The closed, unbreakable shape of this metropolitan fortress always made me think about an obscure ministry in a dark future without freedom, as in Terry Gilliam’s Brazil: a palace of technocrats, bureaucrats of a cold, “perfect” society.

I tried to photograph it several times but I only did one good polaroid of it, the picture opening my portfolio The Italian Scene. I explored its hardness, its vertical patterns without success.

Today  it’s a building of  cement  and glasses: lighter and with an open shape, but very less interesting.