BUILDING LENIN PARK 13

18. December 2018.

The building was built in 1898 for Ferenc Šimegi, the owner of the state-of-the-art steam mill in the area, according to Titus Mačković’s projects, who applied the neo-stylistic orientation to the building. It represents the last in a series of four palaces on the northern edge of the park, located at the corner of the Lenin Park (leaning on “Leović Palace”) and Bose Miličević Street, facing the railway station.
The corner, one-storey building, the base in the form of the Cyrillic letter “G”, is pulled from a street control line on which the decorative wrought iron fence is formed, thus forming prefabricates.
The owner of the building, agreed with the designer, that his house be decorated with a compilation of medieval Gothic motifs, because the apparent splendor, even in fake materials, provided an illusion of security and place in society.
The facade of the Lenin Park is with a pronounced central rhizalite, with three grandiose openings of a broken, gothic port on the ground floor with a diminished gate in the central port. The pillars that emphasize the Gothic verticalism make a marked marking of the retracted terrace above which the tower rises. The windows are doubled, on the ground floor with a segmentally finished base, except for those on the central risalite that are identical to the windows of the floor part, with a bulging broken arch. All windows have a “T” split split and a triple split in a broken port.
The corner of the building on the ground floor has an entrance (subsequently opened for the needs of the pharmacy) while the façade on the first floor is seated with a console terrace covered with an elongated pyramidal tower covered with eternity.
The facade of the street Bose Miličević is with a shallow central rizalite, with doubled openings of the Gothic port in a rhythmic array, reduced profile segmented and broken fissure. Over the central risk area in the roof zone is a mansard roof.
Along the entire facade, the horizontal wreath dominates the hippopotamus, but it is justified by the “Vermeš” and “Mamužić’s” palaces that together make up one whole, and they were built somewhat earlier in a neo-Renaissance style.
The decoration of the building is pronounced around the holes, on the tower and in the loft. In the loft, a string of consoles flows richly with herbal plastic and a trolley in the interstice. The same detail appears on the capitals of the corner section, and a grotesque animal figure is formed above the entrance. All this gave the fake glow of the “stone gothic flower” that satisfied the needs of the richer citizens and craftsmen of that time.
The courtyard façade of the building is simple processing, different openings, and only on the risal side wing is dominated by a Gothic window, three-part divisions with a broken arc above which the motif is a “quadruple” clover.
The roof is dyslexic, covered with pepper tiles.