From drinking fountains to promenades. Water as artistic medium?

From drinking fountains to promenades. Water as artistic medium? In From public art to post-muralism. Policies of urban decorum in Urban Regeneration (I) processes (Remesar 2019) when investigating the link of Public Art to urban Regeneration processes, we concluded that, possibly, the time of Public Art periclines and, for better or for worse, we enter a stage in which the socalled “urban art” reigns, specifically what we called post-muralism, a series of artistic practices that anchor their development in the culture and experiences of graffiti. The objective of this second part is to analyse the role that water has in the city, from the perspective of its connection with the new types of urban spaces that will appear since the beginning of the modern era, and its role in relation to the statuary, public art and landscaping. The research deepens the processes of aestheticization of cities that occur before the emergence, as a dominant paradigm, of the paradigm of the modern movement. To address this objective, we analyse how the fountains have gone from being mere artefacts to supply water to the city, to elements of urban composition and urban decorum. The article is divided into the following sections [1] Water in the square where the ways of supplying water are reviewed; [2] Opening spaces for [almost] everyone where we study the emergence of new public spaces and the role that water plays in them; [3] Providing water in which the role that fountains play as an interface with users is reviewed; [4] Serial fountains: a first step in the democratization of art, reviews the important role of cast iron fountains as diffusers of masterpieces of art hidden in museums; [5] Beyond utility. Water in the urban landscape, reviews how the emergence of public spaces such as parks will cause the use of water in a new, more monumental format. To this section follows [6] Finally, public space for all [or almost all], which reviews the role of the hygienist model in the creation of new public spaces and the value given to water, recovering water fronts (rivers , sea) and generating new public spaces such as "promenades", "costaneras" or "ma-

The objective of this second part is to analyse the role that water has in the city, from the perspective of its connection with the new types of urban spaces that will appear since the beginning of the modern era, and its role in relation to the statuary, public art and landscaping. The research deepens the processes of aestheticization of cities that occur before the emergence, as a dominant paradigm, of the paradigm of the modern movement.
To address this objective, we analyse how the fountains have gone from being mere artefacts to supply water to the city, to elements of urban composition and urban decorum. The article is divided into the following sections [1] Water in the square where the ways of supplying water are reviewed; [2] Opening spaces for [almost] everyone where we study the emergence of new public spaces and the role that water plays in them; [3] Providing water in which the role that fountains play as an interface with users is reviewed; [4] Serial fountains: a first step in the democratization of art, reviews the important role of cast iron fountains as diffusers of masterpieces of art hidden in museums; [5] Beyond utility. Water in the urban landscape, reviews how the emergence of public spaces such as parks will cause the use of water in a new, more monumental format.
To this section follows [6] Finally, public space for all [or almost all], which reviews the role of the hygienist model in the creation of new public spaces and the value given to water, recovering water fronts (rivers , sea) and generating new public spaces such as "promenades", "costaneras" or "ma-El objetivo de esta segunda parte es analizar el papel que tiene el agua en la ciudad, desde la perspectiva de su vinculación con los nuevos tipos de espacios urbanos que irán apareciendo desde los inicios de la era moderna, y su papel en relación a la estatuaria, el arte público y el paisajismo. La investigación profundiza en los procesos de estetización de las ciudades que se dan antes de la irrupción, como paradigma dominante, del paradigma del movimiento moderno.
Per abordar aquest objectiu s'analitza com les fonts han passat de ser mers artefactes per subministrar aigua a la ciutat, a elements de la composició urbana i el decòrum urbà. L'article es divideix en els següents apartats [1] Aigua a la plaça en què es revisen les maneres i formes d'abastir d'aigua; [2] Obrint espais per a [gairebé] tothom que estudia l'aparició dels nous espais públics i el paper que en ells compleix l'aigua; [3] Subministrar aigua en què es revisa el paper que les fonts compleixen com interfície amb els usuaris; [4] Fonts seriades: un primer pas per a la democratització de l'art, revisa l'important paper de les fonts de ferro colat com difusores d'obres mestres de l'art amagat als museus; [5] Més enllà de la utilitat. L'aigua en el paisatge urbà, revisa com l'emergència d'espais públics com els parcs provocaran una utilització de l'aigua en un nou format més monumental. The composition of representative sets will be increasingly important, combining the design of the surroundings, especially through the stylistic unit facades, with the design of the horizontal support, i.e. the ground, introducing the practice of paving ornamental in certain areas of the city (Esparza, 2017). Finally, some cities reserve the central space of the square for the installation of the statue of the lord of the city or the state, as in the case of the equestrian statue of the condotiero Gattamelata, by Donatello, in Padua, work done between 1446 and 1450, which prefigures the type of royal square present in Europe between the seventeenth and nineteenth centuries.

