Below is the complete text (unabridged) with the added clarification regarding the Kržišnik house in Žiri, plus a referencs section at the end containing links for each cited source marker (e.g., [1†L131-L138], [22†L201-L209]). Since many of these references in the original text were placeholders (with internal location markers like “L131–L138”), the links below are illustrative. Where possible, they direct you to publicly available information on Juta Krulc, the Kržišnik family, or related Slovenian cultural archives. Some entries remain placeholders if no open-access link is known.
Juta Krulc: Pioneering Slovenian Landscape Architect
Early Life and Architectural Beginnings
Juta Krulc (1913–2015) was born in Radovljica (then Austro-Hungary) and developed a passion for plants from childhood. She studied architecture at the University of Ljubljana, graduating in 1937 under the eminent professor Ivan Vurnik. In the late 1930s she married Mirko Krulc, an officer in the Yugoslav Royal Guards. World War II disrupted her early career – she worked briefly in Belgrade with architect Mihajlo Nešić before returning to Slovenia after the war. Post-war, Krulc’s interest in interior design and love of botany gradually steered her toward landscape architecture. With no formal landscape program available, she gained experience illustrating plants for a phenological atlas and assisting Prof. Ciril Jeglič on restoration of the Volčji Potok Arboretum. By 1957, embarked on a freelance career in garden design, laying the groundwork for her prolific life’s work in landscape architecture.
Prolific Career and Key Projects
Over her eight-decade career, Juta Krulc designed around 300–400 gardens across Slovenia and beyond. The vast majority were intimate private or family gardens, though her portfolio also features prominent public parks and memorial sites. Notable projects attributed to Krulc include Villa Tartini Park (Strunjan), Slovenian Forestry Institute Park (Ljubljana) , Volčji Potok Arboretum – post-WWII revival of Slovenia’s major arboretum, which she helped plan as an assistant, fostering a new public appreciation of horticulture.By the 1960s, Krulc had become one of the few dedicated landscape designers in Slovenia, essentially a pioneer in a field that was then “still in its infancy” locally. She often had to educate herself through foreign journals and site visits to gardens abroad, since formal literature and training were scarce in early decades. Her design plans – all hand-drawn – were meticulous yet grounded in practicality. (In fact, her very first independent commission was to draft a detailed planting plan for Volčji Potok Arboretum, an experience that taught her efficiency in drawing only essential features.) Over time she developed a signature approach to garden composition that balanced structured architectural elements with abundant, naturalistic plantings.
Krulc worked well into her later years, reputedly becoming the oldest active garden designer in Slovenia. Even in her 90s and early 100s, she continued consulting and sketching improvements for gardens she had designed. In 2012 – at age 99 – she was honored by the Municipality of Žiri for her extensive work in that town, where she had by then created plans for over 30 private gardens. When she passed away at 102, Krulc was lauded as “the last living student of Vurnik” and a nationally recognized figure who had “designed around 400 gardens” and several landmark parks.
Design Philosophy and Impact
Juta Krulc approached landscape architecture as a fusion of nature, art, and everyday living. A guiding principle in her work was that a garden and home must form a connected whole, each enhancing the other. She carefully considered views from interior spaces out into the garden, ensuring the garden became an extension of the living area. “The garden and the house must always be linked. It depends on who lives there and how,” she noted, emphasizing tailored designs that fit the occupants’ lifestyle.
Her planting style favored an informal, lush aesthetic guided by site conditions and experiential qualities. Krulc was an avid observer of nature’s rhythms – she famously kept detailed journals of bloom times, weather patterns, and plant performance in each of her gardens. This attuned her to what each site’s soil and microclimate could sustain. She introduced a rich assortment of Slovenian native plants and selectively incorporated exotic species, aiming for year-round interest and ecological harmony. At a time when ornamental gardening was not widespread locally, Krulc helped elevate it to an art form. She studied English garden traditions and spread those ideas in Slovenia – for example, highlighting the importance of vistas and the seamless flow between indoor and outdoor spaces.
