We chose Koper as our base for a short trip to Slovenian Istria. From there, we reached Piran and Portorož, following a coastline where historic towns, ports, Venetian architecture, and everyday life coexist within a few kilometers.
We didn't set out with the idea of creating a comprehensive itinerary. We preferred to walk around, browse shop windows, step into small workshops, and pause in front of those details that often tell the story of a place better than its most famous monuments.
The photographs in the article were taken by us during the trip.
Istrian Atlas
The border town
Koper between port and old town
Koper appeared to us as a city composed of two rhythms. On one side, the port, the sea, and contemporary infrastructure; on the other, the old town, with intimate squares, light facades, shutters, and doors marked by time.
Its proximity to Italy is noticeable in the architecture and language, but the atmosphere maintains an autonomous character. Walking without a precise direction, we encountered bookstores, small galleries, independent shops, and windows transformed into temporary exhibitions.
We were particularly interested in these less obvious passages: a ceramic piece behind glass, a painted sign, a suspended object, or a surface that still preserved traces of time.
Note from the notebook
In Koper, the sea is not just a backdrop. It enters windows, changes the light of the streets, and constantly accompanies how the city is perceived.
Piran and Portorož: two different ways of experiencing the coast
A short distance from Koper, Piran and Portorož offer two almost opposite experiences. Piran invites you to stroll slowly through narrow streets, stone, colorful facades, and sudden openings to the sea. Portorož, on the other hand, has a more open character, linked to its promenade, hotels, and a holiday atmosphere.
Piran
Narrow streets, ancient doors, weathered stone, and a direct relationship between architecture and the sea.
Portorož
A brighter and more expansive coast, where promenades, terraces, and accommodations create a different landscape.
A landscape also made of signs
Beyond the historical architecture, we were struck by the presence of more contemporary expressions. Murals, small installations, colorful sculptures, and independent storefronts introduce unexpected elements into urban centers that seem otherwise very measured.
On a stone wall, we encountered three-dimensional marine figures, almost creatures emerged directly from the Adriatic. In another street, a graphic composition transformed an ordinary surface into a small urban narrative.
These were not necessarily monumental works. Their value stemmed precisely from their relationship with the place: details discovered by chance, capable of interrupting a walk and momentarily changing how one perceives the city.
Istrian cuisine as a meeting of territories
Cuisine was an important part of the trip, but not for the search for elaborate dishes. We particularly appreciated simple preparations, fish, vegetables, olive oil, aromatic herbs, and ingredients capable of telling the story of the relationship between the coast and the hinterland.
Istria occupies a transitional position, and this is also evident at the table. Mediterranean, Slavic, and Italian influences meet without completely erasing each other, creating a cuisine that is familiar yet not entirely predictable.
We were left with the impression of a gastronomy tied to the season and the availability of raw ingredients, more interested in the quality of the ingredients than the complexity of the presentation.
What unites cuisine and craftsmanship
The ability to start with a few elements, understand them deeply, and transform them without erasing their origin.
Workshops, ceramics, and local objects
During our walks, we observed very different workshops: some tied to traditional crafts, others closer to contemporary art and design. We were especially interested in spaces where a direct relationship between the maker and what was displayed was still recognizable.
A slightly irregular shape, a visible brushstroke, or a deliberately rough material can tell much more than a perfectly uniform object. These characteristics allow one to perceive the process, time, and decisions that precede the final result.
This is the same reason why ceramics continue to play an important role in Vicode's research: not just for their decorative function, but for their ability to preserve material, territory, and gesture.
From travel to interiors
Objects capable of preserving a place
The trip to Istria reminded us that an object can tell the story of a territory without literally representing it. It can do so through a material, a surface, a color palette, or the technique with which it was crafted.
To deepen your understanding of the relationship between material, forms, and decoration, discover our guide to ceramic art.
In our collection of design vases and artisanal ceramics, we gather pieces selected for their identity, craftsmanship, and ability to interact with contemporary interiors.
The story
Other places, encounters, and traditions observed during Lorenzo and Elena's travels.
The research
Objects, ceramics, and forms selected to bring material, memory, and differences into interiors.
We left Istria with photographs, notes, and the feeling of having observed a territory where identities are not sharply separated. Italy, Slovenia, the Adriatic, and Central Europe meet in the architecture, language, flavors, and objects.
It is precisely this stratification that interested us most: not a single image of Istria, but many different details capable of coexisting in the same landscape.
Lorenzo & Elena — Vicode
