FREEMASONRY AND BUENOS AIRES’ MOST IMPORTANT BUILDINGS
Buenos Aires is known for its varied and often schizophrenic architecture; high-rise apartment block sit alongside ancient casa chorizos or tower above PHs, ornate French baroque palaces lounge against charmless 1980’s office buildings, all on the one cuadra. But in the historical centre of the city, numerous buildings have more than a few unifying characteristics; the symbolic flourishes of Freemasonry.
Freemasonry has a long history in Argentina: many important figures throughout the ages including Sarmiento, Belgrano and San Martin were Masons, as were a total of 14 Argentine presidents. Although mired in mythology because of its clandestine nature, being a Mason is really nothing more than being part of an adult fraternity. The fundamental Masonic principles are even “Liberty, Equality, Fraternity”, like the motto of the French Revolution. And this in itself is interesting, because one of the reasons that Masons became so prominent in Argentina was precisely because of the European Masons that emigrated to the Southern Cone, predominantly the Italians. They were known to be more liberal than most Masonic societies by allowing men of any faith and social class to become a member, something that allowed for the expansion of the order in Argentina.
Symbols are a pillar of Masonic culture, representing various ideals, creeds and ethics that the Masons use in both their teachings and apply to their daily lives. The most well known symbol is the Masonic emblem of the square and compass, representing morality and boundaries respectively. These are the tools of the stonemason, and are often seen with a capital G in the middle, meaning geometry, or God, who is the “Great Architect of the Universe”. So naturally, the built environment is a perfect vehicle through which to physically express the values and virtues of Freemasonry in the most enduring way possible.
Palacio Barolo
Palacio Barolo is perhaps the most overtly Masonic building that does not serve the order in all of Buenos Aires. Its developer, textile tycoon Luis Barolo and architect Mario Palanti were both Italian Masons, and Dante Allighieri, the literary inspiration for the building, was a member of Fede Santa, an order which went on to become Masonic. The office building’s design is based on Dante’s “Divine Comedy” and was inaugurated in 1923. It was one of the first skyscrapers in South America and was constructed over the course of four years, with every single element fabricated in Italy and shipped to Argentina for assembly. Divided into three sections that correspond to the poem’s structure over its 22 floors, the two basement levels and ground floor represent Hell, floors 1 – 14 equate to Purgatory and floors 15 – 22 correlate to Paradise. The ornate ground floor is inset with 9 glass circles and there are 9 arches which serve as entrances to Hell. The number 9 not only relates to Dante’s poem, but also to Freemasonry, being the result of 3 times 3, a number sacred to the Masons.
Palacio Barolo. Photo by Sorcha O’Higgins
There are many aspects of the building’s decoration and organization that relate to Freemasonry, with most being centred around the elevator as it represents ascension, in both physical and figurative senses, a fundamental Masonic theme signifying enlightenment. The most obvious Freemason symbol is the compass within the A of “Ascensor”. Another is that the arrow indicating the floors ends in a Fleur de Lis, an emblem synonymous with secrecy, and used by Masons to show the path that should be followed, in this case rising through the floors of purgatory to get to heaven. The floor of the lift lobby is also laid with black and white checkerboard tiles, a typical Masonic reference meaning the duality of god and evil. There are 7 lifts that serve the 22 floors, and the division of the latter by the former gives Pi, which is used to calculate the area and circumference of a circle. In Freemasonry, the circle represents perfect order, and many elements in Palacio Barolo are circular, such as the elevator cars, balconies, windows, arches over doors and of course, the internal dome on the 3rd floor. Directly under the dome on the ground floor, a series of squares are inset into each other, again reinforcing the themes of ascension and enlightenment.
The crowning moment of the Barolo is the lighthouse at the top of the central tower. It serves not only to represent the arrival to God as The Divine Comedy, but also signifies the Masonic traits of illumination and enlightenment. A Fleur de Lis also graces the very top of the lighthouse, which aligns with the Southern Cross constellation every year at the start of June. Legend has it that this alignment creates a direct passage to heaven.
Palacio Barolo. Photo by Sorcha O’Higgins
Teatro Colon
European architects designed the Teatro Colon like Palacio Barolo at a time when the general thinking in South America was that Europe was on the brink of collapse after World War I. In response, Buenos Aires, the self-styled “Paris of the South”, was intent on architecturally emulating its mother continent, resulting in numerous buildings that were a melange of styles aesthetically. Both Teatro Colon and Palacio Barolo evade stylistic definition because of this.
The current Teatro Colon, in between Av. 9 de Julio and Libertad, took 20 years and three architects to complete, with construction beginning in 1888 and finishing in 1908. However, its first incarnation was actually in front of the Plaza de Mayo, where the Argentine National Bank now sits. Perhaps not incidentally, the original Teatro Colon also housed the first Masonic Grand Lodge on its first floor.
The original architect of the modern Colon was the Italian Francesco Tamburini, who also designed the lodge at Cangallo 1242 in Buenos Aires province. After his death he was succeeded by Victor Meano, a Mason who took Tamburini’s designs and embellished them to make the theatre more dramatic. This is most evident the entrance foyer, where the transition between the entrance and first floors is elevated to the realm of the divine. The stairs acts as a bridge between the mortal sphere below and the metaphysical dimension of music and entertainment above. Materially opulent, the floor is tiles with Venetian tessellations, while the stairs themselves are formed from Carrara marble. Yellow marble from Sienna and pink marble from Portugal are woven together in the balustrades. Structurally and decoratively, the ground floor is solid and terrestrial, with thick columns anchoring the building to the ground. But up above, on the first floor, home to the Gallery of Busts, the Golden Hall and the VIP entrances to the main auditorium, delicate fluted columns and gold leafed ceilings herald the crossover into the spiritual domain. Directly above the stairs is an ornate stained glass dome inset with the exquisite figures of eight of the nine Greek muses, the goddesses of the arts. The ninth is said to be metaphorically represented in the dome of the main auditorium. While not overtly Masonic in its symbolism, it could be assumed that it is a reference, because the number 9 in Freemasonry was consecrated to the Spheres and the Muses, and it would also follow that having this positioned directly above a passage of ascension would align with Masonic thinking on the themes of enlightenment.
Teatro Colón. Photo by Sorcha O’Higgins
Palacio del Congreso
The National Congress building was designed by Victor Meano, second architect of the Teatro Colon. It was built between 1898 and 1906 in the Neo-classical style common among congress buildings, and in fact was modelled after Capitol Hill in Washington DC. However, the decorations on its facade and many of its aesthetic details were not completed until 1946. The congress building commands western end of the Congressional Plaza, which was inaugurated in 1910. The plaza itself contains a bronze statue of Rodin’s famous sculpture “The Thinker”, which was one of three sculptures cast in the original mould and signed by the artist. This is notable as Rodin was a Mason and “The Thinker” employs many Masonic elements – it is designed according to the Golden Ratio but the Thinker himself sits on a slab of rough stone, or rough ashlar, representing man’s need for self-improvement which can be gained by adhering to Masonic principles.