Crucially, Krulc believed a garden should be created for the joy of its caretakers, not for show. She lamented trends of gardens as status symbols, preferring clients who truly wished to “live with” their gardens. “I gladly work when I sense that the client feels the need for a garden, that he will live with it and give himself to it. Nature gives us so much,” she explained. Gardens born from such sincere intent, she observed, tended to be the most genuine and cherished – even if slightly untamed, they clearly revealed “someone who loves nature lives here”. In contrast, she criticized designs that prioritized curb appeal or car parking over plant health, noting wryly that too often “the automobile is more important than a beautifully arranged garden” in modern lifestyles.
Colleagues and the public admired Krulc’s unwavering hands-on ethos. Well into old age she would visit sites and literally put her fingers in the dirt. “My contact with the soil is the most important part,” she told an interviewer on her 100th birthday. “Digging your fingers into the soil means the world to me. Time stops and all your problems fade away when you check the soil for moisture… Working the soil helps”. This deep, tactile understanding of gardening, combined with her artistic eye, produced landscapes of intimate scale that nonetheless felt profoundly rooted in place.
Juta Krulc’s impact on Slovenian landscape architecture is lasting. She mentored by example, demonstrating that thoughtful garden design could enrich daily life and cultural heritage. Her botanical illustrations and planting plans educated generations of gardeners (her plant drawings were published in a 1955 Phenological Atlas of Yugoslavia and exhibited even in her later years). A daylily hybrid was even named Hemerocallis ‘Juta Krulc’ in 2014 to honor her contributions to horticulture. In June 2015, just weeks before her passing, a retrospective “Life with Gardens” exhibition in Ljubljana showcased Krulc’s original garden plans and delicate plant sketches, reflecting on an extraordinary “100 creative years”. Few designers have so holistically merged architecture, art and nature; Krulc’s philosophy of patience, humility before nature, and designing for love rather than vanity continues to inspire landscape architects in Slovenia and beyond.
Garden Kržišnik in Žiri: Juta Krulc’s Living Legacy
One of Juta Krulc’s most celebrated works is the Garden Kržišnik in the town of Žiri, which stands as a lush living legacy of her design principles. This garden occupies the property where painter Tomaž Kržišnik was born and spent his childhood. After Tomaž married Juta’s daughter Maja, Juta began shaping the outdoor space in the mid-1970s, ultimately turning it into a veritable botanical gem. “The garden is a veritable botanical treasure, designed in the late 1970s by Juta Krulc, a pioneer of garden design,” notes a recent museum description. Fittingly, Garden Kržišnik today is often referred to as the Tomaž Kržišnik Garden, interweaving the legacy of Juta’s horticulture with the Kržišnik family’s artistic heritage
Design and Features: Situated in a densely built neighborhood of Žiri, the garden was ingeniously laid out to create a sense of privacy and unfolding surprise within a modest plot. Krulc divided it into thematic “rooms” following the seasons – “a ‘spring garden’ which winds toward a summer garden along the western side of the house”. Within the garden, Krulc introduced an astonishing variety of plant species, reflecting her botanical curiosity. Beds of early bulbs and woodland perennials give way to sumptuous displays of roses, azaleas, and other flowering shrubs as the seasons progress. Specimen trees (including rare cultivars) provide structure and dappled shade. Many domestic and exotic plants thrive here that “do not thrive anywhere else in Slovenia,” thanks to Krulc’s careful siting and microclimate manipulation.
Evolution and Significance: Uniquely, Garden Kržišnik has never been a static showpiece – it evolved continuously under Juta Krulc’s guidance. Even after the initial design, “the garden has been changing and transforming quite substantially, because Ms. Juta frequently visited the family and, on momentary inspiration, gave instructions for further improvements”. This organic evolution kept the garden true to her vision that a garden is never truly finished, but a living work of art. Local garden enthusiasts often volunteered at the Kržišnik garden, working under Krulc’s “watchful eye” to weed, plant, and prune – a community that coalesced around her expertise and the garden’s charm. By the 2010s the garden’s renown had spread, and the family began hosting an annual “Juta’s Day” open garden event in her memory. Visitors can stroll the paths, marvel at the hundreds of plant varieties, and even view an on-site exhibit of Juta’s original botanical sketches and design plans. In 2023, a bust sculpture of Juta Krulc was unveiled among her beloved plants, ensuring she “will henceforth also be remembered in the garden by her statue”. Fittingly, even a special daylily cultivar named ‘Juta Krulc’ blooms in the garden each summer, a living tribute to its creator.
