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Rajhlova palata / Raichle palace

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1. PALATA SIMEONA LEOVIĆA / LEOVIĆ PALACE, Park Ferenca Rajhla 112. NAJAMNE PALATE S. SONNENBERGA / SONNENBERG PALACE, Đ. Đakovića 3 i M. Korvina 103. PALATA FERENCA RAJHLA / RAICHLE PALACE, Park Fernca Rajhla 54. SUBOTIČKA TRGOVAČKA BANKA SUBOTICA / SAVINGS BANK PALACE, Korzo 45. PALATA HOTELA ZLATNO JAGNJE / GOLDEN LAMB HOTEL, Korzo 36. GRADSKA NAJAMNA PALATA / TOWN TENEMENT PALACE, Branislava Nušića 27. PALATA J. ROZNOFSKOG / ROZNOFSZKY PALACE, Štrosmajerova 228. GRADSKA KUĆA / CITY HALL, Trg slobode 19. PALATA MAĐARSKE KREDITNE BANKE / HUNGARIAN GENERAL CREDIT BANK PALACE, Trg republike 210. PALATA DUŠANA STOJKOVIĆA / STOJKOVIĆ PALACE, Trg republike 1011. PALATA AUSTROUGARSKE BANKE / AUSTROHUNGARIAN BANK PALACE, Dimitrija Tucovića 1512. PALATA MIKŠE DEMETERA / DÖMÖTÖR PALACE, Trg sinagoge 313. SINAGOGA / SYNAGOGUE, Trg sinagoge 214. VODOTORANJ / WATER TOWER, Park heroja bb15. VELIKA TERASA / GRAND TERRACE, Park heroja bb16. PLAVE VAZE / BLUE VASES, Park heroja bb17. MUZIČKI PAVILJON / MUSIC PAVILION, Park heroja bb18. SPOMEN ČESMA / MEMORIAL FOUNTAIN, Obala Lajoša Vermeša bb

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Srbija, 24000 Subotica, Trg slobode 1+381 (0) 24 670 350, office@visitsubotica.rswww.visitsubotica.rs, www.palic.rs

CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад

338.48(497.113 Subotica)(036)

АНЂЕЛКОВИЋ, Ивана, 1981- Put secesije = Art nouveau route / autor Ivana Anđelković ; fotografije Igor Marinović, Goran Cvijanov. - Subotica : Turistička organizacija grada Subotice, 2018 (Novi Sad : Sajnos). - 44 str. : fotogr. u bojama ; 21 cm

Uporedo srp. tekst i engl. prevod. - Tiraž 5.000.

ISBN 978-86-89781-19-9 1. Up. stv. nasl. a) Суботица - Сецесија - Водичи

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* O SECESIJINova umetnost koja je na prekretnici XIX i XX veka nadahnuta zahuktalom industrijalizaci-jom, urbanizacijom i društvom koje se brzo menjalo, pobunila se protiv strogih kanona istoricizma i vladajućeg ukusa. Zato, secesija inspiraciju nije tražila u prethodnim epohama i umetničkim stilovima već je ideje tražila u prirodi, njenim oblicima i strukturi. Secesija je ostavila sopstveni pečat na sve umetnosti i oblasti modernog života. Secesija nije umet-nički stil - ona je stil života.Osnovne odlike secesijske arhitekture su ra-zuzdane, nesputane forme pune zaobljenih linija, valovitih poteza i neobične kombinacije boja. Naglašena asimetrija i upotreba novih materijala i novih građevinskih tehnika objek-tima su dali specifičnu plastičnost a prefinje-na, nekad preterana, dekorativnost secesij-skog ornamenta - razigranost. Geometrijski i biljni motivi kao i lik žene – postali su omiljeni motivi arhitekata širom Evrope.Mada u biti internacionalna, u različitim sre-dinama ojačana nacionalnim osećajem izne-drila se u različitim oblicima. U Austriji je bila poznata kao Bečka secesija, u Nemačkoj kao Jugendstil, u Francuskoj i Belgiji kao Art No-uveau, u Engleskoj Modern Style, u Italiji Cvet-ni stil a na području Austrougarske – secesija.

* ABOUT ART NOUVEAUA new art that was, at the turning point be-tween the nineteenth and the twentieth centu-ry, inspired by the tumult of industrialization, urbanization and the rapidly changing socie-ty, protesting against the strict canons of his-toricism and dominant styles. Therefore, Art Nouveau didn’t seek inspiration in previous epochs and art movements, but rather looked for ideas in nature, its forms and structure. Art Nouveau has left its mark on all forms of art and all areas of modern life. Art Nouveau is not just an art movement - it is a way of life. The main features of Art Nouveau architec-ture are wild, unrestrained forms full of curved lines, wavy shapes and unusual color combi-nations. Emphasized asymmetry and use of new materials and new construction tech-niques provided buildings a certain plasticity and sophisticated, sometimes even exag-gerated, décor of the Art Nouveau ornament - playfulness.Geometric and floral motifs as well as images of women – have become favorite design ele-ments of architects throughout Europe.Although international in its core, in different regions, amplified by national feelings, it man-ifested itself in different forms. In Austria it was known as the Vienna Secession, in Ger-many as Jugendstil, in France and Belgium as Art Nouveau, in England as Modern Style, in Italy as Liberty style and in the Austro - Hun-garian Empire - Secession.

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* GRADSKA KUĆAZa razliku od mnogih evropskih gradova centrom Subotice ne dominira katedrala ili crkva već Gradska kuća. Svojom lokacijom, dimenzijama i kitnjastom arhitekturom mađarske varijante secesije, Gradska kuća je postala odrednica grada, centar i simbol Subotice. Građena je između 1908. i 1910. a opremanje enterijera je završeno 1912. godine. Zauzima površinu od skoro 6000 m² sa 16.000 m² korisne površine. Toranj je visok 76 metara, a vidikovac se nalazi na visini od 45,5 metara i sa njega se pruža nezaboravan pogled na Suboticu i njenu okolinu. Gradsku kuću su projektovali Marcel Komor i Deže Jakab, poznati budimpeštanski arhitekti.

Unlike many European cities, the center of Subotica is not dominated by a cathedral or a church, but by a City Hall. Because of its location, size and ornate architecture of Hungarian Art Nouveau, the City Hall has become a landmark, the center and the symbol of Subotica.It was built between 1908 and 1910, with the interior decoration completed in 1912. It extends over an area of nearly 6000 m² with 16000 m² of gross floor area. The tower is 76 meters high with a belvedere at the height of 45.5 meters and an unforgettable view of Subotica and its surrounding. The City Hall was designed by Marcell Komor and Dezső Jakab, prominent architects from Budapest.

* CITY HALL

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* SECESIJAu SuboticiNa prekretnici XIX i XX veka uzavrela dešavanja u Evropi na poljima umetnosti, nauke i života stigla su preko Budimpešte i do Subotice – koje su se tada nalazile u istoj državi. To je bio period mira i ekonomskog napretka kada je Subotica bila u punom graditeljskom zamahu. Promene koje su stigle iz Evrope polako su se uvukle i u arhitekturu Subotice ali su se dalje razvijale u dva pravca, u dve struje. Dok se jedna struja okreće evropskim centrima kao što su Minhen, Beč, Pariz i London, druga dominantnija se okreće nacionalnoj, mađarskoj varijanti secesije. Mada je evropska brojnija, mađarska varijanta sa tek nekoliko primera, ali izuzetnih po lokaciji, veličini i nameni dominira gradom i doprinosi da Subotica ponese naziv grada secesije. To su, naravno, Gradska kuća, Sinagoga, Rajhlova palata, banke.Avangardni mađarski umetnici, po ugledu na svoje evropske kolege, smatrali su da industrijski razvoj vodi uništenju svega lepog te da umetnost treba uvesti u svakodnevni život oslanjajući se na narodno graditeljstvo i tradiciju i primenu lokalnih materijala. Tragajući za nacionalnim osobenostima, izučavajući narodno stvaralaštvo i narodno graditeljstvo, mađarska varijanta secesije je stvorila karakterističan i prepoznatljiv arhitektonski jezik.Pored svih umeća, sposobnosti, saznanja i putovanja lokalnih arhitekata, tek je angažovanje autora iz Budimpešte ili drugih gradova donelo duh velegrada i nova strujanja u arhitekturi Subotice. Ovde treba spomenuti tandem Marcela Komora i Dežea Jakaba, Ferenca Rajhla, braću Vago, Pala Vadaša ali i lokalne arhitekte koji su to prihvatili kao što su Titus Mačkovic ili Maćaš Šalga.Velika želja Subotičana i veliko nadahnuće graditelja, umetnika i zanatlija koji su podigli brojne secesijske građevine stvorili su dela, u Subotici i na obližnjem Paliću, koja su i nakon jednog veka podjednako lepa, atraktivna i intrigantna.

At the turn of the nineteenth and the twentieth century, the boiling events in Europe in the fields of art, science and life arrived via Budapest to Subotica as well - at that time, two cities within the same country. It was a period of peace and economic prosperity, when Subotica was at the peak of its architectural development. Changes that originated in Europe slowly found their way in Subotica’s architecture as well, but were further developed in two directions, in two distinct currents. While one current gravitated toward European cities such as Munich, Vienna, Paris and London, the other, more dominant one, turned to the national, Hungarian version of Art Nouveau- Secession. Although the European current was more abundant, the Hungarian version, with only few buildings, yet exceptional for their location, size and purpose, dominates Subotica and makes it worthy of the name City of Secession. These buildings are, of course, the City Hall, the Synagogue, the Raichle Palace, banks... Hungarian avant-garde artists, like their European counterparts, believed that industrial development leads to annihilation of beauty and that art should be introduced into everyday life, in accordance with vernacular architecture and tradition and usage of local materials. In search of national characteristics, studying folklore art and vernacular architecture, Hungarian version of Art Nouveau introduced a specific and unique architectural language.Despite all the skills, abilities, knowledge and travels of local architects, it was only through engagement of architects from Budapest and other cities that the metropolitan spirit of new trends altered Subotica’s architecture. Prominent examples should be noted here, such as the duo Marcell Komor and Dezső Jakab, Ferenc Raichle, brothers Vágó, Pál Vadász as well as the local architects who embraced the change, such as Titus Mačković or Mátyás Salgo. A strong support of citizens and a great inspiration of architects, artists and craftsmen who built numerous Art Nouveau structures, in Subotica and the nearby Palic, have all together created buildings which, even after one century, still remain as equally beautiful, attractive and intriguing.

