102 arhitektov bilten • architect's bulletin • 224 • 225 • 226 • 227 Arhitektura. Skulptura. Spomin. / Architecture. Sculpture. Remembrance. 04_ PODLJUBELJ, 1954 Boris Kobe SLO Spomenik mednarodnim taboriščnim žrtvam • Podljubelj, Slovenija • Arhitekt: Boris Kobe • Kovač: Joža Bertoncelj • Material: kamen, kovina • Status: kulturni spomenik državnega pomena • Vir arhivskega gradiva: Arhiv MGML • Fotografije: Miran Kambič • Besedilo: Jurij Kobe Monument to international camp victims • Podljubelj, Slovenia • Architect: Boris Kobe • Blacksmith: Joža Bertoncelj • Material: stone, metal • Status: cultural monument of national importance • Material source: MGML Archive, archive of the text author • Photographs: Miran Kambič • Text: Jurij Kobe 103arhitektov bilten • architect's bulletin • 224 • 225 • 226 • 227 razstava / exhibition Na novopriključenem ozemlju Slovenije severno od Save so Nemci intenzivno gradili infrastrukturno omrežje, med drugim tudi cestni predor skozi Karavanke. V ta namen so leta 1943 na obeh straneh planine organizirali delovni koncentracijski taborišči z jetniki iz taborišča Mauthausen. Spomladi 1944 se je v taborišču ob podpori partizanskega Koroškega odreda pripravljal množični pobeg, ki pa ga je preprečila domača izdaja (Stane Mrvič, Muzej novejše zgodovine Slovenije). Tabo- rišče je delovalo do 7. maja 1945. Spominski park je kaskadno položen na rahlo padajoče pobočje, ob njegovem robu leži osrednje spominsko obeležje. Park s svojo konfiguracijo sledi terasni ureditvi nekdanjega taborišča, na kar opozarjajo le posamezni ostanki osrednjih barak. Monumentalnejši element je kompozicija petih strmo prirezanih visokih zidanih blokov, zgrajenih iz skal melišča, na katerem je stalo taborišče. Pet zidov z napisi v petih jezikih internirancev simbolizira visoko zaprto dolino, ki obdaja do okostnjaka sestradanega jetnika. Ta z dvignjenimi ro- kami kriči svoj »J’accuse!/Obtožujem!«, izpisan na podstavku. Največ taboriščni- kov je bilo Francozov. Arhitekt Boris Kobe, ki je leta 1977 prejel Prešernovo nagra- do za arhitekturo, slikarstvo, oblikovanje spomenikov, knjižno ilustracijo in peda- goško delo, je za figuro izdelal detajlne risbe v naravni velikosti, po katerih jo je nato skoval kovač Joža Bertoncelj iz Krope. Enovito prostorsko kompozicijo je žal presekala nova cesta na prelaz Ljubelj, ki je osrednji del spomenika odrezala od širše krajinske ureditve. Monumentalnost spominskega parka zmanjšuje tudi ne- nadzorovano razraščanje gozda. In the newly annexed territory of Slovenia, north of the river Sava, the Nazis were strenuously building an infrastructure network, which included the road tunnel through the Karawanks. For this purpose, they organised two labour concentration camps on either side of the mountain in 1943 using prisoners from camp Mau- thausen. In the spring of 1944, a mass escape was being prepared in the camp, aided by the Carinthian Partisan detachment. However, the plot was foiled due to domestic treason (Stane Mrvič, National Museum of Contemporary History). The camp was in operation until 7th May 1945. The memorial park is laid out on the slightly downsloping terrain as if in a cascade with the central memorial monu- ment placed on its edge. The park’s configuration follows the terraced layout of the former camp, nowadays marked only by sundry remains of the central barracks. A more monumental element is the composition of five tall, sharply truncated ma- sonry blocks built from the rocks taken from the scree where the camp had been located. Five walls inscribed in five languages of the internees symbolise the tall trough valley surrounding the skeleton-thin famished prisoner. With his arms up in the air, he cries his “J’accuse!/Obtožujem!” (“I Accuse!”) written on the plinth. The largest number of the prisoners were French. Architect Boris Kobe, who in 1977 received the State-awarded Prešeren Prize for architecture, painting, monument design, book illustration and pedagogical work, made detailed life-size drawings for the figure which was then wrought by blacksmith Joža Bertoncelj from Kropa. The holistic spatial composition was unfortunately cloven in two by the new road to Ljubelj mountain pass, which separated the central part of the monument from the associated wider landscape layout. The monumentality of the memorial park is further compromised by the uncontrolled expansion of the forest.