Novi Sad
History:
In this article, we explore the Yugoslav-era monuments and cultural memorials that were constructed in the Vojvodina city of Novi Sad, Serbia. In addition, there is an examination of the former "Museum of the Revolution", which commemorated the Partisan's struggle to liberate the city, as well as some of Novi Sad's Yugoslav-era architecture.
(Нови Сад)
(NOH-vee sahd)
World War II
After the Kingdom of Yugoslavia was invaded and overrun by Axis forces in April of 1941, the former Kingdom was partitioned into several pieces whose rule would be administered by several different countries. The governance of Novi Sad and its greater region was annexed by Miklós Horthy's Hungarian Axis forces. The Hungarian troops, called Honvédség, who occupied the city did so with great brutality and ferocity. The most brutal of these crimes were committed against those people belonging to the city's Serbian and Jewish communities, who were immediately targeted with violence and oppression after occupation began. The most notorious of the civilian attacks on these communities was an incident often referred to as "The Novi Sad Raid" (often referred to as simply 'The Raid' or 'Racija'), where around 3,000 - 4,000 civilians across the greater Vojvodina region were killed by Hungarian Honvédség troops during a January of 1942 (Photo 1). In the city of Novi Sad during the Raid, over 1,200 were marched across the frozen Danube River until they fell through the ice. The primary purpose behind the Raid was to root out and eliminate all anti-Axis resistance forces (such as the Partisan and Chetnik rebels) in the area of Bačka, which were causing significant problems for the Hungarian authorities. An additional potential reason for these killings was the Hungarian policy of "systematic magyarization" during the war in regions they had annexed. In this magyarization of the region, non-Hungarians or people of non-Hungarian backgrounds were discriminated against, persecuted, ethnically cleansed or even killed. As Serbs, Jews, Roma and other dissidents were either forced out of the region or killed, Hungarian families were brought in and moved into these now vacant homes.
Throughout the war, communist-led Partisan rebel divisions were working to undermine and sabotage Hungarian control of Novi Sad, as well as the greater Vojvodina region. The Vojvodina Partisan resistance had recruited into their uprisings effort well over 2,000 fighters who were composed of a wide variety of ethnicities (Serbian, Slovak, Hungarian, etc). In late July 1941, a group of rebels in the northern part of Novi Sad (in the suburb of Čenej) began to organize a fighting unit to combat Hungarian occupation, calling themselves the 'Novi Sad Partisan Detachment'. It was primarily made up of four local individuals: its commander Milan Simin, along with Antal Nemeth, Živko Ranisavljević and Stevan Nikoletić. However, the group was discovered by Hugarian patrols on the morning of July 26th, 1941. Simin and Nemeth were killed while trying to escape arrest, while Ranisavljević was arrested and Nikoletić escaped successfully. Ranisavljević was put on trial in Novi Sad by the Hungarian authorities, who argued that this Partisan unit was planning to assassinate Hungarian Regent Miklós Horthy, as he was scheduled to be in nearby Subotica the next day on the 27th -- Ranisavljević was ultimately found guilty and executed. Nikoletić was also subsequently captured and executed in January of 1942 during 'The Raid'.
Photo 1: Civilians killed during the Novi Sad Raid, January 1942
Photo 2: Novi Sad Partisans entering liberated Novi Sad, 1944
In August of 1944, the Novi Sad Partisan Detachment reformed under commander Todor Gavrilović-Rile. Then, in September of 1944, the Novi Sad Partisans assisted the Soviet Red Army as they entered Vojvodina during Belgrade Offensive military operation against Axis forces in Serbia, a move which severely weakened and drove out a great deal of German and Hungarian forces from the region. Finally, on October 23rd, 1944, the city of Novi Sad was liberated from Hungarian Axis control, with the Novi Sad Partisan Detachment being one of the first units to enter the city (Photo 2). While the region was liberated in 1944, it was administered under a communist military rule until 1945. During this military rule, many ethnic-German and Hungarian civilians (along with Serbian-Axis collaborators) living in the Bačka region faced harsh post-war retaliation, which ranged from imprisonment to death. Many thousands were killed during these communist purges across post-war Yugoslavia. In 1945, the region was organized into the Socialist Autonomous Province of Vojvodina within Serbia, with the capital city being designated as Novi Sad.
