VAŠ BREZPLAČNI IZVOD/YOUR PERSONAL COPY Dragan Živadinov Albanija Najboljše v Ljubljani • The Best of Ljubljana Kuhinja v Sloveniji • Kitchens in Slovenia Zakladnica slovenske kuhinje • A Treasury of Slovenian Cuisine Soteskanje • Canyoning dr. Ignacij Knoblehar Raja Ampat Karst Garden Kraški vrt Adria Airways In-Flight Magazine 4 ) Adria Airways In-Flight Magazine 4 ) avgust, september • August, September 2009 avgust, september • August, September 2009
Transcript
V A Š B R E Z P L A Č N I I Z V O D / Y O U R P E R S O N A L C O P Y
Dragan ŽivadinovAlbanija
Najboljše v Ljubljani • The Best of LjubljanaKuhinja v Sloveniji • Kitchens in SloveniaZakladnica slovenske kuhinje • A Treasury of Slovenian Cuisine
Mnenja, izražena v tej publikaciji, so zgolj mnenja avtorjev ali intervjuvancev in ne odsevajo nujno stališč Adrie
Airways. Razmnoževanje brez pisnega dovoljenjaje prepovedano. Izdajatelj ne prevzema nikakršne
odgovornosti za nenaročeno gradivo.The opinions expressed in this publication are those of the authors or persons interviewed only and do not necessarily
reflect the views of Adria Airways. Reproduction without written permission is prohibited. The pub lish er accepts no
Besedilo: Barbara M. Bukovec Ilustracije: Maja Babič Košir
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{ Adria Airways }
RDEČI KARTONza neprimernovedenje v letalu
Tako se pričenja novička, ki se je v začetku julija pojavila na eni od spletnih strani slovenskih medijev. Sliši se neverje-tno, a najbrž bi lahko tudi marsikateri član posadk Adrijinih le-tal povedal kakšno zanimivo zgodbo o verjetnih in malo manj
verjetnih dogodkih, ki se občasno zgodijo visoko v zraku. Kako v takih primerih ukrepa posadka?
Kapitan letala lahko podeli potniku, ki se v letalu neprimerno vede, tako imenovani RDEČI KARTON. Ta je namenjen vsem, ki s svojim vede-njem ovirajo delo kabinskega osebja, ne spoštujejo varnostnih navodil ali pa ogrožajo varnost in udobje sopotnikov.
KAZENSKI ZAKONIK RS (KZ-1)
Napad na varnost zračnega prometa330. člen
(1) Kdor spravi v nevarnost let zrakoplova, tako da položi ali prinese v zrakoplov razstrelivo ali druge podobne naprave ali snovi, uniči ali poškoduje navigacijske
naprave na zrakoplovu ali napravi na njem kakšno drugo škodo ali daje napačna obvestila v zvezi z letom ali z napadom na posadko civilnega zrakoplova, omejuje
ali zmanjšuje sposobnost opravljanja dolžnosti članov posadke ali s kršitvijo varnostnih navodil, ki so vidno označena ali jih potnikom posreduje vodja zrakoplova
ali ostali člani posadke, se kaznuje z zaporom od enega do desetih let.
(2) Enako se kaznuje, kdor ogrozi varnost na letališču tako, da s silo ali grožnjo z uporabo sile prisili osebje letališča, da prekine poslovanje v zvezi s poleti zra-
koplovov, ali z razstrelivom ali drugo podobno napravo ali snovjo uniči ali poškoduje zrakoplov ali naprave, namenjene za varnost zračnega prometa.
(3) Če ima dejanje iz prvega ali drugega odstavka tega člena za posledico smrt ene ali več oseb ali uničenje zrakoplova ali letališča, se storilec kaznuje z zapo-
rom od treh do petnajstih let.
Vmesni pristanek zaradineprimernega vedenja potnikaZaradi striptiza 50-letnega moškega so morali imeti potniki
na letalu družbe US Airways vmesni postanek. So bila kriva
zdravila, ki na veliki višini vplivajo na vedenje?
Če potnik po prejemu Rdečega kartona še vedno ne upošteva danih navodil, se kapitan lahko odloči za pristanek na najbližjem primernem letališču in ga izkrca. V takem primeru je potnik dolžan plačati stroške preusmeritve letala na drugo letališče, njegova vozovnica pa je neveljavna za nadaljnji prevoz. Po pristanku kapitan obvesti policijo o neprimernem vedenju potnika, čemur lahko sledi kazenski pregon.
Safety team, ki v Adrii Airways skrbi za varnost potnikov, posadk in le-tal, se je odločil dopolniti že do sedaj obstoječi Rdeči karton, in to na pod-lagi spremenjenega Kazenskega zakonika RS, ki je v veljavi od 1. 11. 2008 in ureja kazniva dejanja na krovu letala.
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PENAL CODE OF THE REPUBLIC OF SLOVENIA (KZ-1)
Attack on the safety of air transportArticle 330
(1) Whoever places in danger the flight of an aircraft, by placing or carrying into an aircraft explosive or other similar devices or substances, destroys or damag-
es navigational devices on the aircraft or causes some other harm to them or provides erroneous information in connection with the flight or through an attack on
the crew of a civilian aircraft restricts or reduces the capacity of crew members to perform their duties, or by violating safety instructions that are visibly indicated
or communicated to passengers by the commander of the aircraft or other crew members, shall be liable to punishment of one to ten years’ imprisonment.
(2) Equal punishment shall be imposed on anyone who threatens safety at an airport by using force or the threat of force to make airport personnel halt their operations
relating to aircraft flights, or by using explosive or other similar devices or substances to destroy or damage aircraft or devices intended for the safety of air transport.
(3) Where such acts referred to in the first and second paragraphs of this article result in the death of one of more persons or the destruction of an aircraft or
airport, the perpetrator shall be liable to punishment of three to fifteen years’ imprisonment.
Inappropriate behaviour of passenger forces landingA striptease by a 50 year-old man meant passengers on a US
Airways plane had an unscheduled landing. Was this the fault
of medications that affect behaviour at high altitude?
