When in 1983, Eduardo Chillida and Pilar Belzunce (his(her,your) wife) visited Zabalaga's estate for the first time they remained impressed from the first moment for the immensity of this hamlet construído 1543 which gave name to the estate. One year later the Chillida Belzunce bought a part of this estate the cua was including the hamlet that was in ruins.

This hamlet was a very good site(place) to guard his(her,your) works during the process of oxidation. When it(he,she) was finishing this process, the works were extracted from here for his(her,your) exhibition and sale all over the world. Eduardo Chillida was arranging the hamlet with the help of the architect Joaquín Montero and meanwhile Chillida-Leku was turning into a sculptural set for what Eduardo Chillida does not want to sell the works and starts collecting them in this place. This way it(he,she) is penetrating the idea of turning it into a museum for what they continue buying area up to coming to 12 hectares that today we see.

Since the money went out exclusively of the familiar(family) patrimony, Eduardo Chillida could realize his(her,your) work freely and expose it as he(it) created it. 
All the sculptures of the garden can be touched; not this way those who are inside the museum. 

Though the museum offers holding a permit tours in which the visitor knows his(her,your) interior of a tidy and explained way, the habitual thing is that the public discovers the Chillida-Leku guiding only by his(her,your) own(proper) capacity of amazement, walking of here for there between(among) the sculptures and the landscape. (…) almost half hundred of sculptures of great size, and corresponding to diverse epochs and materials, are spread by a beautiful place dedicated to the art and the nature. It is a dynamic collection, because the explanatory commitments of the sculptor in half a world and the entry and exit of new orders it(he,she) provokes that some big pieces leave temporarily the museum and others enrich it.It is not a question of a closed museum, but of an alive(vivacious) and changeable space. In opinion of the architect Luis Pedro Ganchegui, collaborator of Chillida in several of his(her,your) more emblematic public works, the not figurative art is like a return to the nature, and in consequence, Chillida's sculptures receive(charge) his(her,your) more exciting dimension anchored in this forest of wood, trees and iron. 

This text belongs(concerns) to the book " Una Utopia turned actually(indeed) " written by Mitxel Ezquiaga.