Puerto Madero and Retiro

 October 2006. Yesterday, Sunday, October 29th, I set out with the idea of visiting the entire Puerto Madero and Retiro area, which I was unfamiliar with. The day was cloudy with a light drizzle that later turned into a fine mist. I looked at the map and the potential places to visit that I had seen on a City Government website, and I checked the opening hours and days of the museums that interested me based on my planned itinerary, which were three.

The idea was to go to the Reserva Ecológica and then walk along the docks, visiting the Fragata Sarmiento, the Corbeta Uruguay, and reaching the Museo de los Inmigrantes.

I left on the 152 bus, planning to get off at Dique 4 and start walking from there; well… everything turned out completely opposite to what was planned.

I had gotten up early, it was raining, and the overcast, humid, rainy day had weighed on me, making it seem like it was going to be a boring Sunday. Nevertheless, I was determined to go out. According to what I had researched about the museum hours, two of them opened at 9:00 AM and the other at 11:00 AM, and since I had been up since 6:00 AM, I didn't feel like waiting until after midday.

When I saw that the rain was slackening, I felt even more motivated to leave, so I did. Contrary to what I thought for an early Sunday morning, the bus was full of people, and more and more kept getting on. But it made sense: it is the only route that covers that path.

As I was approaching my destination, I felt like continuing a few blocks further—what did it matter? Either way, I planned to go from one end of Puerto Madero to the other; if I looked out from the bus, I would later make the same trip back on foot.

There came a moment when I decided to get off. I realized I was right at one end of Dique 2, right between Dique 2 and Dique 1. I got off the bus and started walking. I walked without using the umbrella, although I had it in my backpack; I hadn't made up my mind to use it yet, but the rain was getting worse. I was starting to feel it as more than an annoyance—I was getting wet—and yet I kept walking. I continued walking, and suddenly I heard something: a crackling sound that my mind immediately linked to a short-circuiting cable. Since it was raining, that non-stop sound was starting to scare me, but I couldn't quite place where it was coming from, and it was getting progressively louder. Finally, I managed to locate the crackling: on the corner across from me stood the CGT building, which features a portrait of Evita and an intermittent flame beside it; the rain falling on the flame produced that sound. There was no one on the street, except for a bus stop with 4 or 5 people waiting in front of the Facultad de Ingeniería. I had barely walked three blocks, though it felt like a few more.

Well, I continued my journey, crossed the avenue, and there was practically no one around: very little traffic and a Prefectura (Coast Guard) car parked right across the street. I mention it because it's the first time I've seen so much public security in such a small space. I crossed the tracks, which look harmless, but you have to be careful when crossing because an active train usually passes through there without a single bridge-style crossing.

The first thing I encountered when crossing the dock was a little blue bird on the edge of the dock, alone in the increasingly heavy rain. I took a couple of photos of it; it was hard to get close without it flying away, until it finally fluttered its wings and moved away.

Then I continued until I reached the old pier built in 1918, located on Av. Dr. Tristán Achával Rodríguez. There I reached the Fuente de las Nereidas, which is protected by a glass (or perhaps acrylic) wall. This work is made of Carrara marble, and its creator was the Argentine sculptor Dolores Mora de Hernández, which is why it is also called the Lola Mora fountain. At its base, it features a body of water reflecting the entire motif. It represents the Nereids assisting the birth of the goddess Venus. In Greek mythology, the Nereids were sea nymphs who emerged to the surface to help sailors—it is no coincidence that it is located in what was once the city's port area. In 1997, the PEN declared it a National Historic Landmark.

I continued walking along the pier, along a paved walkway lined with many benches and old, leafy trees on its sides, until reaching the monument to the Plus Ultra feat. It is a winged figure created by Spanish sculptor José Lorda in 1926. The monument commemorates an aviation feat achieved in 1926 when Palos de la Frontera and Buenos Aires were connected by a seaplane that landed upon arrival. Years later, the aircraft was donated by Spain to Argentina and is currently on display at the "Enrique Udaondo" Provincial Museum Complex in the city of Luján. In Spain, there is a monument with similar characteristics in Galicia, in the city of Ferrol, in the gardens of Los Cantones or Alameda de Suances. In homage to this achievement of the Plus Ultra, singer Carlos Gardel recorded a tango titled “La gloria del águila”. Unfortunately, the monument was attacked by irresponsible graffiti vandals who defaced it completely. A shame.