RED CARDfor inappropriate behaviour onan aircraftText: Barbara M. Bukovec Illustrations: Maja Babič Košir
This is the start of a news item that appeared at the beginning of July on one of the Slovenian media websites. It sounds incredible, but many Adria flight crew members could probably tell an interesting story or two about prob-
able as well as improbable events that occasionally occur in the air. So what does the crew do in such cases?
The captain can issue a passenger who acts inappropriately on the aircraft with what is called a RED CARD. The red card is intended for anyone whose behaviour obstructs the work of the cabin crew, who does not observe safe-ty instructions or who threatens the safety and comfort of passengers.
If after receiving a red card the passenger does not heed the instruc-tions given, the captain can decide to land at the nearest suitable air-port, where the passenger is disembarked. In this case the passenger is liable to pay the costs of diverting the aircraft to another airport, and his ticket is no longer valid for further travel. After landing, the cap-tain informs the police of the inappropriate behaviour, and criminal charges may be brought.
The Safety Team, which is responsible at Adria Airways for the safety of passengers, crews and aircraft, has decided to supplement the exist-ing Red Card on the basis of the amended Slovenian Penal Code, which has been in effect since 1 November 2008 and which regulates criminal acts on board aircraft. A
Besedilo: Janez Bogataj
Od črnedo sodobne
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Z izrazom kuhinja so težave, saj pomeni dvo-je. Najprej je to prostor za kuhanje, torej za pripravo jedi in tudi njihovo uživanje. Ku-
hinja pa pomeni tudi kulinariko, tj. vrsto jedi, sesta-vine za njihovo pripravo, načine priprave in navade, ki jih spremljajo. S tem izrazom lahko torej označu-jemo kulturo prehranjevanja v neki deželi (državi), regiji, kraju, celo gospodinjstvu. Še vedno je znan izraz črna kuhinja, ki pomeni prostor, črn od dima in saj, in velja med ljudmi za eno najstarejših oblik razvoja kuhinje kot posebnega prostora za pripravo vsakdanjih in prazničnih jedi. Marsikdo jo poveže z življenjem na kmetijah v preteklih stoletjih, čeprav je to v enaki meri netočno, kot ji je pripisovanje izre-dne starosti, celo arhaičnosti.
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Črne kuhinje niso poznali le na kmetijah, ampak tudi na gradovih, v trških in mestnih hišah. Najdlje so se ohranile prav na kmetijah – ponekod, zlasti še v nerazvitih predelih Slovenije, še vrsto let po koncu druge svetovne vojne. Danes
so črne kuhinje le še muzejsko urejena okolja zgodovinskega spomina, nekaj osamljenih primerov predstavlja kuriozitetne spomine na pre-teklost. Ta preteklost sega vse do visokega srednjega veka, ko naj bi v mestnih hišah in gradovih začeli postavljati kuhinje kot specializirane delovne prostore. V njih so pripravljali jedi, kuhali na ognjišču (kurišču), na ustju ogrevalne peči (ki je stala v sosednjem bivalnem prostoru), in v peči tudi pekli mesne in močnate jedi ter kuhali enolončnice. V kmeč-kih hišah so prve izpričane črne kuhinje iz 2. polovice 15. stoletja. Dim z iskrami vred se je valil do lovilca isker ali oboka prostora, od tod se je odvajal na prosto skozi odprtino v steni in pozneje skozi dimnik. Pod stropom ali obokom je bilo primerno mesto za konzerviranje mesa in mesnih izdelkov z dimljenjem.
Na južnih in jugozahodnih območjih Slovenije se črna kuhinja ni uveljavila, saj je bil tukaj močan vpliv mediteranskega tipa kaminske kuhinje z odprtim ognjiščem in urejenim odvodom dima, pogosto skozi ognjiščni nadstrešek (napo) v dimnik. Kaminska kuhinja se je prav tako množično uveljavila v poznem srednjem veku in v 16. stoletju, čeprav so njeni izviri že v antiki. Razvitejšo obliko predstavlja ob hišo prizidan prostor s kaminom, kar se imenuje spahnjenca ali kaváda. Tako ognjišče oz. kuhinja je omogočala sedenje neposredno ob ognjišču, kar ni nudilo le neposrednega stika s pripravljanjem in uživanjem jedi, ampak tudi svojevrstne oblike družabnosti. Pri tem tipu kuhinje se je dim usmerjal do ognjiščne nadstrešnice in nato naprej v dimnik. Seveda imata tako črna kot kaminska kuhinja še starejši predhodni obliki v t.i. ognjiščni kuhinji ( ognjenici ali ognjiščnici) in dimnici. Prva pomeni verjetno najstarejšo obliko praviloma enoprostornega bivalnega prostora s talnim ognjiščem, iz katerega se je valil dim neposredno pod odprto ostrešje in potem na prosto. Zasnove takih bivališč in kuhinj se niso ohranile. Na podoben način so si postavljali zavetišča in prostore za pripravo hrane pastirji in drvarji še vse do sredine 20. stoletja.
Drugo obliko kuhinjskega prostora predstavlja dimnica, ki je bila razvitejša, poznana od srednjega veka. Tudi ta je imela odprto ognjišče, razen tega pa še peč za ogrevanje, kuhanje in peko – seveda vse skupaj v enem prostoru. Ta prostor je bil torej namenjen kuhanju, izvajanju določenih del in opravil, bivanju ljudi in tudi domačih živali (kokoši, pujskov). Dim se je z ognjišča in kurišča peči valil pod strop, od tu pa skozi nadvratno odprtino na prosto. Zaradi prisotnosti dima v prostoru se ta vrsta bivališča in kuhinje imenuje dimnica. Vendar se dim ni valil nekontrolirano po prostoru, ampak je bil vedno pod stropom in se je od tu odvajal na prosto. Prav ta »ljudska izkušnja« je izjemen dokaz samouškega znanja in poznavanja razmerij prostora ter zakonitosti tlaka. Dimnica je bila razširjena na pretežnem območju alpske, panonske in osrednje Slovenije z Notranjsko, poznali so jo tudi v Nemčiji ter na Madžarskem in Hrvaškem.
