Eileen Gray's E1027: An Architecture of Transgression? Year 3 Thesis

EILEEN

GRAY’S

E1027:

AN

ARCHITECTURE

TRANSGRESSION?

A dissertation submitted in partial fulfilment requirements for Part II of the Architecture 2015

Beth Fisher, Pembroke College

1

of the Tripos

OF

ACKNOWLEDGEMENTS

I would foremost like to thank my supervisor Max Sternberg, for his continued guidance and encouragement.

I also thank Jan Vandenweghe for making available his in depth study and personal accounts of E1027.

Finally, thanks to the Victoria & Albert Museum for allowing me access to their archives.

Word count Main - 9471 Bibliography - 623

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EILEEN

GRAY’S

E1027:

AN

ARCHITECTURE

OF

TRANSGRESSION?

Abstract

Eileen Gray’s E1027 is arguably one of the most progressive houses of the twentieth-century, serving as a revolutionized home affording men and women equal agency. To understand what has driven this commitment to challenging gender roles in the domestic sphere, I will first examine the urban narrative of Eileen Gray. I will then explore how her transgressive impulses against the repression of the bourgeois city manifest in E1027, a house which meets the real needs of the female inhabitant in facilitating her claim to the masculine privileges of private space and freedom of action.

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Contents

7

Introduction

9

Part One - City

20

Part Two - House

37

Conclusion

40

Bibliography

44

Appendix 1 - Images

70

Appendix 2 – L’architecture Vivante translation

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Illu stra tio n s

1 . E 1 0 2 7 to d a y . ( h ttp ://th e a rtsb lo g .ie /e ile e n - g ra y - im m a /) 2 . L a V o ie L a cteé sc re e n , 1 9 1 2 (A d a m , P . 2 0 0 0 . P g .7 4 ) 3 . G ra y ’s ru g d e sig n s, a ro u n d 1 9 0 9 (Ib id . P g .6 0 ) 4 . B o u d o ir b y G e o rg e s d e F e u re , 1 9 0 0 (h ttp ://w w w .d b n l.o rg /te k st/v e ld 0 0 6 g e sc 0 1 _ 0 1 /v e ld 0 0 6 g e sc 0 1 _ 0 1 _ 0 0 0 3 .p h p ) 5 . B e d ro o m - b o u d o ir fo r M o n te C a rlo (h ttp ://w w w .d a n ie lla o n d e sig n .c o m /b lo g /e ile e n- g ra y - a t- im m a ) 6 . D e S tijl in sp ire d o a k ta b le a n d la m p w ith C u b ist m o tifs (A d am , P .

2000. Pg. 137) 7 . F ra n k fu rt K itch e n (h ttp ://w w w .m o m a .o rg /in te ra c tiv e s/e x h ib itio n s/2 0 1 0 /c o u n te r_ sp a c e /t h e _ fra n k fu rt_ k itc h e n ) 8 . E 1 0 2 7 in 1 9 2 9 (B a d o v ic i, J. & G ra y , E . 1 9 2 9 . P g .2 7 ) 9 . E 1 0 2 7 a x o n o m e tric (C o lla te d b y a u th o r) 1 0 . E 1 0 2 7 p la n s (h ttp ://a rc h 1 0 0 - e 1 0 2 7 .b lo g sp o t.c o .u k /2 0 1 2 /1 2 /p la n se le v a tio n s- a n d - se c tio n s.h tm l, a n n o ta te d b y a u th o r) 1 1 . V illa N o a ille s (Im b e rt, D . 1 9 9 3. P g .1 3 4 , 1 3 6) 1 2 . 2 R u e N u n g e sse r e t C o li, liv in g ro o m (S a m u e l, F . 2 0 0 4. P g .1 4 7 ) 1 3 . E 1 0 2 7 in c o n te x t (G o o g le m a p s, e d ite d b y a u th o r) 1 4 . E 1 0 2 7 ’s iso la te d p lo t (A d a m , P . 2 0 0 0 . P g .1 9 4 ) 1 5 . E n try (h ttp ://a la sta irg o rd o n w a llto w a ll.c o m /2 0 1 4 /0 1 /2 7 /h o u se - o fu sh er- e ile e n - g ra y - le - c o rb u sie r- a n d - th e - stra n g e ly - tw iste d - fa te - o f- e 1 0 2 7 /)

5

1 6 . V ie w in to liv in g ro o m (h ttp ://w w w .stu d io n ic o lin .c o m /e v e n t/e n tre zle n te m e n t- 2 /) 1 7 . P a rtitio n - sc re e n (B a d o v ic i, J. & G ra y , E . 1 9 2 9 . P g .3 1 ) 1 8 . E n try d ia g ra m ( C o lla te d b y a u th o r ) 1 9 . P riv a cy d ia g ra m (Ib id .)

2 0 . D ia g ra m m a tic p la n (P h o to g ra p h e d b y a u th o r, V & A A rc h iv e s) 2 1 . K itch e n co lo u r sch e m e (Ib id .)

2 2 . E 1 0 2 7 ta b le (B a d o v ic i, J. & G ra y , E . 1 9 2 9 . P g .5 1 ) 2 3 . G a te le g ta b le (Ib id . P g .3 3) 2 4 . B e d ro o m s a s stu d ie s (Ib id . P g . 3 5 , 5 2 ) 2 5 . D in in g ta b le in sid e & o u tsid e (Ib id . P g.3 8 - 3 9 ) 2 6 . D in in g d ia g ra m (C o lla te d b y a u th o r) 2 7 . P ilo tis d ia g ra m (Ib id .)

2 8 . R o o f g a rd e n d ia g ra m (Ib id .)