Yugoslav-era Monuments in Novi Sad:
In this section, we will examine the many monuments across the region of Novi Sad that are dedicated to the events of WWII, as well as sites that house the remains of Partisan fighters who fell during the course of the war and the city's ultimate liberation.
"The Family" or "Raid" Monument:
In Novi Sad along the Danube River quay, just across the river from Petrovaradin Fortress, is a monument known as "The Family/Porodica" (also known as the "Raid/Racija" Monument). This work was unveiled on October 23rd, 1971 and was created by the famous Vojvodina sculptor Jovan Soldatović [profile page]. The sculpture, which stands roughly 4.5m tall, is cast in bronze and consists of a group of four nude figures standing upon a concrete pedestal (a father, a mother, a child and a baby), each holding the other (Photo 3). The form of the figures is highly stylized, thinly elongated and reduced in detail, a style that came to be a characteristic of Soldatović. This work commemorates the victims of the 1942 Novi Sad Raid (also known as the "January Raid"), a mass killing during WWII by the Hungarian Honvédség fascist forces that resulted in the deaths of over 3,000 civilians across Novi Sad and the Vojvodina region. When the monument was unveiled in 1942, thousands of people came to attend its commemoration ceremony.
Photo 3: Here we see a photo of The Family monument in Novi Sad at the edge of the Danube River. Credit: personal photo
Photo 4: A photo of the unveiling of The Family monument in Novi Sad in 1972. [source]
The concept for this sculptural work had its genesis in 1956, when Soldatović first conceived this work in plaster while part of the artistic group Prostor 8, a group that had a goal of creating bold modern art that cultivated a "symbiosis of sculpture, architecture and its surroundings" in a free public location available to those who might not be normal gallery visitors. The group organized their first major exhibition, which included Soldatović's Family sculpture, in May of 1958 at Petrovaradin Fortress (with a follow-up exhibition in Belgrade). These two exhibitions were among the country's first major presentations of modern sculpture to the Yugoslav public. The Family sculpture sat in Soldatović's studio until 1964, when the city authorities of Novi Sad made the decision to employ the work as the centerpiece of a new monument complex dedicated to the 1942 Raid along the Danube (in a spot that was at that time called "Moša Pijade Quay"). In the lead-up to the monument's construction, a depiction of "The Family" sculpture was used on a Yugoslavia commemorative stamp recognizing 20 years since the nation's adoption of the United Nations' Human Rights Declaration. Also in 1968, funds were finally secured to do a pouring of the plaster sculpture into a bronze form for its final waterfront display on the quay.
The work's solemn atmosphere testifies to the memory of the victims of that 1942 atrocity while serving as a powerful anti-war symbol of humanity. On one hand, the sculpture communicates feelings of tenderness and love showing a family in an embrace, yet, its stylized form is haunting and reminds us of the people who suffered the atrocities that occurred at this location. When it was unveiled in 1972, the sculpture only contained two primary set of inscriptions. The first was placed on the bottom of the sculpture's pedestal, which read "Glory Be to Them - 1941-1945", written in Serbian and Hebrew. Meanwhile, the second consisted of a long thin bronze strip along the low brick wall in front of the monument that read as "Victims of Fascism" in Serbo-Croatian (in both Latin and Cyrillic lettering), Slovak and Hungarian. Then, in 1992, a set of new inscribed bronze plates were installed around the complex, all also the work of Soldatović. The first of these inscriptions to note is a set of bronze plates situated to the left and right of the sculpture on top of low brick pedestals. Both inscriptions read similarly, the one on the left in Serbian and the one on the left in Hebrew, translating into English roughly as: "In Novi Sad on January 21st, 22nd and 23rd of 1942, more than 1,300 Jews and innocent Serb men women and children were murdered by Hungarian fascists and thrown into the ice of the frozen Danube".
Also part of the 1992 expansion of this monument complex was a set of bronze plates located to the left of the sculpture that trailing down the quay that lists the names of many of those who were killed during the Novi Sad Raid. At the end of that line of names in a further inscribed bronze plate in Serbian that roughly translates as "In January of 1942, the Hungarian occupiers which were implementing a policy of genocide with the participation of a number of local Hungarians, poisoned by chauvinism, carried out a large massacre of of about 4,000 victims of Serbs, Jews, Gypsies and others, throwing them under the ice of the Tisa and Danube Rivers. Many families were killed to the very last". Finally, to the right of the sculpture is a set of stairs that go down towards the water. To the right of the top of these stairs is one final Serbian inscription upon a bronze plate that reads in English as "Memory is a monument harder than stone. If we are human, we must forgive, but not forget".