Fontaine des Innocents. Paris
The fountain was commissioned as part of the decoration of the city to commemorate the solemn royal entry of King Henry II into Paris in 1549. The fountain receive its name from its placement, on the site of an earlier fountain dating to the reign of Philip II of France, against the wall of the Saints Innocents Cemetery. It was to serve as a fountain as well as a grand reviewing stand for local notables; it resembled the walls of a large residence, with water taps along the street at the street level, and a stairway to the loggia on the upper level, where officials stood on the balcony to greet the King. Its original name was the Fountain of the Nymphs. Pierre Lescot was its architect and Jean Goujon developed the sculptural works.
In 1787 the cemeteries of Paris were moved outside the city walls, and the cemetery of the Church of the Saints-Innocents, was transformed into a market square, le Marché des Innocents. The fountain was scheduled for destruction. It was saved by the efforts of Quatremère de Quincy, who wrote a letter to the Journal de Paris urging the preservation of "A masterpiece of French sculpture." The fountain was moved to the middle of a large basin, raised on a stone pedestal decorated with four lions and four basins. Augustin Pajou was the sculptor commissioned to create a fourth façade for the fountain, in the same style as the other three, so that it could be free-standing. Jacques Androuet Du Cerceau. Fontaine des Saints Innocents à Paris. 1560. http://catalogue.bnf.fr/ark:/12148/ cb41363677b The fountain produced only a small flow of water because of the poor water supply system of Paris. Under Napoleon Bonaparte, a new aqueduct from the River Ourcq supplied water,so that the fountain gushed water, threatening the sculptural decoration. The smaller bas-reliefs at the base of the fountain were removed in 1810 and placed in the Musée du Louvre in 1824. In 1858, the fountain was again moved, to its present location on a modest pedestal in the middle of the square; and six basins of pouring water, one above the other, were added on each façade. Ransonnette

Fontaine des Quatre-Saisons or Fontaine Grenelle. Paris
While the fountain des Innocents initially has a purpose of celebration, Grenelle's fountain is clearly a "vassalage monument" (Remesar 2011). This type of monument implies the symbolic manifestation of the guardianship, dominion or protection of the Lord, -secular or religious-in order to confirm and strengthen the bond of dependence and fidelity of the vassal. We must distinguish these monuments from those commemorative since the "vassalage monuments" are ordered and executed by the Lord while still alive. They do not have the mission of remembering, but the praise and glorification of the Lord. In the fountain of the Grenelle is clear in the following inscription in Perspectives are created, punctuated with obelisks and statues; the longitudinal cross-section is ordered by the systematic straight layout, the heights of houses are ordered and a relatively strict but figurative control of the landscape composition of the facades is initiated (Laugier, 1755;Sabaté, 1999).
In this period a series of experiments will take place in the gardens, few in the centre of the old city, the most, far from the walls, in rural space.  (Alphand y Ernouff, 1875).
Although it should be noted that, against the restrictions of the privative, we can find some initial examples of public malls, in Seville, Alameda de Hércules (1574). The Alameda de Hércules, is considered the oldest intra-wall mall in Europe. In 1574 the grounds where the alameda was going to be built were drained, which were often flooded with the water that accumulated there from the frequent overflows of the Guadalquivir river, the remnants of the public fountains and the waste sewage (Albardonedo 2002). It was adorned with statues and fountains, and with rows of trees.
At the southern end, two third-century Roman columns were laid. These columns come from a Although, in the layout of the Hispanic malls we must recognize the influence of other model, that of the Paseo del Prado in Madrid, with its different modifications from its incipient beginnings in 1570 until its crystallization as "Salón del Prado" in 1763.
If the Sevillian and Madrid models set the standard for the construction of malls in the cities of Hispanic empire, long afterward , the "public passeio" in Lisbon will be the model for the Portuguese- north-south traffic without damaging east-west movements. The defenestrated statue of Louis XV is replaced by an "axis world", the obelisk of Luxor that marks the centre of the new square. On the sides of the obelisk two monumental fountains , that of "the seas" and that "the rivers." The two fountains celebrate river navigation (fountain on the north side towards the rue Royale) and maritime navigation (fountain on the south side towards the Seine). The river fountain is made up of seated figures representing the Rhine and the Rhône, products of the regions watered (grapes, wheat, fruit, flowers), statues of River Navigation, Agriculture and Industry.