2 9 . W in d o w s & S h u tte rs (B a d o v ic i, J. & G ra y , E . 1 9 2 9 . P g .5 8 ) 3 0 . N a u tic a l c a n v a s (Ib id . P g .3 7 ) 3 1 . L iv in g ro o m (h ttp ://a la sta irg o rd o n w a llto w a ll.co m /2 0 1 4 /0 1 /2 7 /h o u seo f- u sh er- e ile e n - g ra y - le - c o rb u sie r- a n d - th e - stra n g e ly - tw iste d - fa te - o fe - 1 0 2 7 /) 3 2 . L e C o rb u sie r p a in tin g th e liv in g ro o m (Ib id ) 3 3 . C o rb u sie r’s h o ste l o v e rlo o k in g E 1 0 2 7 (h ttp ://th e a rto fth e ro o m .c o m /2 0 1 4 /0 2 /v illa- e - 1 0 2 7 - re d u x /)

6

INTRODUCTION

“To create, one must first question everything.” – Eileen Gray1

T h e m y ste rio u s ta le o f E ile e n G ra y a n d th e c o n c e p tio n o f E 1 0 2 7 is o n e o f d e n ia l, tra n sg re ssio n , a n d u ltim a te ly , a re m a rk a b le a rch ite ctu ra l fe a t. T h e n a rra tiv e o rig in a te s in ru ra l Ire la n d , a n d fo llo w s a y o u n g w o m a n o f a risto c ra tic d e sc e n t o n a q u e st fo r free d o m in th e c ity w h e re sh e w a s d e n ie d p a rtic ip a tio n in u rb a n a c tiv itie s o n p a r w ith m e n . In c h a lle n g in g th e so c ia l b o u n d a rie s o f th e city th ro u g h a cts o f tra n sg re ssio n , e m u la tio n , re in v e n tio n a n d n e g o tia tio n - q u e stio n in g ev ery th in g - G ra y g a in e d a cce ss to in stitu tio n s a n d o c c u p a tio n s fro m w h ic h sh e w o u ld h a v e o th e rw ise b e e n e x c lu d e d o n th e b a sis o f g e n d e r.

T h e sto ry c u lm in a te s in h o w , w ith n o fo rm a l a rc h ite c tu ra l tra in in g , E ile e n G ra y w e n t o n to c re a te , a rg u a b ly , o n e o f th e m o st p ro g re ssiv e m o d e rn h o u se s o f th e tw e n tie th- c e n tu ry , d e riv e d fro m th is st a n c e o f q u e stio n in g e v e ry th in g . (F ig .1 ) T h e h o u se se rv e s a s a m a n ife sta tio n o f h e r tra n sg re ssiv e im p u lse s a g a in st th e re p re ssio n o f th e b o u rg e o is c ity , e m b o d y in g th e m e s o f e m a n c ip a tio n , d e c o n stru c tio n o f se x u a l a n d p a tria rc h a l b o u n d a rie s, a n d th e re co n n e ctio n o f M o d e rn ist p rin c ip le s w ith su b je c tiv e life . T h e e p ilo g u e to th is sto ry is stra n g e r a n d sa d d e r still. T h is h o u se , w h ic h ra ise d c ru c ia l q u estio n s a b o u t th e su ffic ien c y o f av an t - g a rd e te n e ts to a ffo rd su b je c ts a d e q u a te fre e d o m a n d c o n tro l w ith in th e d o m e stic sp h e re , fe ll in to re la tiv e o b scu rity a n d sp e n t th e re m a in d e r o f th e tw e n tieth - c e n tu ry d e te rio ra tin g th ro u g h v a n d a lism a n d n e g le c t. It h a s o n ly re su rfa c e d a s a su b je c t o f c ritic a l

1

As quoted by MacCarthy, F. 2005.

7

in te re st in th e p a st d e c a d e . P e rh a p s, h a d G ra y m a d e th e sa m e “n o ise ” a s L e C o rb u sie r a b o u t h e r id e o lo g ic a l in te n tio n s fo r E 1 0 2 7 , th e tru e in n o v a tio n o f h e r d e sig n m ig h t h a v e b e c o m e a p p a re n t to c ritic s. In w ritin g th is th e sis, I h a v e e n c o u n te re d th e o b sta c le o f a n a b se n c e o f first h a n d m a te ria l; o n ly o n e w ritte n d e sc rip tio n o f G ra y ’s w o rk e x ists, h e r re m a in in g p e rso n a l n o te s a n d d ra w in g s w e re d e stro y e d a fte r W o rld W a r II. 2 F u rth e rm o re , th e h o u se is c u rre n tly u n d e rg o in g re fu rb ish m e n t so c a n n o t b e v isite d . A n y sc h o la rly e x a m in a tio n o f G ra y ’s w o rk is re lia n t o n p ie c in g to g e th e r fra g m e n te d so u rc e s o n w h e re sh e w e n t, w h a t sh e d id , a n d w ith w h o m sh e in te ra c te d .

T h e th e m e s o f g e n d e r a n d se x u a lity in G ra y ’s d e sig n a re le ft im p lic it in th e sc a rc e w ritte n d o c u m e n ta tio n th a t su rv iv e s. H o w e v e r, h a d G ra y p ro v id e d u s w ith m o re o f a n in sig h t in to E 1 0 2 7 ’s tru e a g e n d a , it m a y h a v e b e e n su b je c t to th e sa m e a b u se re g a rd le ss, d u e to th e d isc rim in a to ry n a rra tiv e o f a rt h isto ry a n d to th is d a y , its d e lib e ra te d isc re d it o f w o m e n in th e fie ld o f a rc h ite c tu re . 3 T h is th e sis a tte m p ts to re d re ss th e b a la nc e in m a k in g a p p a re n t h o w h e r re a c tio n to th e in ju stic e s fa c e d b e c a m e c o n c re te in a n a rc h ite c tu ra l la n g u a g e o f e m a n c ip a tio n a n d e q u a lity .

2 3

Rault, J. 2011. Pg. 7 Kuhlmann, D. 2013. Pg. 16 8

PART ONE - CITY

T h e first fe w d e c a d e s o f E ile e n G ra y ’s life c o u ld b e c o n sid e re d a jo u rn e y b e co m in g in c re a sin g ly u rb a n in n a tu re , b e g in n in g in ru ra l Ire la n d , to L o n d o n in p u rsu it o f a n a rtistic e d u ca tio n , a n d fin a lly P a ris, w h e re it c u lm in a te s in b ro a c h in g th e d isc ip lin e o f a rc h ite c tu re . E x a m in in g th e tra n sg re ssiv e u rb a n n a rra tiv e o f G ra y in th e c o n te x t o f L o n d o n a n d P a ris is v a lu a b le a s th e c ity is a p rim e site fo r e x a m in in g m o d e rn c u ltu re : it c o n d itio n s, a n d in tu rn re la te s e x p lic itly to , a ll w h o re sid e th e re . It is m o re th a n a b a c k d ro p fo r m o d e rn ity to b e e x p e rie n c e d a g a in st, it is a p ro d u c e r o f c u ltu ra l m e ta m o rp h o sis 4 – w e th e re fo re w itn e ss n o t o n ly G ra y ’s re sp o n se to c e rta in u rb a n p h e n o m e n a , b u t h o w sh e is co n d itio n e d b y th e se cu ltu ra l e x p e rie n c e s a n d re a c tio n s a n d h o w th is is m a n ife ste d in h e r a rc h ite c tu ra l d isc o u rse .

