thus, for a short period of time (from 1948 to 1958), for architects and artists, milan became the city where they could experience a new conception of the relationships between the arts. the palace shows how the concrete forms are not simply paintings applied to the walls of a building designed separately by another person, but are born and developed together with the architecture with which they identify. the task of breaking the stereometry of the building is entrusted to the balconies which, united in a clever play of colors, enliven the front with beams of intense blue and give the impression of a large abstract composition pleasing to the eye and functional. the same design is taken up in negative inside the entrance hall, where an inlay of the rubber floor has the purpose of establishing a close relationship between the external facade and the internal space, where there is also a mariani sculpture. perogalli also considers this creation one of the most original and significant in which "the synthesis of the arts ... is also notable for the strong chromatic component: the facade of the building has a cladding in white marble and blue ceramic tiles. the decoration is expressed both in the free composition and in the choice of colors on the facade.