* ART NOUVEAUin Subotica

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Ona ima simetričnu osnovu sa četiri unutrašnja dvorišta i četiri ulaza. Na severnoj strani, gde se nalaze lepo uređen park i Plava fontana je vestibil sa svečanim stepeništem u mermeru, koji vodi do prvog reprezentativnog sprata. Tu se nalaze tri većnice - Zelena i Žuta koje su koristili Veliki župan i Gradonačelnik i treća centralna, najveća i najlepša - svečana Velika većnica koja čini srce Gradske kuće. Ona se koristi za zasedanja Skupštine, koncerte, svadbe i važne skupove. Tu se nalazi šesnaest raskošnih vitraža treperavog kolorita čiji su autori Mikša Rot i slikar Šandor Nađ koji je autor bočnih vitraža koji se smatraju izuzetnim umetničkim delom.Gradska kuća, savremeno koncipirana u skladu sa potrebama vremena, i danas zadovoljava mnoge potrebe grada. U njoj se sada nalaze: kabinet Gradonačelnika, Gradska uprava i gradske službe, Istorijski arhiv, butici, banke…. Funkcionalnost i modernost, kao i sinteza različitih grana umetnosti – arhitekture, slikarstva i primenjene umetnosti su verovatno najveće vrednosti ovog objekta ali ono što posetioce ostavlja bez daha je svakako njena bogata ornamentika.Dekorativnost secesije, ovde je obogaćena romantičarskom notom mađarskog folklora kroz šare stilizovanih cvetova i cvetnog nakita od keramike i kovanog gvožđa. Izrezbareno drvo, mesingani okovi, svetiljke, keramičke eozinske pločice doprinose umetničkoj vrednosti i raskoši ovog jedinstvenog objekta.

Vreme posete za individualne turiste:od utorka do subote u 12h;Za grupe: po najavi.Polazna tačka Gradska suvenirnica, pored severnog ulaza

The City Hall has a symmetrical layout with four inner courtyards/atriums and four entrances. On the north side, where there is a beautiful park and the Blue Fountain, there is a vestibule with a ceremonial staircase carved in marble, leading to the first representative floor. On that floor there are three Halls - Green and Yellow, used by the Grand Prefect and now the Mayor and a third one, central, largest and most beautiful – Grand Hall, which forms the very heart of Subotica’s City Hall. Grand Hall is used for meetings of the City Assembly, concerts, weddings and important events. It boasts sixteen remarkable stained glass windows in shimmering colors by Miksa Róth and Sándor Nagy who is also the author of six stained glass windows in the side apses, all of which are considered to be exceptional works of art. The City Hall, with its modern concept and in accordance with contemporary requirements, even today satisfies many of the city’s needs. It contains the Mayor’s Cabinet, City Administration offices and municipal services, historical archives, boutiques, banks... Functionality and modernity, as well as the synthesis of various art disciplines - architecture, painting and applied arts are probably the most important value of this building, but what leaves visitors breathless is certainly its lavish ornamentation. Art Nouveau decoration is here enriched with a distinct romantic note of Hungarian folklore through patterns of stylized flowers as well as ceramic and wrought iron floral jewelry. Carved wood, brass fittings, lamps, ceramic eosin tiles, all contribute to the artistic value and extravagance of this unique building.

Opening hours for individual tourists:from Tuesday to Saturday at 12:00;Group visits: by appointment.Starting point City Souvenir Shop (at the northern entrance)

Trg Slobode 1, tel: +381 (0) 24 555 128, www.gradskimuzej.subotica.rs

* KOMOR I JAKABArhitekti Marcel Komor (1868-1944) i Deže Jakab (1864-1932) 1897. godine su se udružili i otvorili projektantski biro u Bu-dimpešti.Ovaj tandem je projektovao građevine širom Ugarske sve do kraja rata 1918. godine. Bili su učenici i sledbenici rodonačelnika mađar-ske varijante secesije - Edena Lehnera. Mar-cel Komor je bio nosilac projekta, zadužen za koncepciju građevine, za organizaciju prostora, funkciju i konstrukciju, dok je Deže Jakab dizajnirao enterijer, projektovao sve do najsitnijih detalja.Iako broj objekata koji su projektovali u Sub-otici nije bio velik, svaki od njih je kasnije postao simbol: Sinagoga, Trgovačka banka (danas Korzo 4), Gradska kuća i veliki kom-pleks objekata na Paliću - Vodotoranj, Velika terasa, Ženski štrand i Spomen česma.

* KOMOR AND JAKABIn 1897, architects Marcell Komor (1868-1944) and Dezső Jakab (1864-1932) joined forces and opened an architectural bureau in Budapest. The duo has designed build-ings throughout Hungary until the end of the war in 1918. They were students and follow-ers of the founder of the Hungarian version of Art Nouveau – Ödön Lechner. Marcell Komor was the lead partner, in charge of the concept of the building, organization of space, function and construction, while Dezső Jakab handled interior design part and meticulously planned everything, down to the smallest detail. Although the scope of their work in Subotica isn’t particularly large, each one of their buildings became a sym-bol: Synagogue, Subotica Savings Bank Pal-ace (now Korzo Street no. 4), City Hall, and a large complex of buildings in Palić – Water Tower, Grand Terrace, Women’s Lido and Memorial Fountain.

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* PALATA FERENCA RAJHLA Arhitekta Ferenc Rajhl je za svoj budući dom i projektantski biro izabrao jednu od najlepših lokacija u Subotici. Radeći za sebe i svoju dušu, odbacio je sve stege i šablone u projektovanju i stvorio zgradu kojoj se mnogi dive. Rajhlova palata je prvo što posetilac vidi kada vozom stigne u Suboticu i tada ona zadivi svojim oblikom, dekoracijom i zapljusne neobičnim koloritom.Monumentalni ulaz na palati uvučen je u deo fasade koji predstavlja stilizovano, nadole okrenuto srce. Kapija od kovanog gvožđa takođe je u obliku srca. Dekoracija balkonske ograde, još raskošnija od one u prizemlju - nosi motiv stilizovanog srca. Motiv srca bilo da je izveden u keramici, murano mozaicima, od kovanog gvožđa, u duborezu ili štukaturi – uvek je predstavljen na nov i originalan način.Rajhl je svoj dom izgradio 1904. godine u mađarskoj varijanti secesije inspirisanom folklornom umetnošću Erdelja, njenim jarko obojenim seoskim kućama, drvenim rezbarenim kapijama, motivima baštenskog cveća i naravno - srca.Palata je bila funkcionalna i ugodna za život porodice. U prizemlju se nalazio arhitektonski

biro Ferenca Rajhla a na spratu su se ređale velika trpezarija sa zimskom baštom koja je služila i kao balska dvorana, muški salon za pušenje – uređen kao turska soba, ženski salon, spavaća soba, kupatilo, garderoba i dečija soba – avangardno za vreme u kome je građeno.Rajhl nije dugo uživao u blagodetima svoga doma jer je bankrotirao svega 4 godine po useljenju, a njegova palata sa nameštajem, skupocenim predmetima i umetničkim delima je prodata na licitaciji. Danas se ovde nalazi Savremena galerija Subotica a u dvorištu palate je čuveni kafić. Levo od ulaza se nalazi Rajhlova najamna palata koja se gabaritom, dekoracijom i koloritom nadovezuje na stambenu palatu, mada je daleko skromnija.

Radno vreme:ponedeljak - petak od 08:00 do 19:00,subota od 09:00 do 13.00

Architect Raichle Ferenc chose one of the most beautiful sites in Subotica for his future home and office. Working for himself only and following his heart’s desire, he dismissed all established rules and patterns in designing and created a building that is the envy of many. Raichle Family Palace is the first thing visitors see as they first arrive in Subotica by train, and it immediately dazzles them with its forms, decoration and splashes them with its unusual colors.The monumental entrance to the palace is withdrawn into a part of the façade and represents a stylized, upside down heart. The main wrought iron gate is also heart-shaped. Decoration of balcony railings on the first floor, even more lavish than the one on the ground floor - contains a stylized heart motif. The ubiquitous heart motif, whether made of ceramics, murano mosaic, wrought iron, carved wood or moldings – is always presented in a new and original way.Raichle finished his home in 1904, in a Hungarian version of Art Nouveau, inspired by Transylvanian folk art, its brightly colored farmhouses, lacelike carved wooden gates,

motifs of garden flowers and ofcourse – shape of the heart.The palace was functional and comfortable for family life. Raichle’s architectural office was on the ground floor, and on the first floor there was a large dining room with a winter garden - which also served as a ballroom, a smoking lounge for men - decorated as a Turkish room, a salon for women, one bedroom, one bathroom, a dressing room and a children’s room – avant-garde at the time.Raichle did not enjoy his home for long because he went bankrupt only four years after moving in, and his palace, complete with furniture, luxurious items and works of art, was sold at an auction. Today, it is a home of a Gallery of Modern Art Subotica while the courtyard is a part of a famous cafe. Left of the main entrance is Raichle’s Tenement Palace, with its size, decoration and colors relating to the Family palace, albeit on a far more modest scale.

Opening hours:Monday - Friday 08:00 - 19:00,Saturday 09:00 - 13.00

* FERENC RAICHLE FAMILY PALACE

* FERENC RAJHLFerenc Rajhl (1869-1960) je arhitekturu za-vršio u Budimpešti a u Suboticu se doselio 1896. godine. Delimično povlađujuci ukusu klijenata, svoje prve projekte nije izveo u sti-lu secesije. Iako na konkursima u Subotici nije imao sreće, projektovao je razne javne i privatne objekte: zgradu današnje Gradske biblioteke, zgradu Gimnazije, zgradu neka-dašnje austrougarske Banke (D. Tucovića 15) i mnoge druge.Rajhl je bio bonvivan, uživao je u životu i ljubavi svoje porodice. Nemilice je trošio na putovanja, umetničke predmete, dragocene materijale za opremu svoje palate – što je bio jedan od razloga zbog čega je 1908. godine bankrotirao. Nakon toga je napustio Suboticu i četiri godine proveo u Segedinu da bi se nastanio u Pešti. Nastavio je da radi kao arhitekta, oporavio se od bankrotstva i do duboke starosti uživao u lepotama života i umetnosti.

* RAICHLE FERENCFerenc Raichle (1869-1960) graduated ar-chitecture in Budapest and moved to Subot-ica in 1896. Partially giving in to the prefer-ences of clients, his first projects were not designed in the Art Nouveau style. Although without much luck in Subotica architectur-al competitions, he designed various public and private buildings: the building of today’s City Library, Grammar School building, build-ing of the former Austro-Hungarian Bank (now D. Tucović Street no. 15) and many others.Raichle was a bon vivant; he enjoyed life and the love of his family. He generously spent money on travels, art, luxurious materials for his palace - which was one of the reasons why he went bankrupt in 1908. He then left Subotica and spent four years in Szeged, only to finally settle down in Budapest.He continued to work as an architect, recov-ered from bankruptcy and enjoyed the beau-ties of life and art until old age.