O u r a tte n tio n tu rn s to th e c o n c e p tio n o f th e flâ n e u r, a m o tif o f th e stro lle r, th e u rb a n e x p lo re r, a g a in st w h ic h G ra y ’s u rb a n e x p e rie n c e c a n b e re a d . T h e e x iste n c e o f th e flâ n e u r’s fe m a le e q u iv a le n t, th e flâ n e u se , h a s b e e n d isp u te d , re n d e re d im p o ssib le b y se x u a l d iv isio n s e sta b lish e d in th e n in e te e n th - c e n tu ry . 5 W a lte r B e n ja m in , re sp o n sib le fo r b rin g in g th e fig u re to th e fo re fro n t o f sc h o la rly in te re st in th e tw e n tie th - c e n tu ry , n e v e r a d m itte d its e x iste n c e . I a rg u e th a t th e in te rp re ta tio n o f th e flâ n e u r sh o u ld b e re co n sid e re d fro m a g e n d e r stu d ie s p e rsp e ctiv e: G ra y ’s n a rra tiv e p re se n ts u s w ith a ta n g ib le w a y o f d o in g so . T h e se x u a l d iv isio n s in q u e stio n v a lid a te th e e x iste n c e o f th e flâ n e u se , b u t o n ly a s th e flâ n e u r's in h ib ite d su b o rd in a te a s o p p o se d to its e q u iv a le n t. T h e p a tria rch a l so cie ty o f th e n in e te e n th -

4 5

Steiner, H. 2014. Pg. 9 Wolff, J. 1985. Pg.45 9

c e n tu ry re n d e re d th e flâ n e u r a n e x clu siv e ly m a le co n stru ct – a w o m a n w o u ld n e v e r b e a ffo rd e d su c h fre e d o m o f a c tio n . E ile e n G ra y , a s flâ n e u se , e x h ib its th e b e h a v io u r o f th e flâ n e u r b u t w ith th e a d d itio n a l im p o se d re stric tio n s o f h e r g e n d e r. G ra y ’s su b se q u e n t a rch ite ctu ra l d isco u rse w o u ld b e d e fin e d b y a c o m m itm e n t to c h a lle n g in g g e n d e r ro le s, if n o t in th e c ity , b u t in th e d o m e stic re a lm , re p re se n tin g a n a m b itio n to a ffo rd its su b je c t, m a le o r fe m a le , w ith th e fre e d o m o f a c tio n ty p ifie d b y th e flâ n e u r.

A p a tte rn o f a lie n a tio n e m e rg e s e a rly in E ile e n G ra y ’s life a n d c o n tin u e s th ro u g h o u t h e r life tim e , w h ic h la te r b e c o m e s m a n ife st in h e r a rch ite ctu re .

B o rn to a d istin g u ish e d fa m ily in 1 8 7 8 , sh e sp e n t a n u n h a p p y c h ild h o o d in Ire la n d . H e r in n a te se n se o f so c ia l ju stic e m a d e fo r a c o n flic te d e x iste n c e a m o n g st th e c o n c e it o f h e r c la ss, 6 w h ic h la te r in fo rm s h e r c o n te m p t fo r b o u rg e o is v a lu e s in P a ris a n d th e ro le s p re sc rib e d to w o m e n b y so c ie ty . In 1 9 0 1 , G ra y le ft fo r th e fa m ily ’s h o m e in S o u th K e n sin g to n to a tte n d th e S la d e S ch o o l o f F in e A rts. In L o n d o n , sh e c h a lle n g e d th e n in e te e n th c e n tu ry w o rld th a t fa c e d h e r , w h e re th e h o m e w a s th e e x p lic it te rrito ry o f th e b o u rg e o is w o m a n a s o p p o se d to th e u rb a n re a lm , a n d fo r an u p p er m id d le c la ss w o m a n , le a v in g th e h o u se u n a c c o m p a n ie d w a s e x c e p tio n a l. 7 F ro m th e v e ry b e g in n in g G ra y w o u ld n o t a llo w su ch b o u n d a rie s to in h ib it h e r in in sp e c tin g site s o f in te re st. P e te r A d a m h a s d o cu m e n te d h e r stu d e n t y e a rs in L o n d o n ; b re e ch in g th e b o u n d a rie s o f C h e lse a , R e g e n t’s P a rk a n d B lo o m sb u ry , e x p lo rin g th e d o m a in s o f o th e r cla sse s, d e sp ite th e fa ct th a t p e o p le o f d iffe re n t b a c k g ro u n d s d id n o t m ix a t th is tim e . 8 S h e e n jo y e d o b se rv in g p e o p le fro m a ll w a lk s o f life o n h e r jo u rn e y to sch o o l, a n d

6

“From early childhood on, Eileen hated the complacency and arrogance of her class. Their pride and self-confidence clashed with Eileen’s inborn feeling of compassion and social justice.” Adam, P. 2000.

Pg. 15 7 Steiner, H. 2014. Pg. 90 8 Adam, P. 2000. Pg. 23 1 0

fre q u e n te d th e n o rth o f H y d e P a rk , a s o p p o se d to th e a risto c ra tic so u th , w h e re sh e w o u ld o b se rv e p o litic a l re b e ls a n d th e g e n e ra l “p o p u la c e ”. S h e sp e n t m u c h tim e to u rin g L o n d o n o n th e o p e n p la tfo rm o f th e o m n ib u s, w h ic h w a s re g a rd e d a s a n e x c lu siv e ly m a le p re se rv e . 9 T h e se a c tio n s a re in lin e w ith th o se o f th e flâ n e u r, w h o w a n d e rs a t e a se , liste n in g to th e n a rra tiv e o f th e c ity , 10 d o m e stic a tin g th e u rb a n la n d sc a p e a s a sa fe site fo r so c ia lisin g. 11 Y e t a w o m a n ’s se lf- c o n sc io u s a w a re n e ss a s a n u rb an o b serv e r in d icates a d ifferen t m o d e o f u rb a n v isio n fo r w o m en . 12 In L o n d o n , G ra y ’s a cts o f tra n sg re ssio n w e re m a in ly o b se rv a tio n a l. In th e p o e try o f C h a rle s B a u d e la ire , w h ic h in sp ire d th e c o n c e p tio n o f th e flâ n e u r, it is p re c ise ly th e p o w e r o f o b se rv a tio n th a t w o m e n a re d e n ie d . B a u d e la ire ’s W om en a n d C ou rtesa n s is a c o m m e n ta ry o n th e a v a ila b ility o f w o m e n to th e m a le g a z e . B a u d e la ire p re se n ts th e m a s o b je cts to b e v ie w e d ra th e r th a n v ie w e rs: “a s b rillia n t a s p o rtra its, se t in th e ir th e a tre - b o x e s a s if in fra m e s.” 13 T h is k in d o f a c tiv ity illu stra te s th e d istin c tio n in a g e n c y b e tw e e n th e flâ n e u r a n d th e flâ n e u se. I sh a ll a rg u e la te r th a t G ra y w o u ld th e m a tise th e te n sio n b e tw e e n o b se rv e r a n d th e o b se rv e d in h e r a rc h ite c tu re th ro u g h m o tifs o f tra n sp a re n c y a n d e x p o su re .

