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

Adria Airways In-Flight Magazineoktober, november - October, November 2008 5 )

Moskva • MoscowTrst • TriesteVeit HeinichenBurja • The Bora

Spoštljivo do okolja •Respecting the environmentMatkov kotThe LakesBIO 21

Ferate • FerrateMostovi • BridgesIranske ženske • Iranian Woman

Naše uniformeOur Uniforms

Adria Airways In-Flight MagazineRevija Adria Airways In-Flight Magazine

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

on Adria Airways flights.

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

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

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

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

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

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

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

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

E-mail: alenka.dvorsak@adria.si

ISSN 1318-0789

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

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

odgovornosti za nenaročeno gradivo.The opinions expressed in this publication are those of the authors or persons interviewed only and do not necessarily

reflect the views of Adria Airways. Reproduction without written permission is prohibited. The pub lish er accepts no

responsibility for unsolicit ed material.

Brezplačen izvod / Your personal copy

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Vsebina/ContentsNaše uniforme / Our UniformsOblikovanje uniform je lahko tudi prestižDesigning Uniforms is a Matter of PrestigeBarbara Žnidar

Adrijin potnik / Adria PassengerVeit Heinichen, pisateljVeit Heinichen, AuthorPoljanka Dolhar

Moskva / MoscowDvajset nadstropij pod mestomTwenty Storeys Below the CityKsenija P. Hahonina

Trst / Trieste

Na stičišču raznolikosti in bogastvaWhere Diversity Is WealthAmi Scabar

Burja!The Bora!Urban Golob

Spoštljivo do okolja / Respecting the Environment

Ekološka kmetija / Organic FarmMatkov kotMatkov KotAndrej Crček

Ekološka gradnja / Organic FarmHiše ob jezerih – razkošje brez krivdeThe Lakes – Guilt-free LuxuryMeta Krese

BIO 21Ekologija že dolgo na jeziku žirijeEcology Has Long Been a Watchword for the JuryLora Power

Ferate / FerrateNa Jeklenih oprimkihHandholds of SteelPavle Kozjek

MostoviBridgesAna Če

Iranske ženske / Iranian WomenNe verjamem v tradicijoI don't Believe in TraditionManca Juvan

Mimi Antolovič

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Besedilo: Barbara Žnidar Fotografije: Arhiv Adrie Airways

Oblikovanje uniformje lahko tudi prestiž

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{ Adria Airways }

1962

Kostim iz temnozelenega džersija: jopič z dvorednim za-penjanjem, obvezna zelena čepica in pelerina za hladnejše klimatske razmere. Tako »opremljene« so se svojega novega dela nadvse navdušeno lotile medicinske sestre ene izmed

bolnišnic v San Franciscu. To je bila prva generacija (osmih) stevardes za Boeing Transport of USA v tridesetih letih prejšnjega stoletja.

Izobrazba teh deklet za takrat »sanjski« poklic seveda ni bila naključ-no izbrana: še danes je tovrstno usposabljanje del obveznega šolanja, ki ga morajo opraviti kandidatke in kandidati, preden se podajo na prvi delovni let.

Oblikovanje uniform je počasi postalo pravi prestiž: če se sprehodi-mo skozi zgodovino, naletimo na znana imena, kot sta Dior in Armani, danes pa dizajn med drugimi ponosno podpisujeta tudi Julien McDo-nald (za British Airways) in Christian Lacroix (za Air France).

Uniforme pilotov so si po celem svetu izjemno podobne: temnomo-dre moške obleke s strogim suknjičem, klasičnimi belimi srajcami in kravatami, z nepogrešljivimi našitki (štiri črte, dve črti ...) ter obvezni-mi kapami.

Nadvse zanimiva podoba v velikih letaliških »metropolah« so ste-vardese in stevardi, ki gredo v strogih kostimih, elegantno stiliranih, pa tudi v nadvse eksotičnih sarijih ali pa v oblačilih z draperijami v mimohodu mimo nas. Zame je eden najlepših pogledov na popolnoma usklajeno podobo, tako stevardov kot stevardes, s pričeskami in liče-njem, urejenih po predpisih.

Prva generacija Adrijinih stevardes je imela olivno zelen kostim in klobuček tipa »pillbox hat« prav take barve, belo bluzo ter belo ruto in rokavice. Prva desetletja so se naše uniforme skoraj vsako leto temeljito spremenile, zadnjih petnajst let pa so bile spremembe manj opazne.

Uniforme so spravile stevardese v kar nekaj zabavnih in obenem ne-rodnih situacij − zbrani spomini bi bili zagotovo izjemno zanimivi ...

Le redki se najbrž še spomnite tankih pletenih majic, ki so imele, ne boste verjeli, izvezene palme, pa kril na preklop, ki so ob malo moč-nejšem vetru »pristala« tam nekje visoko pod pasom, globoko dekol-tiranih bluz (prav tako na preklop), ki so potnikom včasih nudile bolj razkošen pogled, kot bi si same stevardese želele, oblek širokega kroja iz blaga s cvetličnim vzorcem, ki bi bolj pristajale k vrtni čajanki v an-gleški maniri kot pa k letalu resnega letalskega prevoznika.

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{ Adria Airways }

1962

Spominjam se dogodka iz osemdesetih, ko so bili »gromozanski« ramenski podložki obvezen del »opreme«. Zgodilo se mi je, da je slabo prišit podložek nesrečno končal na mizici poleg pladnja s kosilom. Se-veda je bil gib, s katerim sem ga »pograbila«, tako hiter, da, upam vsaj, potniku ni bilo jasno, kaj se je sploh zgodilo.

Od sanjskega poklica stevardese je, resnici na ljubo, ostalo bore malo: danes gre za profesionalno opravljeno delo, ki je fizično in psihično iz-jemno zahtevno. Potovanja so se iz oznake »privilegiran luksuz« v glav-nem prelevila v čim hitrejši prihod iz točke A v točko B, nizkocenovni prevozniki pa so iz tega doživetja zbrisali še zadnjo sled glamurja.

Uniformiranost pa je (na srečo) ostala in stil oblačil je še vedno pre-poznaven. Uniforma je obenem tudi delovno oblačilo, v katerem naj bi se osebje čim bolje počutilo; materiali so zato nadvse skrbno izbrani, saj morajo uniforme nič kolikokrat »romati« v kemično čistilnico in pralni stroj. Kvalitetna izdelava je poleg dizajna zagotovo ključni ele-ment, ki zunanjo podobo zaokroži v njeni všečnosti.

Pri Adrii Airways smo se odločili, da se na osnovi vseh teh dolgole-tnih izkušenj lotimo dizajniranja novih uniform. Projekt novih uni-form se je zdaj približal koncu. Pri oblikovanju nas je vodilo več aspek-tov: že uveljavljena kombinacija barvnih odtenkov, kosi oblačil, ki so se v več letih izkazali kot všečni in tudi praktični, videz, ki ga obenem določajo detajli in pritičejo oznaki »uniforma letalskega prevoznika«, ter dizajn, ki se ne bo spreminjal najmanj pet let in obenem ne bo izgu-bil sodobnega pridiha na klasični osnovi.

Skrbno izbrani materiali in temnomodra niansa poudarjajo elegan-tnost in urejenost. Prepoznavna turkizna barva (v rahlo spremenjenem odtenku kot do sedaj) je prisotna v detajlih. Suknjič se bo lahko kom-biniral tako s hlačami kot tudi s krilom, tu so še telovniki, bele bluze s kratkimi in dolgimi rokavi, majice iz tankega pletiva, obleke za zimsko in letno sezono ... V srebrnosivem odtenku z logotipom bodo rutice za stevardese in kravate za stevarde. Klobučki in usnjene rokavice pa bodo podobni, kot jih nosi »naša« virtualna stevardesa, s katero že komunici-ramo z javnostmi v oglasnih sporočilih.

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{ Adria Airways }

Text: Barbara Žnidar Photography: Adria Airways Archives

Designing Uniformsis a Matter of Prestige

A dark green jersey suit with a double-breasted jacket, a green beret and a cape for use in cold weather. Thus equipped, a group of nurses from a San Francisco hospital enthusiastically began their new job. They were the first

generation of (eight) “stewardesses” for Boeing Air Transport (later United Airlines) in the 1930s.

It is no coincidence that the candidates for what was then seen as a “dream job” should have had a nursing background: even today first aid forms part of the obligatory training that flight attendants have to undergo before they set off on their first working flight.