Park Ferenca Rajhla 5, +381(0)24 553 725, www.sgsu.org.rs

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* SINAGOGASubotička jevrejska zajednica preuzela je drugonagrađeni rad na segedinskom konkursu za izgradnju sinagoge i tako je Subotica dobila jednu od “najlepših sinagoga u ovom delu Evrope” – kako subotičani vole da kažu. Sinagoga je podignuta 1902. godine prema projektima Marcela Komora i Dežea Jakaba. Pored umetničke i estetske vrednosti, ona je izuzetna i zbog toga što je jedina sinagoga u Evropi koji nosi obeležja mađarske varijante secesije. Tipična za ovaj stil, floralna dekoracija u vidu paunovog pera, lale, stilizovane ruže ili ljiljana nalazi se kako na fasadama tako i u unutrašnjosti, na vitražima i oslikanim zidovima. Vitraži su izrađeni u peštanskom ateljeu Mikše Rota a fasadna dekoracija i crep u pečujskoj fabrici keramike Žolnai. Unutrašnji prostor, koncipiran kao šator, asocira na starozavetna vremena a blistava harmonija boja u vernicima je trebalo

For its Synagogue, Subotica’s Jewish Community chose the design that won second prize in the Szeged synagogue architectural competition, thus making Subotica a home to one of the “most beautiful synagogues in this part of Europe” - as Subotica’s citizens like to say. The Synagogue was built 1902, according to the project of Marcell Komor and Dezső Jakab. In addition to its undisputable artistic and aesthetic value, it is exceptional because it is the only Synagogue in Europe which contains elements of the Hungarian Art Nouveau. Typical of this style, floral decoration in the form of a peacock feather, tulips, stylized roses or lilies are represented on the façade as well as in the interior, on stained glass windows and painted walls. The stained glass windows were made in Miksa Róth’s studio in Budapest and façade decoration and roof tiles in the Pécs Zsolnay

* SYNAGOGUE

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Trg sinagoge 2+381 (0) 24 670 970www.josu.rs

da probudi osećanje radosti. Kod subotičke sinagoge treba naglasiti i avangardnost njene konstrukcije, sklad njene konstrukcije i dekoracije, prožimanje funkcije i forme.Sinagoga je mogla da primi 1600 vernika, 850 muškaraca u prizemlju i 550 žena na galeriji. O njenoj veličini svedoče i podaci da je visina unutrašnjeg prostora 23 metra a raspon kupole 12,6 metara. Spoljna visina objekta je 40 metara.Nakon Drugog svetskog rata, mali broj preživelih subotičkih Jevreja nije mogao ni da ispuni ni da održava ovaj objekat. Godine 1976., sinagoga je prešla u ruke grada. Krajem osamdesetih godina prošlog veka u sinagogi su se održavale pozorišne predstave. Raskošna građevina je zasijala punim sjajem nakon završetka rekonstrukcije 2018. godine.

Vreme posete:cele godine po najavi

ceramics factory. The interior, designed like a tent, evokes the Old Testament times, and the bright harmony of colors was meant to stir feelings of joy. Another aspect of Subotica’s Synagogue should be emphasized: its avant-garde construction, the harmony between its construction and decoration and the intertwining of its function and form.The Synagogue was able to receive up to 1600 people, 850 men on the ground floor and 550 women on the gallery. Valid testaments of its size are its dimensions: height of the interior space is 23 meters, and the diameter of the dome is 12.6 meters. The external height of the building is 40 meters. After World War II, a small number of surviving Jews from Subotica could neither fill nor maintain the building. In 1976, the Synagogue became property of the city. At the end of the eighties, many theater performances were held in the Synagogue. After the completion of the reconstruction in 2018 the building became one of the most popular tourist sight in Subotica.

Opening hours:throughout the whole year by appointment

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Korzo 4

* PALATA SUBOTIČKE TRGOVAČKE BANKE

Ovu zgradu su u mađarskoj varijanti secesije, nakon Sinagoge a pre Gradske kuće, 1907. godine projektovali Marcel Komor i Deže Jakab.Ona je nekada bila jedina banka u glavnoj ulici. Osim banke tu se nalazio restoran a na spratovima stanovi. Glavnu namenu ovog objekta možemo prepoznati u simbolima na fasadi: veverica – simbol vrednoće, košnica – simbol štedljivosti, sova – simbol mudrosti.Fasada je savijena oko ugla, a sprat je ukrašen dekorativnom keramikom inspirisanom motivima folklorne umetnosti i reljefima izvedenim u kamenu, što je u arhitekturi Subotice i kod njenog štedljivog stanovništva bila prava retkost.Na ovoj zgradi su prvi put u Subotici primenjene velike staklene površine umesto masivnog prizemlja. Ipak, najveća vrednost ove građevine je jednostavno u njenoj lepoti, u tome što je svaka boja, svaki detalj, svaki ornament promišljen i skladan.

This building, in the Hungarian Art Nouveau style, was designed by Marcell Komor and Dezső Jakab, after the Synagogue and just before the City Hall, in 1907. It used to be the only bank in the city’s main street. In addition to the bank, there was a restaurant and on the upper floors, apartments. The main purpose of this building can be easily recognized by the symbols on the façade: a squirrel - symbol of diligence, a beehive - symbol of frugality, an owl - symbol of wisdom.The façade is bent around the corner, and the upper floor part is embellished with decorative ceramic elements inspired by folk art motifs, and stone carvings, which was a rarity in Subotica’s architecture and its frugal citizens.This building was the first one in Subotica to use large glass surfaces instead of a massive, closed ground floor. However, the greatest value of this building is simply in its beauty, in the fact that its every color, every detail, every ornament is well thought of and balanced.

* SUBOTICA SAVINGS BANK PALACE

* PALATA MIKŠE DEMETERA

* MIKSA DÖMÖTÖR TENEMENT PALACE

Bivši vlasnici i stanari ove palate ostavili su značajan trag u zdravstvu, novinarstvu, pre-duzetništvu i umetnosti Subotice. Projekat za palatu 1906. godine je od braće Vago, Lasla i Jožefa - arhitekata iz Budimpešte poručio dr Mikša Demeter - lekar i svestrani intelektua-lac. Demeterova palata bila je jedna od prvih najamnih kuća sa elementima geometrijske bečke secesije u Subotici.Kuća Mikše Demetera izuzetan je spoj funk-cionalnog i umetnički oblikovanog prostora i za ono vreme sadržala je sve postojeće udob-nosti. U prizemlju, desno od suvog ulaza u kuću, nalazile su se dve prodavnice a iza njih štamparija. Levo od ulaza bio je raskošan pe-tosobni stan vlasnika I ordinacija, a na spratu još dva slična stana za izdavanje.U ovoj palati se šest decenija nalazila štam-parija a 2008. godine palata je obnovljena i od tada se na ovom mestu nalazi Gradski muzej Subotice. Radno vreme:utorak - subota od 10:00 do 18:00

Former owners and tenants of this palace have left a significant mark in medicine, jour-nalism, entrepreneurship and art of Subot-ica. In 1906, the project for the palace was commissioned from Budapest architects, the Vágó brothers József and László – by Dr. Miksa Dömötör - a physician and a multital-ented intellectual. Dömötör palace was one of the first tenement palaces with geometric elements of the Viennese version of Art Nou-veau – Vienna Secession in Subotica. In this palace there was a printing company for six decades and in 2008, the palace was reconstructed and from then on it has been the home of the City Museum of Subotica. Opening hours:Tuesday - Saturday from 10:00 to 18:00

Trg sinagoge 3, +381 (0) 24 555 128, www.gradskimuzej.subotica.rs

* MOTIV PTICARadove arhitekata braće Vago uvek krasi motiv ptica, što se može videti i na ovoj zgradi. Najuočljiviji je na ogradi od kova-nog gvožđa koja ukrašava terase gde su dve ptice okrenute jedna ka drugoj.

* BIRD MOTIFThe architecture of Vágó brothers is al-ways adorned with bird motifs, as it can be seen on this building. The most noticea-ble element is the decorative wrought iron balcony railing with two birds facing each other.

14 15

* ŽOLNAI KERAMIKASecesijske građevine, naročito one mađarske varijante, bogato su ukrašavane keramikom koja je moderne i funkcionalne objekte oplemenjivala, činila ih humanim i toplim. Fabrika keramike „Žolnai“iz Pečuja u Mađarskoj, vlasnika Mikloša Žolnaija a kasnije njegovog sina Vilmoša, osnovana je 1852. godine. Vilmoš Žolnai je lansirao nove vrste keramike i glazure. Pirogranitom, koji je zajedničko ime za svu keramiku za spoljnu upotrebu koja podnosi velike oscilacije temperature, pokriveni su secesijski krovovi i ukrašene mnoge secesijske fasade u Subotici. U novije vreme, krajem XX veka, od Žolnai keramike su izrađene Zelena i Plava fontana u centru grada.Zahvaljujući specijalnom procesu za izradu porcelana osmišljenom u Žolnai fabrici, stvoren je drugi novitet - eozin, glazura koju opisuju kao svetlost zore. Pločice i reljefi od eozina mogu se videti na svečanom stepeništu Gradske kuće.Žolnai keramika položila je ispit kvaliteta jer ni posle jednog veka nije izgubila čari svog kolorita. Ona i danas privlači poglede bogatstvom i razigranošću oblika.

Art Nouveau buildings, especially the ones in the Hungarian variant - Secession style, were abundantly decorated with pottery that made modern and functional buildings more refined, made them welcoming and warm. Ceramic factory Zsolnay from Pécs in Hungary, of the owner Miklós Zsolnay and later of his son Vilmos, was established in 1852. Zsolnay has launched new kinds of ceramics and coatings. Pirogránit, which is the common name for all ceramics for outdoor use that can handle large fluctuations in temperature, covers many roofs and decorates many façades of Art Nouveau buildings in Subotica. More recently, at the end of the twentieth century, Zsolnay ceramics was used for the Green and the Blue Fountain in the city center.Due to a special process of making porcelain, first patented in the Zsolnay factory, another novelty was created - eosin, a coating often described as the light of dawn. Tiles and elements in eosin can be seen on the City Hall’s ceremonial staircase.Zsolnay ceramics passed the exam of quality, because even after a century, the material did not lose the magic of its color. Even today, Zsolnay ceramics looks new, with its lushness and lively forms.

* ZSOLNAY CERAMICS* GRADSKANAJAMNA PALATA

* TOWNTENEMENT PALACE

Gradska najamna palata je projektovana u duhu bečke secesije sa takvom kreativnošću da odudara od svih ostalih u gradu. Njen au-tor je arhitekta Pal Vadas. On je modenim kon-ceptom, pojednostavljenim formama, kon-strukcijom i izborom materijala oblikovao ovu estetski vrednu zgradu. Smirenost asketske, geometrijske secesije ublažena je ljudskim figurama na zlatnoj pozadini (ispod ugaonog tornja), nenametljivim mozaicima sa stilizo-vanim predstavama ptica (sa donje strane erkera) i maskama od kovanog gvozđa (iznad ulaznih vrata) - što je direktan uticaj bečkih sli-kara i arhitekata s prekretnice vekova.Danas se u prizemlju ove zgrade nalazi po-slastičarnica u kojoj vreme kao da je stalo i u kojoj se još uvek može osetiti duh starih do-brih vrema – belle époque.