They have the distinction of being cast iron, according to Hittorff's choice. They were to be carried out by the Parisian founder Calla, but it is the foundry of Tusey, in Vaucouleurs, which won the market. The cast iron was golden for its most symbolic parts. The square is equipped with street lamps, some monumental rostral street lamps 8 , many simpler ones. XV is replaced by an "axis world", the obelisk of Luxor that marks the centre of the new square. On the sides of the obelisk two monumental fountains, that of "the seas" and that "the rivers." The perimeter, basically pedestrian, uses small constructions of the previous project on which eight allegorical statues of the main cities of France are placed. The square is equipped with street lamps, some monumental rostral street lamps, many simpler ones. Rostral columns, 9.60 m high, carry the prows of ships suitable for gas lighting. They also evoke the emblem of the City of Paris. The same choice of foundry was made for the rostral columns also in cast iron and made at the same foundry in the Lorraine. The simplest lampposts are present, too, in the Champs-Élisées.
Some of these lampposts can be found in Barcelona, specifically in the Plaza de Catalunya, since the 1929 Exhibition.
As seen in the images, Hittorff's work is huge announcing the new criteria necessary for the organization of public space for cities that face the challenge of the first industrial revolution. Hittorf starts a new paradigm in relation to the design of public spaces, a paradigm that will be deepen by Alphand and Davioud some years later when the Haussmann renewal of Paris will start (Alphand, 1867;Haddad 2017;Remesar, 2004a;. This work is the beginning of a new industry linked to ISSN on-line: 1139-7365 DOI: 10.1344/waterfront2020.62.6.1 urbanization processes: the "fonte d'art" industry which will expand elements of urban furniture (banks, fountains, bars, columns of advertisements, etc.) and sculptures in cast iron throughout the world. A process that will also take place in the great industiralized country of the time, the United Kingdom, thanks to Scottish foundries.
The Place de la Concorde is one of the major public squares in Paris, with 7.6 ha in area. The place was designed by Ange-Jacques Gabriel in 1755 as an octagon between the Champs-Elysées and the Tuileries Garden to the east, as a frame for an equestrian statue of Louis XV designed by Bouchardon. The statue of the king, had been commissioned in 1748 by the city of Paris, sculpted mostly by Edmé Bouchardon, and completed by Jean-Baptiste Pigalle after the death of Bouchardon. The area was named the Place Louis XV.
At the north end, two magnificent identical stone buildings were built. Separated by the rue Royale, these structures remain among the best examples of Louis XV style architecture. Initially, the eastern building served as the French Naval Ministry. Shortly after its construction, the western building became the opulent home of the Duc d'Aumont. It was later purchased by the Comte de Crillon, whose family resided there until 1907. The famous luxury Hôtel de Crillon, which currently occupies the building, took its name from its previous owners.
After the downfall of Napoleon and the restoration of the French monarchy, the trees had to be replanted, because the occupation armies had camped in the park and used the trees for firewood.
The avenue from the Rond-Point to the Étoile was built up during the Empire. The Champs-Élysées itself became city property in 1828, and footpaths, fountains, and, later, gas lighting were added.
In 1834, King Louis Philippe, commissioned to redesign the Place de la Concorde and the gardens of the Champs-Élysées. The formal gardens were kept and flowerbeds essentially intact, but the Champs became a sort of outdoor amusement park, with a summer garden café, two restaurants, Providing water: Fountains and Water Supply The need to provide water to cities that are increasingly densely populated and constrained within the wall belt, encourages municipalities to develop water supply programs and fountains for distribution.
In each city, different solutions are chosen, but if we exclude Lisbon (Caetano & Cruz 1991;Valente 2013), which from the Marques de Pombal reconstruction programme opts for a combination of wall fountains and exent fountains, almost all cities evolve from this type of fountain, to an exempt type, due in good measure to the advances of the hydraulics that allows to leave the idea of tankfountains where the water springs by decantation, to the mentioned exempt fountains that, in addition, with the passage of the years, receive an aesthetic treatment by means of the incorporation of sculptures .
As stated in the file submitted ( The Aqueduto das águas livres, forms a water distribution system to the city. A part of the route is uncovered, but when it enters the city the aqueduct remains buried. In order for water to reach people, be they private individuals or professional water carriers -which, in Lisbon, were called "galegos" (Galician), because many of them came from Galicia in Spain-an interface of use is nee- tecture", although at certain points in the distribution system we can also observe some fountain "in sculpture". In relation to its location, many of Lisbon's fountains are backed fountains, since they also function as water towers. When the slope of the pipelina allows it, isolated fountains are built, some in architecture (pyramids or canopies), others presided over by sculptures.
