After iden­ti­fy­ing an area close to Miró's stu­dio with a gentle slope toward the bay, it was de­ci­ded that the new buil­ding should not be tall, but should react en­er­gi­cally against the world built around it. The gal­lery, a key piece in the new con­struc­tion, is so­me­thing of mi­li­tary fort­ress de­fen­ding its­elf from the en­emies ahead. Sharp and in­tense, the vo­lume ignore its sur­roun­dings or, bet­ter still, an­s­wers with rage the hos­tile buil­dings that have worn down the pre­vious be­au­ti­ful slope. Views are cen­te­red ex­clu­si­vely on the Sert Stu­dio, the Miró house, and the hills. Fur­ther­more, the roof of the gal­lery is trans­for­med into a pool, which al­lows us to think that it is still pos­si­ble to re­co­ver the pre­sence of the sea; li­te­r­ally to bring back the lost water of the sea. Mo­re­o­ver, the water in the pool en­han­ces the dis­tance bet­ween the site and the neigh­borhood. The gal­lery re­sists its me­dium, pro­tec­ting its­elf from the hos­tile out­door at­mo­s­phere with con­crete lou­vers. Win­dows ori­ent our eyes towards the gar­den, a cru­cial piece in this project, that com­ple­tes the dialec­tic bet­ween the new con­struc­tion and the exis­ting buil­dings.