The bedroom/boudoir that Eileen designed for XIV Salon des Artistes Decorateurs exhibition, 1923, "elaborated upon the potential for a single room to take on aspects of an entire lived milieu" (L'Architecture Vivante , Winter 1924). C. Constant refers to Nicolas Le Camus de Mezieres' 18th century text,The Genuis of Architecture and the analogy of that art with our sensations 1780, which describes the Boudoir as "female counterpart to male cabinet or study." "Le Boudoir est regardé comme le séjour de la volupté. C'est là que [la femme] semble méditer ses projets , ou se livrer à ses penchants ..." The study, in contrast, is described as "sacred to the Master's tranquillity and to his work, and no one may enter" (In Caroline Constant, "E. 1027 : The Nonheroic Modernism of Eileen Gray," Journal of Architectural Historians , Sept 1994: 267). Eileen created very small rooms, cabinet-like in scale, all of which were designed for multiple uses, for luxuriating, socializing, studying. Rather than opting for the historically feminine over the masculine, Gray androgynizes the space. Thus the "Boudoir de Monte Carlo" is published in L'Architecture Vivante of 1924 as "ROOM, 1922." Like so many of Le Corbusier's photographs, it has been touched up for publication. But with Gray, the image stands constant and the words are varied. Language thus here poses a minor assault upon the supremacy of built/imaged form, inverting the traditional use of architectural journal to promote built work. In retitling the space she opens not only the realm of the woman, but that of sensuality to man, as she asserts women's right to a private Room of One's Own. Thus at E1027, "la chambre à coucher principale se compose d'un boudoir -studio , avec une petite terrasse particulière sur laquelle se trouve un lit de repos en plein air"(Gray & Badovici, 31). The boudoir-studio further extends its androgynous inhabitants' terrain to the out of doors using the terrasse as an unfolded space.