The intellectual structure of this project matches the supporting structure. On the architecture of this project the intentions that support work, the final network that will eventually use the subject and the structure or skeleton of the building all coincide. The contrary: a containing architecture, of supposed flexible interior that hides the structure on the perimeter. This doesn’t have anything to do with the skeleton because it would not be occupied as a skeleton but as a void. The skeleton that we have analyzed doesn’t construct empty spaces. The mixture of these three orders or ways of understanding the skeleton propose a pattern for growth and variation of the project that expand its status. They make it more as a vital and beating form than a stable form. In the interior of the sceneries the image of the skeleton seems raw when the trusses are exposed, they are not longer melted down with the skin but directly with the structure. The force lines loose a little of vigor due to its swelling and the perception of a hat becomes more evident. Even the industrial image. The project melts public space with the interior activities because the structure avoids finishing (stopping) at the swelling. The skeleton of this project is a real structure.