highest points of the property, the Villa (Casa de Serralves) presides over the Park, which opens out in front of it and on either side. From its implantation site, it traces a long longitudinal axis - which extends to the pool at the other end of the property. In front of the villa, the central parterre establishes an element of continuity between the building's geometric lines and the sobriety of its overall design. A second, shorter axis – marked by the long Sweetgum Alley - is designed at a right angle to the central axis defined by the Central Parterre. The alley leads into an octagonal clearing which faces the street and the main entrance to the property. Looking back one can imagine the visitor's trajectory, from the street towards the building. On the western side of the building, the large door/window of the ground floor salon opens onto the lateral parterre, suggesting continuity between the interior and exterior spaces. Through the huge windows, the garden is an omnipresent feature of the villa (Casa de Serralves) on the ground floor, while the first-floor windows offer panoramic views over the park, enabling a better understanding of the spaces and their inter-relations. The implantation of the building observes an approximate southwest-southeast orientation in profound articulation with the garden. From the garden which circulates around the Villa from behind, visitors can observe the extensive facade, which looks out over the Rua de Serralves. The main entrance is formed by a semicircular widening of the exterior wall, framed beneath a glass canopy. There is also a side entrance via a patio encased between the main building and the chapel. From the street, the building has a relatively closed appearance to the exterior. By contrast, the facade overlooking the garden includes wide or long rectangular windows that accompany the rhythm of the sober lines of geometry that define the building's overall form and volumetry. Viewed as a whole, the Villa is a testimony to the art deco style, which came into vogue with the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. Quinta de Serralves Quinta de Serralves (Serralves Farm) was originally referred to as Mata-Sete farm. It pertained to the Cabral family prior to 1932, and although excluded from Jacques Gréber's project for the Count of Vizela, it was subsequently subject to an intervention by Gréber. A long avenue of horse-chestnut