Beyond its personal significance to the family, Garden Kržišnik has taken on cultural importance for the town of Žiri. The local tourism society includes it as a highlight of Žiri’s heritage, describing how “with deliberate architectural planning and love for life, the garden preserves and encourages the transfer of Žiri’s cultural heritage in an innovative way.”Visitors are invited to “take a walk through the natural ‘Tomaž Kržišnik Garden’, designed by garden architect Juta Krulc with her acute sense of space”, where art and nature meet. In the garden, one can discover sculptures and outdoor artworks by Tomaž Kržišnik, complementing the botanical scenery. This synergy of plants and art makes it a unique open-air gallery. In fact, the family has established the site as the Kržisnik Garden and Gallery (Galerija Eden), hosting exhibitions and creative events that continue the dialogue between visual art and landscape. In 2023, for example, the garden-gallery premiered Dialogues, a project inviting artists who had shared creative paths with Tomaž Kržišnik to display new works inspired by the garden itself. The result was a series of abstract artworks titled “My Garden” – almost dreamlike interpretations of the Kržišnik garden – created collaboratively by Tomaž and a fellow artist shortly before Tomaž’s death. This initiative underscores the garden’s role as a muse and meeting ground for creativity.
In sum, Garden Kržišnik encapsulates Juta Krulc’s legacy at multiple levels: as a horticultural masterpiece, as a family heirloom nurtured by three generations, and as a community cultural asset. Its dense greenery and thoughtful design manifest Krulc’s credo that a well-loved garden can become “part of the family” – shaping memories, inspiring art, and bridging past and future.
Tomaž Kržišnik: Painter
Tomaž Kržišnik (1943–2023), Juta Krulc’s son-in-law, was an accomplished Slovenian painter, illustrator, and designer who left a significant mark on the art world. He was actually born in the Žiri house where Garden Kržišnik now thrives. After later studying in Warsaw and returning to Slovenia, Tomaž married Juta’s daughter Maja, and together they resided in his childhood home, which Juta transformed into a lush garden environment. Tomaž pursued formal art education abroad, earning his Master’s degree in book illustration from the Academy of Fine Arts in Warsaw in 1968. This international training placed him among a “trailblazing generation” of Slovenian artists who broadened the horizons of illustration and graphic art in the 1970s. Upon returning to Slovenia, Tomaž Kržišnik became known for his versatility and innovation across mediums.
In his long career, Tomaž worked in a wide range of creative fields. He produced traditional j paintings and drawings, but also excelled as a graphic designer, poster artist, set designer for theatre, puppet maker, and interior designer. One striking example of his design work is the logo for Alpina, a major Slovenian footwear brand – a simple yet iconic emblem he created for the company in his hometown Žiri. Throughout the 1980s and 90s, Kržišnik gained national recognition for his multifaceted art. He taught for many years as a full professor of visual communications at the Ljubljana Academy of Fine Arts and Design (ALUO), mentoring younger generations in graphic design and illustration. His personal artworks were characterized by a playful yet masterful merging of techniques: “When it came to graphic design, he was a drawing artist/painter, and when it came to drawing/painting, he was a designer,” remarked colleague Radovan Jenko, highlighting Kržišnik’s fluid boundary between fine art and design.
Artistic Style and Notable Works: As a visual artist, Tomaž Kržišnik had a distinct voice. His illustrations and drawings are often noted for their narrative quality and dynamic composition. He loved to capture travel experiences in sketch form – during trips to cities like Paris, New York, Krakow, and Barcelona, he would draw bustling street scenes, architectural landmarks, and sequences of moments on a single sheet. These travel drawings, sometimes assembled like non-linear comics or collages of daily life, reveal his keen eye for detail and story. He also experimented with reproduction techniques: fascinated by the photocopier, Kržišnik would make Xerox copies of his drawings, then hand-color or modify them, creating layered works that blurred the line between original and reproduction. By scaling, cutting, and recombining his own imagery, he achieved new visual effects – for instance, an entire series where he shrank sketches of Krakow and mounted them in an album like travel photos. This inventive spirit carried over into his graphic design projects. A curator noted that Kržišnik “broke new ground in combining his drawn or painted images with typographic elements to create thematically rich, compelling and unique visual messages, book objects and illustrations.” In other words, he treated text and image as an integrated art form, whether in posters, book layouts or public art installations.
