[1][4] As a key element of the interior of the Soviet Pavilion, Rodchenko designed what he believed to be an ideal space for collective self-education and cultural pastime of the urban proletariat – a workers' club.

Namesake public spaces which Leon Trotsky dubbed ″forges of proletarian mass culture″ were being set up by the thousands in the cities of the Soviet Union at that time, alongside reading cabins in the countryside.

Простота пользования вещью и стандартность вещи при необходимости расширить или увеличить количественно отдельные ее части.

However, according to Stepanova's recollections, not all the elements of the original design could be made, due to the tight deadline and a more than modest budget of the Soviet exhibition section.

[2] As Rodchenko intended, all the components of the Workers' Club were extremely compact, devoid of decorative elements, and as functional as possible: most of them had several possible configurations serving various practical purposes.

This was especially true for the most important element of the set — the multifunctional convertible unit dubbed ″the living newspaper″ which could be converted depending on the nature of events held at the Club: several manipulations taking mere seconds allowed turning this light batten structure with joints into a lectern, a cinema screen or an adjustable-width wall for posters, geographical maps or theatrical scenery.

One of them, a long table for meetings, writing and reading, was lined with twelve armless chairs with high frame backs with semicircular upper rails.

[1][4][8] In addition, the set included two book racks with five rows of slanted surfaces without glazing and drawers in the lower tier, which could be converted into small tables or pedestals.

It's all shiny ripolin, lots of white, red and gray... Every day Russians sneak in here to read magazines and books, even though the entrance is cordoned off... After its official opening on 10 June, the Soviet Pavilion immediately attracted increased attention from both the creative elite and the general public.

Both the exterior and interior of the building were widely regarded as contrasting with the pretentious style of most of the other pavilions – later called Art Deco – and impressed with the originality and novelty of the technical and artistic solutions involved.

[13] Western critics′ reviews of the Workers′ Club emphasized the mobility and functionality of its components, their convertibility, novel minimalist shapes and the unusual color design.

Art historians later noted that Rodchenko's Worker's Club was a flagship of constructivist design, exerting strong influence on the followers of the movement.

The article underscored not only the convenience and efficiency of the set, but also the difference in its reception by the different classes of French society: По отзывам специалистов, а также и французской прессы, вынужденной отдать должное нашим достижениям, оборудование этого примерного рабочего клуба очень экономно, легко, показательно и подвижно, а главное, построено с расчетом на минимум затрат.

According to experts, as well as the French press compelled to recognize our achievements, the furnishings of this exemplary Workers’ Club are very economical, light, impactful, mobile and, most importantly, highly cost-efficient.

[1][11] Since the middle of the 20th century, when the loss of the Workers' Club became apparent, there have been numerous attempts in various countries – Britain, Spain, the Netherlands, Finland, France, the USSR, and the United States – to fully or partially reconstruct Rodchenko's original set.

But despite the undoubted similarity of the reconstructed sets or their individual components to the original, every attempt revealed various discrepancies in terms of proportions, materials, colors and finish.

According to the conclusions of experts in Moscow, the difference can be explained at least in part by the fact that the German set was made with contemporary materials and tools – fiberboard processed on CNC machines with circular cutters.

The reconstruction project was carried out by experts and students of the Furniture Design Department of Moscow State Stroganov Academy of Design and Applied Arts, the successor to the Wood- and Metalworking Department of VKhUTEMAS, which Rodchenko had headed, with the financial and organizational support of Andrey Filatov, President of the Russian Chess Federation and founder of the Art Russe Foundation.

To maximize the approximation to the original, the Stroganov Academy team used only those materials (solid wood and glued plywood), tools and techniques that were available to the makers of the Workers' Club in the mid-1920s.

The other copy was shipped to France to be housed at the Chateau La Grace Dieu des Prieurs wine estate in Saint-Emilion, designed by the French architect Jean Nouvel.