ABSTRACT
Explaining their project design of the Czechoslovak pavilion for The International Exposition of Art and Technology in Modern Life in Paris, 1937, the winning team noted:
We may say that 90% of people [visiting exhibitions] are not exhibition experts and do not share the cultural demands of the “upper ten thousands,” and as such they spend very limited time looking around exhibition pavilions. … The content of the pavilion should therefore be such that it captures masses of these ordinary visitors while satisfying the demands of the culturally mature visitor. 1