G ra y ’s d ista ste fo r th e a u ste rity o f a ca d e m ic life a t th e S la d e le d to a tra n sfe r to th e A c a d é m ie Ju lia n in 1 9 0 2 . P a ris p ro v e d to h a v e a n e m a n c ip a to ry e ffe c t o n G ra y : sh e w a s to b re a k a w a y fro m fa m ilia l o b lig a tio n s, p u rsu e se x u a l re la tio n sh ip s w ith w o m e n , d e fin e h e r a rtistic id e n tity a n d situ a te h e rse lf w ith in b o th th e m ilie u o f th e a v a n t- g a rd e a n d

9

Ibid.

Parsons, D. 2000. Pg. 3 11 Steiner, H. 2014. Pg. 88 12 Ibid. Pg. 6 13 Baudelaire, C. Women and Courtesans in My Heart Laid Bare and Other Prose Writings. As quoted by Parsons, D. 2000. Pg. 26 10

1 1

th e se x u ally tra n sg re ssiv e su b c u ltu re o f L e ft B a n k . 14 F ra n ce w a s e x p e rie n cin g its B e lle É p o q u e (G o ld e n A g e ), a p e rio d o f p ro sp e rity fo llo w in g th e d e p ra v a tio n s o f th e F ra n c o - P ru ssia n w a r. T h e re w a s a clim a te o f lice n se in P a ris d u rin g th is e ra : b la ck sin g e rs w e re a b le to p e rfo rm in th e c ity ’s th riv in g p la c e s o f e n te rta in m e n t, fo r e x a m p le , a n d th e re w a s a c e rta in g la m o riz a tio n o f B o h e m ia n c u ltu re , a s ty p ifie d b y th e c o lo u rfu l a rtistic c o m m u n ity o f M o n tm a rtre . 15 G ra y w o u ld h a v e m o re fre e d o m h e re . B a ro n H a u ssm a n n ’s re n o v a tio n o f P a ris – o r ra th e r re g im e o f “e m b o u rg e o ise m e n t” 16 - m e a n t th a t th e p u b lic sp h e re w a s sig n ific a n tly m o re a c c e ssib le to th e u p p er- c la ss p o p u la tio n . G ra y , b e lo n g in g to th is d e m o g ra p h ic, h a d a n a d v a n ta g e o v e r th e w o m e n o f th e c ity ’s la rg e e c o n o m ic u n d e rc la ss. H o w e v e r, th is “rig h t to th e c ity ” , 17 w a s to b e c o m p ro m ise d b y G ra y ’s sta tu s a s a n o n h e te ro se x u a l fe m a le .

F o r a w o m a n in e a rly tw e n tie th - c e n tu ry P a ris - still g o v e rn e d b y n in e te e n th - c e n tu ry so c ia l a n d m o ra l id e a ls - th e c ity is re p re se n ta tiv e o f b o th a n e m b o d im e n t o f b o u rg e o is sta n d a rd s a n d o f cla u stro p h o b ia . 18 E ile e n G ra y w o u ld n o t a llo w h e r e x p e rie n ce o f th e city to b e co m e to o c la u stro p h o b ic o r m o ra listic a n d w a s d e te rm in e d to ta k e a d v a n ta g e o f P a ris’ u rb an in stitu tio n s o f a m u sem en t o n h er o w n te rm s – w ith o u t th e c o m p a n y o f a m a n . K a th le e n B ru c e, a frie n d o f E ile e n G ra y , re ca lls h o w G ra y a n d Je ssie

14

Rault, J. 2011. Pg. 69 Jackson, J. 2006. Pg. 1-25 16 The new boulevard was to form a symbiotic relationship with the commercial functions which border it and the use of the public space was informed by this. The commercial entities can be construed as semi-private as they are exclusive of the poor; resultantly public space usage is heavily controlled. Harvey, D. 2005.

17 Sennet, R. As quoted by Harvey, D. 2005. Pg. 21 18 Thomasine Gyllembourg documents the everyday life of a woman in the urban environment. In T'o Tidsaldre, a shift away from the city to the countryside and moving outside of the bourgeois framework brings happiness and freedom – a love affair takes place - in contrast to the claustrophobia and morality of the city. - Steiner, H. 2014. Pg. 85-90 15

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G a v in – w h o w e re in v o lv e d a t th e tim e - w o u ld g o o u t to b a rs a n d n ig h tc lu b s, Je ssie sp o rtin g a m a le d isg u ise :

“One evening a tall, thin, shy, nice-looking youth in corduroys and a Norfolk jacket came in. This was Joselyn [Jessie], with a wig and a slightly blackened moustache.

‘We’ll go to places and play chess in a café, I can take you places where you can’t go w i t h o u t a m a n . ’ ” 19