Continuing my way through stairs, greenery, and sidewalks, the rain became increasingly intense, and I was glad to be doing this tour on this particular day. By then I had opened the umbrella; the water was falling harder and harder. You could see that all the usual weekend afternoon preparations had already been made by the local shopkeepers and street vendors. One adventurous vendor had already set up his stand with items for sale, others had their choripán stalls ready with the fire lit, but many others were starting to put away their chairs because of the rain. Some were running—those getting into their cars and leaving—a few neighbors were walking their dogs, and the Prefectura officers were everywhere. In this area, it’s not a ratio of one police officer per corner; the ratio is around two officers with a patrol car per corner, and that’s no joke. Several trucks passed by—I imagine they were transporting the stands, sale goods, and food stall supplies. A few taxis also crossed by.

From there, I walked along the edge of the docks, looking at the old port cranes, now disused, which aggiornan (modernize/decorate) the site, recreating that port past in the imagination. In the past, these cranes were used for loading and unloading ships back in the late 19th century; they could rotate 360 degrees and moved on rails, some of which are still there today. They were imported from Genoa, Italy. I don't know if there is a connection, but it's worth remembering the large amount of Italian immigration that arrived in Argentina and, within that group, the significant number of Genoese people.

Old port cranes.

The water in the docks was calm, there was no wind, people were jogging past, and there were a few tourists.

I continued walking and arrived at the Fragata Sarmiento, which I planned to visit, but on that day, due to the rain, it hadn't opened its doors to visitors. The ship ARA Fragata Presidente Sarmiento is a Museum Ship. Previously, when I was much younger, I had visited it with my family. This time, I wasn't able to visit again, postponing it for another time. I am leaving two links regarding this ship: http://www.ara.mil.ar/pag.asp?idItem=112 and http://es.wikipedia.org/wiki/ARA_Presidente_Sarmiento

Further along, I arrived at the Puente de la Mujer, a very eye-catching bridge designed by Spanish architect Santiago Calatrava. It is a pedestrian bridge connecting the east and west sides of Dique 3 in Puerto Madero. As I read online, standing 39 meters high, its mast represents the man, holding up the woman via cables, who is represented in the bridge's central curve. It features a rotating hanging section suspended by 600 meters of cable and two fixed access sections to the central area.

This work was envisioned by businessman Alberto González, who was a member of the Madero Group and donated the money for its construction. González commissioned Spanish architect and engineer Santiago Calatrava Valls to design it. The design is a synthesis of the image of a couple dancing tango. It was inaugurated on December 20, 2001.

http://historiadebuenosaires.arquitecturaliquida.com.ar/2008/11/puente-de-la-mujer.html

In 2008, the Buenos Aires Puente de la Mujer was honored in Amsterdam, winning the Prix d´Excellence 2008.

http://www.lanacion.com.ar/1025065-distinguieron-en-amsterdam-al-porteno-puente-de-la-mujer

At this point in the walk, I was wondering: where could the Corbeta Uruguay be? Was it the hull of that ship that was floating and partially sunken? Clearly it wasn't, but I had seen what appeared to be the hull of an overturned, sunken ship; a metallic object barely emerged from the water, and there it was—though I don't know exactly what it was. What was certain was that it had stopped raining, and suddenly the sun came out. What to do now? Should I continue or head back to the Reserva Ecológica as I had originally planned? I decided to continue on my path as I had started. I crossed to the other side of the dock right there, across the Puente de la Mujer, and put away my umbrella.

On that side, you can see a long row of sailboats displaying a succession of masts, lending a different aesthetic to the place. And on solid ground stands the Hilton Hotel with its Convention Center; right in front of it, on the corner of Olga Cossettini and Manuela Sáenz streets, a sculpture titled “El sueño de la esfera” (The Dream of the Sphere) is permanently installed. Created by artist Eduardo Pla and inaugurated in 2002, it is the city's first light sculpture and consists of a luminous, metallic globe covered in light blue and white neon lights.

http://www.zonapuertomadero.com/index2.cfm?ProductID=1464&do=Detail&storeid=5

I reached the end of Dique 3 and crossed back to the other side, where I had been walking from the start. Once at Dique 4, the Corbeta Uruguay was visible. The ARA Corbeta Uruguay is another Museum Ship, one of the oldest vessels still afloat, with a rich history. It has been a National Historic Landmark since 1967.