Palacio del Congreso also sits at one point of a Masonic triangulation that exists in the city of Buenos Aires, which is a projection of the positioning of the Masons in the temple: the Casa Rosada (near original Teatro Colon) represents the seat of the master, Congreso represents the seat of the first guard and Tribunales (near new Teatro Colon) represents the seat of the second guard. These axes are present in Washington, Paris and in other Masonic cities throughout the world.
There are many other Masonic influences visible in Argentina, from the Obelisco and the Pyramide de Mayo to the entire city of La Plata, which is laid out on a diagonal grid. To find out more about this fascinating society and its legacy in Buenos Aires, take a tour with Tamara, an expert in Masonic symbolism.
Masonic triangulation. Photo by Sorcha O’Higginshttps://therealargentina.com/en/freemasonry-and-buenos-aires-most-important-buildings/
The obelisks and domes at the Vatican and Washington DC are aligned to exactly 88.88 degrees. There’s another city that has a famous dome, can you guess which one it is…?
That’s St Paul’s Cathedral, which stands at the heart of the City of London, England:
So, now that you’ve been introduced to Washington D.C., Vatican City, and the City of London, can you guess what else they all have in common? Here’s a clue: The answer is that they are all independent city-states…
•Vatican City – officially not part of Italy •City of London – officially not part of England •Washington D.C. – officially not part of USA Together, they form a trinity of global control in finance, military, and religion.
Just like Washington DC and Vatican City, London has its very own obelisk too. Cleopatra’s Needle stands on the embankment on the Thames river:
The obelisk is inscribed with hieroglyphs, and comes with its very own sphinx’s too:
This exact obelisk was first erected in Heliopolis, Egypt, before being moved to London on 22/2 1881, as per the plaque on its base:
Imagine the effort required to move a 69ft (21m) statue weighing 224 tons, especially in 1881… there must have been a very important reason for it!
Though they form power centers encompassing finance, military, and religion, London, Washington DC, & the Vatican aren’t the only places showcasing Osiris’s manhood out in the open…A 75ft (23m) obelisk that originally stood in Luxor, Egypt now stands at the center of
of Place de la Concorde in Paris:
It must be pretty important if it gets to stand at the very center of such an important square aligned to the Arc de Triomphe…Note the golden capstone by the way…
For anyone that is wondering, the exact alignment between this obelisk and the Arc de Triomphe is 116.00 degrees.
Not to be outdone by the Brits, Americans, and French, ze Germans got an obelisk too… Schoppenhauserstrasse, Berlin:
The Italians clearly love a good obelisk too it seems… Piazza Navona, Rome:
and so does everybody else around the world…São Paulo, Brazil~ Buenos Aires, Argentina Hyde Park, Sydney Lisbon, Portugal Kofu, Japan, Istanbul, Turkey Stockholm, Sweden Dublin, Ireland Madrid, Spain
So what’s the story behind all these obelisks then? Here’s the the story about Osiris and his phallus…(remember the golden capstone in Paris…)
Clearly, with a story like that it makes perfect sense that every major city wants to have its own version of Osiris’ manhood erected in city squares and plazas… Or not…
Whatever the myth says about Osiris, we can clearly conclude that ancient Egyptian influence and Osiris worship goes far and wide, even in our modern day and age. Now, lets look at another perhaps more modern obelisk…
Might be worth taking a closer look at the new WTC…TBC…
One World Freedom Tower, New York The tower was officially opened on November 3rd, 2014. That date is 11/3 in the US; keep that date/number in mind. Looking at the towers architectural shape, we see its design is that of a square anti-prism:
When viewed from street level the tower resembles a pyramid with a capstone:
You may have seen this pyramid elsewhere, such as on the back of a one dollar bill: One dollar bill… One World Trade Center… both used for trade. Notice the eye at the top of the dollar pyramid?
Could that be Horus/Baal/master again?…
You may also have noticed a rather large pyramid in London, also furnished with its very own capstone…
The Shard is often (jokingly) referred to as Sauron’s all-seeing eye due to its uncanny resemblance to the tower in The Lord of the Rings. Note that the top part of the tower pyramid is frequently lit up at night… like a pyramid with a capstone:
Speaking of Sauron, here’s some quick comic relief for those who need it:  youtu.be
As you can see below those two aren’t the only modern pyramid structures around, but I’ll let you research those further on your own for atlasobscura.com
Now, moving on from obelisks and pyramids… As we’ve had a very brief look at the backside of the one dollar bill, lets do the same on the front shall we!
George Washington must have been a pretty important chap if he’s on the front of the dollar bill… “Freemason… and First President”… nice to see that he got his priorities straight on the statue below! Remember that golden statue at the New York Grand Lodge too.
howed you the 88.88 alignment between the Washington monument (Osiris’s phallus) and the Capitol building (Isis’ womb), which matched the 88.88 alignment at the Vatican. Care to guess which year the Washington Monument was opened?…
The Washington Monument was opened on October 9th, 1888… there are those 8’s again! Incidentally that was exactly one month after Easter Island was annexed (Sept. 9th, 1888).
Also note that the area of the grass surrounding the Washington Memorial is 106.01 acres. Remember the 1,016ft tall Shard and the 116.00 degree alignment in Paris? These are the same digits.
Here’s another coincidence: The river flowing through Vatican City is the Tiber River: Did you know that Washington DC had a creek by the same name until the 1800’s?
Tiber Creek was used as a channel while the city plan was being built. Given that the creek shares the same name as the river at the Vatican, and that the Vatican also lines up to 88.88, it is obvious that the designers of Washington D.C. had a connection to the Vatican.
Drum roll plz…They designed an upside down pentagram, the base of which is at the White House:
The White House itself is at the center of a Templars Cross:
The Templar’s Cross is clearly a key symbol at the Vatican judging by what the Pope is wearing…
The city plan also includes a 6-pointed star (no, this is not the star of David!), with its base at the US Capitol. I will cover this 6-pointed star in great depth in a later post because it is hugely significant.
