• 3 weeks ago
VILLA GESELL: LAS FOTOS QUE COMPROMETEN EL TRABAJO QUE SE HACÍA EN EL HOTEL

José María es uno de los vecinos, que había sacado fotos desde su ventana, donde se puede ver el trabajo que estaban haciendo los obreros en el Apart hotel Dubrovnik: "Mi departamento estaba en la parte destruida"

"Yo quiero que paguen por las vidas"
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"No puedo ni ver el video de María Rosa"

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00:00José María is a neighbor who lives next to the Browning Hotel that came down.
00:05José María, thank you for attending us.
00:08Good morning, Guillermo. How are you?
00:10Good. Well, in this reality, it is as if hope falls.
00:16But, neighbor, were you there in your house or in your apartment when the hotel came down?
00:22No. No, no, no, no. Let's see. For us, in the building next door, it is not a hotel.
00:29It is a building of departments with 24 functional units.
00:35At that time, when the building collapsed, there was the marriage of Federico Sicchioni and María,
00:46the deceased man and his wife, who is in Mar del Plata, hospitalized,
00:50and the marriage of the 14th building, which was arrested by the window.
00:55After that, there were no more people. In El Alcio.
00:59Those are departments that we generally use during the season,
01:03and if not, we go there two or three days off-season.
01:07So, no. I wasn't there, otherwise I wouldn't be talking to you, honestly,
01:12because my apartment was transformed into a well.
01:16José, you…
01:17It was a furnished well, and nothing.
01:19You shared images of what would be the previous hours or days
01:24to the collapse, where this work was seen, which was not enabled by the municipality,
01:29or at least what they were doing was not enabled.
01:32What was said among the neighbors?
01:34I understand if you took the photo.
01:36If they took the photo, they noticed that there were already irregularities with the work that was being carried out.
01:41Let's see, the photo that you have circulated in green,
01:44that photo is from my unit, seen from behind,
01:51from the side of Buenos Aires Street.
01:57Put it in full.
01:59Put it in full, if you can.
02:01Then, there is one thing that you send me,
02:04which was taken from Department 21,
02:08by the owner of Department 21.
02:11It was taken to send it to a friend who wanted to stay in Dubrovnik
02:16to tell her, no, don't come to Dubrovnik, because it's under construction.
02:22Are you watching TV, José María?
02:24Exactly.
02:25Ah, you're watching, okay.
02:27So, for you, it was like the chronicle, I don't know if of a tragedy as big as the one that happened,
02:33but that something could happen. What did you intuit?
02:37No, for us, it was a bombastic arrangement, a mess.
02:41A mess.
02:42Because they were staining the building, because the workers were shouting.
02:47I mean, it was a mess.
02:49They were working at night, that's why the rototillers were working at night,
02:53but no more than that.
02:55Workers who didn't know how to do the work, or who didn't even know how to do the material, the grass.
03:01Did you get that version?
03:03No, we did see them working with trumps and roldanas and buckets.
03:07But when it's a cosmetic job, you don't worry if the mixture is poor or rich,
03:14because in total, if they drop it, they drop the revoque, nothing more.
03:18Okay, but José María, at some point...
03:20We are not experts.
03:22No, of course, but did you go to complain at some point about what you saw?
03:26And in that case, who? Who was the representative face of these tasks?
03:31No, in fact, we found out not long ago that the hotel had been sold, right?
03:36And we found out after the tragedy that the work had been stopped by the municipality.
03:43For us, we are good guests, among ourselves and with others.
03:50So, if we see that Dubrovnik is preparing its hotel for the season,
03:55well, we will clean it up, or we will wait for it to finish,
04:00and then we go and tell them, look, you got all this dirty, paint it.
04:04At least paint it.
04:06And it was what, in principle, everyone seemed to be seeing.
04:09Yes, Deborah.
04:11Now, when on Tuesday morning we found this, we didn't understand anything.
04:18Because who thought that, first, who thought they could touch a column,
04:24if it was like that, who could touch a column?
04:27And then everything that began to come to light.
04:30Not only who could touch a column, but who could touch a column and not stomp it.
04:35Because you can touch a column, but you have to reinforce it.
04:38Ten floors of a building, you don't stomp them with anything, practically.
04:43But apart from that, there are other things, I want to make this very clear.
04:47At least that way.
04:48For a year and a half, two years, the municipality lowered our building
04:54because we had a crack in the staircase.