B o u rg e o is so cie ty d icta te d th a t p la ce s o f a m u se m e n t w e re la rg e ly o ff- lim its to w o m e n w ith o u t th e c o m p a n y o f a m a le e sc o rt - a s in d e p e n d e n t w o m e n th e y h a d re stric te d a c c e ss to th e c ity , b u t in th e ir d isg u ise a s a h e te ro se x u a l c o u p le th e y c o u ld p a rtic ip a te fre e ly in u rb a n a c tiv itie s. T h is m a sq u e ra d e c o u ld b e se e n a s a k in d o f u rb a n p e rfo rm a n c e : th e w o m e n p la y th e ro le o f th e m a n o f le isu re , th e u rb an in sp ecto r , b u t th a t is n o t to sa y th a t th e y b e co m e flâ n e u r th ro u g h th is a ctiv ity . T h is th e a trica l, e x p licit m o d e o f se x u a l tra n sg re ssio n in d ic a te s th e e n o rm o u s e ffo rt it w o u ld ta k e fo r w o m e n to stro ll th ro u g h th e c ity e ffo rtle ssly . F o r th is re a so n I w o u ld a rg u e th is p e rfo rm a n c e d e m o n stra te s th e im p o ssib ility o f th e flâ n e u r’s fe m a le e q u iv a le n t, a s th e o n ly w a y to e x p e rie n c e th e c ity a s c o m fo rta b ly a s a m a n w a s to , in e ffe c t, b e c o m e a m a n . E v e n th o u g h th e ir m a sq u e ra d e c o u ld b e se e n a s a sa tire d ire c te d a t th e m iso g y n istic so c ia l e tiq u e tte o f th e ir so c ie ty – th e ir p e rfo rm a n c e re p e a te d ly d e fie d g e n d e r n o rm s a n d th e w o m e n ca m e o u t u n sca th e d – th is sto ry e x e m p lifie s th e in h ib itio n th e flâ n e u se fa c e s, a n d h o w th is c o n stru c t is m e re ly m im ic ry o f a m a le ro le .

19

Kathleen Bruce’s Memoirs, quoted in Adam, P. 2000. Pg. 34 1 3

G ra y ’s p ro fe ssio n a l life w a s ch a ra cte riz e d b y a co m p a ra b le fre e d o m o f a c tio n . T h e tu rn o f th e c e n tu ry w a s a n e x c itin g p e rio d fo r M o d e rn a rc h ite c tu re ; n e w te n d e n c ie s w e re e m e rg in g in P a ris a s a re a c tio n a g a in st th e B e a u x - A rts tra d itio n . A rt N o u v e a u , a p ro d u c t o f th is re je c tio n , w h ic h c o u ld b e co n sid e re d th e first sta g e o f M o d e rn a rch ite ctu re , 20 w a s e x h ib ite d a t th e P a ris E x p o sitio n o f 1 9 0 0 (a tte n d e d b y G ra y ) a n d w a s m e t w ith a ju b ila n t re ce p tio n . T h e sty le re m a in e d d o m in a n t fo r a ro u n d h a lf a d e c a d e , so o n sp a rk in g c o n te n tio n fro m a rc h ite c ts se e k in g th e fu n c tio n a lity o f a m o re re d u ctiv e a rch ite ctu re ; P a ris re p re se n te d a stro n g h o ld 21 o f su c h re a c tio n s.

A u g u ste P e rre t w a s p iv o ta l in in sp irin g v isio n s o f a fo rm a l la n g u a g e h a rn e ssin g th e c re a tiv e p o te n tia l o f re in fo rc e d c o n c re te , a n d a rc h ite c ts w e re e x p lo rin g m o re ra tio n a l fo rm s. A fte r 1 9 1 4 , d e b a te o n in d u stria l, m o d e rn a rc h ite c tu re g a in e d m o m e n tu m a s a re sp o n se to p o st- w a r re c o n stru c tio n .

1 9 1 7 b ro u g h t th e a rriv a l o f L e C o rb u sie r, w h o ca m e to re p re se n t th e M o d e rn M o v e m e n t o f 1 9 2 0 s P a ris. 22 T h e fo u n d in g te x ts o f th is m o v e m e n t in d ic a te th e in te re st o f su c h a rc h ite c ts a s C o rb u sie r, A d o lf L o o s, T h e o v a n D o e sb u rg a n d J.P .P . O u d o f D e S tijl, a n d W a lte r G ro p iu s a n d P e te r B e h re n s o f th e D e u tsc h e W e rk b u n d in re fo rm in g th e o c c u p a n ts o f th e ir b u ild in g s a n d p ro d u c in g h e a lth y liv in g b o d ie s; th is m a n ife ste d itse lf a s a h y g ie n ic , u tilita rian ae sth e tic , p u rg ed o f o rn am en t. G ra y e n g a g e d e q u iv o c a lly w ith th e P a risia n a v a n t- g a rd e : h e r p ie c e s sh o w a n a e sth e tic , b u t n o t id e o lo g ic a l, in flu e n c e o f th e se m o v e m e n ts. S h e h a d n o in te re st in a tte m p tin g to re fo rm h e r o c c u p a n ts, a s c o m m u n ic a te d th ro u g h th e e m p lo y m e n t o f a c u ltu ra lly th re a te n in g d e c a d e n c e .

20

Hitchcock, H-R. As quoted by Curtis, R. 1996. Pg. 54 Ibid. Pg. 68 22 Sutcliffe, A. 1993. Pg. 143 21

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B y 1 9 1 0 , G ra y h a d b u ilt u p a sm a ll a rtistic e m p ire in th e S a in t- G e rm a in a re a o f P a ris, p ro v in g h e rse lf to b e a w o m a n w ith a g e n c y , n o t re stric te d to th e d o m e stic in a n y re sp e c t. O n th e ru e G u é n é g a u d , sh e fo u n d a w o rk sh o p fo r h e r la c q u e r v e n tu re - a n u n lik e ly o ccu p atio n fo r a w o m an at th e tu rn o f th e tw e n tie th - c e n tu ry . 23 C o m m e n ta to rs h a v e g e n e ra lly d ism isse d G ra y ’s la c q u e r p ie c e s a s im m a tu re , u n d e r th e a ssu m p tio n sh e w a s try in g a n d fa ilin g to fre e h e rse lf fro m n in e te e n th - c e n tu ry sty le , w h e n in fa c t sh e w a s h a rn e ssin g c e rta in se x u a lly c h a rg e d m o tifs k n o w in g ly a n d stra te g ic a lly . 24 D u rin g th e e a rly tw e n tie th - c e n tu ry , G ra y ’s L e ft B a n k n e ig h b o u rh o o d w a s to se rv e a s th e c e n tre fo r a c o m m u n ity o f se x u a lly d issid e n t fe m a le a rtists , a n d it is a p p a re n t th a t a m o n g st th e se w o m e n , th e p ra c tic e o f “m a k in g th e ir le sb ia n ism v isib le – b y a d a p tin g lite ra ry a n d v isua l c o n v e n tio n s w h ic h w e re a lre a d y c o d e d ‘h o m o se x u a l’” 25 w a s n o t u n p re c e d e n te d . G ra y ’s in v o lv e m e n t in th is su b c u ltu re a n d h e r re la tio n sh ip s w ith w o m e n h a v e b e e n d o w n p la y e d b y c o m m e n ta to rs , 26 p la c in g h e r in a h e te ro se x u a l n a rra tiv e fro m th e b e g in n in g .