Do you remember the masonic emblem? Notice the square and compass in the middle:
The square and compass are also included in Washington DC’s street map:
The House of the Temple, the headquarters of the Scottish Rite of Freemasonry (i.e. Home of The Supreme Council of the 33°*)?
the One World Freedom Tower opened on 11/3 (i.e. November 3rd)… 11×3=33… Which as you can see by the fact that the Freemasons have 33 degrees is a pretty significant number. You’re going be seeing plenty more of 33 (and 13 for that matter) in the future…
As I can’t help myself, here‘s a quick example for you – pay attention to the date! en.wikipedia.org
The House of the Temple is located exactly 1 mile directly north of the White House:
The Lincoln Memorial and Jefferson Memorial also share a special alignment…
… They line up to the Winter Solstice:
And lest we forget there’s also the Pentagon, the military arm of the control trinity:
Here we see it all come together nicely: Note that the US Capitol, White House, Jefferson Memorial, and Lincoln Memorial form an upside down cross.
Want to know where else we can find an upside down cross? Yes, that is the Pope, sitting on a throne with an upside down cross.
And here he is on his (very picturesque) Papal Throne… just lovely isn’t it? Pope Benedict XVI (C) waves to the faithful, flanked by Archbishop James Michael Harvey (L) and his personal secretary Georg Genswein (R), during his weekly Wednesday general audience at Paul VI Hall at
the Vatican August 24, 2005. REUTERS/Alessandro Bianchi.
As if things couldn’t get any weirder, let me introduce you to… The Owl You may have noticed that there was something funny about the layout around the US Capitol building…
LA HISTORIA DE LAS BOISERIES DEL PALACIO ERRÁZURIZ EN BUENOS AIRES
Si tienen la oportunidad de visitar el Museo Nacional de Arte Decorativo de Buenos Aires, antiguo Palacio Errázuriz, les sorprenderá saber que las boiseries de uno de sus salones (los paneles de madera tallada que recubren la pared) no son reproducciones del siglo XX como sucede en la mayor parte de los edificios de estilo francés en Buenos Aires, sino que son autenticas reliquias del siglo XVIII procedentes de una importante residencia parisina.
Esta residencia conocida como el Hôtel Letellier se sitúa en el Nº11 de la Rue Royale, en pleno centro de París.
Foto satelital de París con el Hôtel Letellier señalado en rojo, la Plaza de la Concorde en verde, la iglesia de la Madeleine en rosa y el Museo del Louvre en azul:
Fuente: Google Earth.
Fotografía del Hôtel Letellier:
La residencia fue construida en 1781 por Luís Letellier, arquitecto del Rey Luís XV que estuvo a cargo del diseño y la edificación de la Rue Royale, nombrada así en honor a Su Majestad. Curiosamente ocho años después de haber sido terminado el hôtel, a 300 metros del mismo se levantó la famosa guillotina que acabó con la vida de los reyes Luís XVI y Maria Antonieta.
Grabado de la ejecución de Luís XVI el 21 de enero de 1793 en la Plaza de la Concorde. La Rue Royale está marcada en rojo, y a pocos metros de allí se encuentra el Hôtel Letellier:
Posteriormente, a principios del siglo XX el hôtel fue habitado por Natalie Keshko, Reina de Serbia, quien falleció en 1941. Una placa conmemorativa colocada en el edificio recuerda su paso por la residencia.
Retrato de la Reina de Serbia:
Fuente: forum.alexanderpalace.org
Fotografía de la placa colocada en la fachada del Hotel Letellier:
Aproximadamente en 1910 las boiseries del Salón de Compagnie y de la habitación principal fueron desmontadas y vendidas, al igual que los paneles de madera del Gran Salón de la residencia Nº13, vecina del 11, también construida y habitada por Luís Letellier.
Luego de haber sido despojado de sus paneles de madera se colocaron copias en yeso de los originales y se declaró al Hôtel Letellier Monumento Histórico de Francia.
Pero lo más curioso es lo que sucedió con las boiseries. El primer grupo de paneles correspondientes al Gran Salón del hôtel Nº13 fueron comprados por Alexander Hamilton Rice y llevados a su residencia de la Quinta Avenida en New York. Años mas tarde, cuando la residencia fue vendida, la señora Rice donó las boiseries al Philadelphia Museum of Art donde se encuentran actualmente.
Frente del Philadelphia Museum:
Fuente: wikipedia.org
Las boiseries del Gran Salón del hôtel Nº13 exhibidas en el museo:
El segundo grupo de paneles correspondientes al Salón de Compagnie del Hôtel Letellier fueron adquiridos por el Conde Moïse de Camondo y colocados en el Gran Salón de su nueva residencia parisina en la Rue Monceau Nº 63. En 1935 el conde donó al estado francés la residencia con toda su colección para transformarla en el Museo Nissim de Camondo, llamado así en honor a su hijo muerto en la Primer Guerra Mundial.
Si comparamos las boiseries del Nissim de Camondo con las del Philadelphia Museum, podemos observar que a pesar de encontrarse originalmente las primeras en el Nº11 y las segundas en el Nº13 de la Rue Royale, son prácticamente idénticas:
Comparación Nº1:
Comparación Nº2:
El tercer grupo de boiseries, las que correspondían a la habitación principal del Hôtel Letellier, fueron adquiridas por Matías Errázuriz y su esposa Josefina de Alvear para su nueva residencia en Buenos Aires, que casualmente había sido diseñada por René Sergent, el mismo arquitecto que construyó la mansión de Moïse de Camondo, y al igual que este, en 1937 los Errázuriz donaron el palacio con la mayor parte de la colección al estado argentino, quien lo transformó en el Museo Nacional de Arte Decorativo.
Frente del Palacio Errázuriz:
Fuente: sobreargentina.com
Los cuatro paneles de madera tallada de la habitación principal del Hôtel Letellier fueron colocados en el salón Luís XVI del Palacio Errázuriz, llamado el Salón de Madame.
Ubicación del Salón de Madame en la planta baja del museo:
Fuente: Plano escaneado del catalogo «Coleccionables y Coleccionistas», editado por el Museo Nacional de Arte Decorativo en el año 2006.
Vista del anteproyecto del Salón Luís XVI:
Fuente: «Palacio Bosch, residencia del embajador de los Estados Unidos en la Argentina», Editarq, Buenos Aires, 2001, Grementieri Fabio.
A continuación les mostraré a través de planos y fotografías dónde se ubican los paneles originales del Hôtel Letellier. Específicamente son cuatro: dos puertas, un panel-espejo, y un panel-vitrina.
Ubicación del panel-espejo en el plano del salón:
La boiserie señalada en una foto del salón:
Fuente: Catalogo editado por el Museo Nacional de Arte Decorativo en el año 1947.