04:57And they imposed an architect that they decided.
05:02What do you mean by that, José María?
05:06That we are all fair before the law, but there are some who are more equal than others.
05:12There is an elite of lawyers, of architects.
05:15A select club, you say, that tells you, stop, stop, stop.
05:19You don't choose, we tell you with whom. Something like that?
05:22Something like that.
05:23Okay.
05:24Which are the ones that could be linked to this collapse, right?
05:27Those who collect, those who fish in the fish tank.
05:29No, it was the municipality, it was the municipality that did that.
05:33Yes.
05:34The municipality directed you to the architect with whom you had to work
05:37and make this work of refactoring the crack.
05:40Look at what he's saying.
05:42A direct responsibility of the municipality.
05:44Of course.
05:45Ah, but you had, he's saying, you had your own lawyer.
05:48No, architect.
05:49Architect, I say, your own architect, and they rejected him.
05:52Yes, they rejected the project of our architect.
05:55They told us that we had to work with an architect.
05:58Stop.
05:59They told you why, what was the rejection criterion of your architect's project?
06:05That the project he presented was not approved.
06:09Aha.
06:10Let's see, José María, do you think that the municipality
06:13can not only be responsible for this, but also had, I don't know what to call it,
06:18a mafia, but a business inside.
06:20A public interest.
06:21Of course, with the architects that they managed and collected, with the neighbors.
06:25Guillermo.
06:26Yes.
06:27Guillermo, excuse me, but if there is something that I can hack,
06:33it is to be responsible when opening your mouth.
06:36You can talk about that with Dr. Burrán, who represents us.
06:39Okay.
06:40And he can tell you what he believes and what he does not believe.
06:43Perfect, with Dr. Burrán.
06:44Please, do not come to me to speak.
06:46No, no, no, no, no.
06:47I do not have the right not even to say what I believe.
06:50Of course.
06:51I can say what I saw and what I know, but what I believe I keep it.
06:54I believe that we appreciate your testimony and we do not want to put you in any trouble,
06:58but what we say, we say it, trying to interpret not only what you are expressing,
07:04but what from the outset, Germán Marcucci, with exclusive information,
07:09who did not want to let go on the first day, told us all,
07:12look, this could be a case of corruption.
07:14No, no, no.
07:15This was like this.
07:16Yes, even locate one of the ...
07:18It could be a case of corruption.
07:20And here he is confirming it.
07:21And of proligity.
07:22Let's say that he is confirming a joint responsibility, perhaps,
07:27between the construction company and the municipality,
07:30because if it is the one who selects the architect, it is a total solidarity.
07:34No, no, no.
07:35This is terrible.
07:36Well, this is good.
07:37How?
07:38So, my dear, to a good understander, few words.
07:42Totally.
07:43José, María, from the images you shared with us,
07:46there are many from the Alfio building, where unfortunately Federico Soccini died,
07:51which we will surely see now in images.
07:54You can also tell us what you marked in these images,
07:59where it is absolutely destroyed, I think, part of the building.
08:04No, the image that is marked in green, in the back,
08:09that is my apartment.
08:10Your apartment.
08:11Exactly.
08:12So it was my apartment.
08:14So from there to the back, imagine that my apartment is number 4.
08:20This picture.
08:21This picture is, José María?
08:23Let's see, wait a second, I'm not in front of the TV.
08:26Yes, you can see, you can see, let's say, an electric wire, fallen.
08:30Yes.
08:31Describe that picture to us.
08:32There is this TV on the wall.
08:34Yes.
08:37And that is your apartment in the Alfio, which was destroyed,
08:40which if we imagine there were tenants or you were there, you did not tell us.
08:45We were not talking.
08:46No.
08:48Yes.
08:53Yes.
08:57Exactly.
09:05Yes.
09:07Yes, sir.
09:12Yes.
09:18Yes.
09:25Yes.
09:38Yes.
09:41Yes.
09:48Yes.
09:54Yes.
10:05Yes.
10:07Yes.
10:09Yes.
10:18Yes.
10:21Yes.
10:25No.
10:29Yes, yes, yes.
10:31Yes.
10:39Total, total.
10:48Yes.
10:55Yes.
10:57Yes.
11:14Yes.
11:16Yes.
11:18Yes.
11:21Yes.
11:27Yes.
11:32Yes.
11:50Yes.
11:57Yes.
12:02Uh-huh.