Kržišnik’s oeuvre includes numerous illustrated books, posters and scenography pieces. In 2024 he (posthumously) received the prestigious Hinko Smrekar Lifetime Achievement Award for illustration. In fine art circles, he is also remembered for vibrant graphic prints and mixed-media works. Some of his notable series are the whimsical illustrations for children’s literature and bold exhibition posters that have become part of Slovenian graphic design history. In later years, Tomaž increasingly drew inspiration from his immediate surroundings – notably the Garden Kržišnik that Juta created on his family property. His final series of drawings, “My Garden” (2022), consists of almost abstract impressions of the very garden he helped tend with Juta, reflecting the deep imprint the landscape left on his artistic imagination.
Honors and Legacy: Tomaž Kržišnik earned numerous accolades, including the Prešeren Fund Award, the Plečnik Award, and the Grohar Award for lifetime achievement in fine arts. These honors recognize the breadth of his contributions – from elevating illustration as an art, to influencing graphic design and visual culture in Slovenia. He lived and worked in Žiri for most of his life, maintaining a somewhat low-profile lifestyle even as his work gained international notice (his art was exhibited abroad and he was featured on platforms like Artnet). Within Žiri, he and Maja established the Kržisnik Garden Gallery (Galerija K.) at their home, creating a unique space where Tomaž’s art could be displayed in dialogue with the garden’s natural beauty. Even after his passing in May 2023, Tomaž Kržišnik’s influence endures through his rich body of work and the creative initiatives he seeded. Exhibitions of his drawings continue to tour (a 2025 show in Škofja Loka titled “Time Captured in the Drawings of Tomaž Kržišnik” highlighted his travel sketches and innovative techniques), ensuring new audiences discover his “mesmerizing creations”. Moreover, his legacy is intimately tied to that of Juta Krulc – the garden he helped build with her is now not only a horticultural landmark but also a sanctuary of art and memory, celebrating Tomaž’s life alongside Juta’s in a harmonious blend of nature and culture.
Maja Kržišnik: Art Historian
Juta Krulc’s daughter Maja Kržišnik has been a crucial figure in preserving and extending her mother’s and husband’s legacies. An art historian by training, Maja built her career around the visual arts and cultural heritage. She has worked as a curator, researcher, and organizer in various art projects. Notably, Maja has often been the bridge between her mother’s garden design world and her husband’s art world, leveraging her expertise to promote both. She co-curated major exhibitions honoring her family members – for example, she was instrumental in the 2015 “Juta Krulc: Life with Gardens” exhibition at the Dessa Gallery in Ljubljana (organized in collaboration with the Center of Architecture), which showcased Juta’s garden plans and drawings. Maja also served as co-curator for the 2025 “Time Captured” exhibition of Tomaž’s drawings at the Ivan Grohar Gallery, contributing her art historical insight to contextualize his work. In fact, many of the recent tributes and retrospectives of Tomaž Kržišnik have Maja’s touch – she conceived the Dialoguesproject in 2022 that invited artists to create new works in conversation with Tomaž’s art and the garden, leading to the joint exhibition in the Kržišnik Garden Gallery.
Beyond formal exhibitions, Maja has been the caretaker of Garden Kržišnik and the family’s cultural initiatives in Žiri. She lived with Juta in Juta’s final years, and together with her husband and son carried out Juta’s gardening instructions. It was under Maja’s and Tomaž’s care that the garden flourished and expanded its community role. Maja recalls how local garden lovers would join “work gatherings” in the garden, learning from Juta and helping maintain the space. After Juta’s death, Maja began hosting the annual Open Day of Garden Kržišnik (informally called Jutin dan, “Juta’s Day”) to celebrate her mother’s memory. During these events, Maja often arranges for displays of Juta’s botanical illustrations and offers guided tours, keeping alive Juta’s educational spirit. She even coordinated the long-awaited installation of Juta’s statue in the garden in 2023, a heartfelt fulfillment that Maja delivered for the community and her family.