Detalle del relieve realizado en yeso sobre el espejo:
Según la guía editada por el Museo Nacional de Arte Decorativo en el año 1947, los herrajes y españoletas de la sala también proceden del Hôtel Letellier.
Detalle de una de las españoletas de las ventanas:
Afortunadamente los paneles se encuentran preservados en un museo nacional que además fue declarado Monumento Histórico Artístico Nacional. El edificio se encuentra abierto al público de martes a domingos de 14 a 19 hs. Cualquier duda pueden ingresar al sitio oficial www.mnad.org
¿Por qué todos los 18 de julio el Sol sale exactamente detrás del Obelisco en la Avda. 18 de Julio?
El astrónomo Gonzalo Tancredi explicó a Telenoche los detalles de este curioso fenómeno. Además, invita a participar del “rito” del amanecer este jueves a las 07:48 en 18 de Julio y Acevedo Díaz.
El Sol sobre el Obelisco de 18 de Julio.
Crédito: Rodolfo Caporale
17 de julio de 2024 - 09:17
El sol va cambiando de punto de salida y de puesta a lo largo del año y hay dos fechas por año en el cual el amanecer se da en una dirección específica. Todos los 18 de julio la estrella aparece a los 65° de Azimut (ángulo de medida) desde el Norte hacia el Este, coincidiendo exactamente con la dirección de la avenida capitalina de 18 de Julio.
Desde el monumento del Gaucho hacia el Obelisco, este jueves se verá emerger la bola naranja justo por detrás del emblemático monumento a los Constituyentes de 1830, otra insignia que concuerda con la famosa fecha.
En el marco de este suceso, el astrónomo Gonzalo Tancredi invitó a través de su cuenta de X a presenciar el fenómeno: “Como surgió el año pasado, el Sol sale todos los 18 de julio en la dirección de la Avda. 18 de Julio hacia el Obelisco. El 18/7 cumpliremos el “rito” de ver el amanecer (07:48) en 18 y Acevedo Díaz para la salida del Sol detrás del Obelisco. Al que quiera acompañar es bienvenido”, posteó.
¿Una casual conjunción de nombres y fenómenos?
Sobre si esa disposición es azarosa o fue algo planificado, "todavía no tenemos una respuesta”, expresó el astrónomo. “Podría deberse a una coincidencia, pero lo que nos llama la atención es que es una dirección bastante exacta, con un error de menos de un grado en la dirección de 18 de Julio con la salida del sol para esa fecha”, aclaró.
Sobre si puede tener connotaciones culturales o místicas, “también eso es parte de la investigación que quisiéramos profundizar, no es la única construcción hecha por el hombre que tiene este tipo de orientaciones”, sostuvo el docente.
Lo que se sabe
Tancredi es profesor del Departamento de Astronomía de la Facultad de Ciencias y el año pasado se topó con el hallazgo de un internauta que le llamó mucho la atención: “Quien hizo la propuesta inicial, o por lo menos el hallazgo, fue Gustavo Degeronimi que publicó un tweet y a partir de eso, es que iniciamos un poco de una investigación”.
El primer paso fue conocer sobre la dirección en la que fue erigida Montevideo. También incorporaron una investigación histórica aproximada para unir algunos elementos relevantes. Según indicó el astrónomo, aunque por el momento los hallazgos son insuficientes, están intentando iniciar una colaboración con el Departamento de Historia de la Facultad de Humanidades para poder profundizar ese relevamiento.
“No sabemos exactamente el momento y quién fue el diseñador, el topógrafo que hizo esa demarcación, si bien hay indicios de que podría haber sido en la época de un arquitecto y topógrafo que estuvo en Montevideo, un italiano que se llama Carlos Zucchi, no tenemos certeza de que ha sido algo intencional”, describió Tancredi.
“Hay muchas edificaciones, como las pirámides de Egipto, o varias de los Mayas y de otras culturas, que también han utilizado las alineaciones con la salida y puesta del sol. Stonehenge, es otro caso muy conocido. Así que podría tener, sin duda, una condición cultural y también podríamos pensar en alguna connotación más mística”, indicó.
La Avenida 18 de Julio es la principal calle de la ciudad de Montevideo, y en ella se encuentran algunos de los más importantes o históricos edificios de la ciudad. En su recorrido se encuentran también numerosas galerías y «expos», supermercados, restaurantes, plazas, bancos y tiendas de diversos tipos. La avenida recorre unos 3 kilómetros aproximadamente, desde su inicio en la Plaza Independencia, en el límite con la Ciudad Vieja, hasta su final en el Bulevar Artigas, en el barrio de Tres Cruces, donde se encuentra erigido el Obelisco a los Constituyentes, y donde nace también una de las entradas al Parque Batlle (antiguamente Parque de los Aliados). Su denominación proviene de la fecha en que se realizó la Jura de la Constitución, el 18 de julio de 1830.
Recientemente se descubrió que la parte de su trazado comprendida entre el Obelisco a los constituyentes y el Monumento al Gaucho coinciden en su trazado con la salida del sol cada 18 de julio, fecha conmemorativa para los uruguayos.
«Fue concebida como eje de la Ciudad Nueva, primera expansión del casco colonial, que por su simbolismo y por la gestión del suelo representó la ideología liberal y progresista del Estado independiente. La avenida se diseñó en línea recta, recorriendo el lomo de la cuchilla desde el eje de la Ciudadela hasta encontrar el Camino de Maldonado en el Cordón, donde se produce la inflexión para continuar por dicho camino. Posteriormente, se prolongó hasta el Bulevar Artigas, límite de la Ciudad Novísima, señalizando su remate con el obelisco. Su concepción jerárquica la distingue en el damero por el mayor ancho. Ideada como espacio estructurador, vertebra un sistema de espacios públicos, actualmente integrado por las plazas de la Independencia, Fabini, Cagancha, Explanada Municipal, Plazuela Lorenzo Justiniano Pérez, de los Treinta y Tres, Explanada de la Universidad, plazoleta lateral al Banco Hipotecario, rematando en el Parque Batlle
El primer tramo «de Plaza de la Independencia a la Explanada Municipal, es el de mayor valor patrimonial edilicio y urbano.
En él se implantaron lujosas residencias, salas de espectáculos, grandes tiendas, organismos públicos, comercios, oficinas, y viviendas.
