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Pan American experiences
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Argentina |
ARGENTINA ------------------------------------------462[EXPERIENCE] | |||
The Obelisk That Almost Wasn’tControversies in the Construction of Buenos Aires’ IconBy Jazmin Agudelo for Ruta Pantera on 10/16/2025 9:28:18 AM |
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| At the heart of Buenos Aires, standing resolute like an unwavering sentinel at the intersection of Corrientes and 9 de Julio avenues, rises the Obelisk, a monument that has evolved from an object of ridicule and controversy to the undisputed emblem of the city. Unveiled in 1936 to commemorate the 400th anniversary of Buenos Aires’ founding, this 67.5-meter concrete colossus nearly never saw the light of day and, soon after its birth, faced the threat of demolition. Its story is a captivating tale of urban ambition, cultural clashes, and resilience, reflecting the tensions of a transforming Argentina in the 1930s. This article explores the roots of its creation, the controversies surrounding it, and how, against all odds, it solidified its place as a porteño icon. A Monument for a City in Renewal The idea for the Obelisk emerged during a moment of patriotic and modernizing fervor. In 1936, Argentina celebrated 400 years since the first founding of Buenos Aires by Pedro de Mendoza on February 2, 1536. Under the presidency of Agustín Pedro Justo (1932–1938) and the mayoralty of Mariano de Vedia y Mitre (1932–1938), the city embarked on an ambitious public works plan that included widening Corrientes Avenue, opening 9 de Julio Avenue, and creating Plaza de la República. This project was not merely urban; it was a declaration of progress, inspired by European models like the Champs-Élysées in Paris but adapted to the Argentine spirit. The municipal decree greenlighting the monument was signed on February 3, 1936, and the design was entrusted to architect Alberto Prebisch, a key figure in Argentine rationalism, known for works like the Gran Rex Cinema. Influenced by modernism, Prebisch opted for a simple yet monumental form: an obelisk inspired by ancient Egyptian structures but with a contemporary flair. The chosen site was no coincidence; it was previously occupied by the historic San Nicolás de Bari church, where the Argentine flag was first raised in Buenos Aires on August 23, 1812. The demolition of this church, decided after a legal battle won by the municipality in 1931, sparked the first wave of controversy. For many, it represented an unnecessary sacrifice of tradition for the sake of modernity (Gobierno de la Ciudad de Buenos Aires, n.d.). The new San Nicolás church was inaugurated in 1935 on Santa Fe Avenue, but demolishing a temple of such symbolic value provoked protests from conservative and Catholic sectors. Figures like Mariano Moreno and Manuel Dorrego had been baptized there, and Manuel Alberti was buried within its walls. This tension between the old and the new set the stage for the controversies to come. A Feat of Speed and Tragedy Construction of the Obelisk began on March 20, 1936, and was completed in just 60 days, with its inauguration on May 23 at 3:00 p.m., just in time for the May 25 festivities. The German consortium GEOPÉ-Siemens Bauunion-Grün & Bilfinger handled the execution, employing 157 workers and using innovative techniques for the time. They poured 680 cubic meters of concrete using fast-setting Incor cement in two-meter sections and clad it with 1,360 square meters of white quartz from the Pampa de Olaen in Córdoba. The total cost was 200,000 pesos moneda nacional, a modest sum for a monument of such scale (Wikipedia contributors, 2025). The structure stands 67.5 meters tall, with a square base measuring 6.8 meters per side, narrowing to 3.5 meters at the top, crowned by a 40-centimeter spire equipped with a lightning rod. It features a single entrance on the west side, leading to a 206-step spiral staircase with seven landings. At the summit, four windows offer panoramic city views. The foundations, spanning 20 meters per side, rest on beams and footings integrated with the Line B subway system. However, this speed came with risks. During construction, Italian worker José Cosentino fatally fell into one of the foundation vaults, becoming the project’s only casualty. Though isolated, this incident fueled criticism about the safety and haste of the work. Despite this, the inauguration was a solemn affair: Mayor Vedia y Mitre described it as “the materialization of Buenos Aires’ soul,” and the Municipal Band played the National Anthem as symbolic ribbons were cut (Gobierno de la Ciudad de Buenos Aires, n.d.). | ||||
| From Mockery to Demolition Attempts From its inception, the Obelisk attracted criticism. Many labeled it an “eyesore,” “monstrosity,” or “outlandish monument,” questioning its rationalist aesthetic in a city still attached to neoclassical and baroque styles. Rumors of shady deals behind its swift approval abounded, and its phallic shape inspired irreverent jokes and nicknames. The demolition of the San Nicolás church intensified the debate: for traditionalists, it was an attack on Catholic heritage and porteño identity, while modernizers saw it as a necessary step toward progress (Santillán, 2021). The controversy peaked in 1939, just three years after the inauguration. In 1938, some cladding slabs detached, damaging steps and attributed to subway vibrations. This led the City Council to approve Ordinance No. 10,251 by a 23-to-3 vote to demolish the monument, citing aesthetic concerns (calling it “funereal” and “ugly”), economic reasons (maintenance costs), and public safety. They argued that Law 8855 did not authorize monuments on 9 de Julio Avenue and that the structure lacked legal validity. Defenders, however, highlighted the high cost of demolition, debris management, and its value as a tourist attraction and geographic landmark (Balmaceda, n.d.). The debate divided porteños: patrimonialists saw it as a poorly conceived “intruder,” while figures like Congressman Pío Pandolfo argued in Congress that it was a national monument, not subject to local decisions. Ultimately, Mayor Arturo Goyeneche, appointed by President Roberto Marcelino Ortiz, vetoed the ordinance. Ortiz personally intervened, emphasizing its commemorative significance and committing the Ministry of Public Works to cover repairs. The slabs were replaced with cement plaster and 620 liters of latex, though the inscription crediting Prebisch as the architect was removed in the process (Santillán, 2021). | ||||
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