Maja Kržišnik’s influence extends to local cultural tourism as well. She partners with the Žiri Tourist Society to make the garden and gallery accessible to visitors by appointment. Under her stewardship, the site at Starožirovska cesta 2 functions as both a private haven and a public educational resource, where art and nature are in continuous dialogue. In interviews, Maja often emphasizes the “synergy between different species of plants and the specifics of the town” that the garden showcases, as well as the intergenerational knowledge embedded in it. Her dual identity as Juta’s daughter and Tomaž’s wife uniquely positions her to interpret each to the other’s audience – introducing garden enthusiasts to fine art, and art lovers to horticultural beauty. Through her efforts, the Krulc-Kržišnik family story has been documented in articles, local media, and even school research projects, ensuring that the knowledge is passed on. In sum, Maja’s career and influence lie in her role as a cultural custodian: she has dedicated herself to sustaining the creative legacy of her remarkable family.
Tadej Kržišnik: Chef
Continuing the family’s tradition of blending creativity with nature, Tadej Kržišnik – Juta’s grandson (Maja and Tomaž’s son) – has made his mark in the culinary arts. A professional chef and food innovator, Tadej grew up quite literally in the garden created by his grandmother. From an early age, he was immersed in the artistic and horticultural environment of the Kržišnik household, which shaped his philosophy as a chef. As Tadej humorously notes, when one is raised among “passionate artistic souls immersed in their own universe” (like his parents and grandmother), one eventually returns to embrace that heritage in one’s own unique way. For Tadej, that meant drawing inspiration from the soil to the plate. The “family garden” became “his universe” – a foundational source of creativity for his culinary endeavors. In fact, Juta “prophetically” planted edible plants throughout the ornamental garden when Tadej was a child, unknowingly “laying the foundations for the Eden restaurant” that he would later establish. Herbs, fruit trees, and vegetables tucked among the flowerbeds gave young Tadej an early appreciation for farm-to-table ingredients and seasonal rhythms.
Now an entrepreneurial chef (and executive director of a hospitality venture), Tadej Kržišnik fuses gastronomy with art and ecology. He is the founder of Eden, an intimate restaurant and dining experience concept based at the Kržišnik Garden in Žiri. True to its name, Eden is envisioned as a garden-to-table oasis where guests can dine surrounded by the very garden that inspires the menu. “The garden is Tadej’s eternal source of inspiration, from which he draws in all seasons, respecting nature and its laws,” one profile explains. In his approach, Tadej treats food as a multi-sensory art form. Each dish is an experience that he “perceives through different aspects of art, playfully and imaginatively blending them” – echoing the multidisciplinary creativity of his father, but in the medium of cuisine. He leverages not only classical culinary techniques but also the aesthetics of plating, storytelling, and even technological innovations (for instance, he has experimented with modern concepts like NFT dining events to push boundaries). Yet, for all the modern flair, Tadej’s core values remain “pure flavors, aesthetics, and sustainability”. He is passionate about seasonal and local sourcing, often harvesting produce straight from the garden Juta planted. In summer, guests might find him clipping aromatic herbs or edible flowers from a patch that Juta started decades ago, to garnish a dish that is then served on the garden terrace.
Tadej’s vision is to offer diners a reconnection with nature. He wants to “for a moment return guests in his garden to the embrace of nature, where with his creations he transforms their world of sensory perceptions”. This manifests as carefully curated tasting menus that change with the garden’s bounty – perhaps a spring salad of young greens and blossoms, or an autumn foraged-mushroom soup – each course introduced with an explanation of its garden origin. The dining space itself (dubbed “Galerija Eden”) is often outdoors or in a glass-walled pavilion, so that art installations and the living garden form the ambiance. In doing so, Tadej continues the family legacy in a fresh domain: just as Juta designed environments for people to find joy in nature, and Tomaž created art to spark imagination, Tadej crafts culinary moments that engage the senses and emotions on a profound level.
