I entered the exhibition pavilion. Once again, I was confronted by sloping walls, slanted planes, surfaces linked loosely and playfully together, battens and ropes hanging, leaning, floating or pulling, taut or projecting. The composition disclaimed the right-angle and sought an informal balance. The architecture made a dynamic impression, symbolizing movement. Its gestures filled the available space, wanting to be looked at, to make their mark. There was hardly any room left for me. I followed the winding path indicated by the architecture.

In the next pavilion I met with the spacious elegance of the Brazilian master Niemeyer's sweeping lines and forms. Once again, my interest was captured by the large rooms and the emptiness of the huge outdoor spaces in the photos of his work.

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