The Town Tenement Palace was designed in the spirit of Vienna Secession with such creativity that it stands out from all the oth-er palaces in the city. Its author, architect Pál Vadász, using a modern concept, and simpli-fied forms, construction and choice of ma-terials, designed this aesthetically valuable and exceptional building. The calmness of an ascetic, geometric Art Nouveau is softened by human figures on a gold background (be-low the angular tower), unobtrusive mosaics with stylized birds (at the bottom of the bay window) and wrought iron masks (above the entrance door) – which is a direct influence of Viennese painters and architects from the turn of the century.Today the ground floor of this palace is a pastry shop, in which time seems to have stopped and where one can still feel the spirit of the good old days - the belle époque.

Branislava Nušića 2

* NAJAMNA PALATA SIMEONA LEOVIĆA Secesija je zakoračila u Suboticu gradnjom Leovićeve palate 1893. godine. Neke od karakteristika ovog stila kao što su: odbacivanje starih formi, proporcije prilagođene ljudima, asimetrija, novi materijali – mogu se pronaći na ovoj građevini. Arhitekti koji su projektovali zgradu bili su rodonačelnici nove umetnosti secesije, odnosno njene mađarske varijante. To su bili najpoznatiji mađarski arhitekta Eden Lehner i njegov saradnik Ðula Partoš.

Art Nouveau first arrived in Subotica with the construction of Simeon Leović Tenement Palace, in 1893. Some of the characteristics of this style such as: dismissal of old forms, proportions adjusted to people, asymmetry and new materials - can be found on this building. The architects who designed the building were the forerunners of the new style, Art Nouveau – namely, its Hungarian version, Secession. They were the two most famous Hungarian architects, Ödön Lechner and his associate Gyula Pártos.

Park Ferenca Rajhla 11

* SIMEON LEOVIĆ TENEMENT PALACE

* PALATA HOTELA ZLATNO JAGNJE

* NAJAMNE KUĆE ŠALAMONA SONENBERGA

* PALATA MAĐARSKE OPŠTE KREDITNE BANKE

Fasadu zgrade hotela Zlatno jagnje iz 19. veka adaptirao je u stilu minhenske secesije - Jugendstila 1904. godine lokalni arhitekta Titus Mačković. Osamdesetih godina prošlog veka zgrada je srušena i podignuta je nova po uzoru na staru. U ovoj zgradi nežnog izgleda dugo godina se nalazio Dom Vojske.

Obe palate su podignute 1910. godine po projektima Isidora Štrasburgera i Lajoša Gomboša. Objekat u ulici Ðure Ðakovića (danas Generalni konzulat Republike Mađarske) predstavlja jedan od najlepših primera mađarske varijante secesije. Rasplamsale boje biljnih motiva na dekorativnim elementima od Žolnai keramike imale su uzor u mađarskim folklornim motivima. Fasada druge palate izvedena je jednostavnije pod uticajem bečke secesije ali sa dekorativnim elementima mađarske secesije.

Iako velikih dimenzija i na izuzetnoj lokaciji, zgrada nekadašnje banke u poređenju sa Gradskom kućom, velikim trgom i nekada monumentalnim pozorištem u čijoj blizini se nalazi – ostaje nezapažena. Banka je izgrađena 1911. godine u stilu geometrijske bečke secesije po projektu budimpeštanskog arhitekte Alfreda Hajoša.

Art Nouveau first arrived in Subotica with the construction of Simeon Leović Tenement Palace, in 1893. Some of the characteristics of this style such as: dismissal of old forms, proportions adjusted to people, asymmetry and new materials - can be found on this building. The architects who designed the building were the forerunners of the new style, Art Nouveau – namely, its Hungarian version, Secession. They were the two most famous Hungarian architects, Ödön Lechner and his associate Gyula Pártos.

Both Sonnenberg palaces were built in 1910, and designed by Izidor Strassburger and Lajos Gombos. The palace in Ðure Ðakovic Street (today the Hungarian Consulate General) is one of the finest examples of Hungarian Art Nouveau. Flamboyantly colored plant patterns on decorative elements of Zsolnay ceramics are an echo of Hungarian folk patterns. The façade of the other palace was designed in a simpler manner, under the influence of Vienna Secession, but with decorative elements of Hungarian Art Nouveau.

Although large in size with its excellent location, the former bank building - compared to the City Hall, the spacious square and what was once a monumental theater, in its vicinity- remains unnoticed. The bank was built in 1911 in the geometric style of Vienna Secession, designed by the Budapest architect Alfréd Hajós.

Korzo 3

Trg republike 2

Ðure Ðakovića 3 iM. Korvina 10 * GOLDEN LAMB HOTEL

* SALAMON SONNENBERG TENEMENT PALACE

HUNGARIAN GENERAL CREDIT BANK PALACE

16 17

* PALATA JOŽEFA ROZNOFSKOGPalatu je projektovao suboticki arhitekta Titus Mačković 1909. godine. Ovo je jedini dvospratni i jedini secesijski objekat u celoj ulici. Fasada ove palate, kao i druge secesijske građevine koje je gradio Mačković, inspirisana je secesijom Beča i Darmštata ali ne direktno nego preko braće Vago, arhitekata iz Budimpešte.

The palace was designed by the Subotica architect Titus Mačković in 1909. It is the only two storey building and the only Art Nouveau building in the street. The façade of this palace, as well as other Art Nouveau buildings designed by Mačković, were inspired by the Vienna Secession and Darmstadt Art Nouveau, although not directly but through the works of the Vágó brothers, architects from Budapest.

* JÓZSEF ROZNOFSZKY TENEMENT PALACE

Štrosmajerova 22

18 19

* PALATA AUSTROUGARSKE BANKE

* PALATA DUŠANA STOJKOVIĆA

Jednospratnu masivnu zgradu koja odaje utisak sigurnosti i stabilnosti projektovao je Ferenc Rajhl 1901. godine. Uticaj secesije na ovoj zgradi se može videti u mnoštvu dekorativnih elemenata kao što su ženska lica, glave Merkura, cvetovi suncokreta, košnica, ključ i kvaka u obliku sfinge – koji su simbolično prenosili poruke o bogatstvu, sigurnosti i tajnosti uloga.

Palata je projektovana još početkom XIX veka a za njen danjašnji izgled zaslužan je arhitekta Geza Kocka. Iako je on bio najverniji predstavnik neorenesanse u Subotici, ovu fasadu je 1907. projektovao u stilu bečke secesije. Pored bogate secesijske ornamentike zanimljiv je erker na uglu zgrade koji je poduhvaćen velikom školjkom. Nakon renoviranja zgrada dobija novu funkciju i postaje ugostiteljski objekat.

This massive ground-floor building which gives the impression of security and stability was designed by Ferenc Raichle in 1901. The influence of Art Nouveau on the building can be seen in the multitude of decorative elements such as women figures, head of Mercury, sunflower blossoms, a hive, a door handle in the shape of sphinx – which symbolically conveyed the message of wealth, safety and secrecy.

Although the palace was initially designed and built back in the early nineteenth century, architect Géza Kocka is the one responsible for its present-day appearance. Even though he was the most faithful representative of the NeoRenaissance in Subotica, in 1907 he designed this façade in the Vienna Secession style. In addition to abundant Art Nouveau ornaments, an interesting part is the bay window at the corner of the building, which is held and embraced by a giant shell. After the renovation, the palace was given a new function and it became a restaurant.

* AUSTRO-HUNGARIAN BANK PALACE

* DUŠAN STOJKOVIĆ PALACE

Dimitrija Tucovića 15

Trg republike 10

* SECESIJANA PALIĆUPalić, jezero i naselje istog imena, nalazi se 8 kilometara istočno od Subotice. Svoju slavu kao banja i mondensko letovalište stekao je krajem XIX veka. Početkom XX veka posao proširenja i obnove banje bio je poveren arhitektima Marcelu Komoru i Dežeu Jakabu koji su u Subotici projektovali Gradsku kuću i Sinagogu. Ansambl palićkih građevina koji pripadaju mađarskoj varijanti secesije inspirisane narodnom umetnošću Erdelja, svečano je otvoren 1912. godine. To su Vodotoranj, Velika terasa, Ženski štrand, Muzički paviljon i Spomen česma.Svaka od ovih građevina je drugačija, shodno nameni ali u izboru materijala, konstrukciji i palićkoj crvenoj boji - one su ipak jedinstvene. Komor i Jakab su ideju povezivanja arhitekture i ambijenta Velikog parka doveli do savršenstva. Tako, odbacujući klasično nizanje građevina niz ulicu ili šetalište pored kojih često prolazimo ali ne ulazimo ili ne primećujemo – ovde prolazimo kroz Vodotoranj i Veliku terasu. Primenom takvih prolaza, tremova i terasa izgubila se stroga podela na spoljni i unutrašnji prostor. Prožimanje prirode, arhitekture i enterijera verovatno je najveća vrednost ovih secesijskih građevina. Svi ovi objekti postali su simboli Palića. Neobična arhitektura ovih građevina namenjih odmoru i uživanju i posle više od sto godina privlače posetioce da svrate i da ih pogledaju.

Palić Lake and the settlement of the same name are located 8 kilometers east of Subotica. Palić gained fame as a spa resort and elite summer destination at the end of the nineteenth century. At the beginning of the twentieth century, the task of spa expansion and renovation was appointed to architects Marcell Komor and Dezső Jakab, who designed Subotica’s City Hall and Synagogue. The ensemble of Palić buildings that belong to the Hungarian Art Nouveau movement was inspired by Transylvanian folk art and opened in 1912. Parts of this ensemble are the Water Tower, the Grand Terrace, the Women’s Lido, the Music Pavilion and the Memorial Fountain.Each of these structures is different, depending on the function but also the choice of materials, construction and the Palić red color - they are all of the same style. Komor and Jakab brought the idea of connecting architecture and atmosphere of the Grand Park to perfection. Thus, dismissing the classical arrangement of buildings in succession, down the street or a promenade, which we often pass by but don’t really notice-here we physically pass through the Water Tower and the Grand Terrace. By applying these passages, porches and terraces, the strict border between the outer and inner space is lost. Intertwining of nature, architecture and interior design is probably the greatest value of these Art Nouveau buildings. All these buildings have become symbols of Palić. The unusual architecture of these buildings intended for relaxation and recreation, attracts and invites visitors even after more than a hundred years.

