square metres are used as exhibition spaces, which was why the conservation intervention, in particular a restoration intervention, was necessary. Structure The building's interior is distributed across three floors: a basement floor, which includes the kitchen, pantry and service areas; a ground floor including all the living rooms, dining rooms, atriums and library; and a first floor which corresponds to the private quarters. Visitors entering the Villa through the main entrance from the street, which is relatively dark, will gain their first impression of the building's structure and its relationship with the garden, from the impressive two-storey central hall. Looking in front, through the vast exterior window, they will see the central parterre and park. Looking to the right, they will see the vast salon which extends via the window to the lateral parterre. The Villa's private quarters are in the first-floor gallery around the central atrium. To the left, with a slight difference of floor levels, there is a dining room that overlooks the garden and a billiards room, on the other side, that looks over the street. There is a wrought iron gate designed by Edgar Brandt which separates this social zone from the Villa's private quarters on the first floor and also the library and service areas on the ground floor. Interior architecture The Villa's interior architecture and decoration perhaps make it the most notable example of Art Deco style in Portugal. This was a comparatively late intervention, in comparison with the majority of Art Deco buildings in Europe - explained by the many visits and contacts made by the owner and also the delays that occurred in the construction of the building itself. The 2nd Count of Vizela first became acquainted with the canons of this style in France, where he lived, and he visited the leading Art deco exhibition held in Paris in 1925. He then invited some of the leading figures from the international artistic panorama of that time to work on the project. Émile-Jacques Ruhlman designed the dining room, hall, salon, cloakroom and billiard room. Alfred Porteneuve, who worked in the same atelier, endowed Serralves with its charismatic pink colouring. René Lalique designed the large skylight of the main hall's ceiling, on the first floor. Furniture The Foundation's current collection of furniture only includes a small part of the Villa's original furniture, given that many of these items were sold at auctions and