The final decorative and executive project was assigned to the architect Zanchetta, who was inspired by the Neoclassical architecture used in Milan at that time.
Zanchetta reused the classical style, inspired by Ancient Greek architecture (especially Doric and Ionic).
He studied the ancient architecture and recreated a more modern and authentic style.
The building evidences a dramatic use of columns.
These were are not used to carry the weight of the building's structure but as a graphical and decorative element.

The church has a salient structure and three aisles.
The facade is an example of Neoclassical architecture: it is linear, flat, long and does not have any decorations.

The church is characterized by a marble altar which was sculpted by a company located in Milan in 1913.
This altar is accompanied by two frescoes, made by Mario Grandi Chiodo, representing the Conversion of Paul the Apostle and Jesus handing over the keys to St. Peter.

The cupola is decorated with a fresco made by Angelo Galloni in 1938 and represents the Virgin Mary of Mount Carmel, patroness of the Carmelite Order.
Of particular interest is a pipe organ which is situated in the counter-front of the church, near the main entrance.

In 1931, the parish priest began dealing with the decorations of the church and conceived the design of the individuals to portray on the walls near the main altar.
He consulted famous painters and decorators and allocated the work to Comazzi (from Milan).
The parish priest wanted Comazzi to paint two big frescos.
Comazzi could not complete the work due to lack of time, and custody of the work was given to another painter, Mario Grandi.

The frescos were completed in July 1931.
 Don Fedeli was satisfied with the work, but almost four years were necessary to repay the two painters.
In 1934, some artistic glass walls were attached to the windows of the church as decorations.
The final decorative and executive project was assigned to the architect Zanchetta, who was inspired by the Neoclassical architecture used in Milan at that time. Zanchetta reused the classical style, inspired by Ancient Greek architecture (especially Doric and Ionic). He studied the ancient architecture and recreated a more modern and authentic style. The building evidences a dramatic use of columns. These were are not used to carry the weight of the building's structure but as a graphical and decorative element. 
The church has a salient structure and three aisles. The facade is an example of Neoclassical architecture: it is linear, flat, long and does not have any decorations.
The church is characterized by a marble altar which was sculpted by a company located in Milan in 1913. This altar is accompanied by two frescoes, made by Mario Grandi Chiodo, representing the Conversion of Paul the Apostle and Jesus handing over the keys to St. Peter.
The cupola is decorated with a fresco made by Angelo Galloni in 1938 and represents the Virgin Mary of Mount Carmel, patroness of the Carmelite Order. Of particular interest is a pipe organ which is situated in the counter-front of the church, near the main entrance.
In 1931, the parish priest began dealing with the decorations of the church and conceived the design of the individuals to portray on the walls near the main altar. He consulted famous painters and decorators and allocated the work to Comazzi (from Milan). The parish priest wanted Comazzi to paint two big frescos. Comazzi could not complete the work due to lack of time, and custody of the work was given to another painter, Mario Grandi.
The frescos were completed in July 1931.  Don Fedeli was satisfied with the work, but almost four years were necessary to repay the two painters. In 1934, some artistic glass walls were attached to the windows of the church as decorations.
Santi Pietro e Paolo, Arese