* ART NOUVEAUIN PALIĆ

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* VODOTORANJ * MUZIČKI PAVILJON

* ŽENSKI ŠTRAND

*PALIĆKE VAZE

* VELIKA TERASA

* SPOMEN ČESMA

Predstava pauna, na koji Vodotoranj oblikom podseća, je ranohrišćanski simbol vaskrsenja. On je izabran da predstavlja novi početak buduće banje.

Najmanji secesijski objekat - Muzički paviljon, korišćen je i još uvek se koristi kao mesto za promenadne koncerte.

U vreme kad je štrand podignut važili su drugačiji društveni standardi. Žene su tada morale da se skrivaju od upitnih pogleda prolaznika dok su se kupale u jezeru.

Dve velike plave vaze od Žolnai keramike sa likom Vodenog boga koje stoje ispred dva hotela u Velikom parku, stigle su 1910. godine kao poklon vlasnika pečujske fabrike keramike Žolnai Paliću i Subotici.

Projektovana kao višenamenski objekat i danas je zadržala sličnu funkciju. Na spratu se nalazila raskošna balska dvorana, u prizemlju su bili restorani i poslastičarnica, a danas je moderna kongresna dvorana.

Spomen česma podignuta je u čast završetka gradnje secesijskih građevina na Paliću i ona je tačka fokusa na kom nam se završava pogled kada od Vodotornja krenemo ka jezeru.

The symbol of a peacock, which the Water Tower represents in its shape, stands as an early Christian symbol of esurrection. It was chosen to represent a new beginning of the future spa.

The smallest Art Nouveau building - the Music Pavilion, was and still is used as a place for promenade concerts.

At the time when the Lido was constructed, different social standards were effective: women had to hide from prying eyes while swimming in the lake.

Two large blue vases made from Zsolnay ceramics depicting the Water god, standing in front of two hotels in the Grand Park, were placed in 1910 as a gift of the owner of the Pécs Zsolnay ceramics factory to Palić and Subotica.

Designed as a multifunctional building, it maintained a similar function until present-day. On the upper floor there was a luxurious ballroom. On the ground floor were restaurants and a pastry shops and nowdays it is a modern Congress Center.

The memorial fountain was built in honor of the completion of all Art Nouveau buildings in Palić, and it is a focal point of a view from under the Water Tower, through the Grand Terrace and to the lake.

* WATER TOWER * MUSIC PAVILION

* WOMEN’S LIDO * PALIĆ VASES

* GRAND TERRACE

* MEMORIAL FOUNTAIN

SuboticaSegedin

SUBOTICA I SEGEDIN U srcu Panonske nizije, između Dunava i Tise, Budimpešte i Beograda, udaljeni jedva 50 km jedan od drugog, nalaze se dva grada i turistička centra - Subotica u Srbiji i Segedin u Mađarskoj. Ova dva grada delila su iste vladare i istu sudbinu još od mongolskih osvajanja u srednjem veku i tokom duge otomanske vladavine. U XVIII veku, oba grada su od austrijskih vladara dobila status Slobodnog kraljevskog grada što je uslovilo njihov ubrzan razvoj u moderne srednjeevropske gradove. U okvirima Austrugarske monarhije, obnova Segedina posle Velike poplave krajem XIX veka, i nagla industrijalizacija Subotice nakon dolaska železnice - uslovili su i obeležili Suboticu i Segedin jedinstvenom, kitnjastom arhitekturom nastalom na prekretnici vekova. Tada, početkom XX veka, izgrađene su brojne palate, javni objekti i privatne kuće koje su stvorile novu sliku gradova i doprinele da Subotica i Segedin steknu današnji oblik.Osim zajedničke istorije i zajedničkog nasleđa, Suboticu i Segedin spaja i jedinstvena kuhinja, kvalitetna vina i dobre rakije, ravničarski usporen ritam života i priroda bogata vodama: reka Tisa, jezero Palić i geotermalne vode. Ovi gradovi imaju sve što turiste sklone hedonizmu zanima ali ono što izdvaja ova dva grada je jedinstveno zajedničko kulturno nasleđe – atraktivna i dopadljiva arhitektura secesije.

SUBOTICA AND SZEGEDAt the heart of the Pannonian Basin, between Danube and Tisa, Budapest and Belgrade, located only 50 kilometers from each other, lie the two cities and tourist centers - Subotica in Serbia and Szeged in Hungary. These two cities shared the same rulers and the same fate ever since the Mongol conquests in the Middle Ages and during the long Ottoman rule. In the eighteenth century, both cities were awarded the status of a free royal city by Austrian rulers, which then led to their rapid development into modern Central European cities. Within the borders of the AustroHungarian Empire, the reconstruction of Szeged after the Great Flood at the end of the nineteenth century, and the sudden industrialization of Subotica after the railway construction – shaped up and marked Subotica and Szeged with a unique, ornate architecture that emerged at the turn of the century. Then, at the beginning of the twentieth century, many palaces, public buildings and private houses were built, all of which created a new image and contributed to the present shape of Subotica and Szeged. In addition to their common history and heritage, Subotica and Szeged are intertwined through unique cuisine, fine wines and quality brandies, slower plain-depicting pace of life and nature abundant in water bodies: river Tisa, Lake Palić and geothermal springs. Subotica and Szeged have everything that interests hedonism prone tourists, but a unique common cultural heritage – the attractive and appealing Art Nouveau architecture, is what makes them truly stand out.

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Horváth Mihály u.

Arany János u.Vörösmarty u.

Széchenyitér

Nagy Jenő u.

Híd u.

Belvárosi híd

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Kálvária sgt.

Kossuth Lajos sgt.Mérey u..

Mikszáth Kálmán u.Attila u.

Hajnóczy u.Gutenberg u.

Gogol u.

Madách u.

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Victor Hugo u.

Oroszlán u.

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TourinformDugonics tér 2. Szeged, Magyarország+36 62 488 690, szeged@tourinform.huwww.szegedtourism.hu

1. NAJAMNA PALATA UNGARA I MAJERA / UNGÁR-MAYER PALOTA, Kárász u. 162. REKOVA PALATA / REÖK-PALOTA, . . . . . . . . . . . . . . . . . . . . . . Magyar Ede tér 2.3. NOVA SINAGOGA / ÚJ ZSINAGÓGA, . . . . . . . . . . . . . . . . . . . . . . . . Jósika u. 104. GOLDŠMITOVA NAJAMNA PALATA / GOLDSCHMIDT-PALOTA, . . . . . . Tábor u. 45. REFORMATORSKA PALATA / REFORMÁTUS PALOTA, . . . . . . . . . . . . Kálvin tér 26. VODOTORANJ / VÍZTORONY, . . . . . . . . . . . . . . . . . . . . . . . . . . . . Szent István tér7. MORICOVA KUĆA / MÓRICZ HÁZA, . . . . . . . . . . . . . . . . . . . . . . Szent Mihály u. 98. GROFOVA PALATA / GRÓF-PALOTA, . . . . . . . . . . . . . . . . . . . . Tisza Lajos krt. 209. DAJČEVA NAJAMNA PALATA / DEUTSCH PALOTA, . . . . . . . . . . . . . . Dózsa u. 210. STATUA PIŠTE DANKOA / DANKÓ PISTA SZOBRA, . . . . . . . . . . . . . . Dózsa u. 2

* O SECESIJINova umetnost koja je na prekretnici XIX i XX veka nadahnuta zahuktalom industrijalizaci-jom, urbanizacijom i društvom koje se brzo menjalo, pobunila se protiv strogih kanona istoricizma i vladajućeg ukusa. Zato, secesija inspiraciju nije tražila u prethodnim epohama i umetničkim stilovima već je ideje tražila u prirodi, njenim oblicima i strukturi. Secesija je ostavila sopstveni pečat na sve umetnosti i oblasti modernog života. Secesija nije umet-nički stil - ona je stil života.Osnovne odlike secesijske arhitekture su ra-zuzdane, nesputane forme pune zaobljenih linija, valovitih poteza i neobične kombinacije boja. Naglašena asimetrija i upotreba novih materijala i novih građevinskih tehnika objek-tima su dali specifičnu plastičnost a prefinje-na, nekad preterana, dekorativnost secesij-skog ornamenta - razigranost. Geometrijski i biljni motivi kao i lik žene – postali su omiljeni motivi arhitekata širom Evrope.Mada u biti internacionalna, u različitim sre-dinama ojačana nacionalnim osećajem izne-drila se u različitim oblicima. U Austriji je bila poznata kao Bečka secesija, u Nemačkoj kao Jugendstil, u Francuskoj i Belgiji kao Art No-uveau, u Engleskoj Modern Style, u Italiji Cvet-ni stil a na području Austrougarske – secesija.

* ABOUT ART NOUVEAUA new art that was, at the turning point be-tween the nineteenth and the twentieth cen-tury, inspired by the tumult of industrializa-tion, urbanization and the rapidly changing society, were protesting against the strict canons of historicism and dominant styles. Therefore, Art Nouveau didn’t seek inspiration in previous epochs and art movements, but rather looked for ideas in nature, its forms and structure. Art Nouveau has left its mark on all forms of art and all areas of modern life. Art Nouveau is not just an art movement - it is a way of life. The main features of Art Nouveau architec-ture are wild, unrestrained forms full of curved lines, wavy shapes and unusual color combi-nations. Emphasized asymmetry and use of new materials and new construction tech-niques provided buildings a certain plasticity and sophisticated, sometimes even exag-gerated, décor of the Art Nouveau ornament - playfulness.Geometric and floral motifs as well as images of women – have become favorite design ele-ments of architects throughout Europe.Although international in its core, in different regions, amplified by national feelings, it man-ifested itself in different forms. In Austria it was known as the Vienna Secession, in Ger-many as Jugendstil, in France and Belgium as Art Nouveau, in England as Modern Style, in Italy as Liberty style and in the Austro-Hun-garian Empire - Secession.