Allí se manifestaron con preferencia las arquitecturas vanguardistas, al amparo del 'impuesto a la edificación inapropiada' de 1926, que impulsó la modernización postulando a la avenida como 'imagen de la ciudad deseada'. A pesar de la actual confluencia de lenguajes y tipologías, se aprecia un carácter unitario debido al ritmo del parcelario y a la regularidad del damero, a cuya lectura contribuye el tratamiento edilicio de las esquinas. El decreto de altura obligatoria de la edificación apuntó a acentuar la lectura unitaria.»1
Saliendo desde la Plaza Independencia por 'Dieciocho', como brevemente llaman los montevideanos a la Avda. 18 de Julio, ya desde las esquinas con la calle Andes, la primera que atraviesa la avenida, quien camina puede observar que efectivamente está recorriendo el lomo de la cuchilla, las últimas estribaciones de la Cuchilla Grande antes de que ésta se zambulla en el Río de la Plata, en la punta San José (al comienzo de la Escollera Sarandí; coordenadas:-34.911519, -56.217108).
Con excepción de los bañados de Carrasco y Melilla, toda el área de Montevideo tenía una fisonomía ondulada, común a la penillanura rioplatense.
«La Cuchilla Grande se prolonga desde el Brasil en nuestro territorio en dirección sur y oeste, desprendiendo un ramal que al penetrar en el actual departamento de Montevideo formaba las vertientes de los arroyos Las Piedras y Toledo. Allí se dividía en dos ramales principales.
Uno de ellos, la Cuchilla de Pereira,...
... El otro ramal, denominado Cuchilla Grande de Montevideo, seguía en su cumbre por la cuchilla del Cardal (hoy avenida 8 de Octubre), se prolongaba por la actual avenida 18 de Julio e iba a terminar en la Ciudad Vieja, en la punta San José.» (p. 2)2
La avenida atraviesa por la mitad a la Plaza de Cagancha y en el centro, se encuentra la columna de la paz, también conocida como el kilómetro cero.
Dado que dicha elevación se ha mantenido hasta nuestros días, la retórica en pasado de la cita precedente es injustificada y no ha sido corregida con la intención de conservar la textualidad de la misma. Hasta bien entrado el siglo xx, la avenida 18 de Julio fue el principal eje comercial y social de la ciudad, como lo atestiguan los numerosos edificios que la engalanan: Palacio Municipal, Torre del Gaucho, Palacio Díaz, Palacio Lapido, Palacio Salvo, Palacio Santos, Iglesia del Cordón, etc. Varios cines abrían sus puertas a diario para recibir grandes cantidades de público. Elegantes tiendas por departamentos y confiterías, y posteriormente también galerías comerciales, completaban una interesante oferta comercial.
La construcción de grandes centros comerciales en barrios como Pocitos y Carrasco, sumado al hecho del gran crecimiento demográfico de los barrios costeros y al decrecimiento del Centro, hizo que rápidamente decayera su importancia en la vida comercial y social de los montevideanos. Actualmente, muchos locales en la avenida y sus alrededores se encuentran cerrados y otros han perdido drásticamente la afluencia de clientes, aunque la avenida 18 de Julio sigue siendo una arteria muy importante para la ciudad y el país.
En julio de 2015, comienzan las obras para la nueva iluminación pública de la avenida con grandes columnas de luces led.3El 21 de diciembre de 2023 se inauguró una ciclovía situada en el carril central de la avenida.4
Pope Francis waves to the crowd from the Speakers Balcony at the US Capitol, September 24, 2015, in Washington, DC. Pool/Getty Images
If President Barack Obama had delivered the text of Pope Francis’s speech to Congress Thursday as a State of the Union address, he would have risked being denounced by Republicans as a socialist.
While most Republicans chose not to complain, and Democrats tried not to gloat, Francis’s speech to Congress was stunning in the breadth, depth, and conviction of its progressivism. That might not have been fully and immediately appreciated by everyone in the House chamber because the combination of Francis’s sotto voce delivery and his heavily accented English made it difficult, lawmakers said, to grasp everything he was saying.
But there was no mistaking his thrust. He made detailed arguments for openness to immigrants, addressing the human roots of climate change, closing the gap between the rich and the poor, and ending the death penalty — all of which invigorated the Democrats in the room.
“It was pretty progressive. He had a little right-to-life stuff in it,” Rep. James Clyburn, the third-ranking House Democrat, said as he cracked a smile thinking about how Republicans would receive the speech. “That’s enough for them.”
The pope isn’t going to change many hearts and minds in the badly divided Congress, lawmakers said, but the moment provided a brief respite from political warfare. Several presidential candidates, including Sens. Bernie Sanders, Lindsey Graham, Marco Rubio, and Ted Cruz, as well as Ben Carson, attended.
Rubio, a Roman Catholic, said in a brief interview that Francis “struck the right tone.” Sanders, a self-described socialist, seemed to like the content even more.
“Pope Francis is clearly one of the important religious and moral leaders not only in the world today but in modern history,” he said in a statement released after the speech. “He forces us to address some of the major issues facing humanity: war, income and wealth inequality, poverty, unemployment, greed, the death penalty and other issues that too many prefer to ignore.”
Democrats were eager enough to present Congress as united that they joined a Republican-led standing ovation when Francis told lawmakers of “our responsibility to protect and defend human life at every state of its development.” Several of them said it was out of respect for the pope. But there was another good reason: It strengthened the perception that the whole speech — most of which they liked — carried unifying themes.
Unity was good for Democrats because the speech favored their policies
Francis was interrupted a few times by whoops from the Democratic side of the chamber — by Steve Cohen, a Jewish Memphis Democrat who got excited about Francis’s mention of the Golden Rule; by New York’s Nydia Velázquez when he called for an end to the death penalty; and by Philadelphia Rep. Chaka Fattah when he mentioned his upcoming visit to that city. The Republicans in the room were a bit more staid. Cruz often appeared unmoved during moments when Rubio, who was sitting nearby, applauded. That was the case when Francis asked whether the greater opportunities sought by past generations of immigrants are “not what we want for our own children?”
It was a home crowd. Rep. Paul Gosar (R-AZ) had announced he would boycott the event over climate change, and there was a brief murmur when it became obvious that three conservative Catholic Supreme Court justices — Antonin Scalia, Samuel Alito, and Clarence Thomas — had not shown up. But it seemed that everyone in attendance just wanted to catch a glimpse of Francis and hear what he had to say.
Big-name guests filed into the public galleries above the House chamber long before the pope’s arrival: Former House Speaker Newt Gingrich, former Rep. Gabby Giffords, mega-donor Tom Steyer, and Carson. House members filled the seats in their chamber, followed by the Senate and four Supreme Court justices. At about a minute past 10 am, Francis strode down the center aisle of the House chamber, clad in his familiar white robe and skullcap.
Lawmakers, who had been admonished not to touch the pope, refrained from trying to shake his hand or pat his back. There was no rush to crowd him the way members of Congress try to get into pictures with the president during the annual State of the Union address. When he got to the end of the aisle, he quietly shook hands with Secretary of State John Kerry and then made his way to the rostrum.
