Its versatile structure and timeless design allow for multiple usage possibilities, adapting to the demands of modern life while maintaining its historical identity.
García Núñez’s work combines various architectural influences:
• Catalan modernism, visible in the lateral bands of the turrets.
• Viennese Secession, represented in the geometric patterns of the railings and balustrades.
Although these elements suggest European inspiration, the Chacabuco 78 building is a work with a personal touch, reflecting the architect’s unique vision. Its design blends different stylistic languages, achieving a unique composition within the architectural heritage of Buenos Aires.
For art collectors and heritage investors, owning a recognized work in specialized literature increases its value.
The Chacabuco 78 building has been cited and analyzed in various academic studies and historical references, which not only certifies its importance but also validates its architectural quality. These references are available for those wishing to delve deeper into its history.
The building was designed by architect Julián García Núñez, an exponent of Catalan modernism in Argentina. It was projected in 1910 and completed in 1911, built for Ignacio Atucha. At the time, the area had already established itself as a central hub of the city, giving the building a prestigious location.
García Núñez, born in Buenos Aires in 1875, trained at the School of Architecture in Barcelona under the guidance of Lluís Domènech i Montaner, one of the leading architects of Catalan modernism. His return to Argentina in 1903 marked the beginning of a prolific career, with the Chacabuco 78 building being one of his most emblematic works.
From its conception, the building was designed with an innovative approach, anticipating current concepts of energy efficiency. • Passive lighting design: The central skylight and the perimeter balconies evenly distribute natural light. • Cross ventilation: The circulation of natural air is enhanced by the building’s layout. • High durability materials: The combination of iron, glass, and wood improves thermal insulation. • Adaptability: It allows for the integration of technological improvements without altering its architectural essence.
Jorge Luis Borges saw Monserrat as a neighborhood steeped in history and tradition, an essential part of old Buenos Aires that, although transformed by modernity, remains present in the memory of the city. In his essay “Monserrat” (1968), he describes it as “a memory of the things that were,” highlighting its colonial past, the compadritos, and the echo of Afro-Argentine candombe. Borges recalls a popular verse that reflects the fame of tough guys in the neighborhood:
Soy del barrio ’e Monserrate,
donde relumbra el acero;
lo que digo con el pico
lo sostengo con el cuero.
In interviews, he confessed that, even when he was far away, in his dreams he “always returned to Monserrat.” He also referred to it poetically in Fervor de Buenos Aires (1923), evoking the courtyards and passageways of the southern part of Buenos Aires:
El olor del jazmín y la madreselva,
el arco del zaguán…
esas cosas, acaso, son el poema.
Finally, in “Fundación mítica de Buenos Aires” (1929), Borges reaffirms his vision of the city as something eternal, linking Monserrat with its porteña essence:
A mí se me hace cuento que empezó Buenos Aires…La juzgo tan eterna como el agua y como el aire.
For Borges, Monserrat was not just a neighborhood, but a space where history and the memory of Buenos Aires intertwine, a symbol of the city’s identity.
Chacabuco Street is one of the traditional arteries of the historic center of Buenos Aires, located in the neighborhoods of Monserrat and San Telmo. Its name commemorates the Battle of Chacabuco (1817), in which the Army of the Andes, led by José de San Martín, defeated the royalists in Chile.
With its narrow, cobblestone layout, Chacabuco retains the colonial spirit in which it was born. In its early years, at the end of the 18th century and the beginning of the 19th century, it was part of the city’s expansion southward, becoming a key point in Buenos Aires’ life. Along its route, one can find old mansions, tenement houses, churches, and cafés that evoke the history and transformation of the city. Its bells still ring, and with them, the announcement of masses and other events continues to mark the rhythm of the city, reminding us that although Buenos Aires has changed, its essence remains alive in every corner of the neighborhood.
Borges, J.L., Textos recobrados (1956-1986).
Borges, J.L., Fervor de Buenos Aires (1923)
.Borges, J.L., Cuaderno San Martín (1929).
Borges, J.L., Siete noches (1980).
Entrevistas y conferencias recopiladas en Diálogos con Borges.
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