Today, "The Family" Monument continues to reside in excellent condition and is visited by many thousands of visitors a year, while also still hosting annual commemorative events (generally around January 23rd). The site is nationally protected as a piece of immovable cultural property by the Institute for the Protection of Cultural Monuments, a status designated on July 5th, 1988. The exact coordinates for this site are N45°15'07.9", E19°51'21.4".
The Partisan Cemetery at Novo Groblje:
At the northwest edge of the city of Novi Sad, just off of the road "Rumenački Put", is a vast complex known as "Novo Groblje" or "The New Cemetery". Spread over roughly 80 hectares on the city's periphery, the graveyard was established in 1974 as an expansion from Novi Sad's older and more crowded central cemeteries. Then, in July of 1976, discussion began by Novi Sad authorities in regard to the creation of a special section of the cemetery at its southeast edge for the interment of the mortal remains of Novi Sad's Partisan fighters who perished during WWII (Photo 5). After a design competition was held to decide what form this project would take, the commission was awarded to the submission made by architect Čedomir Radović and the sculptors Sava Halugin and Vojin Dedejić. Construction of this project, which began in 1983, was carried out by the firm "Vojvodinainvest". The completed Partisan Cemetery was unveiled to the public on October 21st, 1984, a date which commemorated the 40th anniversary of the WWII liberation of Novi Sad.
Photo 5: A photo of one of the sculptural elements at the Partisan Cemetery at Novo Groblje in Novi Sad. Credit: personal photo
Photo 6: An aerial photo of the cemetery showing the diagram layout of the site. Credit: GoogleMaps
The cemetery within which the Partisan remains are interred is organized in a unique fashion. Laid out across a 4 hectare rectangular plot 108m x 142m (which is subdivided into a 5 by 12 grid of 8m x 27m rectangles), the burial area serves as a sort of distribution graph detailing the month and year during the war each individual perished. Within each small rectangle corresponding to the proper month and year, a 1m tall white urn-shaped stone marker is placed representing a fallen Partisan fighter. Upon the stone, the fighter's name is inscribed, along with their birth and death year (Photo 7). Photo 6 illustrates a diagram of the cemetery's grid system, conveying that the vast majority of the Partisan deaths occurred within the first few months of the war from June to December 1941. There is also an engraved stone marker at the entrance to the Partisan cemetery that shows a similar diagram of the cemetery. I am not aware of any other military cemetery in the world that is laid out similarly as to graphically show when a group of soldiers or fighters perished.
Meanwhile, the cemetery grid is diagonally bisected with a 190m long northwest-southeast paved pathway ("Avenue of the Revolution"), with ceremonial plazas at each corner. Also adorning the plazas at each end of the diagonal pathway are two sets of +3m tall sculptural stone monoliths (the work of Sava Halugin). Upon these monoliths, at their bases, are inscribed the names of further fallen fighters from WWII. When standing at one end of the diagonal pathway and peering through the monoliths, a tunnel effect is created that some sources describe as symbolizing the sights of a rifle peering across the years and months of the war. Within the cemetery are interred numerous Yugoslav National Heroes, such as Svetozar Marković Toza and Đorđe Zličić Ciga. Meanwhile, buried within the complex are the remains of 286 Partisans, while 538 names were inscribed on its elements.
The condition of the Partisan Cemetery complex is fair, with a major restoration and cleaning of the site ocurring in 2020. It continues to host regular commemorative events and ceremonies. The exact coordinates of this cemetery are N45°16'22.1", E19°47'43.9".
Photo 7: Grave markers
Monument to Fallen Fighters in Futog:
Roughly 5km west of the city center of Novi Sad is the suburb of Futog. Situated in front of the suburb's Youth Cultural Center on Cara Lazara Street is a monument dedicated to the fallen Partisan fighters who originated from this community. Unveiled in 1955 and created by Zagreb-born sculptor Jovan Gostović, the central element of this composition is a 2.5m tall figurative bronze sculpture depicting a Partisan fighter posed in a "call to action" motif (a common pose for Partisan monuments) (Photo 8). The figure carries a rifle in his right hand while gesturing dramatically forward with his left hand, all while yelling back to his comrades for support. His open shirt lays his chest bare, symbolizing his bravery and defiance.