H o w e v e r, th e se w o m e n w o u ld h a v e fa r g re a te r in flu e n c e o v e r h e r d e sig n in te re sts th a n h e r in v o lv e m e n t w ith m e n o f th e a v a n t- g a rd e . F o r in sta n ce , th e o rie n ta l a e sth e tic o f h e r la c q u e r h a s a n a ffin ity w ith th e Ja p o n ism e w h ic h in te re ste d th e A rt N o u v e a u m o v e m e n t, a n d th e re is so m e c o rre la tio n w ith A rt D e c o in m a te ria lity a n d g e o m e tric fo rm : th is is a t b e st, a lo o se c o n n e c tio n , re fle ctin g G ra y ’s in te re sts ly in g o u tsid e o f th e a v a n t- g a rd e . H e r first tw o la c q u e r sc re e n s w e re o f sig n ific a n c e d u e to th e fo ld in g sc re e n ’s se x u a liz e d a n d fe m in iz e d c o n n o ta tio n s a n d th e m o tifs sh e u se d to e m p h a siz e

23

Gray’s female contemporaries were occupied with more conventional vocations, such as weaving, jewellery making, bookbinding or weaving. - MacCarthy, F. 2005.

24 Rault, J.2011. Pg. 83 25 Elliott, B. & Wallace, J. 1994. Pg. 39 26 Rault, J. 2011. Pg. 13 1 5

th e se . 27 F o r e x a m p le , th e fig u re a d o rn in g L a V o ie L a cteé, (F ig .2 ) stre tc h e d o u t a n d e th e re a l, is re m in isce n t o f G u sta v K lim t’s p a in te d w o m e n . 28 K lim t’s im a g e ry a p p e a le d to se v e ra l fe m a le a rtists; it is re p re se n ta tiv e o f a fe m a le se x u a lity o u tsid e o f a h e te ro se x u a l p a ra d ig m 29 - a p a ra d ig m E ile e n G ra y w o u ld b e in te n t o n tra n sg re ssin g . H e r fo llo w in g e n d e a v o u rs b e co m e m o re re co g n iz a b ly in lin e w ith th e ‘m a c h in e a e sth e tic’ o f th e M o d e rn M o v e m e n t, b u t th e fo rm a l a m b ig u ity a n d d e c a d e n c e o f h e r e a rly w o rk is c a rrie d th ro u g h to h e r la te r a rc h ite c tu ra l v e n tu re s.

O n th e ru e V isco n ti, G ra y se t u p a c a rp e t- m a k in g w o rk sh o p . S h e d e sig n e d g e o m e tric a l p a tte rn e d c a rp e ts , (F ig .3 ) ta k in g in sp ira tio n fro m B ru n o D a S ilv a B ru h n s, 30 o n e o f th e first d e sig n e rs to b re a k fro m ca rp e t w e a v in g tra d itio n s o f th e n in e te e n th - c e n tu ry - th e m a jo rity b e in g R o co co a n d G o th ic re v iv a l sty le s. G ra y p ro d u c e d sta rk , a b stra c t c a rp e t d e sig n s fe a tu rin g b o ld sh a p e s a n d c o lo u rs, w h ic h c o u ld b e se e n a s a d ire c t re a c tio n a g a in st th e e x c e ssiv e , o v e r- in d u lg e n t m o d e l o f fe m in iz e d d o m e stic sp a c e o f n in e te e n th - c e n tu ry F ra n ce . A n e x a m p le o f th is is a b o u d o ir b y G e o rg e s d e F e u re a t th e 1 9 0 0 P a ris W o rld E x h ib itio n , (F ig .4 ) w h ic h is d e sc rib e d a s e v o k in g a “d e a r, a n a e m ic w o m a n lin e ss”. 31 In S a in t- G e rm a in , w e h a v e o n o n e h a n d G ra y re je c tin g th e e x c e ssiv e b o u rg e o is fo rm a l la n g u a g e w hic h g o v e rn e d m o st o f n in e te e n th - c e n tu ry F ra n ce in h e r ca rp e t w o rk sh o p a n d , o n th e o th e r, a p p ro p ria tin g it a n d c h a rg in g h e r la c q u e r d e sig n s w ith a n e n tire ly n e w la y e r o f m e a n in g . T h e se tw o a cts o f d e fia n ce co m m itte d in th e u rb a n sp h e re re in fo rce G ra y ’s re fu sa l to b e g o v e rn e d b y b o u rg e o is sta n d a rd s o f fe m in in e

27

Ibid. Pg. 78 Ibid.

29 Ibid. Pg. 79 30 Adam, P. 2000. Pg. 61 31 Review quoted in Weisberg, G. 1986. Pg. 183-185 28

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sp a c e , sp e c ific a lly id e a s a b o u t h o m e a s th e p re sc rib e d w o m a n ’s re a lm a n d th e c o n c e p tio n o f w h a t fo rm a w o m a n ’s sp a c e sh o u ld ta k e .

In 1 9 2 3 , G ra y e x h ib ite d h e r B e d ro o m - b o u d o ir fo r M o n te C a rlo . (F ig .5 ) T h is sp a c e d e m o n stra te d th e tra je c to ry o f h e r su b se q u e n t a rc h ite c tu ra l d isc o u rse, se rv in g a s a v ig n e tte fo r E 1 0 2 7 , illu stra tin g th e h u m a n ist stra n d o f M o d e rn ism sh e w a s to p u rsu e . T h e ro o m d re w c ritic a l re c e p tio n fro m b e w ild e re d co m m e n ta to rs a s it m a n ife ste d th e se n su a lity o f a n e ig h te e n thc e n tu ry b o u d o ir, sim u lta n e o u sly u n d e rm in e d b y e le m e n ts o f a n e c le c tic , fo re ig n M o d e rn ism . T h e ro o m c o n ta in s so m e e le m e n ts w h ic h c o rre la te w ith th e in te re sts o f th e P a risia n a v a n t- g a rd e . A b stra ct, g e o m e trical fu rn ish in g s, in c lu d in g a la c q u e r de sk a n d fo ld in g sc re e n s, e v o k e C u b ism an d D e S tijl (F ig .6 ) – th e la tte r o f w h ic h h a d b e e n in tro d u c e d to th e F re n c h p u b lic o n ly th a t y e a r. Its p la in w h ite w a lls a re in lin e w ith th e “m a c h in e a e sth e tic ” o f th e n e w ly e m e rg in g In te rn a tio n a l S ty le . W h ilst th e re a re a ffin itie s w ith A rt D e c o , a lso flo u rish in g in 1 9 2 0 s F ra n ce , in its g e o m e tric fo rm s a n d m o d e rn m a te ria ls, th e b o u d o ir e x u d e s a d e c a d e n c e in c o h e re n t w ith a n y o f th e se m o v e m e n ts. T h is is fo u n d in th e ric h n e ss o f th e la c q u e r, th e silk a n d fu r o f th e ru g s a n d b la n k e ts, a n d th e p lu sh , h a n d w o v e n c a rp e ts. H o w e v e r w h a t a p p e a rs to b e fo rm a lly e c le c tic is in re a lity c o h e re n t; if re a d a g a in st E la in e S h o w a lte r’s c o n c lu sio n th a t “d e c a d e n c e ” c a n b e e m p lo y e d a s a “fin - d e - siè c le e u p h e m ism fo r h o m o se x u a lity ”, 32 th e ric h n e ss o f h e r d e sig n is re n d e re d se x u a lly p ro v o c a tiv e .