Scheme of the different solutions taken to deliver water to cities and ensure their distribution through fountains. It describe the fountains gradual ornamentation as well as changes in the handling of hydraulics favouring the sliding of the use of water from primary needs (water forliving and work) to others of a more festive and symbolic character [water for leisure and urban decorum] During the 1755 earthquake, the aqueduct resisted its attacks quite well, unlike the most populated area of the city. Due to earthquake's destructions all over the city, Lisbon does not offer us a good example for the study of the evolution proposed in the previous scheme. In addition, Lisbon is incorporated later than other cities (see the case of the Plaza Real de Barcelona or Vienna) to the installation of jet water fountains in the public space.
The reason is that most of the XVIII and XIX century "chafarices" are water towers. Another reason could be the enormous weight that the Pombaline dispositions about the building systems and models of the Baixa Pombalina, have on the whole of the building activity in the city that was de- Therefore we must find an answer to this evolution in another place and we will resort to a brief description of the evolution of fountains in Vienna Vienna, as the capital of an empire, has a long tradition in the construction of fountains, first to provide water to citizens, then, since the mid-nineteenth century, as elements of urban decorum in the articulation of the new city, the new city that would grow on the other side of the old walls, converted into a belt to articulate between the old and the new Vienna, through the "Ringstraße".
The 'Ringstraße' is a great avenue that completely surrounds the old town of Vienna or Innere Stadt. It is one of the main avenues and one of the most important boulevards in Europe, with its 5.2 km. long and 57 meters wide in most of its sections.
When in 1850, Vienna annexed some of the nearby villages. It became clear that the historic city walls, which were the protagonists of the various sieges, had become obsolete and were a hindrance to the growth and expansion of the modern city, as in most European cities. In 1857, Emperor Francis Joseph I issued a decree "is my will" (Es ist Mein Wille) ordering the demolition of the old city walls. In this decree the emperor already defined the exact size of the round to be built instead of the walls and the esplanades along its entire perimeter, as well as the location and functions of the new buildings to be built in the land that was freeing up.
Numerous green areas and parks are scattered around the Ringstraße, most notably Stadtpark, Burggarten, Volksgarten and Rathauspark. Among the squares are Schwarzenbergplatz, Schillerplatz, Maria-Theresien-Platz and Heldenplatz. There are also numerous monuments and statues.
The plan also entailed a change in urban infrastructure, especially with the provision of new urban services (water, gas, and subsequently electricity). Maintaining the drinking fountain program, the new public spaces required another use of water, with the development of an ornamental fountain program.
In previous scheme of the different solutions taken to deliver water to cities and ensure their distribution through fountains. It describes the fountains gradual ornamentation as well as changes in the handling of hydraulics favouring the sliding of the use of water from the primary necessities to others of a more festive and symbolic character. What is clear is that for XVIII century there is a trend to change drinking fountains from the backed to the isolate ones, a change from "fountain in architecture" to "fountains in sculpture". Furthermore, we can appreciate a gradual incorporation of jet water fountains into urban scene, profiting from the hydraulic experience in the ruling class gardens with the development of several water features. Maintaining drinking fountains as a service for citizens, little by little, the use of "ornamental water" in the city is gaining weight in the fountain system.
Ninetieth Century is a time when Europe and the USA live the boom of the use of iron as a construction material, both for building and for infrastructures. Bridges, towers, markets, libraries, elevators (Rovira 1899). But iron is going to play an important role in the processes we can call "urban landscape normalization." Indeed, the implementation of urban renewal projects in England after the 1666 great fire (Benévolo 1975;Kostof 1992Kostof , 1995 and in France, especially in Haussmann's Paris (Haussmann, 1893;Pinon 1991), are associated with the city grid's design and the arrangement of the vertical plane of the public space, but the importance of the horizontal plane, that of the ground, in which the true normalization of contemporary public space is going to occur is rarely considered. And cast iron will play a central role. Everywhere iron works companies start to develop elements of urban furniture, street benches, kiosks, street urinaries, lampposts, tree grilles .... in parallel to the foundry elements necessary for the construction of machinery. But, also, ornamental works that, in many places, are going to replace the monuments of stone, bronze or lead.
The analysis of how the Fountain of the Three Graces comes to Barcelona is illustrative of the process. At the site of the fountain, there should have been a monument dedicated to Ferdinand II of Aragon, the Catholic King (Molina, 1850). This is no time to dwell on the monument, although it is a more than curious story of frustrated monument, which was and was not, in the style of the Galheteiro in Praça do Rossio in Lisbon (Águas 2009, 2013).