The sculpture itself sits upon a 2m tall pedestal covered in polished stone panels. On the front of the pedestal is an inscribed stone panel that bears a poetic inscription in Serbian, translated here roughly into English: "You fought an unprecedented fight, great treasures were obtained, and you were great - you became great and we are eternal in you". The author of this stanza is not cited. After this, the plaque communicates that it is dedicated to the war's fallen fighters and its victims of fascist terror, being erected by the people of Futog. In 2022, the memorial was restored by the city's Institute for the Protection of Cultural Monuments. Today, the work exists in good condition, but I found no articles indicating that ceremonies occur here. The exact coordinates for this work are N45°14'14.1", E19°42'23.4".
Photo 8: The Monument to Fallen Fighters in Futog. Credit: Futog Facebook
Monument to Fallen Fighters at Ledinci:
Across the Danube River from Novi Sad to the west roughly 8km is the small village suburb of Ledinci. At the center of the village within the main square next to the post office is a memorial sculpture that serves as a monument dedicated to local fallen fighters and victims of fascism from WWII (Photo 9). Unveiled on October 19th, 1973, the site commemorates the 30-year anniversary that members of the community were massacred and the village burned by Ustaše fascist forces. Created by Novi Sad architect Mirko Krstonošić (creator of the famous Hotel Park in Novi Sad and Hotel Omorika at Tara National Park) and Zrenjanin-born sculptor Pavle Radovanović (who created NOB monuments and memorial busts across the Vojvodina region), this work is a 2m tall bronze cast abstract composition that is composed of five geometric arms that come together to form a spherical shape (perhaps symbolizing a flower or a flame). It sits upon a concrete pedestal upon which is inscribed the name of the village "Ledinci" in Cyrillic text.
Photo 9: A photo of the Monument to Fallen Fighters in Ledinci. Credit: xiwl.com
The monument complex at Ledinci had sat in poor shape for many years after the 1990s, with numerous cracks all across the bronze sculpture and its pedestal base as of just a few years ago, however, restoration efforts were made on the work in the early 2020s. I was not able to find any new articles or press releases that indicate that commemorative events have been held here in recent years. The exact coordinates for this monument are N45°12'35.2", E19°48'15.7".
The Stručica Monument Site:
Across the Danube River from Novi Sad to the west roughly 9km is the small village suburb of Rakovac. At the west edge of the village is a memorial zone known as the Stručica Monument site, a location which is dedicated to three fighters of the Fruška Gora Detachment who were designated as Yugoslav National Heroes: Stanko Paunović Veljko, Đorđe Marković Đilas and Zencel Hunjadi. It was at this location, known as Stručica, that these fighters were killed in combat on August 31st, 1942 during a massive Axis offensive against a small number of Partisan fighters on Fruška Gora Mountain. The monument was unveiled in 1972 and was the work of Novi Sad architect Mirko Krstonošić. The central memorial object of this site is a set of three concrete fins set in a triangle configuration that all curve upwards into the sky towards an apex point reaching 9m tall (Photo 10). Each of the three concrete fins has attached to it a small stone marker inscribed with the names of one of the three national heroes.
Photo 10: The The Stručica Monument Site. Credit: xiwl.com
Meanwhile, in front of the monument exists a large circular stone-paved ceremonial courtyard for hosting commemorative events. Originally, the three national heroes were interred underneath this monument site, however, in the early 1980s, their remains were reinterred at at the Memorial Cemetery at Sremska Mitrovica [profile page]. Since the 1990s, the site has been victim to overgrown vegetation, yet, commemorative events and wreath-laying ceremonies have continued to occur here. In the early 2020s, a Serbian language interpretive signboard was installed at the entrance to the site which communicates the historical significance of the location. The exact coordinates for the Stručica Monument site are N45°12'23.7", E19°45'36.6".