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* SECESIJAu SegedinuObnova Segedina, nakon Velike poplave 1879. godine, definisala je današnji lik grada. Najveći broj starih građevina je tada srušen, a umesto njih su nikle nove palate. Tim povodom, na jednom od vitraža u segedinskoj Gradskoj kući zapisano je obećanje cara Franje Josipa: „Segedin će biti lepši nego što je bio“. Tako je i bilo. Početkom XX veka nastale su nove secesijske građevine koje su se ugnezdile unutar već formiranog gradskog jezgra.U Segedinu kao i u Subotici, prepoznatljive su dve struje u arhitekturi secesije. Jedna struja koju su zastupali avangardni mađarski umetnici, po ugledu na svoje evropske kolege, smatrali su da industrijski razvoj vodi uništenju svega lepog te da

Restoration of Szeged, after the great flood in 1879, defined the character of today’s Szeged. The majority of old buildings were then demolished and new buildings and palaces took their place. Regarding that event, in one of the stained glass windows in the Szeged City Hall a promise of Emperor Francis Joseph is preserved: “Szeged will be much more beautiful than it was before.” And so it was. At the beginning of the twentieth century, new Art Nouveau buildings nestled themselves within the already established urban core.In both Szeged, and Subotica, we can recognize two directions in Art Nouveau architecture. One direction, represented by avant-garde Hungarian artists, following their European counterparts, believed that industrial development leads to the destruction of beauty and that art should be introduced into everyday life, relying on vernacular architecture and tradition by using local materials. In search of national characteristics, studying folklore, folk art and vernacular architecture – a form of Art Nouveau with national characteristics was

* ART NOUVEAUin Szeged

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umetnost treba uvesti u svakodnevni život oslanjajući se na narodno graditeljstvo i tradiciju primenom lokalnih materijala. Tragajući za nacionalnim osobenostima, izučavajući narodno stvaralaštvo i narodno graditeljstvo – stvoren je pravac secesije sa nacionalnim karakteristikama, mađarska varijanta secesije. Ona ne unosi samo novu estetiku, ona prodire u suštinu građevine. Prirodni motivi, motivi srca, lišća i cveta lale se prepliću, teku po fasadnom platnu, utisnuti u malter, oblikovani najčešće u Žolnai keramici i terakoti ili isprepletani u kovanom gvožđu. Ovi motivi dalje teku i zavlače se u enterijer, pretočeni veštom rukom molera u razigrane prefinjene linije i boje po zidovima, dopunjeni keramičkim biljnim ornamentima, vitražima rasplamsalih boja i šara. Ni tu se ne zaustavljaju te ih vidimo izvedene u kovanom gvožđu, mesingu, u bakru, na mobilijaru, drvenom nameštaju i keramici.Arhitekte druge struje stvorili su specifičnu arhitekturu inspirisanu evropskim uticajima. Čuvenog mađarskog arhitektu Ede Mađara, čije je stvaralaštvo odredilo izgled centra Segedina upoređuju sa, ne bez razloga, katalonskim i svetski poznatim arhitektom Gaudijem. Ovoj struji pripada i arhitekta Ferenc Rajhl, čija dela krase i susednu Suboticu. Pored ove dvojice arhitekata koji su svoja najbolja i najbrojnija dela ostavili u Segedinu i mnoge druge arhitekte, uglavnom iz Budimpešte, obeležile su ovaj grad. Spomenimo Lipot Baumhorna, projektanta Nove sinagoge, Edena Lehnera, Lajoša Ibla, Alfreda Hajoša i Ernea Ferka.Da li namerno, zato što leži na ušću dve reke ili slučajno, voda kao motiv ogleda se u arhitekturi Segedina kroz mnoštvo talasastih oblika i linija, motiva vodenih cvetova i atmosfere mističnih obala.

created – the Hungarian Secession. It does not only bring a new aesthetic, it penetrates into the very essence of construction. Natural elements, heart elements, leaves and tulip flowers intertwine, flow through the façade canvas, pressed into plaster, formed mostly in Zsolnay ceramics and terracotta, or entangled in wrought iron. These elements and patterns continue to gush and glide into the interior, skillfully transformed into lively and sophisticated lines and colors on the walls, complemented by ceramic plant-like details, stained glass windows with flamboyant colors and decorations. They do not stop here though, as we continue to recognize them in wrought iron, brass and copper, in interior elements, wooden furniture, and ceramics.Architects from the other Art Nouveau direction have created a specific architecture inspired by European influences. The famous Hungarian architect Ede Magyar, whose creative oeuvre dominates the center of Szeged, is often compared, not without merit, to the world-renowned Catalan architect Antonio Gaudi. Architect Ferenc Raichle, whose work adorns the neighboring Subotica, is also a part of this direction of Art Nouveau. In addition to these two architects, who built and created their most significant work in Szeged, many other architects, mostly from Budapest, left their mark on the city. Some of those architects are Lipót Baumhorn, architect of the New Synagogue, Ödön Lechner, Lajos Ybl, Alfréd Hajós and Ernő Foerk.Whether intentional, because it lies by two rivers, or by chance - yet water as a motif is reflected in the architecture of Szeged throughout many forms and wavy lines, water lily patterns and mystical atmosphere of river shores.

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stanovi za sinove i malo veći stanovi za Rekove ćerke. U prizemlju, na uglu, bio je restoran a u ostalim lokalima su bili zanatlije i trgovci. Levo od ulaza je bio Mađarev arhitektonski studio.Smela, nova i bogata ornamentika, čiju simboliku tek treba otkriti – začuđuje čak i danas. Valoviti oblici fasade Rekove palate, kao kakav veliki reljef, pričaju nam priču o mitološki spokojnom predelu uz vodu. Ako se posmatrač bolje zagleda u zakrivljene oblike ugla zgrade u njima može prepoznati pramac broda – što potkrepljuje priču o intrigantnom motivu vode. Stilizovani biljni motivi rascvetalih ljiljana i puzavica protežu se i na unutrašnjost i nastavljaju na stepeništu.Stepenište, koje je prava umetnička bravura, po crtežima arhitekte Mađara izradio je segedinski zanatlija Pal Fekete i to je pravi primer, za secesiju tipične, sinteze umetnosti i zanatstva.Rekova palata je odličan primer novog duha, novih ideja i novih rešenja. Nije preterano poređenje ove palate, njene fasade i enterijera, sa delima katalonskog arhitekte Antonia Gaudija i njegovim čuvenim kućama Mila i Batljo u Barseloni.Rekova palata odolela je ratovima i režimima i od 2007. godine kada je poslednji put renovirana u njoj se nalazi Regionalni umetnički centar. U njemu se priređuju razni kulturni programi i izložbe.

Radno vreme galerije:od utorka do nedelje od 10:00 do 18:00h

symbolism that has yet to be deciphered – still surprise art historians and visitors. The wavy forms of the Reök Palace façade, like a big relief, tell us the story about a mythological tranquil area by the water. If the curved corner of the building is carefully observed, a shape of a ship’s bow can be recognized – which supports the story about the intriguing motif of water. Stylized floral patterns of blooming lilies and ivy creep into the interior and continue along the stairs. The staircase, which is an artistic tour de force, was built, following the architect’s drawings, by the Szeged blacksmith Pál Fekete and this is an example, typical for secession, of synthesis of art and craft.Reök palace is an excellent example of the new spirit, new ideas and new solutions. It is not without merit to compare the palace, its façades and interiors, with the works of the Catalan architect Antonio Gaudi and his famous Casa Batllo and Casa Mila in Barcelona.Reök’s palace survived wars and different regimes and since 2007, when it was last renovated, it is the home of the Regional art center. It organizes various cultural programs and exhibitions. The ground floor of the palace is now a cafe-restaurant, an interesting place to meet and spend time, in an unusual Art Nouveau interior.

Opening hours of the gallery:from Tuesday to Sunday from 10:00 to 18:00

REÖK, Magyar Ede tér 2., Tel: +36 62 471 411, www.reok.hu* REKOVA PALATASkulptorski oblikovana, valovitih zidova i maštovitih cvetnih ukrasa Rekova palata predstavlja jednu od najlepših secesijskih građevina u Mađarskoj. Trospratnu ugaonu kuću projektovao je za Ivana Reka i njegovu porodicu arhitekta Ede Mađar. Palata je sagrađena 1907. godine paralelno sa sličnim građevinama u značajnijim evropskim centrima. Ede Mađar je imao samo 29 godina kada je inženjer Rek od njega naručio projekat za porodičnu palatu verujući da će se Mađar mladalačkom strašću i energijom predati poslu. Tako je i bilo te je ovu izuzetnu palatu uz pomoć lokalnih umetnika i zanatlija završio za svega godinu i po dana.Na spratovima palate nalazili su se momački

Sculpturally shaped, with wavy walls and creative floral decorations, Reök Palace is one of the most beautiful Art Nouveau buildings in Hungary. The corner three-storey palace was designed, for Ivan Reök and his family, by Hungarian architect Ede Magyar. The palace was built in 1907, at the same time as similar buildings were being built in major European cities. Ede Magyar was only 29 years old when the engineer Reök appointed him as the architect, with faith that he will invest his youthful passion and energy into the project. And so it was: this outstanding palace was, with help of local artists and craftsmen, completed in just a year and a half.On the upper floors of the palace there were bachelor apartments for Reök’s sons and slightly bigger apartments for his daughters. On the ground floor, on the corner, there was a restaurant and the sides- shops and studios for craftsmen and traders. To the left of the entrance was Ede Magyar’s architectural bureau.Bold, novel and lavish ornamentation,

* REÖK PALACE

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sata u jednom danu. Iznad njih su prikazani bezbrojni cvetovi šipka koji simbolizuju veru. U samom vrhu kupole, nad ovim floralnim ornamentima, nalazi se šestokraka Davidova zvezda optočena prikazom zlatnih sunčevih zraka. Kupola i vitraži sinagoge nastali su u čuvenoj radionici Mikše Rota.Iznad oltarskog prostora se uzdiže mala kupola koja je pojednostavljena verzija velike kupole. Masivne bronzane menore-svećnjaci uokviruju oltarski prostor iza kog se nalaze velike orgulje. Menore-svećnjaci su napravljeni od bronze a srednja dva su pozlaćena i optočena poludragim kamenjem. Završni kamen oltara napravljen je od mermera donešenog iz Jerusalima. Kako pre sto godina, tako i danas segedinska sinagoga očarava i zadivljuje vernike i posetioce ovim neobičnim spojem pobožnosti i raskoši - tako tipičnoj za vreme s prekretnice vekova.Rekonstrukcija spoljašnjosti Nove sinagoge je završena u jesen 2017. godine. Tokom rekonstrukcije obnovljen je i vrt objekta, a kao rezultat te obnove Sinagoga je zasijala u svojoj punoj lepoti.

Vreme posete: od 1. aprila do 30. septembra, od nedelje do petka od 09:00 do 12:00 i od 13:00 do 17:00; od 1. oktobra do 31. marta od nedelje do petka od 10:00 do 15:00; Za grupe: po najavi.

sun rays. The stained glass dome and the Synagogue’s stained glass windows were created in the renowned workshop of Miksa Róth.Above the altar area there is a small dome that represents a simplified version of the large dome. Massive bronze menorah candle holders frame the altar area, behind which is a large organ. The menorahs are made of bronze and the two middle ones are encrusted with gold and semiprecious stones. The key stone of the altar is made of marble brought from Jerusalem. Today, as well as one hundred years ago, the Szeged Synagogue enchants and astonishes visitors with an unusual blend of modest piety and imposing splendor - so typical for the turn of the century.The synagogue was renovated in 1989. Today, it is surrounded by a small willow tree park. At the entrance to the Synagogue there is a marble plate with the names of all Jews from Szeged and the surroundings that were deported during World War II. In the next room there is a small photo exhibition devoted to the fate of the synagogue during World War II.