Two links to learn more about this ship: http://www.ara.mil.ar/pag.asp?idItem=113 and http://es.wikipedia.org/wiki/ARA_Uruguay

A somewhat confused tourist asked me if it was the Fragata Sarmiento, so I gave him the correct information and pointed out its location at the other dock. And the walk continued on its course.

Many buildings, mostly office spaces for sure, and they are still building quite a few more. That was how I reached the end of Dique 4, constantly taking photos, though a bit fearful at first because of the rain—afraid of damaging my camera, which is cheap and basic, but manages well with the photos it takes.

At the end of Dique 4 stands the impressive Telecom building, a completely glass rectangular wall. On the other side of the dock, back in 2006, there was a picturesque building with unaligned white wings. At one point, as a dining complex, it was called Divino Buenos Aires, then converted into a nightclub called Opera Bay, and finally ceased to exist—around 2007, it was demolished.

Traffic sign, indicator sign, and lifebuoy.

At the end of Dique 4, I took a photo of a nest of horneros (rufous hornero, the Argentine national bird) located on the Telecom building, and then crossed the bridge leading to the Yacht Club Argentino. I wasn't encouraged to continue; from there, I didn't see anything that interested me. I took a photo of a small, colorful boat and turned back. Some train tracks pass through there, there was quite a bit of traffic, and the bridge was in so-so condition.

I walked all around the back of Dársena Norte, taking photographs of more buildings—some cast shadows onto others—and continued until reaching the former Hotel de los Inmigrantes, which I intended to visit. They were refurbishing the streets and tracks; I asked some Prefectura officers there, and they gave me directions. The hotel was only 100 meters away, but I didn't see any sign indicating the museum. I reached the end and could see some Navy vessels, so I headed back, leaving the possibility of returning another time with better weather.

Before continuing, I took a photograph of the Monument to Saint Frances Xavier Cabrini, patron saint of immigrants, located in a square of the same name on Avenida Antártida Argentina.

And then a photograph of the Virgen de Bonaria, in Plaza Cerdeña, in front of the Dirección Nacional de Migraciones (National Directorate of Migration). This image was donated by the Federación Sarda Argentina half a century ago.

Our Lady of Bonaria (Nuestra Señora del Buen Aire, Nuestra Señora del Buen Ayre, Virgen del Buenaire, or Virgen del Bonaire) is one of the Marian titles of the Blessed Virgin Mary. She was considered by Spanish navigators to be the patron saint of seafarers, and her name gave rise to the name of the city of Buenos Aires. In her honor, the feast day of Our Lady of Bonaria was established for March 25th.

http://es.wikipedia.org/wiki/Nuestra_Se%C3%B1ora_del_Buen_Aire

On my way back, I crossed through the plazas in front of Retiro Station. One of these plazas is Plaza Canadá. The most interesting point in the plaza is the totem pole: the Kwakiutl Canadian Totem Pole. The photograph shows the original totem pole from 1961. It was crafted in six months by a team of Indigenous carvers from the Kwakiutl tribe of Vancouver Island, working on behalf of the Provincial Museum of British Columbia in Canada. Its height is twenty meters, plus 1.50 meters for the base that goes into the ground. It weighs four tons. Its diameter is one meter at the base and tapers down to sixty centimeters at the top. All figures were carved and polychromed out of a single piece of red cedar, alternating three base colors: red, white, and black. The cylindrical shape of the tree trunk from which it originates was respected, conditioning the material to the resulting shape. The seven main figures forming the carving, which identify the Geeksem clan, are, in descending order: the eagle, the sea lion, the sea otter, the whale; followed by the beaver, the hok-hok (a cannibal bird), and a human face representing the chief.

http://es.wikipedia.org/wiki/Plaza_Canad%C3%A1

The original totem pole was sawed down in 2008 due to deterioration caused by lack of maintenance. In 2012, the City Government acquired a new totem pole. Also visible in the photograph are the brick dust paths of the plaza; these have now been replaced by concrete tiles.

