Finland had been given a difficult, sloping wooded site near the Trocadéro, something which Aalto was able to exploit in creating a ground plan featuring an irregular chain of volumes joined in a sort of collage - with small, open, cubic pavilions together with two larger exhibition halls.

[6] Fitting in the architectural master-plan of the master architect Jacques Gréber at the foot of the Eiffel Tower, and inspired by the shape of a grain elevator, the Canadian pavilion included Joseph-Émile Brunet's 28-foot sculpture of a buffalo (1937), and Charles Comfort's The Romance of Nickel.

[11] The pavilion included Pablo Picasso's Guernica, the now-famous depiction of the horrors of war,[12] as well as Alexander Calder's sculpture Mercury Fountain and Joan Miró's painting Catalan peasant in revolt.

He used a modern reinforced concrete frame combined with traditional elements such as colonnades, terraces, courts and galleries, the tower form, Classical rhythms and the use of Mediterranean marble and stucco.

Arturo Martini's Victory of the Air presided over the space, her dark bronze form standing out against a seemingly infinite backdrop of blue-grey Venetian mosaic tiles.

From there visitors could visit the Colonial Exhibits by Mario Sironi and the Gallery of Tourism before enjoying a plate of real spaghetti on the restaurant terrace.

The courtyard garden was designed a respite from the exhibits with a symphony of green grass and green-glazed tiles set against red flowers and burgundy porphyry.

The room was a celebration of all those aspects of Fascist society that Pagano wholeheartedly believed in: social harmony, government input to generate industrial innovation and support for artists, professionals and craftsmen as well as workers.

Here Pagano had the joy of working alongside five different artists and placing Italy's newest industrial material such as linoleum and Termolux (shatterproof plate glass) next to a sumptuous chandelier from Murano and amber marble.

[16] Frank Pick, the chairman of the Council for Art and Industry, appointed Oliver Hill as architect but told him to avoid modernism and to focus on traditional crafts.

[17] The main architectural element of Hill's pavilion was a large white box, decorated externally with a painted frieze by John Skeaping and internally with giant photographic figures which included Neville Chamberlain fishing.

Its contents were crafts objects arranged according to English words which had become loanwords in French, such as "sport" and "weekend", and included some items by renowned potter William Worrall.

Finally Le Corbusier was offered a budget of 500,000 FF with which he built a canvas pavilion filled with didacitic material promoting his utopian vision of future urbanism.