Pages of History Reflected in Architecture

There is not much information about this wonderful blacksmith, and, alas, sometimes contradictory( It is known for sure that the sculpture has stood in this place for more than 100 years, but then... Most sources tend to believe that the figure was created in 1882 by master blacksmith Florian Nagy in Debrecen (Hungary) using wrought iron techniques. And in 1886 it was acquired by Baboli, the owner of an iron shop in Subotica. The building has changed owners, but the blacksmith remains in his place, preserving the good fortune of the inhabitants of the building and giving joy to people.

In 1895, the city senate decided to build a new gymnasium building according to the design of Ferenc Reichl, and the contractor was Karol Molzer. Construction began in 1896, and the building was finally put into operation in 1900. Reichl designed this imposing building in the late Baroque spirit, which he consistently applied to the interior design. The building is located on the corner of two streets - Šandora Petefija and Ištvana Sečenjija, so that two wings extend from the diagonal facade, giving the base the shape of an irregular Latin letter “V”. The entire architectural concept is subject to the laws of Baroque. At the very top of the facade there are two seated figures supporting the globe in the center. At the end of both wings of this extensive building are decorative wrought iron side gates with floral motifs. The central part of the building is an impressive, spacious lobby with a three-flight baroque staircase. During construction, the architect attached great importance to the skill of the performers, attracting the best master plasterers, mechanics, carpenters and painters. This building is undoubtedly one of Reichl's most valuable works for the city, although it dates back to the period of his early work.

In 1964, the government decided to move the monument to the square between the Cathedral of St. Teresa of Avila and the building of the Subotic diocese, where it remained until December 2014, when, on the initiative of the Hungarian National Council, its restoration began. And in 2016, the monument was returned to its original location. The Holy Trinity Monument is a symbol of belonging to Europe, the adoption of values ​​that emphasize tolerance and mutual understanding rather than discrimination.

The square in front of the Town Hall was once popularly called “Majmun Platz”, which literally translates as “Monkey Square” or “Monkey Island”, and this name is part of an urban legend and a small stage in the formation of Subotica’s identity. This place became an unofficial but very popular gathering place for the youth of Subotica for many decades, especially during the second half of the 20th century. And in the 1960s and 1970s, Maimun Platz became an almost iconic meeting place for young people. Representatives of different subcultures gathered here - from hippies to punks. They discussed the latest news, shared dreams and simply enjoyed each other’s company, because they had little other entertainment, as well as extra money. Young people gathered there to socialize, sit on metal bars or railings, and just hang out. It was a kind of “epicenter” of youth life. Long-haired young people sitting on fences, supposedly somewhat reminiscent of monkeys, in addition to their desire, gave the square such a popular name. Subsequently, the popularity of the place decreased due to the emergence of new cafes and entertainment venues. But for middle-aged Suboticians, “Maimun Platz” will forever remain a symbol of youth, freedom and warm nostalgia for past times.

The Town Hall building was designed by Hungarian architects Marcel Komor and Dezsö Jakab. The tallest building in Subotica was built between 1908 and 1910. And the best craftsmen of that time spent another two years decorating its interiors. It represents a harmonious combination of various architectural styles, including elements of Art Nouveau, Neo-Gothic and Hungarian national style. Decorative motifs and patterns (leaves, tulip flowers, hearts, peacock feathers, floral ribbons) are inspired by traditional elements of Hungarian folk art. The roof is covered with multi-colored tiles produced by the Zsolnay ceramic factory. The main staircase is lined with white stone for the balustrade, and the walls of the staircase are lined with dark green tiles, also with the Zsolnay stamp. The windows of the main hall are decorated with stained glass windows by the famous Hungarian modernist artist Sándor Nagy. The height of the tower is 76 meters, the height of the observation deck is 45.5 meters, the length is 105.08 meters, the width is 55.56 meters, and the building area is 5838 m². You can get inside by paying for a tour, the start time of which is 12 noon from Tuesday to Saturday. During the excursion you can climb the tower and admire the city from there; the cost of the excursion is 400 RSD. But you can get to the McDonald's restaurant located in this building from morning to evening, and this is the most beautiful restaurant of this chain that we have ever seen...

