The USSR pavilion that designed by Konstantin Melnikov for the 1925 International Exhibition of Modern Decorative and Industrial Arts, was a synthesis of the progressive aspects of Soviet architecture.
According to Frampton, Melnikov's imaginative use of wooden boards was not only recalling spontaneous architecture, but also those exhibition pavilions that had been designed for the 1923 All-Russia Agriculture and Crafts Exhibition, including the Izvestia kiosk due to AA artists Exter, Gladkov, and Stenberg, and the Makhorka pavilion.
The basic concept of the pavilion was a recalling of the rhythmic formalism of Ladovky's School. The staircase of the pavilion that cut the rectangle plan into triangles, was protected by overlapped wooden boards. This staircase that formed intersecting floors by going up and down through an open wooden construction, gave access only to the upper levels of the building. The two-leveled pavilion is an appreciation of the Soviet Union. The lower level should be dedicated to the ethnic-cultural variety of the nations that make up the Union and the upper level, to show the interior of four significant spaces: a workers 'club, a workers' house, a reading room, and a children's home as a manifestation of the new society. On the other hand, the triangular tower highlighted the pavilion as a landmark.
This intersection structure was destined to become a 'geometric progression' as drawn within the Russian avant-garde like the algorithmic spiral of the Talin Tower. The dynamic wooden structure was complemented by the interior of Rodchenko for an ideal workers' club which pointed out typical productivist furniture with a light structure, like a game of chess. Moreover, the dialectical expression in red and black has consisted of a table and two chairs.