Goldschmidt Palace

Somogyi Library

Reök Palace

Votive Church

Musical clock

St. Demetrius Tower

Appartemant House / Flatiron House

Attila József Education and Information Centre

Beregi House

Twin Villas

Gróf Palace

Ungár-Mayer Palace

Today nobody would think that this undistinctive and characterless apartment house once was one of the most remarkable buildings of the Szeged Art Nouveau.

Károly Somogyi, prebendary of Esztergom, aimed to make a contribution to the 'mental' reconstruction of the city in ruins after the flood by giving Szeged his priceless collection of books in 1881.

The architect Ede Magyar was thirty in 1907, when he constructed Reök Palace, an exemplary piece of Hungarian secession.

After the Great Flood (1879) destroying the city, the people of Szeged made an oath to build a majestic catholic church.

The tunes of this unique piece of art by watchmaker Ferenc Csúri could be first heard at the Open Air Festival in 1936.

Outside the Votive church stands the Saint Demetrius Tower, the oldest architectural relic of the city.

The Iron House was given its name after its spectacular shape. Looking from a distance at its facade sectioned by the strikingly marvellous, masterly executed corner pinnacle, ledges and bay windows, we may suppose that it is a historic monument.

The education and congress centre of the University of Szeged.

The Beregi House is one of the gems in the splendid row of palaces of the Szeged’s cityscape, which primarily is an extraordinary example of the brick architecture and Art Nouveau architectural school.

The dwelling house of two upper vocational school teachers on Lechner Square exemplifies excellently that the novel spirit of the Art Nouveau inspiringly influenced the attitude of the contemporary middle class.

It is a determinant building on Tisza Lajos Boulevard being the biggest protected monument built in secession style in Szeged.

« February

This corner building dominantly shaping the cityscape is a masterpiece of the late Art Nouveau in Szeged. Its capriciously animated facades can be attributed to the architect’s imagination forced to distance himself from Art Nouveau and to the designer’s sober intuition under the pressure to return to Eclecticism.