Hence projects and achievements of advertising pavilions, such as the one designed for the Presbitero Pencils, and the typographic one, the Book Pavilion, realized at the III Biennial of Decorative Arts held in Monza in 1927, a perfect example of typographic architecture. Commissioned by the publishing houses Bestetti and Tumminelli and by the Treves Brothers, it was built according to the criterion that the shape of these exhibition pavilions should be determined by the objects they contain and for which they are built. So, for the promotion of books, imprinted with typefaces, what better shapes than huge, huge, typographical forms? Certainly, immersed in the panorama of baroque, rococo and art-nouveau pavilions that dotted the fairs of the time, Depero’s pavilion must have looked like … another planet. In this sense, Depero made a substantial contribution to the new architecture. And it will not be out of place to remember that, as a happy coincidence, the “Group 7”, which also marked the beginning of Rationalist architecture, presented itself for the first time at that same exhibition.