Visiting hours: from April 1st to September 30th Sunday to Friday 09:00 to 12:00 and from 13:00 to 17:00; from 1st of October to 31st of March Sunday to Friday 10:00 to 15:00; Group visits: by appointment.

Jósika u. 10, tel: +36 62 423 849. +36 20 586 44 15, www.szzsh.hu

* NOVA SINAGOGANova Sinagoga u Segedinu je impozantno zdanje koja već svojim dimenzijama zadivljuje posetioce. Visoka je 48,5 metara i može da primi 1340 osoba. Sinagogu je projektovao budimpeštanski arhitekta Lipot Baumhorn autor ukupno 22 sinagoge u Mađarskoj. Segedinska je podignuta 1903. godine i pripada mavarskoj varijanti secesije, tada popularnoj među graditeljima sinagoga u Evropi.Najlepši deo Sinagoge je unutrašnjost kupole koja simbolizuje Svet. Beskonačnost Sveta ovde je dočarana mnoštvom rasutih zvezda na kobaltno-plavoj staklenoj kupoli koja postepeno tamni prema vrhu. Sama kupola počiva na 24 stuba koji simbolizuju 24

New Synagogue in Szeged is a monumental building that already impresses visitors with its dimensions. It is 48.5 meters high and can accommodate 1340 people. The synagogue was designed by the Budapest architect Lipót Baumhorn, author of 22 synagogues in Hungary. Szeged synagogue was built in 1903 and belongs to the Moorish version of Art Nouveau, at the time popular among Synagogue builders and architects in Europe.The most beautiful part of the Synagogue’s interior is the dome, symbolizing the world. The infinity of the world is represented by a large number of stars scattered throughout the cobalt-blue glass dome, which darkens gradually towards the top. The dome itself rests on 24 pillars, symbolizing the 24 hours in a day. Above the pillars, there are countless pomegranate flowers, symbolizing Jewish faith. At the top of the dome, above the pomegranate floral patterns, there is a six-pointed Star of David encrusted with golden

* NEW SYNAGOGUE

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* MIKŠA ROT * GOLDŠMITOVA NAJAMNA PALATA

* NAJAMNA PALATA UNGARA I MAJERA

* MIKSA RÓTH * GOLDSCHMIDT PALACE

* UNGÁR-MAYER PALACE

Mikša Rot (1865-1944) bio je jedan od svet-ski priznatih umetnika izrade vitraža. Osnove zanata naučio je od svog oca a sam se usa-vršavao studirajući srednjevekovne vitraže. Veliki proboj u njegovoj karijeri je bila pobeda na konkursu za izradu vitraža koji će krasiti zgradu mađarskog Parlamenta. Nakon toga su usledile brojne druge porudžbine, između ostalih i za mnoga secesijska zdanja u Sege-dinu i Subotici. Ono što ga izdvaja kao majsto-ra je specijalna tehnika izrade vitraža kada se umesto prostog slikanja na staklu, više sloje-va stakla stavljaju jedno iza drugog da bi se postigao željeni efekat.

Goldšmitovu palatu projektovao je čuveni arhitekta Ede Mađar kao secesijski objekat. Podignuta je 1905. godine. Ova originalno dvospratna palata sa prodavnicama u prize-mlju i stanovima na spratu, pedesetih godina prošlog veka preuređena je da bi se odgovori-lo potrebama tog vremena za većim brojem funkcionalnih malih stanova. Tom prilikom je zgrada praktično ogoljena i uklonjeni su skoro svi dekorativni elementi sa fasada i balkona.Začudo, u ulaznom hodniku Goldšmitove pa-late očuvani su originalni ukrasi. To su u gipsu izvedene razigrane figure devojaka koje sva-kom ko uđe nude cveće. Tipično za vreme se-cesije one su prikazane u pokretu. Inspiracija za njih bile su čuvene francuske balerine tog doba. Idealizovane figure devojaka direktna su veza arhitekture Segedina sa evropskim simbolizmom i secesijom.Trospratna ugaona najamna palata podignu-

ta je 1911. godine i pripada poznoj secesiji. Za Benu Ungara i Arona Majera, ovu zgradu projektovao je čuveni arhitekta Ede Mađar. Zgrada dominira prometnim trgom u centru Segedina te su stoga u prizemlju, bez mno-go ornamentike i najavljujući premodernu, projektovani lokali sa velikim zastakljenim izlozima.Unutrašnjost objekta, sa raskošnim stepe-ništem i tavanicom oslikanom secesijskim motivima, mnogo je bogatija. Fasada spra-tova kompleksnija je od prizemlja zgrade ali kruna svega je toranj na uglu. Toranj, vidljiv iz daleka, poznat je po limenim polugolim figurama gospođica koje se drže za ruke i plešu, čini nam se, nad celim gradom.Kada je podignuta Ungareva i Majerova palata bila je druga najviša zgrada u Se-gedinu. Kompletno je renovirana 2000. godine i danas ima istu funkciju kao pre jednog veka.

Miksa Róth (1865-1944) was one of the world-renowned stained glass artists. He learned the basics of the craft from his father while self - educating by studying medieval stained glass windows. A major breakthrough in his career was winning the competition for the Hungarian Parliament stained glass windows. After that, numerous different or-ders followed, among others- for many Art Nouveau buildings in Szeged and Subotica. What sets him apart as a master is a special technique of making stained glass - instead of simply painting on glass, he used more layers of glass placed on top of each other, in order to achieve the desired effect.

Goldschmidt’s palace was designed by the famous architect Ede Magyar as an Art Nouveau building. It was built in 1905. This original two-story palace with shops on the ground floor and apartments on the first floor was remodeled in the fifties of the last cen-tury, to fulfill the need for a large number of small functional apartment units. It was then that the building was virtually stripped bare, with almost all decorative elements of the façade and balconies removed. Surprisingly, in the entrance hall of the Gold-schmidt Palace all the original decorations were preserved. Namely, these are figures of girls, in plaster, offering flowers to the visitors of the palace. Typical for Art Nouveau, they are depicted in motion. Inspirations for the figures were famous French ballet dancers of the time. The idealized figures of girls are a direct link between the architecture of Szeged and European symbolism and Art Nouveau.

This corner three-story tenement palace was built in 1911 and belongs to late Art Nouveau. For Beno Ungár and Áron Mayer, this build-ing was designed by the renowned architect Ede Magyar. The building dominates the busy square in the center of Szeged, and therefore, on the ground floor, without too much orna-mentation and portending modernism, shops with large glass windows were designed. The interior of the building, with an elaborate staircase and a ceiling painted with Art Nou-veau elements, is much more ornate and lav-ish. The façades of the upper floors are more

complex than the ground floor of the building, but the pinnacle of the entire palace is the tower on the corner. The tower, visible from afar, is known for its tin, half-naked female figures holding hands and dancing, it seems, above the entire city.When it was built, the Un-gár-Mayer Palace was the second tallest building in Szeged. It was completely renovated in 2000 and to-day it looks the same as a century ago.Kárász u.16.

Tábor u.4.

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* EDE MAĐAR

* GROFOVA PALATA

* EDE MAGYAR

* GRÓF PALACE

Ede Mađar (1877 - 1912), rođeni Segedinac, tokom studija arhitekture u Budimpešti puto-vao je u Belgiju i Francusku. Svojim evropski-miskustvom, mladošću, velikom energijom, odlučnošću, hrabrošću i talentom – suprot-stavio se vladajućem učmalom ukusu i pro-jektujući Rek palatu, Ungar - Majer palatu, Palatu reformatske crkve i Šefer palatu - po-vezao je Segedin sa Evropom.Umro je mlad izvršivši samoubistvo u 35. go-dini života. Iako je živeo kratko, Ede Mađar je-dan je od najznačajnijih mađarskih arhitekata secesije.

Godine 1913. za svega 13 meseci na osno-vu projekta Ferenca Rajhla podignuta je ova trospratna secesijska palata. Palata gleda na tri ulice, ima tri fasade, dva tornja i više balko-na. Igra uvučenih i isturenih elemenata fasa-de, igra oblika i veličine prozora i raznovrsne dekoracije stvaraju razigranu formu građevi-ne tipičnu za arhitekturu s prekretnice vekova. Valoviti obrisi zabata, bogati zlatni i plavi mo-zaici predstavljaju glavne ukrase na fasadi. Na fasadi se lako mogu uočiti motivi narodne ali i istočnjačke umetnosti.Moderan enterijer i čelične stepenice sa ogra-dom od kovanog gvožđa bogato su ukrašeni secesijskim motivima. Majstorstvo izrade svakog detalja upotpunjuje raskoš Grofove najamne palate.

U prizemlju palate se nalaze prodavnice a na spratovima stanovi. Funkcija i izgled nije se menjala 100 godina od kada je podignuta ova izuzetna palata. Advokat Dr. Arpad Grof bio je na visokim položajima u gradu i bez novčanih problema. Naručujući ovu najamnu palatu imao je u vidu tip budućih klijenata: moderne profesionalne ljude od karijere koji mogu da priušte visoke stanarine – ljude novog doba.

Magyar Ede (1877 - 1912), born in Szeged, traveled to Belgium and France while study-ing architecture in Budapest. With his Europe-an experience, youth, great energy, determi-nation, boldness and talent – he opposed the prevailing canons and rules and the dominant boring taste and by designing Reök palace, Ungár-Mayer Palace, Református-palota (Re-formist church palace) and Shaffer Palace – connected Szeged to Europe. He died young, by committing suicide at 35. Although he did not live long, Ede Magyar is one of the most important architects of Art Nouveau in Hungary.

In 1913, in only 13 months, based on a Fer-enc Raichle’s project, this threestory Art Nou-veau palace was built. The palace overlooks three streets, has three façades, two towers and many balconies. The dynamic play of outward and inward elements of the façade, the dialog of shapes and sizes of windows and diverse decoration, create a lively form of the building, typical for architecture from the turn of the century. Wavy contours of the wall and rich gold and blue mosaics are the focal decorations of the main façade. Folk art elements and oriental art patterns are easily distinguishable on the façade. The modern interior and a steel staircase with wrought iron railing are richly decorated with Art Nouveau elements. Craftsmanship in every single detail completes the grandeur of

Gróf Palace.The ground floor of the palace contains shops while the upper floors contain apartments. Both the function and the appearance did not change for one hundred years, ever since this extraordinary palace was build. Dr. Árpád Gróf, a lawyer, held a high position in the city and had no financial issues. When commis-sioning this tenement palace, he had in mind the exact type of future clients: modern pro-fessional career-driven people who can afford high rents - people of the new age.Tisza lajos krt. 20.

