and French decorative arts, encouraged by his visit to Paris to the International Exposition of Modern Industrial and Decorative Arts in 1925. There he met Charles Siclis (1889-1942), an architect whose 1929 watercolors are behind the referential image of the Villa, Jacques Émile Ruhlmann (1879-1933), decorator and architect, and Jacques Gréber (1882-1962), the architect who was invited to design the new garden. With the aid of the Porto architect José Marques da Silva (1869-1947), the author of the first drafts of the Villa and the Park, Carlos Alberto Cabral gradually put together different views and contributions. The House of Serralves is considered to be one of José Marques da Silva's greatest achievements. Gréber had designed several gardens in Europe and North America. His plans for Serralves date from 1932, constituting a break with the Portuguese context of the time. The garden plans were based on Marques da Silva's drafts, according to which “the predominant law is always to compose the garden for the house to which it is the requisite companion”. Completed in the mid-1940s, Quinta de Serralves is the result of almost twenty years of designs. In the post-war environment of 1953, however, Cabral failed to adapt to industrial progress and was forced to sell his property. All that remains of that period is the photographic record from Casa Alvão, commissioned by the then-owner. Like the first owner, the second owner of Serralves, Delfim Ferreira (1888-1960), inherited and consolidated the textile empire of his father, Narciso Ferreira. The property was purchased by the State in October 1986. An ad-hoc committee was then charged with managing the heritage and adapting the space to a public purpose. Casa de Serralves opened to the public on 29 May 1987. Serralves Foundation was incorporated on 27 June 1989 by Executive Act nº 240-A/89. Its articles of association establish the “promotion of cultural activities in the field of all arts”, perceiving its space - the Villa and the gardens – as an indivisible whole, opening it to the public, preserving its character, guaranteeing the survival of the principles that lay behind its conception, not giving in, however, to a static, dated image but rather attempting to adapt the space to the living structure provided by the framework of its time. In 2004, Serralves Villa was subject to a restoration initiative by the architect, Álvaro Siza. With a total area of 900 square metres, 700