Ferenc Raichle's residential palace

He added that the Ordinance was an obstacle to the development of the city, and many did not want or could not want to build distasteful tenement barracks, but rather family palaces, and, as they are not allowed to do so, many old, unsightly buildings remain in this part of the town.  

Aware of himself and his own qualities, he pointed out that his house would definitely embellish the street in aesthetic terms. And so it was. The Senate accepted the modified plans. How he created a masterpiece of Hungarian-variety Art Nouveau out of an average, already seen Viennese building remains veiled in mystery, leaving us with only with a possibility to assume.   

The facades of the building, however, were completely changed, undergoing a transformation from average to above average. 

 A carefully selected location, next to Maria Theresia Park, not far from the Corso, on the axis of the road stretching from the railway station  emphasized  even more the play of shapes and masses, freely forged forms, which, in harmony with the interior function, flourish, less on the street, and more on the yard   façade.         

Only one of the original yellow honeycomb-shaped glasses remains, displayed since 2013 in a small exhibitions about the designer and owner in the upstairs section of his former home. Nowadays, we can only imagine how the unbelievable dispersion of light made the stay in this space unforgettable.       

In the late 1880, Gustave Falconnier, architect from Nyon, Switzerland, invented a new form of glass blocks. Falconnier’s bricks were hollow, blown into molds and sealed with molten glass pastilles. Falconnier was awarded a prize at the World Exhibition in Paris in 1900. 

This building made him into an exceptional, unique and recognizable designer of Hungarian Art Nouveau. Raichle Palace was declared as a cultural monument in 1973, and categorized as a cultural monument of high importance for the Republic of Serbia in 1991.