G ra y re co n stitu te s th e e ig h te e n th - c e n tu ry c o n c e p tio n o f th e b o u d o ir a s a se ttin g fo r th e e n fo rc e m e n t o f p a tria rc h a l g e n d e r ro le s , a s e x e m p lifie d b y th e b o u d o ir o f d e F e u re . T h e a u ste rity w h ic h e lic its “la d y lik e ” b e h a v io u r in th e

32

Showalter, E. 1990. Pg. 171 1 7

e ig h te e n th - c e n tu ry b o u d o ir 33 is c o m p le te ly a b se n t. S h e c re a te s a m o d e rn sp a c e fo r a w o m a n w ith a g e n c y , lik e h e rse lf, to sle e p , re a d a n d w rite ; a te n sio n e m e rg e s b e tw e e n th e p a tria rc h a l c o n n o ta tio n s o f th is m o d e l a n d G ra y ’s v isio n fo r th e m a n n e r in w h ich a ‘fe m in in e ’ sp a c e is in h a b ite d . T h e so fa - c u m - b e d is stre w n w ith fu r b la n k e ts, a n d b o o k s a re sc a tte re d o n th e b e d sid e ta b le . A n im a g e is c o n ju re d o f th e su b je c t, re c lin in g , re a d in g , in h e r e le m e n t; u n afraid to b ask in th e lav ish n e ss o f c u ltu ra lly re b e llio u s d e c a d e n t m a te ria lity . O n c e a g a in G ra y c o d e s a n a lre a d y fe m in iz e d c o n stru c t w ith a n e w le v e l o f se x u a l sig n ific a n c e , a n d in d o in g so p ro v id e s a m o d e rn d o m e stic sp a c e fo r a se x u a lly d issid e n t su b je c t u n a c c o m m o d a te d b y M o d e rn a rc h ite c tu re . T h e e x h ib it d id n o t re c e iv e th e sa m e a tte n tio n a s, fo r in sta n c e , th e F ra n k fu rt K itc h e n o f M a rg a re te S ch ü tte - L ih o tz k y fo r its c a p a c ity to lib e ra te w o m e n in th e d o m e stic sp h e re . (F ig .7 ) T h is sta n d a rd iz e d k itc h e n w a s d e sig n e d in 1 9 2 6 u n d e r th e in flu en ce o f T ay lo rism – a th e o ry o f m a n a g e m e n t in fo rm e d b y w o rk flo w in fa c to rie s a n d o ffic e s. It w a s su p p o se d ly in stru m e n ta l in im p ro v in g th e liv e lih o o d o f th e w o m a n : th is m e tic u lo u sly c u ra te d w o rk sp a c e w o u ld allo w h er to p erfo rm h o u se h o ld task s w ith th e a g ility o f th e fa c to ry w o rk e r; h e r q u a lity o f life w a s to b e e n h a n c e d b y th e a b ility to co o k m o re q u ick ly , a n d h e r sta tu s a s “h o u se h o ld e n g in e e r” e n d o rse d a s a n e n tire ly a p p ro p ria te p u rsu it fo r a n y p e rso n of h e r g e n d e r.

T h is is a c a se o f re p re ssio n a s o p p o se d to lib e ra tio n , a n d p re se n ts a c o m p le te c o n tra st to th e a llo w a n c e o f fe m a le su b je c tiv ity in th e M o n te C a rlo ro o m w h ic h e m a n c ip a te s its fe m a le u se r in a n e n tire ly h u m a n e m a n n e r.

33

Kerr prescribes a mode of decoration for the boudoir. It should be “ladylike” in appearance, utilizing materials such as rosewood, silk or chintz. The furnishings would be unsuitable for use over extended periods of time; they would not allow for intensive writing or studying. - Kerr, R. 1865.

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P o st- w a r F ra n c e sa w a “so c ia lly a n d p o litic a lly c o n se rv a tiv e ‘c a ll to o rd e r’” 34, th e tra d itio n a l so c ia l v a lu e s o f w h ic h w o u ld b e th re a te n e d b y th e “p re w a r d e c a d e n c e ” 35 o f G ra y ’s b o u d o ir. C o n fu se d re v ie w s su g g e st th a t it w a s th e a rc h a ic a n d th e u n fa m ilia r w h ic h u n h in g e d c o m m e n ta to rs; th e sp a c e w a s d e sc rib e d a s “m a d d e n in g ”, 36 c o m ic a l” a n d “a b n o rm a l” . 37 C o m m e n ta to rs in c o n se rv a tiv e F ra n c e w e re c le a rly a n ta g o n iz e d b y G ra y ’s t ra n sg re ssiv e b o u d o ir, a lth o u g h it is u n c le a r a s to w h e th e r its h o m o se x u a l u n d e rto n e s w e re re g iste re d . T h e e x h ib itio n w a s a lso m e t b y so m e p ra ise , h a ile d a s “fra n k a n d e n e rg e tic ”, re v e a lin g “a ta le n t a n d se n sitiv ity ” 38 - su rely G ray ’s ab rasiv e so c io p o litic a l m e ssa g e w o u ld n o t h a v e e lic ite d su c h a ffirm in g re sp o n se s.