Over time, designing the uniforms of flight attendants has become a matter of great prestige. Looking back at history, we come across fa-mous names such as Dior and Armani. Among the designers responsi-ble for today's uniforms are Julien McDonald (for British Airways) and Christian Lacroix (for Air France).

Pilots' uniforms are very similar throughout the world: dark blue suits with severe jackets, classic white shirts and ties, caps and of course the insignia of rank (four stripes, two stripes, etc.).

Flight attendants, on the other hand, are among the more interest-ing sights of the great airports of the world, as they walk past in their smart, elegantly styled suits, or perhaps even exotic saris or draperies. In my opinion there are few more beautiful sights than the perfectly coordinated appearance of a group of flight attendants, male and female, with even their hairstyles and make-up conforming to strict regulations.

The first generation of Adria flight attendants were dressed in olive-green coats and skirts, matching pillbox hats, and white blouses, neck scarves and gloves. During Adria's first decades the uniforms changed radically almost every year, but in the last fifteen years the changes have been less noticeable.

Uniforms have placed flight attendants in quite a number of amus-ing and awkward situations – their collected memoirs would undoubt-edly make interesting reading…

I doubt that many people remember the thin knitted tops embroi-dered (believe it or not) with palms, or the wrap-around skirts that on slightly windier days would end up somewhere around the waist, the low-necked blouses (also wrap-around) that occasionally offered pas-sengers a more magnificent view than the wearer may have wished, or

the wide-cut floral-print dresses that were better suited to an English garden party than to the aircraft of a serious airline.

I remember how on one occasion one of my shoulder pads (it was the 1980s and enormous shoulder pads were de rigueur) somehow managed to detach itself and ended up on a passenger's folding table next to his lunch tray. I scooped it up again so quickly that the passenger didn't actually notice. At least I hope he didn't.

If truth be told, very little remains of the “dream job” of air hostess: today it is a professional activity which is extremely demanding both physically and mentally. Air travel has for the most part changed from being a luxury for the privileged to merely the fastest way to get from A to B. Low-cost airlines, meanwhile, have erased every last trace of glam-our from the experience.

Fortunately, however, uniforms, have remained. The style of the clothes is still recognisable. Uniforms are also working clothes in which the wearer should feel comfortable. For this reason the materi-als are very carefully chosen – to withstand countless trips to the dry cleaner's and washing machine. Quality workmanship is, like design, a key element of the uniform, rounding off its appearance in a pleasing manner.

Adria Airways recently decided to commission new uniforms with a design based on all these long years of experience. The project is now nearing its end. Various factors have informed the design process: an established combination of colours, items of clothing that over the course of time have proved to be both pleasing and practical, an appear-ance defined by details which at the same time denote “airline uni-form”, and a design that will not be changed for at least five years and yet will retain its contemporary feel, though on a classic basis.

Carefully chosen materials and dark blue nuances emphasise el-egance and neatness. The characteristic turquoise colour (in a subtly different shade from the one used in the past) is present in the details. The jacket can be combined either with trousers or a skirt. Then there are waistcoats, white blouses with short or long sleeves, thin knitted tops, winter and summer garments. Scarves and ties are silver-grey and bear the airline's logo. Hats and leather gloves will complete the look, bringing it close to that of the “virtual” flight attendant who already communicates with the public in our advertisements.

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{ Adria Airways }

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Zgodovina razvoja uniform našega osebja

1961: Prva generacija stevardes nosi olivno zelen kostim in klobuček tipa »pillbox hat« ter belo bluzo, ruto in rokavice.

1962: Olivno zelena barva se umakne turkizno modri, bluza, ruta in rokavi-ce pa ostanejo bele. Obvezen je klobuček. Turkizen, kakopak.

1963 do 1970: Uveljavljenemu turkiznemu modelu dodamo še poletno verzijo v bež odtenku in predpasnik modre barve.

1971: Kostim in klobuček sta temnomodra, bluzo zamenja svetlozelena pletenina.

1972: Temnomoder dvoredni suknjič nima reverja. Dovoljena dolžina krila je nad koleni. Belo bombažno bluzo to leto »krasi« rumena kravata z belimi pikami. Klobuček nadomesti visoka kapa.

1973: Kostim v sinjemodri barvi je izdelan iz za tisti čas izjemno sodob-nega materiala »diolen lofta«. Bele bluze, bele rokavice. In seveda: visoka sinjemodra kapa.

1974: Nastopi živordeče obdobje, s kapo vred. Pozimi so bili črni puliji in rokavice, poleti bele bluze. Iz sintetike, seveda!

1975: To je čas svetlomodrega odtenka. Suknjič ima velike reverje, široko krojeno krilo sega pod kolena. Beli puloverji imajo kratke in tudi dolge rokave.

1978: Odtenek barve ostaja, zato pa se tokrat suknjiči zapenjajo enore-dno. Ovratna ruta je črtasta, in sicer temnomodro-bela.

1985: Zopet se odločimo za turkizno barvo, ki postaja del naše vizualne podobe: enoredni suknjič in bela bluza. Stevardese lahko izbirajo med raz-ličnimi dizajni kril, obstajajo tudi široka hlačna krila.

1987: Turkizni suknjič je tokrat dvoreden, krilo ima globoke gube. Ovratna ruta je iz ročno barvane svile v rdečkastih prelivajočih se tonih. Poletne obleke imajo bele ovratnike in manšete.

1988: Dvoredni suknjič je okrašen z modnimi detajli te sezone. Krilo je klasičnega kroja, dolžina tik pod koleni. Bele bluze so svilene, prav tako vzorčaste ovratne rute.

1989: Klasičen dvoredni suknjič dobi velike našite žepe, dolga krila so ozko krojena, v gubi je skrit plise. Svilene bluze postanejo standard. Na svilenih rutah se pojavi naš logotip.

1990 do 2008: Klasičen turkizni kostim s krilom ali hlačami se zopet eno-redno zapenja. Bele bluze imajo dolge ali kratke rokave. Dodani so pleteni brezrokavniki. Namesto ovratnih rut so zdaj šali, potiskani z logotipom. Po-letne obleke so v zadnjih letih temnomodre, s turkiznim detajlom na levem skritem prsnem žepu. Prav tako so temnomodri zimski plašči.

History of Adria Airways uniforms

1961: The first generation of flight attendants are dressed in an olive-green coat and skirt, a matching pillbox hat, and white blouse, scarf and gloves.

1962: The olive-green colour gives way to turquoise. The blouse, scarf and gloves remain white. A hat is obligatory. Turquoise, of course.

1963 to 1970: The turquoise uniform is joined by a summer version in beige with a blue apron.

1971: The suit and hat are dark blue. The blouse is replaced by a light green knitted top.

1972: The dark blue jacket is double-breasted and lapelless. The skirt may be worn above the knee. This year the white cotton blouse is worn with a yellow tie with white polka dots. The hat is replaced by a tall cap.

1973: This sky-blue suit was made of Diolen Loft fabric – a very modern material at the time. White blouses, white gloves. And of course: a tall sky-blue cap.

1974: The start of the bright red period, including the cap. In winter pullovers and gloves were black. Summer blouses were white. Synthetic, naturally!

1975: This was the year of light blue. The jacket has large lapels and the wide-cut skirt is worn below the knee. The pullovers were both short-sleeved and long-sleeved.

1978: The colour remains the same but now the jackets are single-breast-ed. The neck scarf is striped – dark blue and white.

1985: This year marked a return to turquoise, which was becoming part of Adria's corporate identity. The jacket is single-breasted and the blouses are white. Female flight attendants could choose between various skirt designs and wide culottes.

1987: This year the turquoise jacket is double-breasted and the skirt has deep folds. The neck scarf is in reddish iridescent shades. The material is hand-coloured silk. The summer dresses have white collars and cuffs.

1988: A double-breasted jacket decorated with the season's fashion ac-cessories. The skirt is of classic cut and worn just below the knee. The white blouses are silk, as are the patterned neck scarves.

1989: The classic double-breasted jacket gets large appliqué pockets, the long skirts are narrow, with a pleat hidden in the fold. Silk blouses have become the standard. The Adria logo appears on the silk scarves.

1990 to 2008: The classic turquoise suit with skirt or trousers is once again single-breasted. The white blouses are long- or short-sleeved. Sleeveless sweaters are added. Neck scarves are replaced by scarves printed with the Adria logo. In recent years summer uniforms have been dark blue with a turquoise detail on the left breast pocket. Winter coats are also dark blue.

