42 See G. Wood, ed., Surreal Things (London, 2007 ).
43 Ibid.
44 Quoted in C. Varney, In the Pink: Dorothy Draper, America’s Most Fabulous Decorator (New
Yo r k , 2006 ), p. 43.
45 Ibid.
46 P. McNeil, ‘Designing Women: Gender, Sexuality and the Interior Decorator, c. 890 – 1940 ’
in Art History,xvii/ 4 (December 1994 ), pp. 631 – 57.
47 Ibid., p. 634.Chapter Six: The Public Interior1 V. Woolf, cited in V. Rosner, Modernism and the Architecture of Private Life(New York, 2005 ),
p. 3.
2 Le Corbusier, Towards a New Architecture (London, 1974 [ 1923 ]), p. 19.
3 S. Giedion, Mechanisation Takes Command: A contribution to anonymous history(New York,
1969 [ 1948 ]), pp. 364 – 5.
4 For more information about the relationship between the city and modernity see P. Hall,
Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth
Century (Oxford, 1991 ); J. Rykwert, The Seduction of Place: The History and Future of the City
(New York, 2002 ), and R. Sennett, The Fall of Public Man(New York, 1992 [ 1974 ]).
5 The title of Richard Sennett’s book serves to reinforce this gender bias.
6 For more ideas about the concept of the ‘flâneur’ see K. Tester, ed., The Flâneur (London
and New York, 1994 ).
7 G. Lambert, The Covered Passages of Paris (Paris, undated), p. 9.
8 Walter Benjamin, The Arcades Project, trans. H. Eiland and K. McLaughlin (Cambridge, ma
and London, 2004 ), p. 3.
9 Ibid.
10 Ibid., p. 14.
11 Ibid., p. 20.
12 Ibid., p. 7.
13 C. Hobhouse, 1851 and the Crystal Palace(London, 1945), p. 57.
14 E. D. Rappoport, Shopping for Pleasure: Women in the Making of London’s West End
(Princeton, nj, 2000 ), p. 27.
15 Ibid., p. 28.
16 In feminist writings the flâneurhas been joined by the parallel concept of the flâneuse,
the modern female (middle-class for the most part) shopper, who sought pleasure as
she moved outside the safety of her home to join the mass of consumers crowding the
commercial areas of London, Paris, New York and the other main cities of the second half
of the nineteenth and the first decade of the twentieth centuries. See J. Wolff, ‘The Invisible
Flâneuse: Women and the Literature of Modernity’, in Theory, Culture and Society, ii/ 3 ( 1985 )
pp. 37 – 48 , and Rappaport, Shopping for Pleasure, p. 13.
17 Paradoxically public interiors, including those in exhibition halls, shops and shop windows,
contained commodities destined for the private arena. As Beatrix Colomina has explained,
‘The private had become consumable merchandise.’ See Beatrix Colomina, Privacy and
Publicity: Modern Architecture as Mass Media (Cambridge, maand London, 1996 ), p. 8.
18 Rappaport, Shopping for Pleasure, p. 154.
19 See M. Miller, The Bon Marché: Bourgeois Culture and the Department Store 1869 – 1920
(Princeton, nj, 1981 ). 221213_240_Modern_End:Layout 1 30/5/08 18:34 Page 221