The key element of the composition is the porch of the main entrance, whose concrete roof is a refrain to the sails that are stretched in the heat of the streets, with an affectedly heavy canopy placed on affectedly thin posts. In this way, Mavrommatis emphasizes the plasticity of concrete: he bends the canopies, demonstrating that monolithic concrete can be plastic. And even delicate.

Man does not live by concrete alone! When you walk around this building — and each of you actually can come inside the first floor (no photography is allowed) — you will notice the internal gardens.

It is kind of like both the medieval cloisters and the architecture of Ottoman palaces, with their alternation of enclosed and green spaces.

When you perceive this intelligent engineering aesthetic, which creators were not interested in bright color accents and ornamentation, you think that the world of the 1970s — the era of our grandparents — was artistically much more developed than nowadays.

Brutalism affected all countries of the world then, regardless of political systems — from Great Britain to Yugoslavia, from the USSR to the USA and Brazil.

A little later, we’ll see the rear facade of the court — a concrete song unto itself.