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Besedilo: Ana Duša

Tista dragocenastara šaraNi ga bolj trapastega občutka, kot ob selitvi sedeti sredi

pravkar izpraznjene sobe in ugotavljati, koliko škatel šteje tvoje življenje – koliko jih je napolnjenih z oblekami, koli-ko s knjigami, koliko s posodo in koliko z delom. In v ko-

liko škatlah so stvari, ki jih v resnici niti ne potrebuješ, pa ti nek čuden sentiment ne da, da bi se jih končno vendarle znebil. Pa bi si po zdravi pameti te reči koš prav gotovo zaslužile: za nobeno rabo niso, razen za to, da po kotih lovijo prah, in človek se nikoli ne spomni nanje, razen takrat, kadar se seli in ga spravijo v slabo voljo, ker še vedno, tako kot ob zadnjem velikem premiku, ne ve prav dobro, kaj bi z njimi.

Ko sem se ne dolgo nazaj nazadnje selila, sem jo spet našla: belo kva-dratno škatlo za čevlje s pokrovom iz zelene rebraste lepenke. Glede na to, da je stara skoraj toliko kot jaz, se dobro drži: samo po kotih je malo zmehčana, sicer ji pa ni hudega. Že od otroške sobe naprej jo vlačim s sabo in vsakokrat, ko jo najdem, si rečem: »Zdaj je bilo pa zares zado-sti!« Ampak potem naredim tisto usodno napako in jo, namesto da bi jo zagnala naravnost v smeti, »samo še enkrat odprem, da se prepričam, če ni vendarle kaj važnega notri«.

V škatli so ostanki letalskih kart. Starih letalskih kart, ki niti niso bile pisane na moje ime in ki mi jih je s svojih potovanj nosil oče, še preden sem sama prvič stopila na letalo. Pa ne samo karte: tam so tudi stare vrečke z enkratno dozo soli in popra, prtički z odtisnjenimi znaki letalskih družb in v srebrno folijo zaviti čistilni robčki, pod vsem sku-paj pa se skrivajo še stare Adrijine revije. Kaj pa vem, zakaj mi je tako vztrajno nosil vse te reči – in zakaj sem jih jaz tako vztrajno spravljala na kup.

Verjetno niti ni kaj dosti razmišljal, ko je poleg vseh »pravih« daril predme stresal tudi vse te na prvi pogled malo vredne ostanke s poti. In jaz sem jih verjetno shranjevala iz istega razloga, zaradi katerega me je dosti let kasneje stiskalo v grlu, kadar sem na havbi svojega avtomo-

bila sedela ob žičnati ograji, ki loči polje od začetka pristajalne steze, in gledala letala, ki so tik nad mano iztegovala kolesa proti tlom. Tisto nekaj je bilo zapisano v njih, kar me še vedno zgrabi, kadar s kovčkom v roki prestopim vrata letališča in stopim v vrsto za check in. Nekakšen vznemirljiv občutek, da se človek lahko spravi z vsemi svojimi konci in se vrže v nove začetke. Da so takrat, ko se letalo odlepi od tal, za kratek čas pozabljeni vsi njegovi dolgovi in je pomembno samo tisto, kar ga čaka na drugi strani. In da mu bodo okoliščine, ko se bo vračal domov, prigoljufale tisti foggovski korak prednosti, zaradi katerega bo lahko za eno letalsko pot prej spet zgrabil svoje življenje, kot bo ono zgrabilo njega. Ker sem ugotovila, da nazaj domov ne prideš šele takrat, ko sto-piš na brniška tla; doma si že, ko te nekje sredi Evrope na vhodu v letalo pričaka v modro uniformo odet: »Dober dan, Dnevnik ali Delo?« in ko iz vrvnatega žepa pred sabo namesto revije British Aira ali Lufthanse pote-gneš Adria Airways In-Flight Magazin.

Ni dosti stvari, sploh ne tistih brez jasne uporabne vrednosti, ki bi jim uspelo pobegniti uničujočim mlinom mojih selitev. Da bi bila odločitev o tem, kaj ohraniti in kaj predati večni pogubi, v takšnih trenutkih lažja, sem se naučila, da tudi spominkov ne kupujem. Ker pa človek v dokaz lastnih poti kakšno reč vendarle mora obdržati, sem se po vzoru tiste stare škatle z zelenim pokrovom navadila, da nikoli ne mečem stran ostankov letalskih kart. Jih hranim namesto dnevnika, za katerega sem bila vedno prelena, da bi ga pisala, in namesto fotografij, za katere si vsakokrat rečem, da tokrat jih pa res moram posneti nekaj za spomin, pa potem vedno pozabim nanje.

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Valuable Old JunkText: Ana Duša

There is no sillier feeling than that of sitting in the middle of a just-emptied room, when moving house, and trying to work out how many boxes your life consists of – how many boxes of clothes, how many of books, how many of pots

and pans and how many of work. And how many boxes of things that, if truth be told, you don’t really need, and yet some strange sentiment won’t allow you simply to get rid of them for once and for all. Even though common sense tells you that these things really deserve to be thrown out: they are no good for anything except gathering dust in the corner, and no-one ever remembers them except when it’s time to move house and they put you in a bad mood because, just like the last time, you don’t really know what to do with them.

When I moved house not long ago I found it again: a square white shoe-box with a corrugated green cardboard lid. Given that the box is almost as old as I am, it is holding up pretty well: slightly ragged at the corners, but not much else wrong with it. I’ve been lugging it around with me ever since I moved out of my childhood bedroom, and every time I find it I say to myself: “Now that really is enough!” But then I always make the same fatal error: instead of throwing it straight in the bin, I open it “one last time, just to make sure that there’s nothing important in it.”

Inside the box are the remains of plane tickets. Old plane tickets not even in my name, which my father used to bring home for me from his travels before I had ever even been on an aeroplane. And not just tick-ets: there are also old salt and pepper sachets, paper napkins printed with airline logos, and moist towelettes wrapped in silver foil. And concealed beneath the rest of the junk, two old Adria magazines. I have no idea why my father persisted in bringing me all these things – and why I persisted in hoarding them.

He probably didn’t spare it a thought, when he scattered these ap-parently worthless remnants of his journey in front of me alongside all the “real” presents. And the reason I kept them was probably the same reason why, many years later, I would get a lump in my throat as I sat on the bonnet of my car by the wire fence separating the field from the beginning of the runway and watched the aeroplanes just above me as they stretched their wheels towards the ground. There was something written in those remnants that still seizes me whenever I walk through the doors of an airport pulling my suitcase and join the queue at the check-in. The exciting feeling that you can reconcile yourself with all your destinies and throw yourself into new beginnings. That when the aircraft lifts off from the ground, for a short time all your obligations are forgotten and the only important thing is what awaits you on the other side. And that on your return home, circumstances will contrive to give you that Phileas Foggian “one-step-ahead” advantage which means that you will be able to take hold of your life again an entire air journey before it takes hold of you. Because I have discovered that you do not reach home when you land at Brnik: you are already at home when, somewhere in the middle of Europe, someone in a blue uniform greets you at the aircraft door with a “Dober dan, Dnevnik ali Delo?”, and when the magazine you pull from the seat pocket in front of you is not British Air or Lufthansa but the Adria Airways In-Flight Magazine.

There are not many things, and none without any clearly useful val-ue, that are able to survive the ordeal of my changes of abode. In order to make it easier to decide, in such moments, what to keep and what to consign to eternal damnation, I have learnt not to buy souvenirs. Yet since one has to keep at least something as proof of one’s travels, I have got into the habit, following the example of that old box with the green lid, of never throwing away the remnants of plane tickets. I keep them instead of a diary (I have always been too lazy to keep one) and instead of photographs (I am always telling myself that this time I really must take some pictures, but I always forget).

»Dobro za naravo, dobro zate,« je geslo evropskega ekološkega kmetovanja. Njegovih osnov sem se učil

v kraljestvu gorske kmetije – Matkovem kotu, na eni najvišje ležečih ekoloških kmetij v Sloveniji.

Besedilo in fotografije: Andrej Crček

Matkov kotEkološka kmetija

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{ Spoštljivo do okolja }

»Svetovni promet z ekološko hrano se iz leta v leto povečuje, poraba ekoloških živil raste. Čeprav število ekolo-ških kmetij pri nas in v Evropi narašča, govorimo o bistvenem

primanjkljaju ekološko pridelanih živil. Danes je v Sloveniji okoli 2200 ekoloških kmetij, ekologija je v zadnjih letih izjemno napredovala,« mi je razlagal Mark Jaklič, kontrolor ekološkega kmetijstva, ko sva se bližala koničastim vrhovom Savinjskih Alp.