What is certain is that the City Council, through its chief architect of Buildings, Ornamentation The fountain of the Three Graces has become an urban icon of Barcelona. However, it is curious to analyse its symbolic content. In Barcelona, until we began our investigation,  the Fountain of the Three Graces had no other content than that of being the central ornamental element in the Plaza Real. But, this fountain is, in origin, a funerary monument. Indeed The commercial representatives of the foundry companies were responsible for convincing municipal architects of the suitability of their products, basically based on three sales arguments: [1] The modernity involved in the use of iron, [2] the creation of an "international" image of the city by placing what was most "trendy" in Paris, and [3] the economy translated into costs, duration and maintenance. An additional selling item was that of product customization. Indeed, work on casting allows relatively easy to organize a set of materials in a quite varied layout and presentation. Remesar, 2004a).
The philosophy used by Napoleon was to make affordable the masterpieces possession of the Ancien Régime to all citizens, on the one hand thanks to the Museum and the formation of French Heritage, on the other by replicating, copying, masterpieces for dissemination, which would enable, also, the formation and development of a thriving industrial sector. The procedure for copying and serial production is not new. Let's think about the role that the printing had for the dissemination of texts hidden in monasteries and royal libraries, or the sales boom of engravings throughout the sixteenth, seventeenth and eighteenth centuries, thanks to which authors such as Hogarth were able to support their artistic work.

c. 1868
A jet water fountain is placed at the monument site

1876
The jet water is replaced by the Fountain of the Three Graces

1879
Gaudi's project for installing four lampposts. They will not be installed until 1879 and only two 1886 It is arranged to build a monument to Jaume I, the conqueror, in the Plaza Real

1888
The Fountain is replaced by a luminous jet of water

-1925
The Fountain is installed on the Rambla del Poble Nou. Some stores still remember this fact, i.e. "Bakery the jet of water"
Although the state representation conditions described by Olsen do not occur in non-capital cities, the whole program is easily subscribed by any city that has industrial and commercial capacity.
Worlwide the areas that border water are undergoing a gigantic change in recent years. But this change had already begun mid the 19th century. Until well into the nineteenth century, many of the malls and parks studied should not be properly considered public space. The images of Saint James Park, both those of Canaletto and the engravings, clearly indicate this. They were open spaces "to the public", that is to a certain audience, formed by aristocrats, military, merchants, bourgeois, clergymen. The presence of the popular classes is not evident, beyond those characters that by their function linked to the "gentlemen" (stable boys, equerries) or the work to be carried out in the public space itself (the workers of the "Lactarian" ). Thus, we cannot say that they are spaces of exclusion, but it is clear that they are not inclusive spaces, a fundamental mission of public spaces. It is not by chance that the term "Mall" is used today to designate the large shopping centers that replace outdoor walks. The today's "Mall", like "The Mall" would be rather collective spaces in which the property determines the rules of use and behaviour (Cerasi 1976;Gutiérrez 2017;Solà-Morales 1992). These collective spaces, unlike public spaces, are governed by the rules dictated by the property, based on "the right of admission" -not everyone is welcome -and by their strict physical control and access (guards, cameras , etc) It will be from the liberal revolutions of the second half of the nineteenth century, when these spaces become, properly, public spaces. In the first place, due to the transfer of ownership to the municipalities, secondly, because, beyond the norms of public decorum, or some racist restrictions such as in South Africa or the USA until well into the 20th century, the spaces will be accessible to all citizens, as is already the case in Longchamp or in the Ciutadella Park in Barcelona. The same thing happens with other spaces of the aristocracy that gradually open to the public (Capel 2002).
In addition, the design of the space itself, the uses that are developed in it can create invisible barriers -not formal ones -that restrict everyone's access (Goffman 1961(Goffman , 1963Hall 1966) As Cerdà states the city is organized in "Uncovered spaces" and "Empty spaces". The uncovered spaces fall within the sphere of the private and to them belong the «gardens» inside the buildings which should serve as a reserve of light and air, a link between people and nature: «In each house there should be a garden that can be considered as the sphere of fraternal relations of the family with the living forces of Nature " (Cerdà, 1859 -The idea of "Empty space" does not take into consideration the issue of space ownership or only indirectly. Indeed, in its definition, public spaces can be confused with collective spaces. 8.-Cerdà refers both to the "Champs" in París and to those in Barcelona. A recreational park located in the background of the current Paseo de Gracia. Inaugurated in 1885 survived until 1873. Its main attractions were a lake and roller coaster, also having a ballroom and concert hall, which, over time, was transformed into a theater. short fee, citizens find entertainment of all kinds. In some countries, attempts have been made to gather instruction with leissure, establishing topographic galleries, panoramas, zoological, botanical collections, etc. at recreational sites. History also has its representation in the statues that decorate (Cerdà, 1867).