Samantha Power, the US ambassador to the UN, pulled out a baby blue iPhone and began snapping pictures. Though she later took to Twitter to commemorate the moment, Power hadn’t posted any of her photos by midday.
For his part, Francis warmed up the audience by describing America as “the land of the free and the home of the brave.” He was slow to move into more politically charged territory but unimpeded when he did. There were 10 standing ovations after his initial greeting, and they were bipartisan.
Francis tackled tough issues at the heart of the US political debate and gently admonished lawmakers to build bridges
At times, Francis seemed to be speaking directly into the headlines and newscasts of the day.
Less than a week after Carson said that America shouldn’t elect a Muslim president, Francis warned that “a delicate balance is required to combat violence perpetrated in the name of a religion, an ideology or an economic system, while also safeguarding religious freedom, intellectual freedom and individual freedoms.”
As Republican presidential frontrunner Donald Trump promises to build a wall between Mexico and the US, and to prevent Syrian refugees from being admitted to America, Francis compared the current refugee crisis to the one that arose in World War II and said that “we the people of this continent are not fearful of foreigners, because most of us were once foreigners.” That drew a standing ovation. Rubio, who has shifted his emphasis on immigration reform over time, leaped to his feet.
And while Democrats continue to bask in this summer’s Supreme Court decision protecting same-sex marriage, the pope said he was concerned that “fundamental relationships are being called into question, as is the very basis of marriage and the family.” The issue that caused the biggest stir before the speech — climate change — factored prominently in Francis’s remarks. He spoke of the human roots of global warming and said, “I am convinced we can make a difference.”
But perhaps the most unexpected run in the speech was an admonishment as gentle as it was clear: Politics is about building bridges, not destroying them. Francis never mentioned the international nuclear nonproliferation deal with Iran by name or the gridlock in American politics, but he seemed to be speak to both matters.
“When countries which have been at odds resume the path of dialogue — a dialogue which may have been interrupted for the most legitimate of reasons — new opportunities open up for all,” he said. “A good political leader is one who, with the interests of all in mind, seizes the moment in a spirit of openness and pragmatism. A good political leader always opts to initiate processes rather than possessing spaces.”
Pennsylvania Republican Rep. Joe Pitts, speaking about the pope’s limited remarks on abortion and same-sex marriage, said he was displeased that Francis had been “unfortunately politically correct.”
For liberals, though, he was simply correct about politics.
On 19 September 2015 Pope Francis departed aboard an AlitaliaAirbus A330 (Shepherd One) from Rome's Fiumicino International Airport, to Havana's José Martí International Airport where he arrived to an official Welcoming Ceremony. The next day, he was the principal celebrant at a Papal Mass at the Plaza de la Revolución in Havana at 9:00, before he paid a courtesy visit to the President of the Council of State and of the Council of Ministers of the Republic at Palacio de la Revolución in Havana. His day ended with celebrations of Vespers with priests, men and women religious, and seminarians, at the Cathedral of Havana, and a greeting to the young people of the "Centro Cultural Padre Félix Varela" in Havana during the early evening.[48]
On 21 September, he departed by plane from Havana for Holguín, to preside at a Papal Mass at Plaza de la Revolución. Before departing for Santiago de Cuba, he gave a blessing to the city, from Loma de la Cruz, in Holguín. Having arrived in Santiago, he met with the Bishops of Cuba at St Basil the Great Seminary, and say a prayer to the Virgen de la Caridad, with the Bishops and the Papal Entourage, at the Minor Basilica of the Shrine "Virgen de la Caridad del Cobre" in Santiago.
On 22 September, he celebrated a Papal Mass at the Minor Basilica of the Shrine "Virgen de la Caridad del Cobre" in Santiago in the morning and later had a meeting with families at Our Lady of the Assumption Cathedral in Santiago. After a blessing of the city of Santiago from the square in front of the Cathedral of Santiago, he left with a farewell ceremony from Santiago Airport, en route to Washington, D.C., where he arrived at Joint Base Andrews during the evening of 22 September 2015.
On Saturday, 26 September, Pope Francis traveled from New York to Philadelphia, where he was welcomed by city and state leaders and Philadelphia's Archbishop Charles J. Chaput, O.F.M. Cap. He celebrated a Papal Mass at the Cathedral Basilica of Saints Peter and Paul. He visited Independence Mall in the afternoon, and the Festival of Families of the 2015 World Meeting of Families[51] in the early evening. The Pope's visit concluded on Sunday, 27 September, with a Papal Mass in the afternoon. After a departure ceremony, he departed on a jet for Rome and the Vatican from Philadelphia International Airport.
In honor of the visit, the Museum of the Bible will sponsor a special exhibition entitled "Verbum Domini II" at the Philadelphia Convention Center, adjacent to the World Meeting.[52] The official schedule of his visit was announced at the end of June.[53]
Obelix and Co. is the twenty-third volume of the Asterixcomic book series, by René Goscinny (stories) and Albert Uderzo (illustrations).[1] The book's main focus is on the attempts by the Gaul-occupying Romans to corrupt the one remaining village that still holds out against them by instilling capitalism. It is also the penultimate volume written by Goscinny before his death in 1977; his final volume, Asterix in Belgium, was released after his death in 1979.[2]
After Obelix single-handedly defeats a newly arrived battalion of Roman soldiers, Julius Caesar ponders over how to defeat the village of rebellious Gauls. A young advisor Preposterus, using his studies in economics, proposes that the Gauls to be integrated into capitalism, pointing out how Caesar's advisors have grown decadent with their wealth. Caesar agrees and sends Preposterus to one of the village's outlying Roman camps. Upon meeting Obelix carrying a menhir through the forest, Preposterus offers to buy the menhir and make Obelix a rich man, on the pretext it will give him influence, by buying every menhir he can make. Obelix agrees and begins making and delivering a single menhir a day to him.
Preposterus raises the demand for menhirs, forcing Obelix to hire villagers – while some aid him, the others hunt boar for himself and his new workers. The resulting workload causes him to neglect his faithful companion Dogmatix, while Asterix refuses to help him, concerned on what this is doing to him. As Obelix grows wealthy and begins wearing ostentatious clothes, many of the village's men are criticised by their wives for not matching his success. In response, many turn to making their own menhirs to sell to the Romans, with Getafix supplying them with magic potion for their work. While everyone (except for Asterix, Getafix, Cacofonix and Vitalstatistix) profits from the growing menhir demand, Asterix believes that this new change will not last.