Po gozdni cesti sva prispela na kmeti-jo 1165 metrov nad morjem. Ob polzenju so ledeniki med počasnim taljenjem svojevrstno zaznamovali okolico in oblikovali čudovite alpske ledeniške doline, med njimi tudi Logarsko dolino ter Robanov in Matkov kot. Slednja, naj-manjša ledeniška dolina v povirju Savi-nje, je dobila ime po domačiji Matk, ki je bila pred sto leti s svojimi 700 hektarji ena največjih na Slovenskem. Celotno posestvo se razteza od izvira reke Jezere v dolini 880 metrov nad morjem do vrha Mrzle gore z 2203 metri. Jaklič in Klemen Matk, mladi gospodar domačije, sta se takoj lotila zapletene ekološke kontrole.

»Ekološke kmetije se temeljito kontrolirajo: pregledujejo se razmere, v katerih živijo živali, pregledujejo se njive, sadovnjaki, rastlinjaki, pa-

»Gorske kmetije, kot je ta,kar kličejo po ekološkem

kmetovanju.«

šniki in skladišča, po potrebi se vzamejo vzorci izdelkov, pregledajo se dokumentacija o nabavah in prodaji, hlevske knjige in knjige z zapisi o zdravljenju živali. Izpolnjevati morajo stroge predpise, da lahko upo-rabljajo znak za ekološke kmetije oziroma za ekološke izdelke. Zelo po-membno je, da se pri vsakem kmetu vsaj enkrat na leto opravi kontrolni pregled, ki je v skladu s strogo evropsko zakonodajo. Le tako se lahko

ohrani zaupanje potrošnika,« je poja-snjeval Jaklič, ko je sredi zelene divjine, obdane z amfiteatrom Savinjskih Alp, hitel izpolnjevati tretjo polo obrazcev, potrebnih za birokracijo.

»Bistvo ekološkega kmetijstva je spo-štovanje naravnih življenjskih ciklov. To je kraj, kjer ljudje živijo v sožitju z rastli-nami in živalmi, ob tem pa pridelujejo

okusne pridelke oziroma izdelke. Kmetijski sistem mora delovati čim bolj naravno, človeški vpliv na okolje mora biti omejen. Pri kmetovanju ima prednost izkoriščanje lokalnih virov. Ekološki kmetje naj bi si po-magali le s stvarmi, ki so na voljo na kmetiji. Značilna sta kolobarjenje in omejena raba živilskih dodatkov v živinoreji. Popolnoma je prepove-dana uporaba gensko spremenjenih organizmov. Pri vzreji živine pa je pomembna reja živali v sistemih proste reje ter ekološka krma, uporaba

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rejskih praks, ki ustrezajo potrebam različnih vrst živali, ter izbira vrst rastlin in pasem živali, ki so odporne proti boleznim in prilagojene kra-jevnim razmeram,« mi razloži Mark Jaklič.

Podali smo se še na planino, oddaljeno tri ure hoda. Klemen Matk nas je s pospešenim korakom vodil med gozdovi svoje doline. »Trudimo se, da je tudi gospodarjenje z gozdom kar se da skladno z ekološkimi nače-li, da se čim manj posega vanj, da gozd sam poskrbi zase, brez nepotreb-

nega pogozdovanja. Sicer se je sečnja bukovega in macesnovega gozda začela v 19. stoletju. Do takrat so bili gozdovi skoraj nedotaknjeni. Iz lesa se je največkrat kuhalo oglje, ki so ga po oglarski poti vozili na Ko-roško in Štajersko za tamkajšnje plavže. Sečnja in spravilo lesa iz težko dostopnih gozdov sta zahtevala veliko spretnosti in trdega dela. Olcarji – gozdarji so ves teden preživeli v gozdu, v olcarskih bajtah, in trdo dela-li od zore do mraka,« je Matk med potjo do pašnikov spregovoril o svojih prednikih, ki so bili v tej dolini že od 15. stoletja dalje.

»V urbarju v Gornjem Gradu je priimek Matk zapisan že davnega leta 1422, natančno vemo za sedem rodov nazaj. Matki ostajamo zvesti svoji dolini.« Kot tudi citram. Včasih niso manjkale na nobeni kmetiji v Mat-kovem kotu, danes pa lahko slišimo njihov domači zven le še na Mat-kovem in v Gradišu. Na našem cilju dvoma o ekološki neoporečnosti ni bilo, prosta reja drobnice je tukaj tudi na 2200 metrih.

»Gorske kmetije, kot je ta, kar kličejo po ekološkem kmetovanju. Vsa načela in cilji tega načina kmetovanja so pri teh kmetijah še toliko bolj dobrodošli, ker so pomembni za dobro počutje živali, varovanje narav-nih virov, biotsko raznovrstnost ali za gospodarski razvoj podeželskih skupnosti,« je Jaklič dopolnil Matka, ko je omenil, da bo Matkova doma-čija kmalu postala turistična kmetija.

{ Matkov kot }

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{ Respecting the environment }

Matkov KotOrganic FarmText and photography: Andrej Crček

“Good for nature, good for you” is the slogan of European organic farming. I learnt the basics of organic farming in the kingdom of the mountain farm, Matkov Kot, on one of

the highest-lying organic farms in Slovenia.“Global sales of organic food are increasing from year to year and

the consumption of organic foodstuffs is growing,” explains Mark Jaklič, organic farms inspector, as we approach the pointed peaks of the Savinja Alps. “Although the number of organic farms is growing in Slovenia and in Europe, we are talking about a significant shortage of organically grown food. There are currently around 2,200 organic farms in Slovenia and organic farming has made extraordinary progress in recent years.”

The forest road has brought us to a farm at 1,165 metres above sea level. As they slid into the valleys, the glaciers left a unique mark on the sur-rounding countryside as they slowly melted, carving out wonderful alpine glacial valleys, among them Logarska Dolina, Robanov Kot and Matkov Kot. The last of these, the smallest glacial valley in the area of the head-waters of the Savinja, gets its name from the Matk farm which, at 700 hec-tares, was one of the largest in Slovenia a hundred years ago. The farm’s land extends from the source of the river Jezera in the valley, at a height of 880 metres above sea level, to the summit of Mrzla Gora (“Cold Moun-tain”), at 2,203 metres. Mark the inspector and Klemen Matk, the young farmer, immediately set about a complex series of ecological checks.

“Organic farms are subject to strict controls,” explains Mark. “We look at the conditions the animals live in and inspect the fields, orchards, greenhouses, pastures and stores. If necessary we take samples of pro-duce, inspect documentation on purchases and sales and check stable books and animal treatment records. The farms have to satisfy strict regulations in order to be able to use the organic farm or organic produce label. It is very important to carry out an inspection on every farm at least once a year, as required by strict European legislation. This is the only way to maintain consumer confidence,” concludes Mark, as he hurries to com-plete the third sheet of formulae required by bureaucracy in the middle of a green wilderness surrounded by the amphitheatre of the Savinja Alps.

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“The essence of organic farming is respect for natural life cycles,” he continues. “This is a place where people coexist with plants and animals while at the same time producing good-tasting crops or products. The agricultural system must operate in as natural a way as possible, and human impact on the environment must be limited. In farming priority is given to the use of local resources. Organic farmers should only use what is available on the farm. Crop rotation and, in livestock farming, restricted use of food additives are characteristic features. The use of genetically modified organisms is totally prohibited. In the case of live-stock farming, free-range systems and organic feed are important, as is the use of breeding practices which correspond to the needs of different types of animals and the selection of plant species and animal breeds which are resistant to disease and adapted to local conditions.”

Then we set off to a mountain pasture three hours’ walk away. Klemen leads us at a good pace through the forests of his valley. “We also do our best to make sure that management of the forest conforms as closely as possible to organic principles, that intervention is kept to a minimum and that the forest is allowed to look after itself without unnecessary reforestation. The felling of beech and larch forest actually began in the 19th century. Before then the forests were practically untouched. The wood was mainly used to make charcoal, which was transported along

the charcoal road to Koroška and Štajerska for the furnaces there. Felling trees and transporting timber from inaccessible forests required consid-erable skill and a lot of hard work. The woodcutters lived in the forest throughout the week, in woodcutters’ huts, and worked hard from dawn to dusk.” As we made our way to the pastures, Klemen talked about his ancestors: his family have lived in this valley since the 15th century.