Marseille, Palais de Longchamps
In 1849 the waters of the Durance River arrive in Marseille, following the channel traced by Frantz Major de Montricher that must reach a large water tower located in the middle of a new park, the Longchamp Park, the Observatory and the Marseille Zoo are installed At the beginning of 1859, the mayor of Marseille, Jean-François Honnorat, asked the sculptor Auguste Bartholdi to carry out a water tower project. Bartholdi first thought only of a monumental fountain. After several interviews with the municipal council, he associated a museum divided into two isolated bodies with a central water tower.
It presents a third project by connecting the buildings by a vast gallery having its entrance in the axis of the monument. Faced with the hesitation of several of its members, the municipal council turned to judge this project by a commission made up of specialists: Henri Labrouste and Léon Vaudoyer, general inspectors of diocesan buildings, and Victor Baltard, architect of the city of Paris. This commission criticizes the project which will not be selected.
In 1862, the architect Henry Espérandieu conceived an ambitious project to celebrate the event.
He converts the great water tower in a palace to the glory of water in a garden setting. The entrance to the Palais Longchamp is through two gates placed symmetrically with respect to the general axis of the building. Each entrance portal is framed by high pedestals on which are erected statues sculpted by Antoine-Louis Barye depicting a wild beast devouring its prey.
The aisles on which the two gates open follow the curves of the pool to reach the main staircase. This staircase which encloses the reception basin of the waterfall is interrupted on a terrace to give access on the left to the Museum of Fine Arts and on the right to the Museum of Natural History.
The triumphal arch, open on all sides, has a sumptuous entablature surmounted by a dome. The front side of this dome is decorated with a trireme from which the city's arms stand out, framed by two sirens. The whole was sculpted by Eugène-Louis Lequesne.
The central group is, with its ten meters in height, an imposing work by Jules Cavelier. Made of Calissanne stone, it represents a chariot emerging from the water tower, drawn by four Camargue bulls that seem to be heading towards the city.
On this chariot are represented three female allegorical characters. The figure of the Durance, proudly camped in the centre, is draped in an ancient peplum.
In Barcelona, a similar project was developed at the Parc de la Ciutadella. The park is in the site of a large military citadel built in 1715 to control the city, following its surrender on 11 September 1714, in the previous land of the Ribera's neighbourhood.
In 1869, General Prim handed the citadel over to Barcelona. His condition was that the land should be used as a public park. The military fortress was then pulled down by groups of volunteers.
The reclaiming of this land meant a much-needed large green space could be created in a Barcelona that was becoming increasingly overcrowded. Places were needed to "allow breathing", as Joseph Fontseré expressed in his project's slogan: "Gardens in cities serve the same purpose as lungs in the human body". (Arranz et al., 1984;Torres iet al., 1985) The original layout was amended to include the Universal Exposition of 1888 and, later on, to accommodate the Zoo, one of the most important in Europe, which occupies half of the land.

Barcelona. Parc de la Ciutadella
Inspired in the Longchamps Palace,the monumental waterfall was designed by Josep Fontserè in 1875 and officially opened in 1881. Fontserè had a very young Gaudí as his assistant, to whom the rocky decoration of the waterfall and some of the decorative motifs have been attributed.
The waterfall is decorated with numerous sculptural features by Catalan artists from the end of the 19th century and put together after its official opening. The central element is Venanci Vallmitjana's Birth of Venus ; and the highlight of these works, at the top, is the Aurora's Chariot] by Rossend Nobas, who also sculpted four groups of jinns, two fauns and the figure of Eros. Four griffins beneath, modelled by Rafael Atché, protect the Venus. There are steps from one end to the other giving access to a type of temple for contemplating the park from a privileged perspective.
Near from the waterfall it is an artificial lake  , panoramas, zoological, botanical collections, etc. at recreational sites. History also has its representation in the statues that decorate some gardens, when it is not a lighter idea that has presided over such decorations (Cerdà, 1867).
The hygienist thought is widely spread throughout the world (Haddad, Marie, 2017b) and the 8.-Cerdà refers both to the "Champs" in París and to those in Barcelona. A recreational park located in the background of the current Paseo de Gracia. Inaugurated in 1885 survived until 1873. Its main attractions were a lake and roller coaster, also having a ballroom and concert hall, which, over time, was transformed into a theater.