The Museum of the Revolution:
In the years directly after WWII, numerous groups in Novi Sad attempted to bring together and curate the historical archive of documents, artifacts and history related to the events of the People’s Liberation Struggle (NOB) that transpired across the region of Vojvodina, such as the local institutions of Matica Srpska and the Provincial Committee of the People’s Front. However, in 1956, the responsibility of overseeing Vojvodina’s socialist revolution archive and collection were taken over by the Museum of Vojvodina, which was at that time an administrative body that oversaw all museological institutions across the region. It was at this point that efforts were set forth toward establishing a purpose-built facility for the exhibition of these NOB documents and artifacts.
Photo 11: A photo of the former Museum of the Revolution in Novi Sad.
Photo 12: A vintage photo of the interior of the Museum of the Revolution in Novi Sad.
After a 1959 design competition, a proposal that was put forward by Croatian architect Ivan Vitić (who was one of Yugoslavia’s most renowned architects) was awarded first prize. The site chosen for constructing this museum was a site at the corner of the streets Dunavska and Ivo Lola Ribar, just one block away from the Danube River. However, until this facility was completed, the institution, which was given the official title “Museum of the Workers' Movement and the People's Revolution of Vojvodina”, was housed within the Topovnjača building at Petrovaradin Fortress (sharing space with the natural history department). Construction on Vitić’s design began in 1960 and was completed roughly five years later in 1965. However, staff, archives and collections were not moved in until four years later in 1969 and the first official permanent exhibit within the newly completed museum was not open to the public until December 22nd, 1972, which was designed by architect Đuka Kavurić (the same creator of the original exhibition at the Museum of the Revolution in Sarajevo).
For its time, the exhibition designed by Kavurić was extremely cutting edge, including cutting edge presentation displays utilizing audio, film strips, dynamic lighting, interactive dioramas and numerous other forward-thinking concepts meant to connect the visitor more closely with the presented history. A modest presentation/cinema hall was also included, which was originally intended for the functions and events workers and laborers (as part of the original mission of the complex was to be a “Museum of the Workers' Movement”). Meanwhile, the complex itself which Vitić designed was fashioned in a style of modernism akin to Mies van der Rohe, with its pavilion shape defined by a rectangular box bearing a raw concrete facade floating above (and cantilevered well beyond) a glass curtain base. Then, above this box floats a flat concrete roof, itself also perched upon and jutting out from a pedestal of glass-paned walls. It is also important to note that the building’s boxy mass (which holds the bulk of the exhibition space) is pierced with a small square through its center, creating at ground level an open courtyard atrium at its core that is adorned with a serene Japanese-style garden and water feature. Glass walls all around the core of the atrium bring significant light into the closed boxy mass of the museum. Meanwhile, one of the main artistic features built into the structure of the museum is a massive stained glass wall panel (roughly 6m x 4.5m) arranged on the front facade of the complex just above the main entrance. This vibrant glass artwork depicts a colorful abstract scene, created by Belgrade academic artist Zoran Pavlović, that embodies the universal themes of “defiance” and the uprising against oppression (Photo 13). In addition, the museum was also filled with much revolution-inspired artwork by many of Vojvodina's most prominent artists, such as Nandor Glid, Jovan Soldatović, Pavle Radovanović, Boško Petrović, among others.
Photo 13: A vintage photo of the Zoran Pavlović's stained glass window in the Museum of the Revolution
However, it is crucial to mention, as one source notes, that because of the long drawn-out construction schedule that the museum suffered under (most likely due to budgetary constraints), Vitić ended up leaving the museum project before its completion. This may have been the result of the museum not being constructed exactly to his parameters (particularly in relation to ventilation and climate control systems), as well as a secondary building next to the museum that Vitić had planned not being approved for construction. His walking away from this project before completion was most likely the reason that many compendiums omit the Museum of the Revolution in Novi Sad from Vitić’s lists of accomplished works.
Photo 14: A memorial sculpture by artist Jovan Soldatović
Photo 15: The sculpture "Uprising/Ustanak" by Nandor Glid.
Photo 16: The sculpture "Victory/Pobeda" by Nandor Glid.