V Sloveniji imamo odlično obnovljeno in muzejsko urejeno Kavčnikovo dimnico v Zavodnju nad Šoštanjem, ki močno presega povprečja
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Kuhinja v Sloveniji
{ Kuhinja v Sloveniji }
muzejskih predstavitev stavbne dediščine. Kavčnikova dimnica omogoča sodobnim obiskovalcem popolno doživljanje bivalnega in tudi kulinaričnega okolja, ki je bilo splošno razširjeno vsaj od 16. stoletja pa vse do let po drugi svetovni vojni. Predstavlja najjužneje ohranjeno dimnično stavbo v Evropi. Današnjim obiskovalcem te izjemne stavbe še vedno skuhajo na ognjišču nekatere stare jedi, kot npr. klobase z zeljem pod glinastim poveznikom ali klobukom, v peči pa spečejo jabolka.
Zadnjo stopnjo v razvoju prostora za kuhanje predstavlja bela kuhinja, ki pa je imela vse od 2. polovice 19. stoletja in ima še danes ogenj v zaprtih kuriščih (štedilnikih) oz. uporabljajo za pripravo jedi sodobne vire energije. Bela kuhinja seveda ni namenjena le kuhanju in pečenju, ampak omogoča tudi uživanje jedi in dnevno bivanje. Marsikje je postala glavni bivalni prostor, v katerem se na najrazličnejše načine spajajo sledovi in pričevanja gastronomske kulturne dediščine z vedno novimi spoznanji, odkritji in inovacijami ter tako sooblikujejo pojem sodobne kuhinje Slovenije. Ta je bila še do nedavna evropska in svetovna neznanka, danes pa postaja pravo odkritje in izziv s svojo veliko pestrostjo in različnostjo ter razmeroma pomembnim deležem uporabe naravnih človeku in okolju prijaznih živil. Kuhinja Slovenije je ustvarjalna kuhinja na stičišču evropskih Alp, Mediterana in Panonske nižine.
From Black to ModernText: Janez Bogataj
There are problems with the Slovenian word kuhinja, because it means two things. Firstly it denotes a kitchen, a space for cooking, for preparing and consuming dishes. Yet kuhinja, like its French counterpart cuisine, also means a culi-
nary tradition, in other words a style of making food, the ingredients for its preparation and the methods and customs that accompany it. We may therefore use this expression to denote the eating culture in a given land
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(country), region, location or even household. We still use the expression črna kuhinja, literally “black kitchen”, meaning a space that is blackened from smoke and soot and is regarded as one of the oldest forms of de-velopment of the kitchen as a special space for preparing everyday and special occasion dishes. Many people link it to farm life in past centuries, although this is just as inaccurate as the implication of exceptional age or even an archaic quality.
Black kitchens were a feature not just of farms, but also of castles and the houses of market towns and cities. Yet it was on farms that they last-ed longest – in some places, especially in undeveloped parts of Slovenia, they were kept going for a number of years after the Second World War. Nowadays black kitchens are maintained solely as a kind of museum environment for historical memory, and a few isolated examples remain as curiosities from the past. That past stretches right back to the high Middle Ages, when urban houses and castles started acquiring kitchens as specialised working spaces. Food was prepared here and cooked in the fireplace, and meat and dough-based dishes as well as stews were cooked
in the outlet of the heating stove (which stood in the adjoining living room) and in the oven. The first mention of black kitchens in rustic hous-es dates back to the second half of the 15th century. Smoke and sparks bil-lowed up to the spark trap or vault of the room, and from there the fumes made their way out through an opening in the wall and later through a chimney. Beneath the ceiling or vault there was a suitable place for pre-serving meat and meat products by smoking.
In the southern and south-western areas of Slovenia the black kitchen did not become established, since here there was the strong influence of the Mediterranean type of kaminska kuhinja or fireplace kitchen, with an open fire and conduit for fumes, often through a mantel into the chimney. The fireplace kitchen also became very common in the late Middle Ages and in the 16th century, although it actually dates back to antiquity. A more developed form of this is the additional room built on to the house and containing the fireplace; this is called the spahnjenca or kaváda. This kind of fireplace and kitchen allowed people to sit right by the fire, which not
{ Kitchens in Slovenia }
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{ Kitchens in Slovenia }
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only enabled direct contact with the preparation and consumption of food but also a singular kind of socialising. In this type of kitchen the smoke was directed into the mantel and then up into the chimney. Of course both the black and fireplace kitchens have older precursors in the form of the open fire kitchen (ognjenica or ognjiščnica) and “smoke room” (dimnica). The former is probably the oldest type, generally a single-room living area with a fire on the floor, from which the smoke wafted up to the open roofing and then outside. The plans for such living areas have not been preserved. Herders and woodcutters set up shelters and spaces for food preparation in a similar way right up to the middle of the 20th century.
The other type of kitchen space was the dimnica, which was more de-veloped, and common from the Middle Ages on. This too had an open fireplace, but also a stove for heating, cooking and baking – of course all together in one room. This room was therefore intended for cooking, per-forming certain jobs and chores, and also for the accommodation of peo-ple and domestic animals (chickens, piglets, etc.). The smoke rose from the fire and stove to the ceiling, and from there through an above-door opening to the outside. Owing to the presence of smoke in the room, this type of living and kitchen space was called dimnica or smoke room. Yet the smoke did not waft around the space uncontrolled, and was always just under the ceiling, from where it escaped to the outside. Indeed this “folk experience” is exceptional evidence of self-taught knowledge and an understanding of the proportions of the space and the laws of pres-sure. The smoke room was widespread in the predominant area of the Alps, Pannonia, Central Slovenia and Notranjska, and was also known in Germany, Hungary and Croatia.
In Slovenia there is the magnificently restored Kavčnikova dimnica smoke room, arranged as a museum display in Zavodnje nad Šoštanjem, and this far outstrips the typical museum presentation of building herit-age. Kavčnikova dimnica affords modern visitors the full experience of the living and culinary environment that was widespread at least from the 16th century right up until after the Second World War. It is in fact the southernmost preserved smoke room building in Europe. Certain old dishes, such as sausages and cabbage under a clay bell-shaped lid or hat, are still cooked in the fireplace for today’s visitors to this extraordinary building, and apples are baked in the oven.