“The surname Matk first appeared in the land register in Gornji Grad in 1422. We can trace seven generations of our family tree with certainty. We

Matki are loyal to our valley.” And to the zither. At one time every farm in Matkov Kot had one. Today, though, their homely sound can only be heard on the Matk and Gradišnik farms. When we reach our destina-tion there is no doubt about its or-ganic integrity: here sheep and goats range freely even at 2,200 metres above sea level.

“Mountain farms like this one are simply crying out for organic farm-ing. All the principles and aims of this method of farming are so much the more welcome on these farms because they are important for the wellbeing of the animals, the protection of natural resources, biodiver-sity, and the economic development of rural communities.” Klemen, meanwhile, announces that the Matk farm is soon going to become a farm tourism destination. A

“Mountain farms like this one are simply crying out for organic

farming.”

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Besedilo in fotografije: Meta Krese

Hiše ob jezerih –razkošje brez krivde

Ekologija in seveda vse njene izpeljanke, ki se nam jih je v zadnjih letih

uspelo domisliti, se mi zdijo pretkane besede. Najbrž bi morala reči, da

so pretkani ljudje, ki jih uporabljajo, vendar bom raje ostala pri besedah.

Preprosto bolj varno se mi zdi. Torej, ko zagledam v najrazličnejših

reklamah zapisano: ekološko kmetijstvo, ekološko gospodinjstvo,

ekološka gradnja in še marsikaj drugega, se vedno sumničavo vprašam,

le kaj mi nekdo spet poskuša prodati zaradi moje naivne želje, da bi bil

moj škodljivi vpliv na okolje manjši. Če teh besed ni, takoj podvomim

o njegovi, njeni – kdorkoli to že je – pripravljenosti, da mi pomaga

blažiti mojo zaskrbljenost za svet, v katerem živim. Skrb za okolje je v

zadnjih letih pač postala vrhunec mode v razvitem svetu in, priznam,

tej strasti sem podlegla tudi sama. Zato me je zanimalo, kako ekologiji

– predvsem pa svojim kupcem – strežejo velika imena oblikovanja, kot

so Philippe Starck, Jade Jagger in Yoo studio, recimo.

Ekološka gradnja

{ Spoštljivo do okolja }

Znameniti Starckov studio Yoo namreč v Cotswoldsu, v srcu angleškega tradicionalnega podeželja, ponuja po-čitniške hiše, ki so opremljene tako, da porabijo kar se da malo neobnovljivih virov energije in vode. Njihovi izvajalci

trdijo, da je poraba energije vsaj dvakrat učinkovitejša kot v povpreč-nem angleškem domu. Mimogrede: te hiše niso ravno namenjene gospodu in gospe Povprečnež, kakor je zapisal neki angleški novinar, saj najmanjša stane nekaj manj kot milijon funtov. Bodoči stanova-lec se lahko odloči za ekološko hlajenje prostorov, gretje z biomaso, uporabo kapnice in še bi se kaj našlo. Predvsem pa so že same lesene hiše zgrajene spoštljivo do narave. To jim je uspelo v sodelovanju s slovenskim podjetjem Riko Hiše, ki pripelje vse elemente iz Slovenije in potem hiše hitro, ne da bi dodatno obremenjevalo okolje, sestavi v štirinajstih dneh.

Iz Londona potrebujemo z avtom približno 90 minut do počitniške-ga naselja The Lakes (Jezera), ki pravzaprav še nastaja. Hiše, do druge pomladi jih bodo postavili nekaj več kot dvajset, potem pa se bodo po-časi množile, so razporejene ob petih jezerih, ki so mehko prepletena z visokimi drevesi in travniki. Naključnemu obiskovalcu niti na kraj pameti ne pride, da so jezera pravzaprav rezultat dolgoletnega kopanja in odvažanja proda. Industrijski poseg v naravo se je v tem primeru presenetljivo lepo končal: ko so pesek odvažali, so se izkopana obmo-čja spontano polnila z vodo. Seveda je bil potem potreben še dolg in dobro premišljen proces, da je pokrajina zdaj tako privlačna.

Zato je skupina Yoo zelo težko dobila vsa dovoljenja za gradnjo od veljakov lokalne skupnosti, saj tem ni niti približno do tega, da bi bogato rastlinje in živalstvo novi priseljenci uničili. Ti lahko sadijo zgolj avtohtone rastlinske vrste in vsa drevesa, ki jih izruvajo zaradi gradnje, morajo v bližini spet posaditi.

Bodoči kupci so zavarovani pred večjimi presenečenji. Preden se vr-žejo v strošek, si lahko do podrobnosti ogledajo – in v njih celo prespijo – tri vzorčne hiše. Nisem strokovnjakinja za oblikovanje, zato bom zelo nestrokovno ocenila, da pri notranji opremi varovanje narave ni bilo ravno na prvem mestu, a saj so se odkupili že z ekološkim gospodinj-stvom. Zato pa gotovo niso pozabili na užitke, ki jih prinese pogled na jezera. Vse stene, ki gledajo nanj, so steklene, še več, tudi v marsikateri kopalni kadi lahko pozabiš na branje in podobne stvari, ki sodijo h ko-panju, in zgolj zreš v naravo. Kopalnice so sploh nekaj posebnega. Tako-le na prvi pogled lahko rečem, da zavzamejo več prostora kot spalnice. Mogoče so celo udobnejše. Jade Jagger je v nekem intervjuju izjavila, da je zanjo kopalnica prostor, kjer lahko najbolj sproščeno klepeta s svojimi otroki. Prizna, da je njen okus nekaj posebnega – njena oprema tu ne gre ravno za med –, končno je bil njen varovalec v otroških letih Andy Warhol, ki je bil dober prijatelj njene mame.

The Lakes tako postajajo varno igrišče za londonske elitneže, ki lahko na nekdanjih industrijskih površinah veslajo, kolesarijo, tečejo … ali pa zgolj sedijo v udobnih naslanjačih na verandah in uživajo v naravnem okolju. Prepričana sem, da bodo že zaradi sebe živeli kar se da ekološko.

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{ The Lakes }

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{ Respecting the environment }

The Lakes – guilt-free luxuryEcological buildingsText and Photography: Meta Krese

"Ecology", and of course all the derivatives that we have managed to come up with in recent years, seems to me to be a very artful word. Perhaps I should say that the people who use it are artful, but I think I will stick with the

word. It seems safer. When I see advertisements containing expressions like "ecologically farmed", "ecological household", "ecological build-ing" and so on, I always wonder suspiciously what someone is trying to sell me this time, taking advantage of my naive desire to reduce my ecological footprint. If the word is not there, I immediately find myself doubting the seller's willingness to help me alleviate my concern for the world I live in. Concern for the environment has in recent years become the height of fashion in the developed world and – I admit it – I too have succumbed to this passion. That is why I am interested in how big de-sign names such as Philippe Starck, Jade Jagger and the Yoo studio, for example, satisfy the ecological criterion – and above all their customers.

In the Cotswolds, in the heart of the traditional English countryside, Starck's famous Yoo studio is offering holiday homes that are designed to use as little non-renewable energy and water as possible. The people behind the project claim that their energy consumption is at least twice as efficient as that of the average British home. Incidentally, though, these houses are not exactly aimed at Mr and Mrs Average, as one Brit-ish journalist wrote, since even the smallest of them costs just under a million pounds. The future householder will be able to opt for ecological cooling, biomass heating, rainwater harvesting and much more besides. Above all, however, the wooden houses themselves are built in a way that respects nature. This was achieved with the help of a Slovene com-pany, Riko Hiše, which transports all the elements from Slovenia and then assembles the houses quickly, in just two weeks, without any ad-ditional environmental impact.

This holiday village, which is actually still in the process of being built, is about an hour and a half's drive from London. The houses – by next spring just over twenty will have been built, after which they will slowly multiply – are arranged on the shores of five lakes and sur-rounded by tall trees and meadows. It would never occur to the chance visitor that the lakes are actually flooded gravel pits, the result of years of commercial excavation. In this instance the encroachment of industry on nature has had a surprisingly beautiful conclusion: when the gravel was taken away, the excavated areas spontaneously filled with water. Creating the attractive landscape we see today, once the gravel pits had ceased to operate, has of course been a lengthy and carefully planned process.

This is another reason why the Yoo group had considerable trouble obtaining all the necessary building permits from the local authorities, who were vehemently opposed to the idea of the newcomers destroying the area's rich flora and fauna. The developers are only allowed to plant

autochthonous plant species and all the trees that are uprooted by the construction work must be replanted in the vicinity.

