1. The Pilar Square
The present aspect of the Pilar Square has its origin in 1937, when the municipal architect Regino Borobio extended the surface of the old Santa María Graveyard. The old place only included the area opposite to the Pilar Temple after linking the Huesca, Pilar and la Seo squares and pulling down the buildings between them. In 1990, the Pilar Square was, one more time, remodelled until its present aspect. The plan made by Ricardo Usón affected the area between Don Jaime I Street and San Juan de los Panetes. Modifications were limited to a reorganization of the space, getting rid of the initial concept of avenue in favour of a square that will become the "hall" or "presentation card" of the city.
At the south side of the square, we can see 19th century buildings and others from the 1940s. The link between this formal and spatial disparity was established using contrasted analogy criteria, and rejecting a historicist integration as well as introducing architectural elements which match the lighting towers placed at the central area. Stone pillars were replaced for other big metal supports where other equipments such as the accesses to the subterranean car parks, the Tourist Office, a wall with public phones, and information boards were placed.
The search for solutions, demanded also a research into two fundamental problems of the square: the east and west ends. The first was partially solved by restructuring the Monument to Goya . This restoration work kept the sculpture elements but the group was moved to the south side of the square, which allows people to have better views of La Lonja and the creation of a leisure area. Goyas figure, placed on a monolith, only admitted a frontal vision. Therefore, a back perspective support was planned, with water architecture consisting of large sheets to create a micro-area for resting, at its lower part. The new siting of the monument make possible wide views towards la Lonja and a partial closing of the square, since it acted as a curtain in front of the transition area towards La Seo.
The characteristics of the Pilar Square are totally different. Finally, a monument for getting a perspective integration in the sector, was built: the Hispanidad Fountain . This fountain was planned as a water architectural element symbolizing the Hispanic World. A simple form was chosen, since a complex composition needed small-scale elements difficult to be integrated a big area like this. The final option was to build a sloping surface able to produce a controlled vision, and clearing the tension produced by San Juan de los Panetes Tower, and incorporating the monumental silhouettes of nearby buildings to the perspective which closes the square. The water flows down the sloping surface to the central tray. The cracks in the south part, the lines on the pavement of the side track, and the pond where the water from the fountains are collected, form the silhouette of South America. The idea was to reflect with precision the concept of Hispanic World. This idea is also highlighted by small pieces urban furniture such as: a group of three monoliths representing the three Columbus' sailing ships, and a sphere symbolizing planet Earth.
Lines of trees at regular intervals -also present in the central area of the square- were planted to round the view and highlight the characteristics of this space for leisure.
The relevance obtained by this place needed an adequate lighting. Therefore, lighting towers put on an asymetric vertebral axis were planned to be placed next to the south facade of the square, and, as a consequence, at enough distance from the north part, in order to highlight the importance of the buildings of that facade. The lighting towers, planned as big metal pillars which match the pergola placed along the south facade of the square, were situated at intervals and in rows of two, for creating micro-rhythms towards the corridor defined by both elements. The goal was to replace the concept of streetlight for lighting group.
Next to the Pilar Square we find another urban area that, despite forming part of the old town, was remodelled following the plan made in 1937 by Regino Borobio, until its present-day appearance. La Seo Square, first siting of the Samaritan Fountain, was always, in a certain way, isolated from the rest of the square, maybe due to Don Jaime Street. Therefore, this space has been treated by the last remodelation projects as a different area.