The article examines the attempts made at economic revitalisation of Ljubljana’s inner city and the consequences or “collateral damage” of this process. A lot of attention is given to the wider socio-cultural context, in which art istic practices are embedded in the city, and to the Slovenian population’s perception of such practices. Artistic groups and their practices are in this sense used as part of an ‘interim development’ strategy, i.e. temporary guests(non-statutory tenants) are warmly welcomed because their (sub)cultural capital happens to cultivate the area, making it "cool" and attractive, but when the value of the area’s real estate begins to rise their low-income status does not grant them any tenant protection. Regardless of the social role they played in revitalising the city, these groups are therefore gradually ousted from neighbourhoods, which quite ironically are often advertised in the real estate market as the city’s "Bohemian" or "cultural" quarters. This makes us aware of the lack of unique alternative or informal spaces, venues for alternative art movements and practices in the cities. These issues are presented on the cases of the alternative spaces of Metelkova and the Rog Factory, both located in Ljubljana’sinnercity.

As a part of the research of small gardens, this study was carried out to survey the history and culture of 19C English and Australasian cottage garden. This western garden study will be expected to change Korean suburban and rural garden style delightfully and plentifully. The results of these studies are summarized as follows. The cottager appeared in the English landscape and social system after the Black Death and with him, the cottage garden. But, the suburban garden is the ancestor of the stylized English cottage gardens. Loudon created the nineteen-century suburban garden which, in the long run, influenced the shape and planting of rural cottage garden too. Loudon worked out rules from Repton's theory and practice, and then modified for the smaller. A measure of regularity is imposed by two conditions: the fact that suburban gardens are rectangular and fenced; and his own ideas for what he called 'gardenesque'. Miss Gertrude Jekyll could recognize the cottager's unwittingly good examples, could deduce from it some widely applicable rules. From the old cottage garden Gertrude Jekyll borrowed the charm of natural simplicity, produced a garden style from it and, at last, made the cottage garden self-conscious. It was a good example of the art which conceals art, not of artlessness. To sum up: the rules for laying out and planting the cottage garden are straightforward; The design should be rectangular and very simple; The native plant species can be included in the planting, and every cultivar not later than, say, the middle of the nineteenth century, excepting those which have never been associated with the 'idea' of a cottage garden. Australasian cottage gardens have derived from the English originals. They were also a fairly uncomplicated structure based on a grid of straight paths and a wide selection of flowering plants, shrubs, bulbs, annuals, biennials, perennials and climbers planted with no particular regard to flowering season or stature and with an unsophisticated colour scheme. The ideas of Loudon were most popular and widely read. As the century advanced, the transformation of the cottage garden was furthered into the flower garden. They took the news of the latest discoveries and productions in their stride and eagerly welcoming. However, aside from the profusion of the planting, the use of favourite old flowers and the random scatter of flowering shrubs, perennials, bulbs and other plants, the most important is still the simplicity of the design.@