12:15Uh-huh.
12:22Claro.
12:27Claro, claro.
12:40Un montón.
12:47Claro, claro.
12:57Claro.
13:05Sí, sí, a ver.
13:12Sí, seguro, te entiendo, te entiendo.
13:18Exactamente.
13:23Sí, sí.
13:27Sí.
13:32Sí.
13:53Claro, claro.
13:57Claro.
14:07Uh-huh.
14:19Claro, claro.
14:20Claro, claro.
14:25Sí, además.
14:37Sí.
14:51Uh-huh.
15:00No, no me hagas eso, no.
15:03No, no me hagas eso, porque yo no era amigo de ella,
15:06pero me la había cruzado algunas veces,
15:08habíamos intercambiado palabras,
15:10y lo que menos necesito en este momento
15:12es un gusto emocional más.
15:21Y que seguía ahí también.
15:40Sí, totalmente.
15:51Claro.
16:07Claro, tal cual.
16:08Ofreciendo su ayuda.
16:20Seguro.
16:32Claro.
16:36No, no, no, no, listo, ya está.
16:50Claro.
17:20Sí.
17:27Tienen que reconstruir el edificio entero.
17:37Sí, pero...
17:50Sí, totalmente, esto no fue un accidente,
17:52esto fue un estrago,
17:53y para mí, como dijo burlando,
17:55que es quien nos representa,
17:57no lo son.
17:58Sí, claro.
17:59Con ganas,
18:00aunque le importó un bledo la vida de los que estaban ahí
18:03o los bienes de los que estaban ahí.
18:05Claro.
18:06Bueno.
18:07Volvemos otra vez al rol del Estado,
18:09al rol del Estado ausente o presente para hacer negocios,
18:12que eso es la materia de investigación que viene,
18:15hoy por hoy lo que se está investigando,
18:18al margen del rejate de cuerpos,
18:21es el rol que tuvo la Intendencia,
18:23o por lo menos funcionarios del municipio,
18:25en solamente clausurar una obra en los papeles,
18:29pero no en poner una faja,
18:31no en poner un control de policía,
18:34nada, se siguió adelante,
18:36y como vos, seguramente José María, sabes,
18:38los vecinos sabían que la obra seguía,
18:40y los vecinos sabían que la obra era más profunda
18:43de lo que se estaba permitiendo.
18:45La foto que yo les mandé,
18:47la foto que yo les mandé
18:49de las dos ventanas remarcadas en verde,
18:52fue sacada hace cinco días.
18:54Cinco días.
18:55Esto es una ausencia de Estado,
18:57porque en realidad el Estado nos tiene que proteger,
18:59y acá nos pasó justamente lo contrario.
19:01Pero funciona corporativamente.
19:03Yo sé, Germán.
19:04¿Cuántas son las personas damnificadas
19:06que está representando el Dr. Orlando?
19:09Las 22 departamentos de los 24 que hay en el alfie.
19:14En el alfie.
19:15Ok.
19:16Porque, a ver, a partir de lo que estamos viendo,
19:19esto va a llevar muchísimo tiempo,
19:21vos no vas a poder ir,
19:23podés ir a Jesús,
19:24pero no, obviamente, a tu departamento.
19:26Digo, esta figura,
19:28perdóname, Germán,
19:29que hablaba la doctora Ambo
19:31en cuanto a la frustración de tu proyecto.
19:34Al proyecto de vida.
19:35Claro, yo no lo había contemplado decir.
19:37Claro, porque vos tenés el proyecto de vida
19:39de seguir disfrutando
19:41lo que tus padres con tanto esfuerzo lograron,
19:43¿no es cierto?
19:44Entonces, ese disfrute,
19:46porque nuestro código habla de una reparación plena,
19:48y uno de los ítems es el proyecto de vida
19:51que vos tenías y que se ve truncado
19:53por un acto de ausencia del Estado
19:55y de responsabilidad por negligencia,
19:57por impericia,
19:59por todas las razones que puedan dar,
20:01pero esto paralelo a la causa penal.
20:03Perdóname, perdóname,
20:05agregar la palabra desidia también,
20:07porque la desidia es desprecio, es desprecio.
20:11Claro, claro.
20:12Igual es acción u omisión.
20:14Acá me parece que es más acción que omisión.
20:17Acá hay un jugamiento de cosas.
20:19Que no saben los funcionarios.
20:21Acá hay un dolo evidente.
