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Besides, this approach led to the idea of presenting architecture The nature of arcades imposed the shoppers to limit their shop
for the pleasure of the eye, rather than creating a livable with the flat surface of windows and vertical stacking of goods in
space. It was a visually beautiful architecture. When Mies was a proper height to let the full pleasure achieved by the flaneur.
commissioned to build the German pavilion, he asked the It was in contrast with the street shops which were not always
Ministry of Foreign Affairs what was to be exhibited. 'Nothing will that limited in displaying their goods, they still were able to use
be exhibited,' he was told, "The pavilion itself will be the Exhibit." the street as a device to attract the pedestrian, however in the
In the absence of a traditional program, the pavilion became arcade, the visual image of vitrine took the most prominent role
an exhibit about the exhibition. All it exhibited was a new way just the same as what cinema did with theater. The boundary
of looking. A person standing in front of one of the glasses sees was starting to shrink into a line, and the height was beginning to
himself reflected like a mirror, but as he moves behind, he sees expand. The bodily experience of shopping with all senses in the
the exterior correctly. Then architecture turned out to be a saturated border of old shops or markets where the boundary is
platform of seeing. more of a space than a line is far different from the most visual
experience of shopping in the modern arcades of Paris early
20th century. This change is so critical when it comes to urban
public spaces. Therefore, removing or blurring the boundary as
In "The Arcades Project," the unfinished magnum opus of happened to modern architecture was a failure because of it, at
Benjamin the same story is reflected from a different point first hand, removed and destroyed the interior space. Secondly,
of view. As a reflection of the rhythm of this new modern more often in the public space with those flat glasses representing
life, Benjamin saw arcades surrounded by vertical displays commodity or nothing, contribute to the passivity of an urban
of shopping as a kind of pre-cinema. It was built in fact in a dweller. However, in later years different strategies to overcome
cinematic model the problem in architectural context had emerged.