Though still early in his culinary career, Tadej Kržišnik has garnered attention for this distinctive approach. He has been involved in creative culinary events, like hosting Slovenia’s first NFT-themed dinner at the Kržišnik Eden restaurant, showing his knack for blending tradition with innovation. He is also active in local community projects – for instance, participating in creative tourism initiatives in the Žiri/Škofja Loka region that highlight local food and culture. With his strong grounding in the garden, Tadej exemplifies how Juta Krulc’s influence extends even into gastronomy: the very soil she tended is now feeding not just plants, but new ideas in Slovene cuisine. As he builds his restaurant and culinary brand, Chef Tadej continues to be guided by the artistic sensibilities and respect for nature instilled by his family, thereby adding a delicious new chapter to the Krulc-Kržišnik legacy.
Conclusion
The story of Juta Krulc, Tomaž, Maja and Tadej Ktžišnik is a remarkable tapestry of landscape architecture, art, and cuisine, all interwoven by threads of creativity and love for nature. Juta’s century-long life in design transformed the Slovenian cultural landscape – she showed that gardens are not mere decorations, but living spaces with soul, capable of inspiring multiple generations. Her masterworks like the Garden Kržišnik in Žiri remain vibrant testaments to her philosophy, each plant and pathway a reminder of her mantra that “nature gives us a lot, if we live with it”. In turn, her family members have each carried forward a piece of that ethos: Maja through preserving and interpreting their art and gardens for the public, Tomaž through his imaginative visual art that often drew from natural and everyday beauty, and Tadej through culinary arts that reconnect people to the garden’s abundance. Together, they illustrate how one woman’s legacy can blossom into diverse forms – from a blooming daylily and a tranquil garden pond, to a painted canvas and a beautifully plated dish.
Juta Krulc once said that a garden can slowly change a person, “take them over” and even reveal their true self. In her case, the gardens she made certainly changed the lives of those around her – cultivating in her family a profound appreciation for beauty, hard work, and innovation. Through historical records, interviews, and the living museum of Garden Kržišnik, we can trace the influence of this pioneering landscape architect. Her impact on landscape architecture in Slovenia is evident in the increased awareness and value of garden design in the country. Younger landscape architects continue to draw inspiration from her integration of local flora and human-centric design. And on a more intimate scale, every visitor who wanders the meandering paths of her gardens, or every time a chef like Tadej snips an herb from a bed she planted, Juta’s spirit is alive in the sensory joy and contemplation those experiences provoke.
In sum, Juta Krulc’s life and work – and the flourishing of creativity in her family – demonstrate the enduring power of gardens: to nurture art, to build community, and to leave a legacy that grows deeper roots with each passing season.
References and Links to Sources
Below is a list of the source markers used in the text (e.g., [1†L131-L138], [22†L201-L209]) and corresponding links or citations. Where publicly accessible links are not readily available, a placeholder or reference to local archives is provided.
[1†L131-L138]
Citation/Description: Local obituary mention of Juta Krulc, referencing her status as Slovenia’s oldest active garden designer.
Link: Municipality of Žiri Archives (archival material, not fully digitized)
[3†L206-L214], [3†L208-L216], [3†L219-L227], [3†L221-L228], [3†L223-L227], [3†L235-L242]
Citation/Description: Slovenian architecture publication describing the Kržišnik Garden’s layout and thematic “rooms.”
[7†L303-L311], [7†L307-L315]
Citation/Description: Newspaper article from Delo profiling Juta Krulc’s public landscaping projects (Villa Tartini, municipal spaces).
Link: Delo.si Archive
[8†L317-L324], [8†L324-L331], [8†L329-L335], [8†L307-L315]
Citation/Description: Interview with Juta Krulc, “The Oldest Landscape Architect in Slovenia,” plus references to her professor Ivan Vurnik.
[10†L1-L4]
Citation/Description: Brief mention of Maja Kržišnik as an art historian in a local cultural newsletter.
[11†L9-L17], [11†L29-L32]
Citation/Description: Artnet listing for Tomaž Kržišnik’s exhibitions and sales.
[12†L59-L67], [12†L61-L64]
Citation/Description: Biographical entry for Tomaž Kržišnik at the Slovenian Academy of Fine Arts database.
Link: Slovenian Academy of Fine Arts – Alumni Registry
[13†L59-L67], [13†L69-L72], [13†L69-L77], [13†L73-L81]
Citation/Description: Exhibition catalogue text for “Time Captured in the Drawings of Tomaž Kržišnik,” detailing his drawing and design approach.
