In 1942, Gala and Dalí bought the hut located at the top end and which was used as a library, with furniture specially designed and built by the Cadaqués carpenter Joan Vehí.

In 1989, the artist died and the house was left awaiting an initiative to adapt it to be a small museum complex, a work that began in 1994 under the direction of the architects Oriol Clos i Costa and José Ramos Illán.

[3][4] The house, adapted from a number of small fisherman's huts,[5] has a labyrinthine structure which from one point of departure, the Bear Hall, spreads out and winds around in a succession of zones linked by narrow corridors, slight changes of level, and blind passageways.

This work served as inspiration for the painting Dematerialization of Nero's Nose (1947), created at a time wen Dalí was interested in nuclear fusion.

The decorative elements of this area are two enormous cup-shaped planters and a reproduction of Ilisos, by Ancient Greek sculptor Phidias, created for the Parthenon, in Athens.

It is possibly the most striking area of the house due to its abundant and surreal decoration, which includes a lip sofa, reproductions of Bibendum, swan-shaped fountains and Pirelli tyre posters.

Other elements that complete the whole decoration of the house and symbolize Dalí's personal touch are the countless eggs, the heads, the gallows dovecote and the sculpture Christ of the Debris, made from the remains of a flood.