Then I crossed over to the Torre Monumental (formerly known as Torre de los Ingleses), a monument built by British residents to commemorate the May Revolution.

http://es.wikipedia.org/wiki/Torre_Monumental

The height of the tower is 75.50 meters, and it has eight floors. At 35 meters, it features a working clock.

I crossed the avenue and passed by the Monument to the Fallen in the Malvinas War. It is a cenotaph located in Plaza General San Martín, erected in honor of those who fell in the Falklands/Malvinas War. It consists of 25 black marble plaques inscribed with the names of the 649 combatants who fell during the 1982 war. An honor guard from one of the three armed forces branches always guards the monument. The guard relief takes place throughout the day every two hours until 6:00 PM, when the flag is lowered. The Guard is composed of members of the Army, Navy, and Air Force, dressed in their respective historic uniforms.

http://es.wikipedia.org/wiki/Monumento_a_los_ca%C3%ADdos_en_Malvinas

Crossing the street, and before starting to walk up toward the upper part of Plaza San Martín, I observed and photographed the monument to Leandro N. Alem in a small square on the corner of Av. del Libertador and Maipú. The monument was created by Argentine sculptor Pedro Zonza Briano, who built it on a rocky base that highlights the bronze figure of Alem, portrayed with his left arm extended, turning his torso, and his other arm extended backward. Two sculptural groups complement it: one represents the Homeland, featuring a woman with her two children; the other symbolizes Radical Youth, represented by a male nude. It was inaugurated on October 10, 1925.

http://wikimapia.org/15883345/es/Monumento-a-Leandro-Nic%C3%A9foro-Alem

Having reached the upper section of Plaza San Martín, I first came across the Fountain Monument to the Mounted Grenadiers Corps, created by Enrique Savio. It is a tribute to the location where the first artillery barracks stood. Made of a triangular block of reinforced concrete, each face displays a relief: one showing the original barracks and the current one in the Palermo neighborhood; another showing the coats of arms of the Mounted Grenadiers Regiment squadrons; and the last depicting the Crossing of the Andes.

http://www.elbarrioderetiro.com.ar/monumentos.html

Monument to General San Martín and the Armies of Independence.

Located in the square of the same name, it was created by French sculptor Louis Daumas and inaugurated in 1862. It was the first equestrian monument in Buenos Aires.

For the centennial of the May Revolution, it was decided to embellish it: German sculptor Gustav Eberlein was tasked with creating the Swedish granite base, while the sculptures, plaques, and emblems were cast in bronze.

Four very significant sculptural groups stand out at its corners: The Departure, The Battle, The Glory, and The Return.

On the front, in the middle portion of the base, sits the sculpture of Mars, God of War; surrounding the sides of the pedestal are bas-reliefs recreating the battles for the independence of Argentina, Chile, and Peru.

http://www.elbarrioderetiro.com.ar/monumentos.html

The last monument I photographed there in Plaza San Martín, in Retiro, was the one titled La Duda (The Doubt). Crafted in white Carrara marble by French sculptor Cordier, it depicts a young believer sitting beside his open Bible, while an old man beside him seems to question him. It consists of two figures: a young man sitting thoughtfully, and an old man kneeling—symbolizing experience and tenderly clarifying the young man's doubts. They symbolize the Old and New Testaments. In this regard, I found an interesting article published in the newspaper Clarín titled “'La duda', a gem in Retiro,” which is worth reading at this link: http://www.clarin.com/ciudades/duda-joyita-Retiro_0_674932635.html and also http://es.wikipedia.org/wiki/La_duda_(escultura

Surrounding the Monument to General San Martín, there were many hearts—a sort of art exhibition. Later, I found out it was an exhibit called “Corazones Vivos” (Living Hearts). The showcase gathered 200 works that were auctioned the following year, with the proceeds donated to the Favaloro Foundation. Favaloro was a great Argentine doctor who unfortunately committed suicide during an incompetent government; it is a source of pride as an Argentine to have had a Favaloro, and a disgrace to have had that president at the time.

Finally, having concluded my tour—which began on a cloudy and rainy day and ended with clear, mild skies—I boarded the 152 bus that brought me back, and by four in the afternoon, I was already back from my little outing.

It goes without saying that in the area, there are many more monuments to discover, several more museums than the ones mentioned, and quite a few other plazas and small squares—in short, many more attractive places to explore and enjoy.