Let’s focus on the overwhelming impression of luxury first: instead of decorating the entire perimeter of the building, the master exposes the four corners of the cube to play with the athleticism of the pillars and struts with girths. The image is based on concrete machinery, into which two more staircases are embedded, one in concrete and the other in metal, under which there is a harmonica-like outbuilding.

Of the entire generation of stars of the 1960s–1980s, only Mavrommatis could afford to “break through” such a brutalist feast.

The architect Christakis Serghides, who met Mavrommatis through work, recalled him this way: “What would you like to know about him? He was crazy (laughing), okay, a very strong believer of his ideas, a strong personality, and one of the stars working for rich and important people.”

In fact, he created two brightly different facades, decorating both streets.

Let us remember how the great French architect Le Corbusier, while working on the Tsentrosoyuz building in Moscow, created two different facades, on Myasnitskaya Street and on Sakharov Avenue.