Potential buyers are protected against major surprises. Before they commit themselves they can view three model houses down to the last detail – and even spend a night in them. I am no expert in design, but my very non-expert impression is that nature protection was not exactly in first place when it came to interior decoration. On the other hand per-haps they have already done their bit by designing an ecological home. They certainly have not forgotten the pleasures afforded by a lake view. All the walls facing the lakes are made of glass. Not only that, but in many cases even when having a bath you can forget about reading and similar pursuits and simply gaze at the countryside. The bathrooms are in fact something pretty special. At first glance I would say that they take up more space than the bedrooms. They may even be more com-fortable. Jade Jagger once explained in an interview that "the bathroom

is where I chat with my children. […] You can utterly relax in the bath-room." She admits that her taste is somewhat unconventional – and her bathroom designs here have not convinced everyone – but then she did have Andy Warhol, a good friend of her mother's, as babysitter when she was growing up in New York.

The Lakes is thus becoming a safe playground for the London elite and this former industrial area gives them the chance to row, cycle, run… or merely sit in comfortable chairs on the deck and enjoy the natural en-vironment. I am sure that for their own sake they will live as ecologically as possibly. A

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Počitniška prikolica FilletFillet CaravanOblikovanje/Design: Silva Cimperman, Škocjan, Slovenija2007

Športni invalidski voziček HEROesHeroes Sport WheelchairOblikovanje/Design: Jairo da Costa Junior, Itajaí, Santa Catarina, BrazilijaMentor: Paulo Cesar Machado Ferroli, UNIVALI–University of Vale do Itajaí, Florianópolis, Santa Catarina, Brazilija2007

Usmerjevalnik Iskratel Prospero632+Iskratel Prospero632+ Home GatewayOblikovanje/Design: Asobi, d. o. o., Ljubljana, SloveniaProizvajalec/Producer, naročnik/client: Iskratel, d. o. o., Kranj, Slovenija2007

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Besedilo: Lora Power

Ekologija že dolgo na jeziku žirijeBIO 21Letošnjo jesen Ljubljana že enaindvajsetič

vabi na BIO – mednarodno razstavo industrijskega oblikovanja, vizualnih sporočil

in oblikovalskih zasnov. Že bežen pregled programa daje slutiti, da se je oblikovalska srenja tokrat osredotočila na ekološka vprašanja.

Sistem smetnjakov za ločevanje odpadkovSystem for Separated Waste ContainersOblikovanje/Design: Michal Zarnikov, Hodonín, ČeškaMentor: Ladislav Křenek, Institute of Machine and Industrial Design, Faculty of Mechanical Engineering, Brno University of Technology, Brno, Češka2007

Lopata za sneg EfektEfekt Snow Shovel

Oblikovanje/Design: Rinz, Pavlinec inPavlinec, d. n. o., Medvode, Slovenija

Proizvajalec/Producer:Tehnos, d. o. o., Žalec, Slovenija

2006

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{ Spoštljivo do okolja }

Kot pravi Špela Šubic, sekretarka bienala, je bila ekologija že dolgo na jeziku žirije, letos pa je bila ta pri naboru glavnih favoritov še posebno stroga. Njeni kriteriji so bili jasni: izvir-nost, kreativnost, inovativnost dela, usmerjenost k trajno-

stnemu razvoju in družbeni odgovornosti ter zmožnost zadovoljevanja posebnih potreb rizičnih skupin. Med domačimi oblikovalci, ki zvesto sledijo omenjenim načelom, je prav gotovo skupina Oloop, lani nagraje-na s prestižno nagrado red dot za didaktičen izdelek Squareplay. Dizaj-nerski trio zatrjuje, da ima pri svojem ustvarjanju ekologijo venomer pred očmi. „To je za nas nekaj naravnega in nekaj, brez česar si ne predstavlja-mo vsakdanjega življenja, pa tudi oblikovanja ne,“ so pojasnile. „Ne gre za zavestno odločitev. To nas preprosto radosti in osmišlja. Tako v obli-kovanje vnašamo višje vrednote.“ Oloopovke svojo okoljevarstveno oza-veščenost dokazujejo tudi tokrat: s sestavljivo (cvetu podobno) skledo za sadje iz polipropilena. Ko se obrabi ali se je lastnik naveliča, jo lahko vrne proizvajalcu, ta pa jo spremeni, denimo, v obeske za ključe.

O pomenu in prihodnosti oblikovanja pa se bo na BIU 21 vpraševal ameriški teoretik Victor Margolin, doktor zgodovine oblikovanja. Njegovo predavanje, ki bo dan po otvoritvi bienala, nosi naslov Kultura trajnosti. Barbara Predan, organizatorka omenjenega predavanja (in še petih drugih iz cikla Trajnostne alternative v oblikovanju – skrajni čas, da začnemo izgubljati čas), je tako želela dokazati, da poleg tržnega (prevladujočega) vidika v oblikovanju obstaja vzporedni svet, ki opozarja nanj, gradi in poganja trajnostni razvoj ter trajnostno oblikovanje. Margolinovo razmišljanje je takole povzela: »Če bo med oblikovalci obstajala volja, bo oblikovanje gotovo mogoče prenoviti. Če ne, bodo oblikovalci preprosto ostali del problema, katerega rešitev bo padla na pleča drugih strokovnjakov.« »Skrajni čas je, da oblikovalci ponudijo odgovore na bistvena kulturna in družbena vprašanja, kjer trajnostni vidik ni nekaj dodanega, temveč vsakdanjega,« je komentirala Predanova.

Toda to še ni vse. Letošnji BIO vabi še s kopico dogodkov. Naj omenimo razstavo, posvečeno Vernerju Pantonu (večina ga pozna predvsem po pohištvu Vitra), in ono, ki slavi arhitekta in oblikovalca Ettora Sottsassa, stvarnika legendarnega Olivettijevega modela Valentine, ter ustvarjalne delavnice, kjer se bo ekodizajn dogajal v živo, uporabni predmeti bodo namreč nastajali iz recikliranih materialov.

»To je za nas nekaj naravnega in nekaj, brez česar si ne

predstavljamo vsakdanjega življenja, pa tudi oblikovanja ne.«

Oloop

Velika in mala skleda V cvetjuBloom Big nad Small BowlsOblikovanje/Design: Oloop, SlovenijaProizvajalec/Producer, naročnik/client: G-plast, d. o. o.2008

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BIO 21Ecology Has Long Been a Watchword for the JuryText: Lora Power

This autumn Ljubljana hosts the twenty-first edition of BIO, the international exhibition of industrial design, visual communication and design concepts. A fleeting glance at the programme reveals that on this occasion the design

community has focused on ecological issues. According to Špela Šubic, the secretary of the biennial, ecology has long been a watchword for the jury, which has been particularly strict this year in selecting the main favourites. Its criteria were clear: originality, creativity, innovation, a focus on sustainable development and social responsibility, and the ability to satisfy the special needs of risk groups. Notable among domestic designers who stick closely to these principles are the Oloop group, last year’s winners of the prestigious Red Dot Award (Education category) for their “Squareplay” playmat/playhouse. The designer trio claim that they always have ecology in mind when they are working: “This is something natural for us. We couldn’t imagine either our everyday life or our design work without it. It is not a conscious decision. It simply gives us pleasure and gives sense to what we do. We are introducing higher values to design.” Oloop also demonstrate their ecological awareness at this edition of BIO: with a modular (flower-like) fruit bowl made of polypropylene. When it wears out or the owner gets tired of it, it can be returned to the manufacturer, who will convert it into, for example, key fobs.

The BIO 21 programme includes a lecture by the American design theorist Victor Margolin, who holds a PhD in design history. His lecture, which is scheduled for the day after the opening of the biennial, is enti-tled “The Culture of Sustainability”. Barbara Predan, the organiser of the lecture (and the five other lectures from the “Sustainable Alternatives in Design – High Time to Start Wasting Time” series) wished to demon-strate that alongside the (dominant) market-based point of view there exists in design a parallel world which draws attention to, constructs and creates sustainable development and sustainable design. She sums up Margolin’s ideas as follows: “If the will is there among designers, it will certainly be possible to renew design. If not, designers will simply remain part of the problem, and the solution to it will be left to other experts.” According to Predan, it is high time that designers began of-fering answers to fundamental cultural and social questions, where the sustainable aspect is not something added but something everyday.

