The requalified open spaces include: 1. Plaça del Peu del Funicular; 2. Parc de la Creueta del Coll; 3. Plaça de Salvador Allende; 4. Parc Güell Restoration; 5. Plaça de Sóller; 6. Via Júlia; 7. Plaça Trilla; 8. Plaça de la Virreina; 9. Plaça del Sol; 10. Plaça de la Sedeta; 11. Avinguda de Gaudí; 12. Parc de la Pegasso; 13. Plaça Can Robacols; 14. Plaça del General Moragues; 15. Pont Felip II-Bac de Roda; 16. Parc de Sant Martí; 17. Plaça de la Palmera; 18. Parc del Clot; 19. Parc de l'Estació del Nord; 20. Plaça Tetuan; 21. Passeig de Picasso; 22. Places de Sant Pere i Sant Agustí Vell; 23. Pati de les Aigües; 24. Plaça del Rei; 25. Moll de Bosch i Alsina; 26. Plaça de la Mercè; 27. Plaça Reial; 28. Jardins d’Emili Vendrell; 29. Plaça Folch i Torres; 30. Fossar de la Pedrera; 31. Plaça de Navas; 32. Plaça de l’Univers; 33. Passeig de la Reina Maria Cristina; 34. Jardins Can Sabaté; 35. Parc de Joan Miró; 36. Parc de l’Espanya Industrial; 37. Plaça dels Països Catalans; 38. Plaça de la Concòrdia; 39. Jardins de la Vil-la Cecília; 40. Plaça Ángel Pestaña; 41. Palaus del Carrer Montcada; 42. Entorn del Velòdrom d'Horta. The urban public space projects represent a large and impressive body of public works at widely different scales spread throughout the city. The aim was to develop a program for the entire city, one that would eventually operate in a decentralized manner, fitting the needs of particular geographic locales regardless of prevailing socioeconomic and physical circumstances. During the early stages, all public improvements were confined to the project sites themselves, and there were no displacements of population or viable urban functions from surrounding areas. Moreover, projects were undertaken in all ten districts within Barcelona: Ciutat Vella, Eixample, Sanes Moncjuic, Les Cores, Sarria-Sane Gervasi, Gracia, Horca-Guinard6, Nous Barris, Sane Andreu, and Sant Marci, respectively. The program officially began in December 1980. Apart from being a local jurisdiction, each district corresponds to a distinctive area within the city that war­rants special urban design consideration, and each district is largely characterized by a particular pattern of streets and surrounding buildings. Three kinds of specific urban space projects have been completed: plazas, parks, and streets. A number of these parcels contain a variety of recreational activities as well as public artworks by major international artists. Throughout the urban space program, a shared intellectual idea of Barcelona accompanies the strong conviction that the city is, in large part, something objective and capable of renewal. Within this common agenda, however, there is also a tolerance of formal design diversity remi­niscent of other moments of Catalan modernism such as the periods of Gaudi and Domenech i Montaner, or of Sert. Within contemporary circumstances, this diversity extends from the mini­malism of the Placa de! Paisos Catalans, by Pinon and Viaplana, to the expressionistic contextur­alism of the Pare de l'Espanya Industrial, by Pena Ganchegui and Rius, as well as more prosaically from soft-planted surfaces to the traditionally hard paved Mediterranean plaza dura. In the final analysis, a broadly based and authentic Catalan style of place-making has emerged.