Preposterus brings the excess stock of menhirs to Caesar, who is upset that Preposterus' plan is placing him in financial debt. Preposterus proposes to sell the menhirs to patricians on the pretext they are a symbol of great wealthand high rank. However, other provinces begin making their own menhirs to sell, creating a growing Menhir crisis that is crippling the Roman economy and threatening a civil conflict from the Empire's workforce. To put a stop to this, Caesar orders Preposterus to cease further trading with Gauls or face being thrown to the lions.
Meanwhile, Obelix becomes miserable from the wealth and power he made, having never understood it all, and how much it has changed other villagers, making him wish to go back to how life was with Asterix and Dogmatix. Asterix offers to go hunting boar with him if he reverts to his old clothes. When Preposterus arrives to announce he will stop buying menhirs, the villagers claim Obelix knew of this in advance and they fight with him. Asterix instead convinces the villagers to attack the Romans, and while Obelix sits out the fight, they wreck the camp and Preposterus. The menhir crisis caused the villagers sestertius to be devalued, and the village holds a traditional banquet to celebrate the return to normality.
While Obelix could hunt boar before, he begins to overwork for the purpose of buying them (and ridiculous clothing). This pointless circle of money is something Obelix never understands in the first place, when all this stress could be prevented by simply hunting and living the simple life like before.
Capitalism is also looked at as pointless through the fact that the only thing that represents it by being bought serves no practical purpose, as a menhir is simply a large stone.
When the makers of Roman menhirs are banned from selling their stock, they block the Roman roads in protest at the loss of their jobs.
On page 27, Laurel and Hardy make an appearance as Roman legionaries ordered to unload the menhirs from Obelix's cart.
When, on page 2, the Romans leave the camp, two of the legionaries are carrying a drunk on a shield. The bearers are Goscinny and Uderzo themselves and the drunk is their friend Pierre Tchernia.
In this story, camp life for the Roman legionaries is shown as undisciplined and complacent, mostly due to the lack of any conflict with the Gaulish villagers during the Menhir trade. In other Asterix adventures they are usually vigilant, clean-shaven, and well-organized; but here the men's faces are covered in stubble and life is almost anarchic. This laxity is represented in the watchtower guard, who becomes increasingly dishevelled with every appearance.
Page 36 of this book was the 1000th page of Asterix. It is the page in which Preposterus uses a number of stone tablets in order to explain his strategy of selling menhirs to an increasingly bewildered Caesar. This panel had been hailed as a remarkable explanation of modern commerce and advertising. To mark this special page 36, there is a small panel with the names of the authors, and right under another small panel with the Roman numeralM, meaning 1000th, and below a tiny Latin text saying 'Albo notamba lapillo'. It should read 'Albo notanda lapillo', which means literally "To be noted with a white stone" and has given the well-known French expression "à marquer d'une pierre blanche", meaning in English "to go down as a milestone" (alternatively this expression is used in referring more precisely to a calendar day, probable origin of the expression in the Antiquity : albo notanda lapillo dies, "day to be noted with a white stone", meaning "red letter day"-), but it is here purposely misspelled in Latin : "notamba", a pun in French meaning "note en bas", literally "note at the bottom" or footnote, which is what the panel is.
Getafix's comment on page 30 "And the funny thing is, we still don't know what menhirs are for!" refers to the fact that modern archeologists and historians are uncertain what purpose they served.
Comparativa entre el Obelisco y el Monumento a la BanderaGUARDAR PIN
En el vasto paisaje urbano argentino, dos monumentos emblemáticos compiten por la atención de los visitantes: el majestuoso Obelisco de Buenos Aires y el imponente Monumento a la Bandera en Rosario.
Ambos representan hitos históricos y culturales, pero por el tamaño y significado, yo me quedo con el Monumento a la Bandera.
El Obelisco vs el Monumento, contrapuestos
El Obelisco, con sus 67 metros de altura, se erige como un símbolo ineludible de la capital argentina.
Obelisco desde Playa de Mayo y Granaderos – Buenos Aires, Argentina – Foto: Gustavo SanchezGUARDAR PIN
Construido en 1936 para conmemorar el cuarto centenario de la fundación de Buenos Aires por Pedro de Mendoza, este monumento se ha convertido en el punto de encuentro y referencia para los ciudadanos y visitantes por igual.
Su diseño simple y elegante, una columna de piedra blanca que se eleva hacia el cielo, se ha convertido en un ícono reconocible en todo el mundo, representando como una tarjeta postal no solo a Buenos Aires, sino también a la Argentina en su conjunto.
El Obelisco de Buenos Aires – Importante monumento turístico – Foto: Nicolás FlorGUARDAR PIN
Sin embargo, a pesar de su prominencia, el Obelisco es más que un monumento conmemorativo. Es un testigo silencioso de la historia tumultuosa de Argentina, desde los momentos de gloria hasta las épocas de desafíos y luchas.
Desde su construcción, ha presenciado manifestaciones masivas, celebraciones deportivas, eventos políticos y culturales que han marcado la historia moderna del país.
Cada vez que la ciudad se ilumina con luces de colores o se llena con el clamor de una multitud, el Obelisco está ahí, erguido y firme, como un faro que guía el destino de la nación.
Por otro lado, el Monumento a la Bandera en Rosario se alza majestuosamente a orillas del río Paraná, en el Parque Nacional a la Bandera Argentina.
Monumento a la Bandera Rosario al caer la noche
Con sus imponentes 70 metros de altura, este monumento es más que una obra arquitectónica; es un símbolo de la identidad nacional argentina y un homenaje al patriotismo y sacrificio de aquellos que lucharon por la independencia del país.
El Monumento a la Bandera celebra un momento trascendental en la historia argentina: el día en que el General Manuel Belgrano enarboló por primera vez la Bandera Argentina a orillas del río Paraná.
Este acto simbólico marcó el nacimiento de la bandera nacional y consolidó la unidad y la identidad de una nación en formación.
Por lo tanto, el monumento no solo conmemora un evento histórico, sino que también rinde homenaje a los ideales de libertad, justicia y soberanía que representan los colores celeste y blanco.
El monumento a la bandera representa un barco. en la proa La libertad
Además de su importancia histórica, el Monumento a la Bandera ofrece una experiencia de visita única y enriquecedora.
Los visitantes pueden ascender en ascensor y explorar su interior, donde se encuentra la Cripta de Manuel Belgrano y el Museo de las Banderas de América.
Estos espacios no solo ofrecen una visión profunda de la historia argentina, sino que también permiten a los visitantes conectarse con los valores y principios que inspiraron la lucha por la independencia y la justicia en el país.