The final stage in the development of the room for cooking is the bela kuhinja or white kitchen, which had right from the second half of the 19th century, and still today has a fire in an enclosed stove, or else modern en-ergy sources are used for food preparation. The white kitchen is of course not intended just for cooking and baking, but also provides an eating and living space. In many places it has become the main living area, in which the traces and evidence of the gastronomic cultural heritage are fused in diverse ways with continually new knowledge, discoveries and innovations, all of which goes to make up the concept of the modern cuisine in Slovenia. Until recently this was an unknown entity in Europe and around the world, but today it is becoming a veritable discovery and challenge through its great diversity and variety and its relatively signifi-cant share in the use of natural, people and environment-friendly food-stuffs. The cuisine of Slovenia is a creative cuisine at the meeting point of the European Alps, the Mediterranean and Pannonian Plain. A
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Mali rajpod kostanji
Mali rajpod kostanji
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Besedilo in fotografije: Stane Sušnik
Specifično ravnovesje med kamnom in skromno vegetacijo, ubranost vinogradov z
okoljem, značilna arhitektura, gurmanski užitki v majhnih zasebnih gostiščih – vse
to je znano, a še vedno ne dovolj, da bi naš Kras pritegnil delček množic, ki se stekajo
v Provanso ali Toskano, s katerima ga nekateri primerjajo. Slovenski Kras opisujejo v
presežnikih vsi, ki so imeli priložnost doživeti katero od odlik te pokrajine.
Mali rajpod kostanji
Besedilo in fotografije: Stane Sušnik
Specifično ravnovesje med kamnom in skromno vegetacijo, ubranost vinogradov z
okoljem, značilna arhitektura, gurmanski užitki v majhnih zasebnih gostiščih – vse
to je znano, a še vedno ne dovolj, da bi naš Kras pritegnil delček množic, ki se stekajo
v Provanso ali Toskano, s katerima ga nekateri primerjajo. Slovenski Kras opisujejo v
presežnikih vsi, ki so imeli priložnost doživeti katero od odlik te pokrajine.
Mali rajpod kostanji
{ Kraški vrt }
Nad Krasom se je navdušila tudi Britta Hoeschele, ko je začela pred poldrugim desetletjem med izleti ob koncu tedna z možem Erikom in sinkom Bernardom raziskovati Slovenijo. Po treh letih so v Kobdilju, vasici, ki se drži zna-
nega Štanjela, našli staro, zapuščeno hišo z zaraščenim vrtom in se vanjo zaljubili na prvi pogled. Sledili so delovni konci tednov, ki sta jih Britta in Erik preživela s sekiro, lopato, krampom in podobnimi orodji v rokah med urejanjem okolice hiše in pripravami na obnovo njihovega bodočega doma. V »mali raj pod kostanji«, kot tudi pravijo svoji domačiji, so vložili veliko denarja, a še več ljubezni in truda.
Britta je v rodni Nemčiji končala vrtnarsko šolo in nekaj let tudi delala kot vrtnarica, po selitvi v Erikovo domovino pa se je njena ljubezen do rastlin razrasla prav na vrtu kraške domačije.
»Prvo vrtnico sem kupila v majhni ljubljanski vrtnariji, kjer so ponujali uvožene vrtnice iz Francije. Najraje imam stare sorte teh rož, ki tako bujno cvetijo in opojno dišijo, jeseni pa očarajo še šipki. Te zgodovinske vrtnice res niso tako zahtevne, so pa zelo zoprne za obrezovanje in čiščenje, saj so izredno trnaste. Na terasi imam plezajoče vrtnice ('Bobby James' in 'Veil-chenblau'), ki poženejo od 8 do 10 metrov dolge veje. Februarja jih moram obrezati. Ko plešem tam zgoraj po ograji, sem vsa popikana, vse me boli, a
tako se vsaj zavem, da je prišla pomlad,« radoživo pripoveduje Britta.Njena zbirka vrtnic (preko sto različnih sort) je le del tega, kar dela njen
vrt edinstven. Ogromna stara kostanja na dvorišču, razrasli lovor, kopri-vovec in smokva so preživeli z vrta prejšnjih lastnikov. Na terasasto ure-jenem zemljišču je Britta vrtnicam dodala izvirno družbo cvetočih trajnic, prilagojenih žgočim kraškim poletjem. Na zelenjavni vrt vstopimo pod loki cvetočih vrtnic med gredice, na katerih je sonaravna združba solatnic in divjih zelišč ujeta med nizke pušpanove obrobe.
Najbolj ravne, pravilne poteze riše plavalni bazen, razkošje, namenjeno tujim gostom. Turisti iz različnih evropskih dežel se v privlačno opremlje-nem apartmaju počutijo tako dobro, da svoje počitnice na Krasu podaljša-jo na več tednov.
Seveda je vrt živ organizem, ki nastaja, se spreminja in ni nikoli dokončan.
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V naravi ni ravnih potez in pravilnih likov, po njej se zgleduje tudi Brit-ta na vrtu. Zato so opore za vrtnice, loki in latniki iz akacijevega lesa rahlo skrivenčeni, vegasti, grčasti – takšni, kot je kolje v kraških vinogradih. Med presenečenja spadajo: Oskar (»naša hobotnica«), ki je pravzaprav nenavadno razraščen kos debla; palica, viseča na verigi sredi lesenega loka, ki obiskovalca prisili, da se odloči, ali se ji bo ognil levo ali desno; skrilaste ploščice nepravilnih oblik z imeni rastlin; številni domiselno oblikovani kosi lesa v ateljeju, razstavljeni med njenimi artefakti iz gline in likovnimi deli.