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* MORICOVA KUĆA

* REFORMATORSKA PALATA

* MÓRICZ HOUSE

* REFORMIST CHURCH PALACE

Projekat za izradu trospratne ugaone zgrade, u ime grada, od arhitekte Ferenca Rajhla poru-čio je Jožef Moric, poštanski službenik. Zgra-da je izgrađena između 1910. i 1912. godine. Zanimljiva je svedena ornamentika od plave Žolnai keramike i ograde od kovanog gvožđa na balkonima. Tu je vidljiv motiv srca, često prisutan u Rajhlovim ostvarenjima.Zgrada je nekada bila osvetljena gasnim lam-pama, a grejanje je bilo rešeno pomoću ka-ljevih peći – sve radi što komfornijih uslova za život prvih stanara ove kuće. Zajednički prostor u zgradi je bio oslikan secesijskim muralima. Uz velike i komforne stanove na-lazile su se male sobe za poslugu. Pedesetih godina XX veka veliki stanovi su konfiskovani i od njih napravljeni manji za izdavanje. Tada su gipsani ornamenti na fasadi omalterisani i na taj način sakriveni. Murali su prefarbani a stepenište od kovanog gvožđa razmontirano. Godine 2007. grad je prodao zgradu privatnim preduzetnicima koji su je obnovili i danas ona predstavlja jednu od lepših secesijskih građe-vina u Segedinu.

Secesijsku Reformatorsku palatu za Refor-matorsku crkvenu opštinu projektovao je Ede Mađar. Palata je podignuta 1912. godine. U njoj su se nalazili stanovi za propovednike i polaznike protestantske škole u Segedinu.To je trospratna palata sa osnovom u obli-ku slova “V”. Fasada je izrađena od kamena sa tek nekoliko ukrasnih elemenata. Balkon iznad glavnog ulaza ukrašen je kamenim statuama dece koja pevaju. Na fasadi koja je okrenuta ka Tisa Lajoš putu, nalazi se moza-ik na kom je prikazan motiv setve a na fasadi koja gleda na Kalvinov trg je mozaik sa prika-zom žetve. Palata je renovirana 1991. godine i u njoj se danas nalaze kancelarije i stanovi a u prizemlju prodavnice.Za ovu palatu je vezana tragična priča o nje-nom arhitekti, Edeu Mađaru. Dok je Mađar ra-dio na nekoliko projekata i koordinasao njiho-vu izgradnju, zaljubio se u ženu svoga klijenta što je uslovilo i neke finanijske probleme. Ma-đar je pokušao da krene ispočetka ali odbija-nje njegove žene da mu da razvod, dovelo ga je u, za njega, bezizlaznu situaciju.

The project for this three-story corner build-ing, on behalf of the city, was appointed to the architect Ferenc Raichle, by József Móricz, a postal clerk. The house was built between 1910 and 1912. The interesting part is the adorned, ascetic blue Zsolnay ceramic orna-mentation as well as wrought iron railings on the balconies. There is also a heart motif visi-ble, often present in Raichle’s work.The building was once illuminated by gas-lights, and the heating system consisted of tile stoves - everything to ensure comfort and high living standards of the first tenants of the house. The common area in the building was painted with Art Nouveau murals. Beside every large, comfortable apartment there was a small one for the maids and service staff. In the fifties of the twentieth century, large apartments were confiscated and turned into smaller renting units. It was then that the plaster ornaments on the façade were cov-ered with a plain, flat layer of plaster and thus hidden. Murals were painted over and the wrought iron staircase dismantled.In 2007, the city sold the building to private contractors who rebuilt it and now it is one of the most beautiful Art Nouveau buildings in Szeged.

The Art Nouveau palace of the Christian Re-formed church community was designed by Ede Magyar. The palace was built in 1912. It contained apartments for the priests and stu-dents of the Szeged Protestant School.It is a three-story palace with a “V” shaped base. The façade is made of stone with only a few decorative elements. The balcony above the main entrance is decorated with marble statues of singing children. On the façade that faces the Tisza Lajos Street, there is a mosaic with a sowing motif and on the façade facing the Calvin Square, a mosaic depicting a har-vest. The palace was renovated in 1991, and today it is a commercialresidential building, with offices and apartments on upper floors and shops on the ground floor. A tragic story is related to this building, a sto-ry of its architect, Ede Magyar. While Magyar was working on several projects and coordi-nating their construction, he fell in love with his client’s wife, which caused some financial problems as well. Magyar tried to start over but his wife’s refusal to grant him a divorce brought him in what he felt was a hopeless situation.

Szent Mihály u. 9.

Kálvin tér 2.

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* DAJČEVA NAJAMNA PALATA

* DEUTSCH PALACE

Ova zgrada je najbolji primer mađarske vari-jante secesije u Segedinu. Izgrađena je izme-đu 1900. i 1902. godine po projektu lokalnog arhitekte Mihalja Erdeljija. Fasadu i stepenište je projektovao budimpeštanski arhitekta Eden Lehner, rodonačelnik ovog pravca u arhitektu-ri secesije koja je inspiraciju našla u mađar-skoj narodnoj umetnosti. Prirodni motivi, mo-tivi srca, lišća i cveta lale se prepliću, teku po fasadnom platnu, utisnuti u malter, oblikovani u Žolnai keramici i isprepletani u kovanom gvožđu i kao ukrasi na balkonima. Istraživači arhitekture secesije fasadu ove zgrade upore-đuju sa sonatom zaleđenom u prostoru.

This building is the best example of the Hun-garian version of Art Nouveau–Hungarian Se-cession in Szeged. It was built between 1900 and 1902 and designed by a local architect, Mihály Erdélyi. The façade and the staircase were designed by Ödön Lechner, Budapest ar-chitect and founder of this particular style in Art Nouveau architecture, a style that found inspiration in Hungarian folk art. Elements and patterns from nature, heart motifs, tan-gled leaves and tulip flowers, flowing across the façade canvas, pressed into plaster, shaped by Zsolnay ceramics and intertwined in wrought iron as balcony decoration. Art historians and theoreticians of Art Nouveau architecture compare the façade of this build-ing to a sonata frozen in space.* EDEN LEHNER (1845-1914)

Studirao je arhitekturu u Budimpešti a potom u Berlinu. Nakon završetka studija godinu dana je proveo u Italiji a kasnije je posetio Pariz i London. Tamo se upoznao sa Novom umetnošću. Jedno vreme je ra-dio zajedno sa kolegom Đulom Partošem a tesno je sarađivao sa Vilmošem Žolnaijem vlasnikom fabrike dekorativne keramike u Pečuju. Njegov najpoznatiji objekat je Muzej primenjenih umetnosti u Budimpešti.* ODÖN LECHNER (1845 1914) Studied architecture in Budapest and then in Berlin. After graduation, he spent one year in Italy and later visited Paris and London. There he encountered the New Art. For a while, he designed together with his colleague Gyula Pártos and worked closely with the owner of the decorative ceramics factory in Pécs, Zsolnay Vilmos. His most famous building is the Museum of Applied Arts in Budapest.

* WATER TOWERThe water tower, designed by Szilárd Zielinski, was built in 1904 and has the characteristics of a geometric Art Nouveau. As with many other Art Nouveau buildings, this was the first time that certain innovations in architecture were applied. For the construction of the wa-ter tower, which was groundbreaking at the time, reinforced concrete was used. This kind of construction made it possible for the Wa-ter Tower to have large dimension, namely a capacity of over 1000 cubic meters of water and the height of over 55 meters. At the time it was built, this was the tallest water tower in the world.

* VODOTORANJVodotoranj podignut 1904. godine ima odlike geometrijske secesije a projektovao ga je Si-lard Zelinski. Kao i kod mnogih drugih secesij-skih građevina, ovde su po prvi put primenjene neke novine u graditeljstvu. Za konstrukciju vodotornja korišćen je, što je za to vreme bilo avangardno, armirani beton. Takva konstruk-cija omogućila je da vodotoranj bude velikih dimenzija odnosno da ima kapacitet od preko 1000 kubnih metara vode i da jarbol na vrhu bude visok skoro 55 metara. U vreme kad je podignut bio je najviši vodotoranj na svetu.Nekadašnja Žitna pijaca na kojoj je vodoto-ranj podignut danas je lep park. Osim svoje

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Dózsa u. 2.

20

Szent István tér, +36 62 558 842

A former Grain market, where the Water Tower was built, is now a beautiful park. In addition to its original function, the renovat-ed Water Tower is also a tourist attraction as visitors can see the Foucault’s pendulum that hangs in the middle of the tower and empiri-cally proves Earth’s rotation. The Water Tower also serves as a belvedere, from which one can see Szeged, Tisa and the city surround-ings.

Opening hours From April 1st til October 31st only on first Saturday of the month from 10:00 till 16:00; Groups visits in that period: by appointment.

originalne funkcije, renovirani vodotoranj je i turistička atrakcija jer posetioci mogu pogle-dati Fukoovo klatno, koje visi u sredini tornja a kojim se eksperimentalno dokazuje da se Ze-mlja okreće. Vodotoranj služi i kao vidikovac sa koga se pruža pogled na Segedin, reku Tisu i okolinu grada.

Radno vreme: od 1. aprila do 31. oktobra samo prve subote u mesecu 10:00 do 16:00. Grupe od 10 i više osoba: uz predhodnu naja-vu mogu posetiti toranj i van radnog vremena u datom periodu.

* STATUA PIŠTE DANKOAPišta Danko, rođeni Segedinac, komponovao je mnoge ciganske pesme koje su postale narodne a koje se i danas pevaju. Bio je i virtuoz na violini. Savremenici su mu zavideli na talentu i uspehu.Čuvena je bila njegova ljubav sa plavokosom i plavookom ženom mađarskog porekla što u to vreme nije nailazilo na odobravanja. Umro je mlad, u 45. godini. Odnela ga je bolest tog vremena – tuberkuloza. U pogrebnoj povorci svirao mu je ciganski orkestar od 100 violina.Spomenik Pišti Dankou, delo čuvenog arhitekte Ede Mađara iz 1912. godine, ima karakteristike secesije. Spomenik je izrađen od ružičasto-belog mermera i prikazuje muzičara sa violinom pored grma divljih ruža. Ede Mađar, iz poštovanja prema umetniku, nije tražio naknadu za izradu ovog spomenika.

* PISTA DANKÓ STATUEPista Dankó (1858-1903), born in Szeged, had composed many folk songs that have become a standard and are still sung today. He died young, taken by the disease of the times - tuberculosis. There is a story noted regarding his funeral, that a gipsy orchestra of 500 violins was playing at the procession.The Pista Dankó monument was created by the famous Hungarian sculptor Ede Margó in 1912. The monument has Art Nouveau characteristics and is made of white marble with hints of pink and shows Pista Dankó with his violin, next to a bush of wild roses. The author of the monument, Ede Margó, out of respect for the artist, did not ask for a compensation for his work.

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