At the end of the 18th century, on the site of the current building, there was a one-story tavern “Black Eagle”, which hosted theatrical performances and balls. Today it is a two-story building built in 1823 for the owner András Winkle. It was originally built as a hotel, modeled on German guest houses of that time. It had six guest rooms, a dining room and a dance hall with a gallery for an orchestra. Since there was no theater in the city until 1854, performances by traveling troupes took place here, which sometimes visited Subotica. In 1837, Winkle sold the hotel to the governor of the Bačka Bodrog district, Baron Josip Rudić. In the second half of the 19th century, the Rudich house became owned by Adolf Geiger, the richest Jewish wool merchant in the city and a famous moneylender, who also became president of the Jewish religious community three times intermittently. His grandson György Maziás later became an outstanding writer of the Hungarian avant-garde between the two world wars. The Subotica Historical Archives preserved the design of the building from 1842, and it can be rightfully stated that it corresponds to the original appearance of the building from 1823. In its concept and distribution of volumes, it resembles a baroque mansion. There are shops on the ground floor, and guest rooms, a dining room and a ballroom on the second. A significant reconstruction of the building was carried out according to the design of Geza Kocki in 1895, when the facade was decoratively enriched, acquiring a modern look.

The owner was Milos Kurtes, a young guy who came to Subotica at the beginning of the 20th century to look for a better life. He received a scholarship from a fund for poor and talented children, began working as an assistant in a shop, completed military service, and in 1912 he opened the MILOŠ KURTEŠ store himself. Kurtes became a prominent personality in the city, a member of the board of the City Savings Bank, and a recipient of the Order of St. Sava, IV degree. Alas, his story ended sadly - the war and the new government took everything away from him. Today, the memory of such shops is almost erased, but a walk around the city becomes more interesting when you know that a hundred years ago this place smelled of spices, coffee and delicacies.

The building forms an independent city block. It was built in the period 1880-1883 as a savings bank according to the design of Titus Mackovic, built in an eclectic style with a predominance of neo-Renaissance elements. It has a rectangular base with a longitudinal frontal part oriented towards Strosmaerova Street, and a monumental façade, designed in the image of the famous Palladio. In the central loggia you can see two female figures: one holds a spinning wheel, and the other holds a box in the shape of a cash register. Above them is a beehive, a symbol of savings (the building was built as a bank). Today, the Yellow House houses a faculty of pedagogy teaching in Hungarian. On the wall you can see a black memorial plaque dedicated to the events that took place in the “Yellow House” in the period 1941-1944. It preserves the memory of those who once entered these doors and never left. It was in this building in 1941, during the occupation of the city, that the headquarters of the Hungarian special forces and the prison were located, to which underground fighters, communists, Komsomol members and everyone who opposed the occupiers were brought.

And here's why... Architect Djozhe Jakab, already familiar to us as one of the key creators of the architectural appearance of Subotica, was connected with this house not only professionally, but also personally. The building was originally erected in 1882 according to the design of Janos Molzer in an eclectic style, and was intended for the needs of the prominent entrepreneur Vilmos Taussing. A quarter of a century later, in 1907, the house underwent significant changes, the author of which was Dözhe Jakab. It was during this period, while working on a house renovation project, that he met the owner’s daughter, Irena Taussing, who later became his wife. The building has a plinth in the shape of the Latin letter “L”; Both facades are designed in the same way, the only difference is their length. The main facade, on which the entrance gate is located, faces Maxim Gorky Street, the second facade faces Brace Radic Street. An interesting angular, rounded part of the building connects the two facades, in which inside there is a round room that housed the library of the great architect.