Seveda je vrt živ organizem, ki nastaja, se spreminja in ni nikoli dokon-čan. Med Britto Hoeschele in njenim vrtom so se stkale večplastne vezi. »Vrt je moje veselje,« še pove. »Četudi si včasih rečem: Ah, čez glavo ga imam, ne morem ga več videti! Koliko je plevela! Potem en teden hodim kar mimo in se delam, kot da nič ne vidim. In potem spet pridejo jutra, ko se sprehajam po vrtu, tu poduham, tam opazujem. Ves čas pa čutim po-trebo, da moram imeti roke v zemlji. To je zame najbolj pomembno.«
Mali raj pod kostanji je eden tistih čarobnih kotičkov, ki obiskovalca ujame v svoje razpoloženje. Zazna skladnost vrta z okolico in s stavbami, izbor okrasnih rastlin, ki se mešajo z domačo floro, neprisiljenost in prija-znost gostiteljev. Čeprav je na vrtu prvič, se obiskovalcu kmalu zazdi, kot bi tu že kdaj bil.
{ Kraški vrt }
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{ Karst garden }
A Little Paradise Under the ChestnutsText and photography: Stane Sušnik
The specific balance between rock and meagre vegetation, the harmony of the vineyards with the surroundings, the characteristic architecture, the foodie delights in small private restaurants – all of this is well known, but still not enough
for our Karst to attract a part of the crowds that pour into Provence or Tuscany, with which some compare it. The Slovenian Karst is described in superlatives by all those who have had the chance to experience any of the distinctions of this landscape.
The Karst has also enchanted Britta Hoeschele, who started explor-ing Slovenia on weekend trips a decade and a half ago with her husband Erik and son Bernard. After three years they found in Kobdilj, a hamlet close to the more famous Štanjel, an old and abandoned house, with an overgrown garden, and they fell in love with it at first glance. This was followed by working weekends, which Britta and Erik spent with axe, shovel, pick and similar tools in their hands, fixing up the environs of the house and preparing to renovate their future home. In the “Little Para-dise Under the Chestnuts”, as they call their home, they have invested considerable money, but even more love and labour.
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In her native Germany, Britta graduated from horticultural school, and even worked for several years as a gardener, but after moving to Erik’s homeland her love of plants blossomed there in the garden of their home in the Karst.
“I bought my first rose at a small garden shop in Ljubljana, where they offered imported roses from France. Most of all I like the old rose varieties with abundant blooms and intoxicating fragrances, then in the autumn they have wonderful rosehips. These historical roses are really not so demanding, but they are hard work to prune and clean, since they are very thorny. On the terrace I have creeping roses ('Bobby James' and 'Veilchenblau'), which send out 8 to 10 metre long branches. In February I have to prune them. When I’m dancing around up there on the fence, I’m all scratched, everything hurts, but that way I know spring has come,” recounts Britta.
Her collection of roses (more than a hundred different varieties) is just part of what makes her garden unique. The huge old chestnuts in the courtyard, the overgrown laurel, hackberry and fig trees have survived from the garden of the previous owners. On the plot of land arranged in terraces, Britta has added amongst the roses an original array of flower-ing perennials, adapted to the scorching Karst summers. You enter the vegetable garden through an arch of flowering roses, between beds grow-ing an ecologically harmonious group of lettuces and wild herbs, con-tained in a low hedge of box.
The flattest, straightest lines are delineated by the swimming pool, a luxury intended for foreign guests. Tourists from various European countries feel so good in the attractively furnished apartment that they extend their holiday in the Karst for several weeks.
Nature has no straight lines and regular features, and Britta models her garden on the natural. So the supports for the roses, the arches and trellising of robinia wood are slightly twisted, uneven and gnarled – the kind used for poles in Karst vineyards. The surprises include Oskar (“our octopus”), which is in fact an unusually grown piece of tree trunk; a stick hanging on a chain in the middle of a wooden arch, forcing the visitor to decide whether to steer around it to the left or right; slate slabs of ir-regular shape with the names of plants; numerous interestingly shaped pieces of wood in the studio, with artefacts of clay and artworks dis-played among them.
Of course the garden is a living organism, which emerges, changes and is never finished. Many-layered bonds have been established between Britta Hoeschele and her garden. “The garden is my joy. Although I some-times say: Ah, I’m in over my head, I can’t see it any more! There are so many weeds! Then for a week I walk past it and pretend that I don’t see anything. Then again there are mornings when I stroll around the gar-den, sniffing here, watching there. The whole time I feel the need to have my hands in the earth. That is the most important thing for me.”
The Little Paradise Under the Chestnuts is one of those enchanting spots that draws the visitor into its mood. You sense the harmony of the garden with its surroundings and buildings, the selection of decorative plants that mix with the native flora, and the ease and friendliness of have been here before. A
Of course the garden is a living organism, which emerges, changes and is never finished.
{ Kraški vrt }
Stali smo sredi poti med vrtovi, postavljenimi
na vrtnarski razstavi Hampton Court Pa-
lace v Londonu, in gledali Pepin kraški vrt.
Eden od angleških vrtnarjev, ki so urejali
sosednji vrt, je pristopil in vprašal: »Tak je torej ti-
pičen slovenski vrt?« Pojasnil sem mu, da gre za vrt,
značilen za eno od slovenskih pokrajin, in se ob tem
zavedel, da tipičnega slovenskega vrta sploh ni.
Saj ga ne more biti ob pestrosti naših pokrajin, podnebja, rastlinstva in prebivalcev številnih regij, ki sestavljajo našo deželico.
Borut Benedejčič, inženir agronomije iz vasice Škrbina pri Komnu, je daljnovidno zaznal priložnost, da svojo vizijo kraškega vrta predstavi na prestižni londonski razstavi. Obzidano kraško dvorišče, ki združuje la-stnosti predvrta in funkcionalnega prostora pred domačijo, je nekaj tako posebnega, da bi v Sloveniji težko našli kaj podobnega.