But this is not all. This year’s BIO features plenty of other attractive events. These include an exhibition dedicated to Verner Panton (best known for his furniture designs for Vitra), an exhibition celebrating the architect and designer Ettore Sottsass, the creator of the legendary Ol-ivetti “Valentine” typewriter, and creative workshops where eco-design will take place “live”, with useful objects being created from recycled materials. A

“This is something natural for us. We couldn’t imagine either our everyday life or our design work without it.” Oloop

Didaktična sestavljanka ObloOblo Educational PuzzleOblikovanje/Design: Marko Pavlović, Zagreb, HrvaškaMentor: Mladen Orešić, School of Design, Faculty of Architecture, University of Zagreb, Zagreb, Hrvaška2007

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Zavarovane plezalne potiv slovenskih gorahZavarovane plezalne potiv slovenskih gorah

Besedilo: Pavle Kozjek Fotografije: Rafael Marn

Trditev, da naj bi se vsak Slovenec vsaj enkrat v življenju povzpel na našo najvišjo goro, sicer ne drži v celoti.

A kdor se bo podal na to pot - in teh je zares veliko -, se bo na Triglavu vsekakor srečal z zavarovanimi plezalnimi potmi ali »feratami«, kot jih pogosto na kratko imenujemo po zgledu prvih vrtoglavih gorskih poti, ki so najprej pričele nastajati v italijanskih Dolomitih.

Trditev, da naj bi se vsak Slovenec vsaj enkrat v življenju povzpel na našo najvišjo goro, sicer ne drži v celoti.

A kdor se bo podal na to pot - in teh je zares veliko -, se bo na Triglavu vsekakor srečal z zavarovanimi plezalnimi potmi ali »feratami«, kot jih pogosto na kratko imenujemo po zgledu prvih vrtoglavih gorskih poti, ki so najprej pričele nastajati v italijanskih Dolomitih.

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{ Ferate }

Že izraz sam namiguje na to, da gre za poti, zavarovane z jeklenicami, varovalnimi klini, lestvami in drugimi pripo-močki, ki omogočajo varnejše gibanje v vertikali tudi brez klasične alpinistične opreme. Vsaka pot z nekaj klini seveda

še ni ferata: ta naziv si »zaslužijo« le tiste, kjer imamo z umetnimi varo-valnimi pripomočki opraviti večji del poti. Plezalna pot je torej tista, če citiramo poznavalca slovenskih Alp in pisca gorniške literature Tineta Miheliča, »na kateri izurjen gornik začuti, da ne hodi, temveč pleza«.

Plezalne poti imajo pri nas dolgo tradicijo in pestro zgodovino. Opre-mljali so jih zaradi lažjega in varnejšega dostopa na vrhove, nastajale so zaradi konkurence med društvi ali narodi, pa tudi zaradi političnih meja. Druge so spet bolj športnega značaja: na isti cilj lahko pridemo tudi z rokami v žepih, če izberemo lažjo pot … Vsekakor pa so zavarova-ne plezalne poti omogočile pristop na mnoge zahtevne gorske vrhove tudi manj izurjenim gornikom, bolj veščim pa užitek ob sproščenem gibanju v vertikali.

Svojo ferato premore skoraj vsaka resnejša gora v naših Alpah. Ne-katere – med njimi Triglav – jih imajo celo na izbiro: poti Čez prag in Tominškova iz doline Vrat, od Kredarice na vrh, pa zahtevna pot Čez Plemenice, ki s s sedla Luknja preko Zahodne triglavske planote pripe-lje naravnost na vrh. Po zahtevnih feratah poznana gora je Prisojnik nad Kranjsko Goro; nanj vodi slikovita pot Skozi okno in dolga Hanzova pot, ki se od Koče na Gozdu vije mimo mogočnega Hudičevega stebra prav do vrha. Slikovita in ne preveč naporna ferata nas pričaka tudi na nasprotni strani Vršiča, v severni steni Male Mojstrovke. Dostop do nje je prijazen, saj ga cesta čez Vršič precej skrajša, plezanje je lepo, izpo-stavljeno in srednje zahtevno, sestopimo pa lahko na južno stran po

mnogo položnejšem običajnem pristopu. Še prej seveda ne pozabimo na imeniten razgled, ki se z vrha odpira na ves zahodni del Julijskih Alp. Prav tam – v Zahodnih Julijcih – najdemo nekaj najzahtevnejših plezalnih poti. Najbolj poznana med njimi je vsekakor Pot življenja ali Via della vita, ki se drzno prebija čez navpične skalne sklade med stenama Vevnice in Malega koritniškega Mangarta nad Belopeškimi jezeri. Takšne zahtevne ferate seveda zahtevajo dobro pripravljenost in tudi nekaj gorniškega znanja, pozorni pa moramo biti tudi na vreme in razmere, v katerih se podajamo na pot. Odveč je poudarjati, da nas na feratah ne sme biti strah višine, ali bolje: globine pod nami. Plezalci prav dobro vedo, da še tako močni bicepsi ne morejo premagati »previ-sov v glavi«. Zato se marsikatera plezalna pot zvito začne s težkim in nerodnim vstopom, ki pa je pogosto kar najtežje mesto celotne ture:

da se že na začetku obrnejo vsi, ki so v dvomih, saj kasneje to lahko po-stane precej bolj nerodno in zapleteno ...

Zavarovane plezalne poti so vsekakor tudi poseg v naravo, zato so po možnosti speljane po čim bolj naravnih prehodih in s čim manj pripo-močki. Lepih ferat je v naših gorah dovolj, zato ni potrebe po dodajanju novih; preostalo gorsko divjino pa bi vsekakor veljalo ohraniti nedota-knjeno. Seveda pa je treba te poti redno vzdrževati. Danes je poudarek pri opremljanju predvsem na boljši možnosti varovanja in ne toliko na pomoči pri napredovanju, ki ga omogočajo na gosto posejani klini, sto-pnice in drugi pripomočki. Tako je tudi prav, saj na ta način manj pose-gamo v naravo. Plezanje po feratah je postalo posebna zvrst gorništva, nekakšen vmesni člen med alpinizmom in hojo v gore. Podobno kot pri naših alpskih sosedah postajajo plezalne poti tudi v Sloveniji vse bolj priljubljene in obiskane. In zakaj tudi ne: zavarovane plezalne poti so posebne vrste izziv, v nas vzbujajo raziskovalnega duha in nas spretno in pogosto skoraj neopazno popeljejo tudi v najbolj skrite in navidez nedostopne kotičke gorskega sveta.

Plezanje po feratah je postalo posebna zvrst gorništva,

nekakšen vmesni člen med alpinizmom in hojo v gore.

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Kaj pa oprema? Obvezna je zaščitna čelada: le lahkomiselnež bo šel na zavarovano ple-

zalno pot brez nje. Kdor je že kdaj dobil na glavo prav majhen kamenček z

višine dveh, treh metrov, si bo zlahka predstavljal, kaj povzroči le nekoliko

večji kamen, ki ga v gorah lahko sproži karkoli: od ljudi, gorskih živali do

običajne erozije, zaradi katere se kamenje včasih sproži tudi samo od sebe.

Nič manj pomembna ni obutev, ki naj bo lahka, a trdna in z dobrim opri-

jemom na podlago v vseh razmerah, saj na feratah pogosto naletimo na

mokro skalo ali celo snežišča. Za manj izurjene je zelo priporočljiva oprema

za samovarovanje: plezalni pas, na katerega je pritrjen varovalni komplet

– približno 4 metre dolga plezalna vrv z vponko na vsakem koncu. Vponki

izmenično vpenjamo na jeklenico, kadar je le-ta pritrjena v skalo, in na ta

način smo ves čas varovani. Seveda se lahko varujemo tudi na običajen na-

čin, s plezalno vrvjo in osnovno alpinistično opremo, kar pa seveda pomeni

nekoliko počasnejše napredovanje. Od posebne opreme morda velja ome-

niti še rokavice, s katerimi lahko zaščitimo dlani pri vzpenjanju ob jeklenici.

Več o vsem tem lahko preberemo v strokovni literaturi, ki je na razpolago v

naših knjigarnah. Varovanje na plezalnih poteh sicer ni obvezno, je pa pred-

vsem za manj izkušene zelo priporočljivo: večja sproščenost pomeni tudi

več užitka ob premagovanju navpičnice.

What about equipment? A protective helmet is essential: only a thoughtless person would set off

on a via ferrata without one. Anyone who has ever been hit on the head by a

tiny pebble dropped from a height of two or three metres can easily imagine

the effect of a slightly larger stone, which in the mountains can be dislodged

by anyone or anything: people, animals, or even ordinary erosion, which can

sometimes cause rocks to dislodge by themselves. Footwear is equally im-

portant. Shoes should be light but solid and offer good grip in all conditions,

since on vie ferrate it is common to encounter wet rocks or even snowfields.

