Abstract
Understanding the relationship between the project of modernity and urbanism has been key to understanding the city of Buenos Aires’ material transformations throughout the 20th century. This paper considers how thinking about the issues of modernity and urbanism from the perspective of monuments--namely, the Obelisk of Buenos Aires--sheds new light on how elements of this modernizing project were undertaken and how its material markers have been used and manipulated, and modified through their representation in cultural discourse on the city. Rethinking Buenos Aires from the Obelisk implies literally thinking from underground, from the subway lines that form its base and transform it into a popular symbol of mobility.
Highlights
CATEDRAL TOMADA: Revista de crítica literaria latinoamericana / Journal of Latin American Literary Criticism Public works: Building a Monument to Modern Buenos Aires
On February 3rd, 1936, Mariano de Vedia y Mitre decreed that the Obelisk of Buenos Aires should be built at the crossing of Diagonal Norte, Avenida Corrientes, and the still under construction, Avenida Nueve de Julio (Walter 190)
Understanding the ideological coordinates behind Prebisch’s urbanism is important to understanding the place of the Obelisk in late 1930s Buenos Aires and the city at the 400th anniversary of its foundation because the form of the monument and the approach to it from Avenida 9 de Julio are directly lifted from the Ciudad Azucarera plans
Summary
CATEDRAL TOMADA: Revista de crítica literaria latinoamericana / Journal of Latin American Literary Criticism Public works: Building a Monument to Modern Buenos Aires.
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