Lani poleti, po vnovičnem obisku slovite razstave Chelsea Flower Show, prav tako v Londonu, se je ambiciozni, zavzeti in trmasti Kraševec odločil. Usmeril bo pogled Evrope na lepoto Krasa in se dokazal med naj-boljšimi oblikovalci vrtov. Zamisel je narisal, sestavil seznam potrebnih ( 78 )
Besedilo in fotografije: Stane Sušnik
Kraški vrt v Londonu
sestavin, ocenil predvidene stroške in se dogovoril z lastniki sestavnih delov vrta, da mu jih posodijo za pot v London. Dve stoletji star šap (nad-zemni obod vodnjaka – štirne), stoletje stari kamniti okvirji vrat in oken (jerte), zlizani pohodni kamni (skrli), kamnita mizica, nov latnik in vrsta rastlin so ključne prvine Pepinega vrta. Pepa je ime kraške gospodinje, gospodarice vrta, nastalega v Borutovi domišljiji.
Samo njegova partnerka Tanja Godnič, ki mu stoji ob strani že od mla-dih nog, ve, koliko razmišljanja, skrbi, pogovorov je bilo vpletenih v ta projekt in koliko poti do končne postavitve je prehodil Borut. Zbral je ra-stline, nagovoril vrtnarje, da so mu jih pomagali vzgojiti, restavratorje, da so obnovili šap, s pomočjo delavcev je postavil pravi kraški suhozid, prija-telj Mitja Milič je ustvaril repliko pobarvane stene, sodelavec Matjaž Čotar pa je poprijel povsod tam, kjer je bilo potrebno. Veliko razumevanja so pokazale tudi kraške občine in Ministrstvo za kulturo RS, ki so primaknili dovolj, da sta konec junija iz Sežane odpeljala dva polno naložena tovor-njaka vlačilca. V Anglijo sta tri dni zatem pripeljala kar 46 ton gradiva za Pepin kraški vrt; Borut ga je s pomočjo sodelavcev postavil do 6. julija in potem čakal stroge angleške ocenjevalce.
Vsem ključnim sestavinam vrta je Borut pridružil še tradicionalni način zbiranja vode, ki je na Krasu ni nikoli dovolj, zato je shranjevanje deževnice v globoki štirni na borjaču nujnost. Celo danes, ko skoraj v vsako kraško vas vodijo cevi vodovoda, je štirna obvezen lepotni okrasek,
dobrodošla pomoč za zalivanje vrta in spomin na stoletja, ko je predsta-vljala edini vir vode za vse potrebe na domačiji.
Kamera slovenske nacionalne televizije je beležila tako zbiranje gradiva na Krasu kot tudi zadnja filigranska dela pri sajenju rastlin na Pepinem kraškem vrtu v Londonu. Tako je za vselej zabeleženo, s kolikšno natanč-nostjo in ljubeznijo je Borut Benedejčič vtikal drobna stebla homulic v razpoke suhozida, kako je polnil reže med kamni ter vsak dan znova in znova čistil in pometal suhe cvetove in plodove lip, pod katerimi je na razstavnem prostoru stal Pepin kraški vrt.
Če je štirinajst dni postavljanja minilo kot blisk kljub napornemu delu od jutra do teme, so se ure, ko sta Borut in Tanja čakala na odločitev komisije, vlekle kot trenutki pred kakšno obsodbo. A bilo je vredno potr-peti! Pepin kraški vrt je po merilih strokovnjakov za hortikulturo dosegel največ možnih točk in prejel poleg zlate medalje tudi priznanje za najbolj-ši mali vrt na razstavi.
Borut je bil ves čas trdno prepričan, da bi njegov vrt moral prejeti eno od priznanj. Zavedal se je, da Pepin vrt sicer v vseh pogledih odstopa od ostalih 13 malih vrtov, saj je bil do zadnje podrobnosti dognana ponazo-ritev preteklosti, medtem ko so vsi drugi vrtovi tako ali drugače interpre-tirali sedanjost skozi oči avtorjev. A celovitost, domačnost, spoštovanje tradicije in natančna izvedba so prepričali.
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{ Karst Garden }
A Karst Garden in LondonText and photography: Stane Sušnik
We were standing in the middle of the path between the small gardens at the Hampton Court Palace Flower Show in London and looking at Pepa's Karst Garden. One of the English horticulturalists busy setting up the
neighbouring garden came over and asked us: "So is this what a typical Slovenian garden is like?" I explained that it was a type of garden char-acteristic of one region of Slovenia, and realised as I was speaking that there is actually no such thing as a typical Slovenian garden.
How could there be, given the diversity of landscapes, climate, flora and inhabitants of the many regions that make up our little country?
Borut Benedejčič, an agronomy engineer from the little village of Škrbina near Komen, was far-sighted enough to spot an opportunity to present his vision of the Karst garden at the prestigious London flower show. The walled Karst courtyard, combining the characteristics of front garden and a functional space in front of the house, is something so spe-cific to the region that it would be hard to find anything like it anywhere else in Slovenia.
Last summer, following a fresh visit to the famous Chelsea Flower Show, also in London, the ambitious, committed and stubborn Karst-dweller made up his mind. He would draw Europe's attention to the beau-ty of the Karst and at the same time prove himself among the finest garden designers. He sketched his idea, drew up a list of the elements he would need, made estimates of costs and managed to persuade the owners of the component parts of the garden to lend them to him for his trip to London. A two-centuries-old šap (the circular above-ground part of a well or štirna), century-old stone door and window frames (jerte), worn paving stones (skrli), a small stone table, a new trellis (latnik) and a series of plants are the key elements of Pepa's garden. Pepa is the name of a Karst housewife, the owner of the garden that Borut created in his imagination.
Only his long-term partner Tanja Godnič knows how much thought, care and discussion has gone into this project and how long Borut's journey has been. Borut gathered the plants and persuaded nurseries to help him cultivate them, convinced restorers to restore the well and with the help of workmen built a genuine Karst dry-stone wall. His friend Mitja Milič created a replica of a painted wall and his colleague Matjaž Čotar helped out wherever he was needed. Great understanding was also shown by the municipalities of the Karst region and by the Ministry of Culture of the Republic of Slovenia. With their help, two fully loaded articulated lorries were able to set off from Sežana at the end of June. The lorries arrived in England three days later with 46 tonnes of material for Pepa's Karst Garden. Together with his team, Borut finished building the garden in time for the 6 July deadline and then settled down to wait for the strict British judges.