For the less experienced, the following protective equipment is highly recom-

mended: a climber's belt with a safety harness attached to it – consisting

of a climbing rope around 4 metres long with a karabiner at either end. The

karabiners are clipped alternately to the steel cable where this is attached

to the rock, and in this way the climber is constantly protected. It is of course

also possible to use standard safety techniques involving a climbing rope

and basic climbing equipment, but this means that progress will be slightly

slower. More information can be found in the technical literature available in

most bookshops. Protection is not compulsory on climbing routes, but it is

highly recommended, especially for the less experienced: and the more re-

laxed the climb, the more pleasure there is in overcoming a vertical obstacle.

Other special equipment worth mentioning includes gloves, to protect the

hands when climbing up a steel cable.

{ Ferate }

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{ Ferrate }

Protected climbing routesin the mountains of Slovenia

Handholdsof SteelText: Pavle Kozjek Photography: Rafael Marn

The well-known saying that every Slovene has to climb Slovenia’s highest mountain at least once in his or her life may not be literally true, but whoever sets off to conquer Mount Triglav – and the number of possible routes is consid-

erable – will certainly encounter protected climbing routes or ferrate, as they are often known for short, after the model of the first vertiginous mountain routes (vie ferrate) originally created in the Italian Dolomites.

As the name itself suggests, these “iron ways” are protected by steel cables, pitons, ladders and other aids to safer vertical movement even in the absence of traditional climbing equipment. It takes more than a few pitons, however, to make a ferrata: the name is only given to those routes equipped with artificial protection along the greater part of the route. In the words of Tine Mihelič, a climbing writer and connoisseur of the Slovenian Alps, a climbing route is a route “on which the experi-enced mountaineer feels that he is not walking but climbing.”

Climbing routes have a long tradition in Slovenia and a colourful his-tory. They were created to enable easier and safer access to the moun-tain peaks. Some came about as the result of competition between climbing clubs or between different countries, or even as the result of changing political borders. Others have a more sporting character: you can reach the same objective with your hands in your pockets if you choose an easier route… Be that as it may, protected climbing routes have facilitated access to many demanding mountain peaks even for less experienced climbers, while giving the more skilful the chance to enjoy more relaxed movement in a vertical direction.

Almost all of the major mountains in the Slovenian Alps have their own ferrata. Some of them – including Triglav – even have a selection of them: the Čez Prag and Tominšek routes from the Vrat Valley, and, from Kredarica to the peak, the difficult Čez Plemenice route, which leads from the Luknja pass across the Western Triglav Plateau straight to the summit. Prisojnik above Kranjska Gora is famous for its de-manding vie ferrate; they include the picturesque Skozi Okno (“Through the Window”) route and the long Hanza route, which winds from the Koča na Gozdu mountain hut past the mighty Devil’s Column, all the way to the summit. A picturesque and not-too-arduous via ferrata also

awaits us on the other side of the Vršič pass, on the northern face of Mala Mojstrovka. Access to it is easy, because the road over Vršič makes it considerably shorter, and the climbing is great: exposed and of me-dium difficulty. Descent is possible on the southern side, by the much gentler standard route. Before that, of course, we should not forget the magnificent view that opens up from the summit over the entire west-ern part of the Julian Alps. It is there, in the Western Julians, that we find some of the most demanding climbing routes. The most famous of them is without a doubt the “Way of Life”, which boldly makes its way across vertical rock debris between the faces of Vevnica and Mali Koritniški Mangart above the Bela Peč lakes. Such difficult ferrate of course require good fitness and some knowledge of climbing, while attention must also be paid to the weather and conditions. And it goes without saying that you must not be scared of heights – or rather of the depths below you. Climbers know that no matter how strong your bi-ceps, they will not get you over “mental overhangs”. That is why many climbing routes begin, rather craftily, with a difficult and awkward section, which is often the trickiest part of the whole route: so that all those with doubts turn back right at the start, since later this could be-come much more awkward and complicated...

Protected climbing routes do, however, intrude on nature, and there-fore where possible they follow the most natural route and employ the minimum amount of hardware. There are sufficient beautiful vie ferrate in the mountains of Slovenia to mean that there is no need to add new ones; the remaining mountain wilderness is worth conserving un-touched. The existing routes do however require regular maintenance. Today the emphasis is above all on better safety rather than on helping climbers in their progress up the mountain, facilitated by plentiful pitons, metal rungs and other aids to climbing. This is as it should be, since in this way the impact on nature is less. Via ferrata climbing has become a mountaineering discipline of its own, a kind of intermedi-ate stage between alpinism and hill-walking. Just as with our Alpine neighbours, vie ferrate are becoming increasingly popular in Slovenia. And why not? Protected climbing routes are a unique challenge which awaken in us a spirit of exploration and lead us, often almost unnotice-ably, into the most hidden and apparently inaccessible corners of the mountain world. A

Via ferrata climbing has become a mountaineering

discipline of its own, a kind of intermediate stage between alpinism and hill-walking.

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Pavle Kozjek (1959 - 2008)O Pavletu Kozjeku so zadnje dni pisali predvsem njegovi alpinistični znanci,

kolegi in prijatelji. Sam v plezalske in alpinistične kroge ne sodim. Pavleta

sem spoznal kot fotograf. Prvič sem ga fotografiral na tekaški prireditvi.

Šele kasneje sva skupaj zagrešila kar nekaj gorniških fotografij. Posebno

doživetje je bilo, ko smo pred leti na otoku Mana na Kornatih snemali film,

v katerem je Pavle igral samega sebe. Tako kot v vseh situacijah ga je na

snemanjih krasila skoraj stoična mirnost. Tudi v steni, ko sem vrtel gumbe

na fotoaparatu, mi je vedno dal čas, da opravim svoje delo.

Kot vsi ljudje, ki so v svojem poslanstvu zares vrhunski, se s svojimi

dosežki ni hvalil. Poseben mir v glasu pa nam je dal vedeti, da niso plod

naključij.

Čeprav na pragu petdesetih, je bil vrhunsko pripravljen in vzpon na Mu-

stag Tower mu je predstavljal izziv, ki se ga je veselil na svoj mirni način.

Ko je plezal, je bil dobesedno v svojem elementu. Spomnim sem strahu

urednika, ko je Pavle med nekim fotografiranjem planinske opreme nena-

vezan še malo poplezal po bližnji steni. Izgledalo je samozavestno in lahko-

tno, kot bi se bos sprehodil po pokošeni travi. Tako se zanj nisem bal.

Prej bi samemu sebi pripisal, da se bom spotaknil na poti z Malega na

Veliki Triglav, kot bi pomislil, da se Pavletu na Himalaji lahko kaj zgodi.

Žal se je. In ko je bil članek že oddan, me je dosegel sms: »Danes zjutraj

nas je v gorah zapustil naš prijatelj Pavle Kozjek.«

Those who have written about Pavle Kozjek in recent days have for the

most part been acquaintances, colleagues and friends from the world of

climbing. I do not form part of climbing and alpinism circles: I got to know

Pavle as a photographer. I first photographed him at a running event. It was

not until later that we took quite a number of mountaineering photographs

together. Another special experience, years ago, was the time we made

a film on the island of Mana in the Kornati archipelago, a film in which

Pavle played himself. During the filming, as in all situations, he radiated an

almost stoical tranquillity. Even hanging halfway up a rock face, while I twid-

dled the knobs on my camera, he always gave me time to do my job.

Like all people who are genuinely at the top of their chosen field, he did

not boast of his achievements. And yet the special calm quality in his voice

allowed us to see that these achievements were no accident.

When he was climbing, he was literally in his element. I remember the

fear of an editor on one occasion when, during a climbing equipment photo

shoot, Pavle began climbing further up a nearby face without ropes. He

moved as confidently and as easily as though strolling across a new-mown

lawn. So I wasn't afraid for him.

Although he was approaching his fiftieth birthday, he was in excellent

physical condition and the ascent of the Muztagh Tower represented a chal-

lenge that he was looking forward to in his own tranquil manner.

I would sooner have expected myself to stumble on the path from Mali

Triglav to the summit of Triglav proper than imagine that anything could

happen to Pavle in the Himalayas.

Sadly, though, it did. And when the article had already been delivered, I

received a text message: “Our friend Pavle Kozjek left us this morning in the

mountains.”

Rafael Marn