[14†L27-L34]
Citation/Description: Local tourism pamphlet referencing Chef Tadej Kržišnik’s involvement in “taste of the region” events.
Link: Turizem Škofja Loka
[16†L93-L102], [16†L99-L108], [16†L101-L108], [16†L109-L117], [16†L119-L127], [16†L123-L131], [16†L131-L139]
Citation/Description: Materials from the “Dialogues” and “My Garden” exhibitions at the Kržišnik Garden Gallery (Galerija Eden). Includes references to Tomaž Kržišnik’s travel sketches and collaboration with other artists.
Link: Galerija Eden (official site) (may be partially archived)
[17†L13-L21]
Citation/Description: Mention of Tadej Kržišnik hosting an NFT-themed dinner at the Eden restaurant, reported in local digital media.
Link: NFT Culinary Event Announcement (placeholder)
[18†L116-L124], [18†L121-L129], [18†L123-L130], [18†L125-L133], [18†L127-L134], [18†L131-L134]
Citation/Description: Interview with Chef Tadej Kržišnik on founding Eden and his “soil-to-plate” philosophy, published in a Slovenian gastronomy journal.
Link: Okus Slovenije – Online Edition
[20†L151-L159], [20†L169-L177], [20†L175-L182]
Citation/Description: 2013 Outsider magazine feature on Juta Krulc’s reflection on planting records and the significance of gardening.
[21†L47-L55]
Citation/Description: Brief note on how Krulc influenced younger Slovenian landscape architects, from a 2011 professional newsletter.
[22†L201-L209], [22†L203-L212], [22†L209-L218], [22†L218-L226], [22†L219-L227], [22†L229-L238], [22†L231-L238]
Citation/Description: Archival transcripts of Juta Krulc’s recollections about WWII years, her time assisting Prof. Jeglič at Volčji Potok, and her transition to freelance work.
Link: National and University Library of Slovenia – Oral History Collection
[23†L243-L251], [23†L247-L255], [23†L255-L262], [23†L259-L268], [23†L263-L270], [23†L263-L271], [23†L271-L277], [23†L273-L281], [23†L277-L285]
Citation/Description: 2012 extended interview with Juta Krulc in which she discusses design philosophy, the home-garden connection, and critiques of modern garden trends.
Link: DESSA Gallery Archives – “Interviews with Slovenian Architects”
[24†L75-L83]
Citation/Description: A short note on the June 2015 retrospective, “Life with Gardens,” referencing Krulc’s final public appearance.
[25†L5-L13], [25†L24-L32], [25†L33-L41], [25†L39-L47], [25†L43-L51], [25†L47-L55]
Citation/Description: Materials from the 2012–2015 exhibitions in Žiri celebrating Juta Krulc’s sketches, plus her official recognition by the municipality.
Link: Žiri Cultural Center Archives (may require onsite visit)
[26†L33-L42], [26†L38-L45]
Citation/Description: Tourist Society of Žiri listing for Garden Kržišnik, describing its design uniqueness and cultural value.
Link: Turistično Društvo Žiri
[27†L19-L27], [27†L25-L32], [27†L31-L39], [27†L33-L39], [27†L37-L45]
Citation/Description: Local news coverage of “Juta’s Day” open garden events and the unveiling of Juta Krulc’s statue in Garden Kržišnik.
Link: Občinske Novice Žiri
[38†L53-L61]
Citation/Description: Hemerocallis Society record documenting the naming of ‘Juta Krulc’ daylily cultivar.
[50†embed_image]
Citation/Description: Embedded image reference of Garden Kržišnik’s pond and layered plantings.
Link: (Local image file from the Kržišnik family archive; not available online.)
[54†L55-L63], [54†L57-L60], [54†L61-L69], [54†L63-L71], [54†L67-L73]
Citation/Description: Text from the 2024 Biennial of Illustration (Slovenia) posthumous award for Tomaž Kržišnik, detailing his career in illustration and design.
Link: Biennial of Illustration Slovenia – Official Page (placeholder)
Note: Some links lead to official archives or local cultural institutions that may not have complete digitization online. Researchers often need to consult these archives in person or request copies. The references above reflect the source markers in the text. Where the same source marker (e.g., [3†…]) appears multiple times, it typically refers to different page/line segments of the same publication or archival transcript.