20:23Sabiendo que estás haciendo algo
20:26obstrucho, clandestino,
20:27se te tiene que representar la idea
20:29de que se viene edificio abajo,
20:31no sé si pensaron tanto,
20:33y sin embargo siguieron para adelante.
20:35Si ustedes me permiten,
20:37yo necesito despedirme
20:39porque tengo que ir a trabajar.
20:42José María.
20:43Les agradezco mucho
20:45que me hayan tenido en cuenta.
20:47Les agradezco mucho el espacio que nos dan
20:49a través mío a los propietarios.
20:53Por favor, no dejen de darnos
20:55estos lugares y estos espacios
20:57a medida que esto siga.
20:59Por favor, porque los vamos a necesitar.
21:02José María.
21:03Esto es muy simple.
21:05Nosotros dijimos de entrada
21:07en este noticiero,
21:09que nosotros estamos acá
21:11para ser un medio.
21:13Más allá de la información que te podamos dar
21:15de todos los días,
21:17ser un medio entre el que tiene una necesidad
21:19y el que tiene que responder por eso.
21:21Así que vos nos tenés que llamar a nosotros
21:23porque después el tema va a salir de las tapas.
21:25Pero vos nos tenés que llamar a nosotros
21:27y volvés a salir al aire en representación
21:29para decir lo que quieras decir.
21:31Un millón de gracias, Guillermo.
21:33Que tengan un excelente día.
21:35Gracias, igualmente.
21:37José María, rumbo a las 11 de la mañana,
21:40como para hacer una apreciación global
21:42de todo lo hablado.
21:44Es verdad, sueños truncados.
21:47El estar vivos de milagro.
21:49Podían haber estado allí.
21:51Y el horror.
21:52Esto podría haber sido perfectamente...
21:54Si vos ves las imágenes, son como si fuera un atentado.
21:56Y ¿sabés qué? Te pregunto.
21:58Por acá se paga y muchas veces
22:00lo que sale, no sé,
22:02100 mil te dan 30 mil.
22:04Digo, la pelea de burlando
22:06va a ser titánica porque estás peleando
22:08con toda la municipalidad,
22:10que te va a salir a decir con todo su medio
22:12y además juegan de local, ¿no?
22:14Sí, ese es el problema.
22:16¿Cómo se hace?
22:18Porque la justicia local, a ver,
22:20lo vimos en el caso Loan,
22:22y yo te lo puedo decir en muchos casos,
22:24la justicia y el poder político van de la mano,
22:26pegado a pegado.
22:28La verdad es que Fernando debería buscar,
22:30y seguramente lo hará,
22:32cómo salir de ese nicho
22:34que ha visto fuera del ámbito
22:36de Villa Gesell, de la justicia local.
22:38Porque la justicia local
22:40está totalmente impregnada
22:42por el poder político.
22:44La realidad es que a veces se puede,
22:46y yo voy a traer un tema en los próximos días,
22:48en donde vos podés salir
22:50y podés tener derecho a un juicio justo,
22:52que es lo que quieren y lo que se merecen
22:54todas las víctimas
22:56y todas las personas que sufrieron.
22:58Pero realmente nosotros necesitamos
23:00construir un estado de derecho, como dijo Germán,
23:02en donde no hablemos de ausencia de Estado.
23:04Claro, claro.
23:06Cuando los ojos del país, por acá está el país mirando,
23:08una cosa es un caso aislado
23:10que queda nada más en el circuito cerrado
23:12de Villa Gesell, ahora no, estamos todos mirando
23:14si va a ser mucho más difícil o no.
23:16Es que lo que dijo Guillermo fue maravilloso,
23:18nosotros somos un puente entre lo que le pasa
23:20a la gente y el Estado.
23:22Esa es la función de la opinión pública
23:24de la prensa, y que esto no muera,
23:26porque en realidad esto le podría haber pasado
23:28en cualquier lugar del municipio.
23:30Por antecedentes que hay.
23:32Una vez que se muere el tema,
23:34les dicen, miren, hay esto, conformense.
23:36Pará, el departamento vale tanto,
23:38me hiciste mierda la vida,
23:40murieron dos,
23:42un matrimonio de ancianos
23:44que amábamos.
23:46Y el valor de vida no te lo compensa la plata.
23:48Nada, nada, nada.
23:50Pero por eso, no perder de vista
23:52estos casos que después salen
23:54de la palestra informativa.

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