Meanwhile, it was in the early 1970s that the facility took on a new name, “Museum of the Socialist Revolution of Vojvodina” or “Museum of the Revolution” for short. This new name helped to communicate that the museum would focus on not only the war years, but also the post-war reconstruction and the establishment of the self-managing socialist society of Yugoslavia and Vojvodina. Then, in 1974, the Museum of Vojvodina moved in right next door to the Museum of the Revolution, establishing its own permanent headquarters and exhibitions in the old courthouse building, itself a romantic Neo-Baroque style civic building constructed in 1896 by Budapest architect Gyula Wagner. However, after operating as one of the central modern historical museums in Vojvodina during the Yugoslav-era, the Museum of the Revolution underwent significant changes during the 1990s as the federal union of the nation was dismantled. In 1992, the institution and its collection were absorbed by its neighbor, the Museum of Vojvodina and by 1997, much of the museum’s exhibitions related to the socialist revolution, the workers’ movement and post-WWII were removed and put into storage. Meanwhile, the Museum of Contemporary Art of Vojvodina (MSUV) in Novi Sad, which had been evicted in 1999 from the space it was using in the Sports & Business Center of Vojvodina (SPENS), began occasionally using the old Museum of the Revolution site for temporary exhibits. This subsequently led to the MSUV being granted permanent use of the space by the Provincial Committee in May of 2009. In moving in their collection of art and sculpture, only a few minimal changes were made to the overall structure of the museum, with the presentation of the exhibition rooms being very minimal, with just sparse white walls and warm hardwood floors. However, one significant change that was made was covering up Zoran Pavlović’s large stained glass window with wall panels. Also, some of the WWII-related exhibits from the old Museum of the Revolution continue to exist on display, as well as many of the museum's original sculptural works.
Today, the MSUV continues to operate out of the old Museum of the Revolution building, with a small section of the building utilized by the Museum of Vojvodina’s Department of Recent History. However, because of a lack of maintenance over recent deacdes, many aspects of the facility are in need of repairs, especially the the exterior grounds and the ventilation and climate systems. Such repairs are all the more critical, as the building is officially protected as a cultural monument. A design competition was held in 2013 for redeveloping the grounds around the museum, however, despite a winner being awarded, the project was never initiated. Meanwhile, it is notable to mention that in the early 2020s, Pavlović's stained glass window was finally uncovered and restored, once again making it visible to the public. A listing of some of MSUV’s collections of paintings and sculptures (which numbers at well over 2,500) can be seen in THIS 2012 catalog published by the institution. The official website for MSUV can be found at THIS link. The exact coordinates for this museum complex are N45°15'23.9", E19°51'11.4".
Yugoslav-era Architecture of Novi Sad:
In this section, we will explore various Yugoslav-era building sites across the city of Novi Sad that represent significant architectural achievements by some of the country's most important architects.
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Novi Sad Railway Station: Located at the "T" intersection between Jaše Tomića Boulevard and Freedom Boulevard, the current main railway station of Novi Sad was created in 1964 and was designed by the architect Imre Farkaš (along with Milan Matović). Constructed in an astounding 15 months, the railway station is typified by its sawtooth roof design, from which descends an elegant glass curtain facade (Photo 17). Within the white stone paneled main lobby of the station, along the west wall, is a gigantic mosaic mural titled "Zora u ravnici Vojvodine" (Dawn in the Vojvodina Plain), created by Belgrade artist Ljubiša Petrović. The exact coordinates for the Novi Said Railway Station are N45°15'55.5", E19°49'46.2".
Photo 17: The Novi Sad Railway Station
Photo 18: A view of the former Stoteks Shopping Center located in Novi Sad [source]
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"Stoteks" Shopping Center: Situated right in the city center of Novi Sad, Serbia is a gigantic shopping complex which was originally known as the "Panonija Bazar" Department Store (Photo 18). Unveiled in 1972 and built for the "Stoteks" trading company, this massive 4 level, 11,000 sq m retail complex was the biggest in Vojovdina and was created by Slovene architect Milan Mihelič (who was a student of famed Slovene architect Edvard Ravnikar). The form of this expansive modernist structure is characterized by three long wide horizontal rows of flat white stone panels along the street-facing side of the building which protrude and retract back and forth at sharp angles and through doing so, various sized windows are revealed (both thin and wide).
