne dediščine (2014), Slavne vile na Slovenskem / Great Villas of Slovenia (soavtorstvo, 2013). Med posebej odmevnimi je bila njena monografija Najlepše slovenske prenovljene hiše (2010), ki je bila razprodana v nakladi 4000 izvodov, pomemben prispevek pa je tudi soavtorstvo dvakrat nagrajenega (Zlata kocka, 2011, in Zlata hruška, 2011) mladinskega literarnega dela o arhitekturi z naslovom Kje pa ti živiš?

This goal is the focal point of all her appearances at scientific and expert conferences, meetings and sessions, interdisciplinary workshops headed by her, her educational lectures as well as scientific, expert, and popular contributions to journals and publications, which total over eight hundred bibliographical units. Her most significant publications include independent chapters on Slovenian building culture in works by other authors and her own monographs: Stavbarstvo slovenskega podeželja (2001), Prenova stanovanjskih stavb na slovenskem podeželju (2004), Podeželske hiše na Slovenskem / Rural Houses of Slovenia (2006), Arhitektura Hlebanjeve domačije (2006), Arhitektura domov znanih Slovencev – umetnice, umetniki / Architecture of the Homes of Noted Slovenians – Artists of Both Genders (2008), Identiteta koroških hiš (2009), Arhitektura domov znanih Slovencev – znanstvenice, znanstveniki / Architecture of the Homes of Noted Slovenians – Scientists (2011), Najlepše slovenske prenovljene hiše (2010), Najlepše slovenske prenovljene hiše (2012), Kostanjevica na Krki – poplavna ogroženost kulturne dediščine (2014), Slavne vile na Slovenskem / Great Villas of Slovenia (co-authored, 2013). Her monograph Najlepše slovenske prenovljene hiše (2010) was particularly successful, selling out all 4000 copies printed; A notable contribution is also the award winning (having on two awards, Zlata kocka, 2011, and Zlata hruška, 2011) co-authored work of youth literature titled Kje pa ti živiš? (which would translate as Where do You Live?).

Izid knjige je podprlo podjetje: The book release was supported by the:

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Združenje zgodovinskih mest Slovenije Mestni trg 15, Škofja Loka telefon: +386 4 5112 344 e-pošta: info@zgodovinska-mesta.si www.zgodovinska-mesta.si

Cena: 30,00 EUR ISBN 978-961-285-441-6

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