Monument - Proposition for the realization of a Monument in the former Plaza Pizarro (now Plaza Peru), in the Historical Center of the city of Lima, around the Plaza Mayor of Lima. Location: Plazoleta (now Plaza Peru) between intersection of Jiron Conde de Superunda and Jiron de la Union, alongside the Palace of Government of Peru and the Municipal Palace of Lima. Project to Replace the '' Equestrian Statue of Francisco Pizarro '' (Statue in Bronze, of the American sculptor Charles Cary Rumsey, 1935), to change this statue of Francisco Pizarro, Spanish conqueror of Peru and founder of the city of Lima in 1535, for a Monument and Proposal more in line with the contemporary city of Lima and Peru, scilicet a unifying proposal. Proposition for the realization of Monument. The character of urgency and necessity of the Peruvian Retable (reredos) is sought as a document to transmit the voice and truth of 'the other' reaffirming its main characteristic of being a space of representation that reflects, expresses and certifies the desire for participation and recognition of citizens to the extent that the retable represents events that are important in the life of a community, both personal and collective experiences that affect the future of the latter. Formal description: The importance of people in the process of migration to Lima will be highlighted, representing hyper realistic human figures representing each of them simple occupation , divided into three levels of representation, as are the three levels of representation of the traditional Ayacucho retable: the Hurin Pacha (or Uku Pacha), the world of downwards, that of our ancestors, the Kay Pacha, the present world, and the Hanan Pacha, the world above, that of becoming. These levels will be represented by characters, the hyper realistic sculptures, in colour who do the occupation in these three times: the occupation of our grandparents for example, in their place of origin, down, in the world below, in the Hurin Pacha, in the Kay Pacha or present world , the people with the simple occupation that are made arriving to the capital, peddler, child car glass cleaner, employee of the house, Finally in the Hanan Pacha, will be represented the immigrants from Lima who already dominate the capital, those who have success, merchants, entrepreneurs, company head, the professional. These characters, the hyper realistic coloured sculptures, will come out of a vast space (a base) in the manner of the Retable, a central nave with two sides, with three levels of low height each (30 cm) designed so that people can interact with these hyper realistic sculptures, such as a daily living Retable. (This 'Plazoleta', without monument, is located near another emblematic monument, the ''Monument to Taulichusco'' -1985-, the last 'Kuraka' of Lima, in the Rimac Valley and his lands ('shires') where the city of Lima is located. The ''Monument to Taulichusco'' is a a Monolith of Andean basal stone of the Valley of Rimac.) Schema-Plan-Aerial View of my Proposition of Monument: In the manner of pre-Hispanic architectural expressions and constructions in the form of truncated pyramid and low structure, with a superposition of three floors or elevations and three overlapping platforms (in this case three levels), being a superimposed concentrated building, located in a residential, central, and public area like any other 'huaca' existing in Lima, in the cultural tradition of the '' civilizations of the Peruvian coast (cultures Lima, Chancay, Ichma, Huaura, Sican, Chincha ,100-650, during the Early Intermediate Period ) , characteristic of the Monuments of the Lima Culture. Directly referring to this pyramidal building with a truncated top and a low structure, of the "stepped truncated" type (see especially '' Culebras Temple '', or simply see Pachacamac, the main sanctuary of the central coast or 'huaca'). ). There are around 400 'huacas' only in Lima and its downtown. It will be a body-trunk-pyramidal that is placed on top of one another, in a volumetrically decreasing order, so that it establishes a set of perimeter terraces (where the colorful hyperrealist sculptures representing the inhabitants of contemporary Lima and their jobs will be located), and they produce the imprint that is characteristic of the monuments of the Lima Culture. The volumes of these bodies are always long and flattened, being the superposition of several of them that originates the monumentality of the whole. The floor is sensibly rectangular, short and low platforms are projected, sometimes very wide, which can be entrance atriums to the monument or scenarios for the realization of acts, interacting with the colorful hyperrealist sculptures of the inhabitants of contemporary Lima and their jobs Representing the immigration waves of the capital city from the 70s. This will be understood for example the first moment of occupation ( Years ' 70, the 'Hurin Pacha' or 'world below', of our grandparents) with the building of the stepped platform, the first level, Access to the upper platform is made through a peripheral pedestrian circulation system (around) that gradually ascends from one level to another. On the upper terrace there is a 'central courtyard' with hyperrealist colored sculptures of the inhabitants of contemporary Lima - Hanan Pacha, the 'world above', today's world -, on the immediate platforms, the Kay Pacha, the colorful hyperrealist sculptures of the ancient migratory waves and inhabitants of the contemporary Lima and their jobs from the 70s. On the lower flanks the Hurin Pacha, 'world of' below ', that of our grandparents, with their colorful hyperrealist sculptures and their jobs . This building, both in its architectural and cultural expression, will be connected through a pedestrian peripheral circulation (around) with platforms 1, 2 and 3. For this, the access can be lateral or frontal with an 'atrium of entrance' indicated by its semi-circular orientation, East-West, North-South, in the form of a diagonal aligned of the indicated hyperrealistic sculptural characters. At dawn of the equinox, the sun passes through the door of the eastern enclosure and crosses the corridor of the huaca. At dusk he goes the opposite way. The diagonal of the access corridor marks the North - South line. The access to the monument is as much by lateral entrance as frontal that connect with the streets, the plant of the monument in the form of truncated pyramid is bigger in area than in volume, as in the tradition of the cultures of the Peruvian coast (Lima Culture, Ychma Culture, etc). In the case of the pyramids with ramp and truncated, have been considered the public buildings of the Ychma culture, where the turn ruler resided and his retinue (being Pachacamac its capital city because only in the area there is a large concentration of pyramids with ramp -are 16 recognized pyramids-), where a series of rulers and their 'royal panacas' or royal families followed each other and where each truncated pyramid with a ramp corresponded to a ruler in the dynastic succession through time. Nota bene: 'Huaca': The term huaca, waca or guaca, of Quechua wak'a designated all the fundamental Inca sacralities, sanctuaries, sacred cities, idols, temples, tombs, mummies, sacred places, animals, those stars of which the ayllus, or clans believed to descend, the own ancestors, including the main deities, the sun and the moon, which were venerated through different ceremonies. This concept originates in the culture that the Inca Empire imposed on all its domains in South America. According to the pre-Columbian tradition, the huacas have their own personality and are part of the local pantheons of the Inca and pre-Inca cultures along with the other "Andean majors" (such as Wiracocha, Pacha Kamaq or Pariacaca). The close relationship between the Andean man, Peruvian, and the huacas can be attested by the great amount that is scattered throughout the territory of the Inca Empire, in Peru, the same ones that, in some cases, still today are the object of veneration . As a religious center the huacas are also famous for being the place where offerings were deposited. For this reason they were victims of looting during the first years of the Spanish invasion of America (sixteenth century), both for its reputation for containing treasures, and for being the center of local religiosity in the provinces that made up the Inca Empire. MATERIAL: Reinforced concrete painted in colours or polyester resin in colours. And add a little Plaque written in cement: ''Our society is plural by nature, to deny ourselves that reality is to want to be blind by force: to recognize and accept difference, rather than trying to mutilate and disqualify it, organize ourselves within this diversity, accept the contributions of each of the parties and build with those contributions, it is in a certain way a more sensible option, perhaps the correct one, but not the easiest one. So that such plurality can coexist, dialogue is necessary, as a mechanic, and as a will.''