| Resumo: | [EN] The research carried out as a doctoral thesis has studied the Parc de la Ciutadella as a privileged urban space in the configuration of conceptions of nature and a certain style of popularization of natural sciences in the urban public of the early twentieth century. It has analyzed the exhibition regimes linked to the natural history that were deployed so as to situate them in the political and social context of the time. The study focused on a period of the history of the park, which began in 1906 with the creation of the Autonomous Board of Natural Sciences, which launched an ambitious program of popularization of natural sciences in the parc de la Ciutadella. In order to achieve the objectives, the research has focused on trying to understand the scope and significance of three scientific exhibitions under way as part of that program: sculpture of the mammoth on a natural scale that was built up in the park at the end of 1907 and which today is still preserved there; the collection of large blocks of rock that began in the same year and that in the course of three years reached more than one hundred samples, which were exposed in front of the Martorell Museum until 1929; and the great exhibition of fish farming and fisheries that was organized in 1912 in the interior and around the building known as Castell dels Tres Dragons, which was the precedent that marked the link with the natural sciences, now centenary, of the building that had been former Café-Restaurant of the Universal Exhibition of 1888. The analysis of the three exhibition projects is aimed at to understand, on the one hand, the conception of nature that imbued the program of the Board, to analyze the state of the respective scientific disciplines and their translation in terms of museography and the public reception. These exhibitions were elements of dialogue between experts and profans, a place where the voice of the authority could be heard, but also the voices of the public and other actors, at a time when science of the city was institutionalized. For this reason, the analysis of the exhibition projects has been focused so much in the motivations, interests and desires of the promoters as well as in the receptions and reactions that the public of those initiatives had.
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