In the mid 1980s, negotiations began for the Thyssen-Bornemisza collection to come to Madrid. Villahermosa Palace became an incentive to convince the Baron, who, having visited the National Museum of Roman Art in Mérida, demanded that the mansion be remodeled by Rafael Moneo. The architect opted to give up personal expression and focus on the building’s history and construction. The Thyssen Museum would pick up where Villahermosa Palace had left off: the north facade, facing the landscaped entrance. This facade, which paradoxically had hardly counted in the definition of the palace’s wall system, would be the starting point for the new spaces forming the museum. The facade allowed for the establishment of a new axis along which to organize a new wall system based on this facade’s axis of symmetry. The facade’s frontality is the origin of a deep hallway, lit from above, that defined an empty space on the first floor and a courtyard on the second. Around these, a circular movement gives structure to the floors.