Public space is frequently considered and projected as an area left over from architectural and urbanistic development, a reflex from the absence of interdisciplinarianism and the co-ordination required at the time of the conception of an urbanisation plan.

In accordance with this attitude the projection of public space is approached in a reserved manner: firstly as a roadway project with its requirements of fluidity and safety, then as a project of pavements, and finally as a project of green areas; and the subterranean networks and surface equipment are installed, more often than not, in accordance with the requirements of the operators of the urban services.

Thus, the project of public space is frequently considered as either a project of "filling the blanks", which is disfigured with many additional works – equipment, urban furniture, signalling, subterranean networks – or as a "finishing" project, conditioned by the previously established occupation of the area.

However, whatever the attitude and the methodology adopted, the public space is the body of the city, that which welcomes and accompanies whoever passes through it and which never treats us with indifference.

It is in the public space that the culture of city living and doing is based.

In this way, in the conception of the urbanisation of the Intervention Zone of the PARQUE EXPO 98 public space was approached as a structural element of the city and one which characterises the culture which planned it. Thus it was that it was adopted as a constant in the conception of the Urbanisation Plan, individualised and enhanced as much for its singularity as for its diversity and location in the urban structure, and has accompanied the whole development of the urbanisation up to its construction.

Some aspects of greater detail should also be pointed out:

• The realisation of a vast planting program, including contract programs for the supply of the species which would ensure their adequate availability, development and variety in accordance with the plans;
• The interdisciplinarianism of the project through the co-ordination and compatibility of the underground networks in order to optimise the layout and the viability of the project of the terrain – pavements and plants;
• The involvement of plastic artists and designers in the singularity and enhancement of the project of the terrain and its components of urban furniture, equipment and art;

Harmonisation of the project of the railway with the project for the terrain and a more humanistic conception, favouring a pedestrian use of the public space and the safe co-existence of the vehicle with the pedestrian – the rejection of urban fast-tracks and the adoption of a greater homogeneity of the spaces.