Havana. The Vedado's Slope waterfall
The National Hotel is located at a higher level than the Malecon promenade. The hotel gardens extend to the Malecon limit. To solve the slope while preserving the privacy of the gardens, an artificial waterfall was built just at the corner of the intersection between 23rd Avenue or Vedado's Slope and the Malecon. The projects not only incorporate water (natural or water features) in the design of its different parts, but also the landscape enjoyment of a natural space, the water front of the Potomac River.
Burnham himself will develop the Chicago Plan (Burnham and Bennett, 2009) by articulating a park system, of which some may value the landscape aspects of Lake Michigan (FIol 2008).
In his "Anteproyecto de Plan de Enlaces" for Barcelona (1905), Jaussely will raise the need to create a promenade articulating the relationship between the sea and the city and that would extend between the Besòs river and the Barceloneta (Jaussely, Leon, 1907). This idea will be developed in the General Urbanization Plan of Barcelona (Romeu and Porcel 1919) in the framework of the Maritime Promenades Bill (Cambó, 1918) and the creation of a state of opinion to which Civitas 8 journal contributes (Civis, 1918;Fava, Nadia, 2004a). A few years before Juan Rafael Alday Lasarte had begun the urbanization of the famous Paseo de la Concha in San Sebastián. Among the urbani-7.-The French Society of Urban Architects was created in 1911 and registered in 1914. But some years before (1908), under the umbrella of the Paris Social Museum and propelled by the General Association of Municipal Engineers, Architects and Hygienists (1905) the Section of Urban and Rural Hygiene of the Social Museum is founded. As it will happen later with the Social Museum of Barcelona founded in 1909 (Montoliu 2000;Roca 1971), members of this Section are vividly influenced by the proposals by Ebenezer Howard, Parker and Unwin (Howard 1898(Howard , 1902Unwin 1917aUnwin , 1917b concerning the garden city, but, too, by the Belgian idea of Art Public (Broerman 1898). Members of this Section develop urban studies and projects for French cities but also for various European and American cities, building relations with the British, American and European town planners (Robinson 1904 ;Bohl and Lejeune 2009). In 1910, several members of this Section attend the International Conference on Town Planning (London) and participate in the international competition for the Gross Berlin. Soon after (1911) they found the French Society of Architects and Planners (SFAU) with the participation of personages like Agache, Auburtin, Bérard, Hébrard, Forestier, Jaussely, Prost or Redont; Eugène Hénard being its chairman.
In 1917 l'École d'Art Public was created, a joint initiative of the French and Belgian governments to face the problem of rebuilding destroyed cities throughout World War I, and l'École d'Art Public publishes "L 'Art Public" (Bonnier 1917 As we have already pointed out, the use of water as an element of the urban landscape, involves not only the creation of water spaces, but also the recovery of the "water fronts". In Buenos Aires, the project to build a costanera for the shores of the La Plata river, was developed between 1916 and 1919. It was the work by the agronomist and landscape engineer Benito Javier Carrasco. The change in social habits throughout the nineteenth century opened the use and enjoyment of the sea to citizens. Baths, water sports, simple contemplation of the landscape, enhancement of that other half of the city that is the sea in the port cities and the spine of the city that is the river in the river cities. No less disturbing for the urban planner must be the concern of promoting and protecting the network of free surfaces, both those that are inside the city in the form of gardens, squares of adornment and other provisions, such as those that surround it, be they forests, meadows or other green surfaces, which, together with the water of the lakes, ponds or streams, contribute not only to the beautification of the place, but to the sanitation of the city (Porcel, Llopart and Rubió, 1927).
It is not surprising that the French urban planners of the late nineteenth and first third of the twentieth century [those associated with the Social Museum and the "Art Public" movement) highlighted the idea of organizing the urban layout based on a park system and walks that will guarantee access to water.  (Forestier, J.C.N, 1906) In Havana, Forestier (1928) will design the "malecón" and creates the system of avenues and parks on the entrance of the Havana port (Duverger, 1990;Gómez Días, 2008). Forestier himself (1914) will project the system of parks that open to the Bu Regreg River and the Atlantic Ocean in Rabat, as well as the Aguedal gardens. The promenades, following the terminology of the Promenade des Anglais in Nice, "paseos marítimos", "malecones" or "costaneras" in some IberoAmerican countries, will constitute one of the urban design resources in vogue in the first third of the 20th century. Forestier, as we have mentioned, will participate in the design of contact with water in several cities and especially in Buenos Aires even though his project was not carried out. This avenue will be built on the new land conquered on the river, taking advantage of the embankments from the excavation of the canal and part of the new port to follow the bank of the river. The project includes only the part that belongs to the municipality of Buenos Aires. The avenue has been traced at its end so that it can be extended in the direction of the Tigris, and at the same time that it can fork at the end of the city to access the large ring road (Forestier, 1924).