To all the key elements of the garden Borut added the traditional meth-od of collecting water, of which there is never enough in the Karst – so storing rainwater in a deep well in the borjač or courtyard is essential. Even today, when almost every Karst village is connected to the water mains, the štirna is still an essential adornment, a welcome help when it comes to
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watering the garden, and a memory of the centuries during which it repre-sented the only source of water for all the needs of the household.
The cameras of Slovenia's national television broadcaster captured both the collecting of the material in the Karst and the final stages of planting Pepa's Karst Garden in London, thus providing us with a per-manent record of the precision and love with which Borut Benedejčič in-serted the tiny stems of succulents into the cracks of dry-stone wall, and of how he filled the gaps between the stones and, day after day, cleaned and swept debris of the limes beneath which Pepa's Karst Garden stood in the exhibition space.
If the fortnight that took to set up the garden passed in a flash despite the exhausting labour from morning to night, the hours that Borut and Tanja sat and waited for the decision of the judges dragged on like the moments before any important verdict. But it was worth the wait! The Royal Horticultural Society's experts awarded Pepa's Karst Garden the maximum number of points, and as well as the Gold Medal the garden received the title of Best Small Garden of the show.
Borut had always believed that his garden would win a prize. He was aware that Pepa's Garden was different in every way from the other 13 small gardens, since it was planned down to the last detail as an illustration of the past, while all the other gardens in one way or another interpreted the present through the eyes of their creators. But completeness, authenticity, respect for tradition and accuracy of execution won the day. A
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Besedilo in fotografije: Urban Golob
Potapljači med gorami
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Soteskanje
Besedilo in fotografije: Urban Golob
V temačne in strme grape ljudje dolgo časa niso imeli vstopa. To je bil senčen in nekoristen svet, iz
katerega se je predvsem po obilnejših padavinah slišalo močno bučanje vode. Ni čudno, da se je krepil glas o hudičih, ki da prebivajo v takih temnih in nedostopnih krajih. Strme grape tudi kasnejših pravih raziskovalcev niso prav enostavno spustile vase. Zaradi strmine, gladkih skal, ne prav tople vode in možnosti, da tudi nedolžen slapič v nekaj minutah postane pravi hudournik, so ti kraji zahtevali ustrezno opremo in poleg raziskovalne žilice tudi kar nekaj tehničnega znanja.
V temačne in strme grape ljudje dolgo časa niso imeli vstopa. To je bil senčen in nekoristen svet, iz
katerega se je predvsem po obilnejših padavinah slišalo močno bučanje vode. Ni čudno, da se je krepil glas o hudičih, ki da prebivajo v takih temnih in nedostopnih krajih. Strme grape tudi kasnejših pravih raziskovalcev niso prav enostavno spustile vase. Zaradi strmine, gladkih skal, ne prav tople vode in možnosti, da tudi nedolžen slapič v nekaj minutah postane pravi hudournik, so ti kraji zahtevali ustrezno opremo in poleg raziskovalne žilice tudi kar nekaj tehničnega znanja.
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{ Soteskanje }
Čeprav se v slovenskih Alpah še vedno najde – zdaj sicer že z veliko truda – kakšen košček grape, kamor še ni zašel človek, je kar nekaj spustov po stoteskah tako opremljenih, da lahko večina ljudi – seveda pod vodstvom usposoblje-
nega vodnika – izkusi to senčno, mokro, a prvobitno naravo. Takšni sta tudi soteski Fratarce blizu Bovca in Jerečica pri Bohinju.
Tisti, ki vodo sovražijo, pri soteskanju ne bodo našli prav veliko zadovoljstva, čeprav obstajajo zaščitna sredstva, ki so nepogrešljiva in skoraj nepremočljiva. Na srečo so tudi elastična. Vse te dobrodošle zna-čilnosti neoprenske obleke spoznate takoj, ko se skušate vanjo spraviti sami. Potapljači v hribih? Tako nekako izgledajo ljudje, ko se v bolj kot ne morski opravi pripravljajo na spust po vrvi v globočino soteske. Pri tem »adrenalinskem športu« je potrebno dobro obvladovanje osnov-nih alpinističnih oziroma jamarskih veščin. Znanje vrvne tehnike je nujno, o plavanju pa niti ne bomo izgubljali besed. Spusti se namreč ne odvijajo samo po vrveh, temveč je treba kakšen tolmun tudi preplavati, tako da plavalnih sposobnosti in talentov pri soteskanju ne gre podce-njevati. Vsaj v tolmunih in ozkih koritih ne. Zato je potrebna tudi prava oprema za vodo. Poleg neoprenske obleke in copat ter čelade si moramo nujno nadeti še rešilni jopič, ki nas v normalnih okoliščinah tudi mr-tvoudnega drži nad vodo. Kljub vsemu je v vodi dobro malo pomigati, da nam je vsaj malo topleje.
Zelo dobro se spomnim svojega prvega čofotanja po soteski Prede-lice, ko smo šele po dveh ali treh urah dobili prvo pošiljko sončnih žarkov in nemudoma kot martinčki polegli po belih skalah. Za nami je že bilo dričanje in spuščanje po vrveh po slapovih, drsnem mahu, »žmohtni« travi in plavanje po precej mrzlih tolmunih. Pri prvem po-štenem (plavalnem) stiku z vodo smo vsi vadili preklinjanje in si pri tem pomagali tudi z znanjem tujih jezikov. Sčasoma se človek povsem navadi na senčno mokroto in v premikanju v takem okolju celo (zelo) uživa, najprej pa vseeno zineš kakšen komentar, ki morda ni najprimer-nejši za tukajšnjo objavo.
Toda pri soteskanju ni vedno tako zelo mraz. Spuščanje po slapovih visoko v alpskem svetu je lahko sicer precej hladno in mrzle noge so v tem primeru skoraj reden spremljevalec našega početja. Le malo nižje, kjer je voda nekoliko toplejša, pa je raziskovanje sotesk tudi za tiste bolj »zmrznjene« pravo uživanje. Za takšen klasični spust v soteski s čisto prijetno temperaturo vode je kot nalašč potok Jerečica, kamor izkušeni vodniki vodijo soteskanja in pustolovščin željne turiste.