Para los viajeros que buscan sumergirse en la cultura argentina, una visita al Monumento a la Bandera en Rosario es imprescindible.
Además de su importancia histórica, la ciudad ofrece una rica escena cultural y es el lugar de nacimiento de figuras icónicas como Lionel Messi y Fito Páez.
Recorrer las calles de Rosario es adentrarse en la vida y obra de estos y otros personajes emblemáticos de la cultura argentina, mientras se descubre la belleza y la vitalidad de una ciudad en constante evolución.
Monumento a la Bandera de Rosario de NocheGUARDAR PIN
Tanto el Obelisco como el Monumento a la Bandera son testigos de la rica historia y cultura de Argentina y, aunque cada uno tiene su propio significado y simbolismo, ambos representan la grandeza y la diversidad de un país que continúa desafiando los límites y forjando su destino.
En última instancia, ya sea en Buenos Aires o en Rosario, la experiencia de visitar estos monumentos es un viaje en el tiempo y en el alma de una nación orgullosa de su pasado y comprometida con su futuro.
En el barrio de San Nicolás se encuentra uno de los monumentos más destacados de Argentina: el Obelisco de Buenos Aires. Sus casi setenta metros de altura simbolizan la grandeza de Pedro de Mendoza, responsable de la fundación de la ciudad. ¿Quieres saber un poco más acerca de este lugar tan especial? ¡Acompáñanos!
Vamos a recorrer Buenos Aires al completo disfrutando de los principales barrios, avenidas y hermosos monumentos como el que describiremos en este articulo: Tour panorámico.
La historia de Buenos Aires
Buenos Aires – MTPujol / Pixabay.com
Desde sus orígenes, Buenos Aires ha sido una ciudad muy importante. De hecho, tuvo dos fundaciones. La primera llegó en el año 1536, por Pedro de Mendoza; la segunda y definitiva, en 1580 por Juan de Garay. Durante el transcurso de los años, Buenos Aires permaneció como un virreinato español, salvo algunas invasiones inglesas.
Importante para la historia de la ciudad y el país fue la Guerra de la Independencia Argentina, a principios del XIX. Sería unas décadas después cuando Buenos Aires comenzaría configurarse como lo que es hoy, una ciudad mestiza y ecléctica. La razón es que en la mitad del siglo llegarían hasta ella miles de inmigrantes de todas partes de Europa y también de Asia.
“Invertir en viajar es invertir en uno mismo.”
-Matthew Karsten-
El Obelisco de Buenos Aires
Obelisco – a r c a n g e l t / commons.wikimedia.org
Se levantó en el año 1936, coincidiendo con el cuarto centenario de la fundación de la ciudad por Pedro de Mendoza. Aunque el monumento también conmemora la primera vez que se izó la bandera de Argentina en la iglesia San Nicolás.
Fue diseñado por Alberto Prebisch, un arquitecto argentino. Su inspiración es clara: los obeliscos que en el Antiguo Egipto se levantaban en las entradas de los templos. De hecho, su creador reconoció que había ideado el diseño del monumento basándose en los obeliscos que había visto en sus viajes a París.
Su construcción se hizo en tiempo récord
Obelisco – llee_wu / Flickr.com
Para la construcción del obelisco se invirtieron cuatro semanas, en concreto, 31 días. Las obras comenzaron el 20 de marzo y terminaron el 23 de mayo. El arquitecto trabajó con la empresa alemana Siemens Baunnion y costó un total de doscientos mil pesos. En él trabajaron un total de 157 obreros.
No obstante, la construcción generó una fuerte polémica. En el lugar actual del obelisco se encontraba la iglesia de San Nicolás de Bari, el lugar donde se izó por primera vez la bandera de Argentina en el año 1812. El gobierno de Buenos Aires decidió demolerla, lo que no fue muy aceptado por las gentes de la ciudad.
Algunos accidentes posteriores
Base del Obelisco – Aidan Wakely-Mulroney / Flickr.com
Una noche de junio de 1938 se produjeron algunos desprendimientos de piedra sobre unas gradas donde el día anterior se había producido una celebración. Ello provocó el miedo y también las reticencias de la población.
Fue entonces cuando llegó la segunda polémica con respecto al monumento. Hubo sectores más tradicionalistas que no estaban a favor de la construcción de monumentos tan modernos. Se trató de lograr su demolición mediante una votación en el Congreso, pero no prosperó.
Continuaron las quejas e ironías
Si ya la ubicación del obelisco había generado controversias, también lo fue el aspecto del monumento. Aquellos más a favor de construcciones más tradicionales lo criticarían duramente. Algunos de sus apodos fueron “punzón”, “estaca” o “pisapapeles de acero y cemento”.
Cómo llegar al Obelisco de Buenos Aires
Obelisco – David Stanley / Flickr.com
El Obelisco de Buenos Aires se encuentra en el Barrio de San Nicolás, en pleno centro de la ciudad. En concreto, se alza sobre la Plaza de la República, que une las avenidas del 9 de Julio y Corrientes.
Mide 67,5 metros de altura y está permitida la visita. En la cima del obelisco hay un mirador con cuatro ventanas, que proporcionan unas vistas impresionantes de la ciudad. Sin embargo, para poder llegar hay que subir un total de 206 escalones. Pero, sin duda, el esfuerzo merecerá la pena.
Actualmente, el Obelisco de Buenos Aires es uno de los principales iconos de la ciudad y uno de sus grandes atractivos. La mayor parte de las celebraciones en Buenos Aires tienen lugar frente al él, también protestas y manifestaciones.
Y, ya que estás en la capital argentina, queremos proponerte algunos lugares más que debes visitar, como la Plaza de Mayo, la Casa Rosada, la Plaza General de San Martín o el cementerio de la Recoleta. Y si quieres sentir el Buenos Aires más auténtico, visita el barrio de La Boca.
Fotografía de portada: Cyro Silva / Flickr.com
¿Queréis conocer los orígenes de la capital argentina? Este tour gratis por Buenos Aires es la mejor manera.
Argomento precedente
keep that date/number in mind. Looking at the towers architectural shape, we see its design is that of a square anti-prism:
roll plz…They designed an upside down pentagram, the base of which is at the White House:
Comparativa entre el Obelisco y el Monumento a la Bandera
Obelisco desde Playa de Mayo y Granaderos – Buenos Aires, Argentina – Foto: Gustavo Sanchez
El Obelisco de Buenos Aires – Importante monumento turístico – Foto: Nicolás Flor
Monumento a la Bandera Rosario al caer la noche
El monumento a la bandera representa un barco. en la proa La libertad
Monumento a la Bandera de Rosario de Noche