The interest in opening the city to its water front will result in a multitude of interventions in vari-ous cities. Thus, in the wake of the Promenade des Anglais, in Beirut, in the 1920s, the Promenade des Français or Corniche is planned and built (Hindi, 2015). The dictator Salazar will locate the Portuguese World Exhibition of 1940 in the Belém riverside area, combining a first articulation of a riverside promenade with the park system that takes Montsanto as the green heart of Lisbon (Costa, 2007;Elias, 2007;Ochoa, 2011

Water as an urban show
The fountain was built on the occasion of the International Exhibition of 1929 by the engineer Carles Buïgas i Sans (Buigas 1978;Roura 1970;Tatjer, J, 1998)  and 70 large drawings with the project, which was called insane by some of the commissioners.
Construction work took less than a year and involved more than 3,000 workers.
This fountain is one of the icons of Barcelona and is visited by thousands of citizens and tourists.
The New Year's Eve party is usually held at its location. In 1938, the dictator Salazar disclose the program of the celebrations and appealed to public services to show commitment to the preparation of the event, demonstrating that Portugal has a "great capacity to achieve".
The construction of a monumental fountain was one of the initiatives practiced by public services in response to the call from Salazar. The proposal, presented formally in 1938 by the Waters Supervisory Committee of Lisbon, belonging to the Ministry of Public Works and Communications, then headed by Duarte Pacheco.
The project counted two sets of sculptures and two ceramic panels, complementing the architectural structure of the monument. There were also considered programs based on effects of water and light as an element that values the work. The territory of Alameda D. Afonso Henriques was chosen for the deployment of the monument.
However, the construction of the work, estimated at 480 days, dragged on for ten years (1938)(1939)(1940)(1941)(1942)(1943)(1944)(1945)(1946)(1947)(1948). During this period, development work was reported with enthusiasm by the press, through articles in newspapers and magazines, propaganda disseminated by Salazar (Elias2010) The fountain was built to celebrate the regular water supply to the eastern part of the city. The project is by the brothers Carlos Rebello de Andrade and Guilherme Rebello de Andrade and is framed in the conservative style, often called Soft Portuguese (Fernandes 2003 To conclude Regardless of political regimes and historical moments, the provision of water to the city is part of public policies and rulers, whether dictators or not, watch, in some way, to make them effective.
Therefore, the manifestation of their benevolence will result in a development of the fountains linked to the increase in public ornamentation. The marble sculpture will play an important role in the manifestation of the prince's power.
Within the walled city the fountains will be organized in three main types. The first is that of watertowers, due to hydraulic problems, usually attached to the wall as a second sculpted skin and that may have a monumental artistic manifestation or be limited to more cautious style of the "fountains in architecture". The second type will be that of the isolated fountains of a relatively modest scale since the urban space they use is relatively small. This second type can opt for obelisks, canopy fountains, mainly with a stonework. The third type is that of the fountains with sculpture, usually on a pedestal, in which the mechanisms and pipes of the fountain are hidden and separating the water spouts from the sculpture. Depending on the space these fonts grow in size and ornament.
Throughout the nineteenth century an important part of these fountains will be replaced by cast iron fountains, monumental or not. Given the cost of the marble or bronze of the statues, we see the emergence of sculptural fountains, first in lead, until the Fonte d'Art industry is able to make models that compete in quality with those of bronze. An industry associated to the new urban planners and designers, that will export a model of "city making" worldwide. At this same time, the model of hygienist thought will develop public parks, as "lungs of the city", and, in them, water will take another form: canals, rivers, ponds, lakes, shallow waters. The new types of public space will also determine an evolution in the form of the fountains, which will gain in monumentality and introduce the waterfall into the new urban parks. Finally, end of XIX century early XX Century, the introduction of electricity will turn the sources into a spectacle of water, light, colour and even sound.
As we have seen throughout the article, water in the city will abandon its mission related to the maintenance of everyday life or work (an aspect that would require another approach that we have not addressed), to become one of the principal elements of public and urban ornamentation, contributing to urban decorum policies of cities that transit from congestion within the wall enclosure, to their expansion beyond their boundaries, to metropolitan growth managed by a new ruling class, -an patrician urban class linked to the interests of service companies [water, electricity, gas, transport] -which in the context of the incipient formal democracy makes good the Enlightenment topic, "Everything for the people, but without the people". In spite of this, the interventions carried out will shape the morphology of the city and today form most of these new urban spaces and their water features can be considered quality public spaces in our cities.