the overall layout of the exposition and five of its pavilions. He also designed the Italian Pavilion for the Liège Expo of 1930 with Gino Levi Montalcini as well the interiors and many of the exhibition spaces for the Italian Pavilion at the Paris Expo of 1937 by Marcello Piacentini. He also worked on the master plan for the ill-fated Rome Expo of 1942, that was never held. He was involved in the Milan Triennial V which was held in Milanese Novecento architectGiovanni Muzio's Palazzo dell'Arte specially built in the Parco Sempione, when the Exposition of Industrial and Decorative Arts moved from Monza to Milan. Here he collaborated in the design of two pavilions of the Housing Exhibition held in the park – the Steel Structure House and the 'Summer Hall' and the Breda ETR300 train carriage with Giò Ponti. He was also responsible for the 1934 Aeronautics Show where he designed three of the main spaces including the Hall of Honour and the Hall of Icarus. He directed the VI Triennale of 1936, together with the painter Mario Sironi and designed a new Entry Pavillion, an extension to the Palazzo dell'Arte (the Architecture or New Pavilion), subsequently demolished due to bomb damage in the Second World War. At the 1936 Triennale he also designed the Exhibition of Building Materials (with Guido Frette) and the Exhibition of Vernacular Architecture (with Werner Daniel). At the 7th Triennale of 1940 he was responsible for the Exhibition of Serial Production. Photography He was also an amateur photographer, an activity sparked by his desire to document Italy's vernacular tradition in architecture. He traveled Italy ‘hunting’ for images and creating careful compositions that expressed material qualities, gave snapshots of daily life and celebrated what he saw as a ‘real’ Italy – not that of the tourist brochures and the propaganda machine. From then on he often published his own photographs in Casabella using them to strengthen his critiques of the architecture of the time. Politics and art Though initially an active member of the Italian Fascist party, Pagano's architectural philosophy led him farther and farther from the official architects of the Fascist regime, such that his VI Triennale, in effect, proposed an alternate architectural expression for Fascism. Pagano opposed "representative architecture" of all types, whether Modern or Classical. He remained dubious of some groups of Rationalists (like the Gruppo 7 and art critics like Pier