The Project Creative Conservation was developed at the Conservation and Restoration Laboratory / Polytechnic Institute of Tomar (IPT) as a form to recover, preserve and show in a new way industrial remnants and derelicts, complying with welldefined criteria for collection and selection of those fragments. As a new concept, it needed to be experimented, so students were involved in its practice, which enabled theory demonstrations and maintained a dynamic university learning atmosphere. This paper presents the challenges posed to three Conservation and Restoration teachers: Different ways to explain new and controversial information, engaging students for the Creative Conservation concept, developing practical extra work, learning and improving hands-on skills, and to practice team-work within a Conservation Laboratory and a Museum environment. A series of three different workshops were designed as learning tools to allow students to develop conservation skills, discuss problem solving and practice "out of the box" thinking, under the Project Creative Conservation, within the specialties of ceramics, tiles, metal, plastics and paper remnants preservation. It was also provided the chance to create different exhibition methods, installation and exhibition display. A good percentage of students were enthusiastic and complied with the conservation challenges posed by teachers and by remnants themselves. The fragments were properly preserved and differently displayed in exhibitions. The IPT conservation teacher's competencies and enthusiasm towards teaching a different concept within a practical frame enabled students to broad their view in the conservation field and widen the classical approach to conservation and restoration.

“O Niilismo” foi publicado pela primeira vez em 1996, em Roma, e posteriormente traduzido para várias línguas. Nesta obra, Volpi quis apresentar, ao longo dos quinze capítulos, um itinerário da história do conceito e do problema do niilismo.

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Os “barros de Portalegre” formam um conjunto de peças de arte sacra dispersas pela região de Portalegre. Estas peças encontravam-se em algumas igrejas e ermidas no Norte Alentejano e, na sua maioria, terão sido recolhidas pelo colecionador José Régio. Não há informação precisa acerca da produção dos “barros de Portalegre”, embora seja quase certa a origem nessa região, lugar de barristas que deixaram obras significativas. Estudos feitos no passado apenas tiveram em consideração as características estéticas e estilísticas das referidas peças, mas observações e intervenções recentes demonstraram que a caracterização feita anteriormente se baseava num aspecto que afinal não é original – quase todos os “barros de Portalegre” da coleção José Régio estão repintados.