The author is the architect Žombor Sabo, who was once the chief architect of Subotica. Residents of the city remember Mr. Szabo (Master of Science, architectural engineer and former assistant at the Faculty of Civil Engineering in Subotica) for his struggle against the reconstruction of the People's Theater. And until recently, Zsombor Szabo participated in the discussion of plans for the development of the city’s architecture. Having seen this work of the socialist era in Yugoslavia, characterized by concrete structures, gabled gable roofs and playful round elements that give the building a whimsical, anthropomorphic appearance, let's go back half a block - to Radiča Street, and on the corner we will find the Blaha Lujza cafe, whose visitors appreciate the opportunity to drink here "home-made café", prepared in Turk, with fresh baking. Perhaps it’s time for you to have a coffee, but if not, turn right and walk along Brace Radić Street.

Its construction was completed in 1896, and its original appearance has been preserved to this day, representing one of the most striking examples of eclectic architecture in the city. The main body of the building faces the square, and the side wings extend along Brace Radic and Tsar Dusan streets, forming a base in the shape of an irregular trapezoid. The author of the project was Ferenc Reichl, who, taking into account the location of the building, created a building that seemed to emerge from two streets. In this building, the creative and ambitious architect fully demonstrated his skills. He erected a new representative palace in the then dominant eclectic style. The creator of the project breathed splendor into it, giving it a luxurious neo-baroque plasticity, inviting the then young, and later one of the most famous Hungarian sculptors, Ede Telc, to implement this project. Along the entire ground floor the wall is divided by pilasters with a rhythmic row of large arched openings, and the crenellation at the top acts as a decorative detail. The central block architecturally and aesthetically fits perfectly into the overall structure of the building, but at the same time represents a majestic and harmonious whole. The center is decorated with two atlases, which so massively and in full tension support a small, light balcony with a brick balustrade. The author also uses decorative Baroque motifs. In the center is a molded antique vase, in which are the cheerful bodies of outstretched wings, the lower limbs of which merge in a sinuous interweaving in the form of a floral spiral.

The building was designed in 1913 by the architect Pal Vadas. The construction was carried out by order of the Free Royal City of Subotica and was intended for the rental of luxury apartments by the city senate, which received the rent. There were shops on the ground floor, and the building housed the city printing house for many years. This is a two-story corner building with a plinth that follows the shape of an irregular site. The appearance of the building differs in many ways from the original design. The rich Viennese Art Nouveau style with baroque elements was replaced by a calmer, geometric version of the same style introduced in Vienna by the architect Joseph Hoffmann. The baroque tower forms and floral patterns envisioned in the design were replaced in the finished building by cleaner, more elegant, elongated geometric forms. The facade is almost symmetrical. Deviations are noticeable only on the ground floor and on the corner tower. The facade is characterized by vertically oriented openings, which are grouped in pairs in a very interesting way. Eight pairs of openings rhythmically descend down on the first floor, and six pairs on the second. Two entrances or two windows are combined into a single whole and slightly separated from each other. The façade facing Tsar Dushan Street is configured similar to the main facade, but shorter by two pairs of window openings. The pairs of windows on this façade are connected by semi-columns decorated with blue and white ceramics. An interesting feature of this building is its subtle decor. Since the bay windows protrude slightly into the space, on their lower side there is a row of medallions with figures of swans and birds.

Remember in the beginning we advised you to buy Negro candies? So, by order of the owner of the confectionery factory that produced them, in the early 30s a house was built on the site where the garden had previously been located. Architect Gyula Vali designed it in a style typical of interwar Europe with neo-eclectic elements. The facade amazed the townspeople at that time with its scale. To prevent it from looking boring, the architect added asymmetry: balconies, bay windows, decorative belts. For that time, it was a very advanced house: gas heating, running water, sewerage, heat and sound insulation with cork slabs, thoughtful natural ventilation. Each apartment had a separate kitchen, bathroom and even a maid's room. On the ground floor there were commercial premises - shops and shops. The building became a symbol of the wealth and enterprise of the Roof family, which owned several cars, and it was said at the time that the Roof family owned half of the cars in the city.