The new Serralves Park opened to the public in 1987, and was subject to a recovery and enhancement project initiated in 2001 and concluded in 2006. Currently on display in the park are sculptures by Claes Oldenburg, Dan Graham, Fernanda Gomes, Richard Serra, and Veit Stratmann. Located in one of the highest points of the property, the Villa (Casa de Serralves) presides majestically over the Park, which opens out in front of it and 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 sorthwest-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 sober and 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 art deco style, which came into vogue with the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. In the words of Eurico Cabral, the nephew of the Count of Vizela: “ In 1925 he visited the famous decorative arts exhibition in Paris.