To flank this broad set of panels, huge sets of windows are revealed on the east and west ends of the complex, but most artful are the windows on the west end, which open dramatically in wide black rectangles towards Menrat’s Palace next door. Some sources assert that the Stoteks complex was the most beautiful shopping center in all of Serbia. The department store continues to operate to present-day, often being referred to as "Zara", which is the primary retail chain which occupies the largest area of the complex. Despite its age, the complex still appears very much as it did upon its original unveiling, having been spared the destructive "renovations" which many similar buildings across the region faced in the post Yugoslav-era of privatization. The exact coordinates for the Stoteks facility are N45°15'13.1", E19°50'39.1".
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"SPENS" Center: Just east of University of Novi Sad along Tsar Lazar Boulevard is a complex that is commonly referred to as "SPENS" or the "Sports and Business Center Vojvodina" (Photo 19). A multi-use facility dedicated to sports, shopping and entertainment, it was opened in 1981 and designed by an architect team led by Živorad Janković (who also designed major sports centers at Priština, Split and Sarajevo). Steeped in a postmodern architectural vocabulary, SPENS features a bold and daring use of color, exposed utilities and a decadent use of glass. Its spaces are free and open (yet arranged in an artful and sophisticated manner), sharing much in common with the famed Sava Center in Belgrade. It remains an important landmark in Novi Sad and is little changed from the Yugoslav-era. Its exact coordinates are N45°14'49.6", E19°50'47.6".
Photo 19: A photo of the SPENS center [source]
Photo 20: Photos of the interior and extior of the Faculty of Philosophy in Novi Sad
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Faculty of Philosophy: One of the most distinct buildings within the campus of the University of Novi Sad is the Faculty of Philosophy (Photo 20). Unveiled in 1979 and created by an architect team led by Aleksandar Stjepanović (one of the main minds behind Blok 22 & 23 in New Belgrade), its form and aesthetic are often cited as being "brutalist" in style, with its heavy reliance on raw concrete in its facades, as well as its many decorative elements. Of these, the curved concrete interior atrium alcoves are particularly distinctive. Despite this extensive use of cold concrete, its red brick walls, copper roofing, red tile floors and rich wooden interior adornments give the structure a warm atmosphere. The facility continues to operate to the present day and is littled changed from the Yugoslav-era. Its exact coordinates are N45°14'47.6", E19°51'12.0".
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Liman Towers: Within Novi Sad's community block "Liman 4", just along Tsar Lazar Boulevard, are three massive residential towers, each with +20 floors reaching a height of 75 meters (Photo 21). Cited as being the tallest buildings in Vojvodina, these high-rise structures are often referred to as the "Liman Towers", or more affectionally as "Crvenkape/Red Capes" (a reference to Little Red Riding Hood), on account of their distinctive dramatic sloping red rooflines. Unveiled in 1988 and created by architect Milorad Milidragović (who also designed the 3 high-rise towers in the neighboring residential block "Liman 3"), the towers are constructed in the typical pre-fabricated concrete panel system, yet the playful red roof serves as a subtle postmodern touch of vernacular architecture. The towers continue to operate as an important symbol and landmark of Novi Sad. Their exact coordinates are N45°14'23.7", E19°49'36.4".
![Arch-Liman Towers-1 [1988, 75m, crvenkape].jpg](https://static.wixstatic.com/media/e73a14_86563603f37b497aadfe83a89a477e8b~mv2.jpg/v1/crop/x_3,y_61,w_1414,h_997/fill/w_438,h_309,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/Arch-Liman%20Towers-1%20%5B1988%2C%2075m%2C%20crvenkape%5D.jpg)
Photo 21: A photo of the Liman Towers in Novi Sad [source]
Selected Sources and More Information:
-Wikipedia article: "Novi Sad Raid"
-Serbian Wiki article: "Споменик жртвама рације у Новом Саду"
-Spomenici Kulture article: "Спомен-гробље"
-Znaci article: "Novi Sad u drugom svetskom ratu"
-Nsuzivo.rs article: "Restauriran spomenik borcima NOR-a u Futogu star 77 godina"
-Fruskac.net article: "Stručica Monument Site"
-Mladenko Kumović paper: "Stalne postavke na temu NOR-a i Revolucije u Vojvodini" [PDF]
-Museum of Contemporary Art Vojvodina: About the Museum
-Serbian Wiki article: "Muzej savremene umetnosti Vojvodine"
-Wikipedia article: "Novi Sad railway station"
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