Spremstvo vodnika je najboljša in najvarnejša pot za seznanjanje s tem športom. Vodnik priskrbi opremo in prevoz, vseskozi smo pod strokovnim nadzorom in vse, kar počnemo, je to, da uživamo. Dobro se je tudi pozanimati, če ima vodnik mednarodno licenco za vodenje po stoteskah. Pri njem bomo gotovo povsem varni in bomo lahko popol-noma sproščeni tudi v tistih kotičkih narave, kamor ljudje sicer nikoli ne zaidejo.
Soteskanje se odvija v globokih grapah, kanjonih in soteskah, kamor sonce le redko posije.
Toda poletje, ki je najboljši čas za tovrsten šport, je obenem tudi čas neviht. In prav te znajo biti pri tej dejavnosti zelo zahrbtna nevarnost. Ko se razbesnijo v gorskem svetu, se lahko še tako nedolžen potoček v
ne prestrmem grabnu spremeni v strašanski hudournik. Če se človek takrat znajde v kakšnih koritih z gladkimi skalami, se lahko zelo hitro zgodi tragedija. Spremljanje vremena in poznavanje vseh nevarnosti je prav tako kot pri drugih aktivnostih v naravi tudi pri soteskanju zelo pomembno.
Soteskanje je šport in zabava, ki se odvija v nedotaknjenem okolju, kamor ljudje le poredko pomolijo svoj nos. Pravi gospodarji so tam ra-stline in živali, zato jih na obisku ne nadlegujemo preveč. Rastlin ne tr-gamo in živali ne plašimo. Tudi kakšno vriskanje ali podobno oglašanje se v temačnih vodnih globočinah preprosto ne spodobi. Tulimo lahko tudi potem, ko končamo s spustom. Na primer ob pivu.
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Soteskanje se odvija v globokih grapah, kanjonih in soteskah, kamor sonce le redko posije.
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{ Soteskanje }
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{ Canyoning }
Diversin the MountainsText and photography: Urban Golob
For a long time people had no access to dark, plunging ravines. This was a murky and useless world from which the powerful roaring of water could be heard, especially after heavy rain. It is no wonder that stories built up about demons sup-
posedly inhabiting such dark and inaccessible places. Nor did the steep ravines make it easy for proper explorers of later times just to walk on in. Owing to the steep sides, the slippery rocks, the not exactly warm water and the possibility of some innocent little cascade transforming in a few minutes into a real flash flood, these places demanded proper equip-ment, and along with a flair for exploration, quite a bit of technical skill.
Although in the Slovenian Alps some tiny corner of a ravine can still be found – although now with considerable effort – where no one has gone before, there are quite a few descents into canyons that are secured so that most people – of course under the leadership of a qualified guide – can experience this dark, dank but primordial feature of nature. This would apply to the gorges of Fratarce near Bovec and Jerečica near Bohinj.
Those who dislike water will not derive much joy from canyoning, although protective gear is available, and this is both indispensable and almost impermeable. Fortunately it is also elastic. You will recognise all these welcome features of neoprene clothing as soon as you try getting into it yourself. Divers in the hills? This is pretty much how people look when they are in what is more like marine gear, preparing to go down the rope into the depths of the gorge. This “adrenaline sport” requires sound mastery of the basic Alpinist and caving skills. Knowledge of rope techniques is essential, and there is no need to waste words on swimming. Descents are not made just by rope, since there will also be an occasional pool to swim across, so swimming abilities and talent are not to be underestimated in canyoning. At least not in pools and narrow trenches. This means you also need the right gear for water. Along with a neoprene suit and boots and a helmet, a life jacket is also essential, since in normal circumstances this will hold you above the water even if you are paralysed. All the same, it is a good idea to move about a little in the water, at least to stay warm.
I remember very well my first paddle around the Predelice gorge, when it was only after two or three hours that we got our first instal-ment of sunrays, and immediately like lizards we lay ourselves out on the white rocks. We had come through a slithering descent by ropes over waterfalls, slippery moss and “juicy” grass, and swimming through re-ally cold pools. With our first proper (swimming) contact with the water, we practiced our cursing, and were able to supplement this through a knowledge of foreign languages. In time you get entirely accustomed to
the dark dampness, and you even start (really) enjoying moving around in such an environment, but to begin with you will still blurt out some comment that is perhaps not suitable for these pages.
However, it is not always that cold when you are canyoning. Descend-ing waterfalls high up in the Alps can indeed be very cold, and in this case chilled feet are an almost regular companion of such an enterprise. Just a little lower, where the water is a bit warmer, exploring the ravines is a real pleasure, even for those who are fairly well “frozen”. Ideally suited to such a classic descent along a ravine, with really pleasant wa-ter temperatures, is the Jerečica stream, where experienced guides take tourists hungry for canyoning and adventures.
Going with a guide is the best and safest route for getting to know this sport. The guide provides equipment and transport, you are under expert supervision the whole time, and all you have to do is enjoy your-self. It is also a good thing to enquire whether the guide has an inter-national licence to do canyon guiding. In this case you will certainly be totally safe, and you can be completely relaxed, even in those corners of nature where people otherwise never venture into.
Canyoning is pursued in deep ravines, canyons and gorges, where the sun rarely shines.
But summer, which is the best time for this kind of sport, is also the time of storms; and in this kind of activity, the storms have a way of being treacherously dangerous. When they unleash their frenzy high in the mountains, the most innocuous little stream in some gentle gorge can turn into a terrifying flash flood. A person who finds himself at that time in some channel bed with smooth rocks can quickly encounter tragedy. Monitoring the weather and knowing all the dangers is very im-portant in canyoning, just like in other nature-based activities.
Canyoning is a sport and fun pursued in an unspoilt environment, where people only rarely poke their noses. The real lords there are the plants and animals, so we try to avoid pestering them on an outing. We do not pick plants and do not scare animals. Even yelling out or similar utterances are simply not appropriate in the dark, watery depths. You can start yelling once you are finished with your descent. Over a beer, for instance. A
Canyoning is pursued in deep ravines, canyons and gorges, where the sun rarely shines.