P e rh a p s, th e su b tle re p re se n ta tio n s o f th e se x u a lly d issid e n t su b je ct n e e d to b e ‘liv e d ’ in th e co n te x t o f a fu lly re a lise d a rch ite ctu ra l o u tco m e in o rd e r to b e u n d e rsto o d a s m o re th a n sim p ly a m isa lig n m e n t w ith c o n te m p o ra ry th o u g h t. T h ro u g h p la y in g a p a rt in ritu a ls o f d a ily life th e y h a v e th e c a p a c ity to re fo rm u la te th e stru ctu re o f th e d o m e stic. In 1 9 2 6 , G ra y w o u ld b e g iv e n th e o p p o rtu n ity to m a k e th e se id e a s co n cre te in lin e w ith a le g itim a te a r c h ite c tu ra l p ro je c t, E 1 0 2 7 .

34

Rault, J.2011. Pg. 33 Constant, C. 2000. Pg. 41 36 As quoted by Adam, P. 2000. Pg. 135 37 As quoted by Rault, J. 2011. Pg. 30 38 As quoted by Adam, P. 2000. Pg. 134-138 35

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PART TWO - HOUSE

In 1 9 2 6 E ile e n G ra y b e g a n w o rk o n E 1 0 2 7 , a h o lid a y h o m e in P ro v e n c e fo r h e r a rc h ite c tu ra l m e n to r a n d ro m a n tic p a rtn e r, Je a n B a d o v ic i. (F ig .8 - 1 0 ) T o q u o te G ra y , “T h e h o u se w a s b u ilt fo r th e m a n w h o lo v e s w o rk , sp o rts a n d e n te rta in in g frie n d s”, 39 b u t a s w e w ill se e its d e sig n w a s d riv e n b y a ra th e r d iffe re n t a g e n d a . U p o n c lo se r in sp e c tio n , th is h o u se is le ss a p la y g ro u n d fo r a m a n o f th e w o rld th a n a re v o lu tio n iz e d h o m e a ffo rd in g m e n a n d w o m e n e q u a l a g e n c y . In c h a lle n g in g th e stru c tu re o f th e d o m e stic , E 1 0 2 7 m e e ts th e re a l n e e d s o f th e fe m a le in h a b ita n t in fa cilita tin g h e r cla im to th e m a scu lin e p riv ile g e o f p riv a te sp a c e a n d fre e d o m o f a c tio n . H e r q u e st fo r th is e n title m e n t in L o n d o n a n d P a ris c o n se q u e n tly sh a p e d h e r a rc h ite c tu ra l a g e n d a fo r E 1 0 2 7 , w h ic h c a n b e b ro k e n d o w n in to th re e p rin c ip a l tra n sg re ssiv e in te n tio n s. F irstly , th e p u rsu it o f a ‘h u m a ne ’ stra n d o f M o d e rn ism , w h ich a cco m m o d a te s life a s g iv e n , a s o p p o se d to life a s e x p e c te d b y th e M o d e rn M o v e m e n t; se c o n d ly , th e u tiliz a tio n o f th e h o u se a s a v e h ic le o f e m a n c ip a tio n fo r w o m e n ; a n d fin a lly , th e u se o f a rc h ite c tu re to tra n sg re ss se x u a l b o u n d arie s a n d d e co n stru ct p a tria rch a l re stra in ts.

T h e re is a c le a r d isp a rity b e tw e e n th is se t o f o b je c tiv e s a n d th e c o n c e p tio n o f th e tw e n tie th - c e n tu ry c o u n try h o u se , e x e m p lifie d b y th e V illa N o a ille s a n d its “C u b ist g a rd e n ”. T h e h o u se w a s b u ilt a s a p la c e o f h ig h a rt fo r th e a m u se m e n t o f a w e a lth y fa m ily a n d is sa tu ra te d w ith re fe re n c e s to th e a v a n t- g a rd e . T o b e lo o k e d a t a n d n o t to u c h e d , th e v illa is fla n k e d b y a rig o ro u sly g e o m e tric se rie s o f g a rd e n s, w a lle d , w ith a ro ta tin g Ja cq u e s

39

Badovici, J. and Gray, E. 1929 Pg. 28 2 0

L ip ch itz sta tu e a t th e p in n a cle. 40 (F ig .1 1 ) Its m e ssa g e is o n e o f p o w e r, p riv ile g e , a n d h a s n o n e o f th e ta c tility o f E 1 0 2 7 . A su b tle re a d in g o f E 1 0 2 7 illu m in a te s a c o n stru c tiv e e n g a g e m e n t w ith th e a v a n t- g a rd e ; a c o rre la tio n w ith th e id e a s o f L e C o rb u sie r to a n e x te n t, b u t a d e v ia tio n w h e re sta n d a rd iz e d m o d e ls a re n o t su ffic ie n t fo r th e c o m p lic a tio n s o f su b je c tiv e life . T h e first e le m e n t o f G ra y ’s o b je c tiv e fo r E 1 0 2 7 , a h u m a n e M o d e rn ism , is ty p ifie d b y th is n u a n c e . T h e fo llo w in g d isc u ssio n b e tw e e n E ile e n G ra y a n d Je a n B a d o v ic i, d o c u m e n te d in a n a rtic le d e d ic a te d to E 1 0 2 7 L ’a rch itectu re V iv a n te, is in d ic a tiv e o f h e r a m b itio n to a d a p t M o d e rn ist th e o ry in o rd e r to m e e t th e n e e d s o f re a l life :

“EG: Formulas are nothing: life is everything. And life is mind and heart at the same time.

JB: In short you want to react against the formulas in fashion, go back.

EG: No, instead I want to develop these formulas and push them to the point at which they reconnect with life; to enrich them; to put reality within their a b s t r a c t i o n . ” 41

G ra y ’s d ia lo g u e is a ra rity a m o n g st M o d e rn ists o f th e 1 9 2 0 s a n d is a rg u a b ly m o re e v o c a tiv e o f d isc u ssio n o c c u rrin g th re e d e c a d e s la te r , n a m e ly T e a m 1 0 ’s a sp ira tio n s o f p rio ritiz in g th e in d iv id u a l a n d c o lle c tiv e id e n tity – th e “h u m a n fa c ts” - o v e r u n iv e rsa l th e o ry . 42 S h e c o n te sts th e M o d e rn M o v e m e n t’s fa scin a tio n w ith so cia l p ro g re ss a n d te ch n o lo g ica l a d v a n ce s a t a la rg e , in d u stria l sc a le a t th e e x p e n se o f a n u n d e rsta n d in g o f th e in tim a te , a c o m p ro m ise w h ic h e lic its th e p o ssib ility o f d e h u m a n iz in g m a n ife sto e s.

40

Imbert, D. 1993. Pg. 131 Badovici, J. and Gray, E. 1929 Pg. 19 42 Smithson, A. 1968. Pg. 3 41

2 1

T h e se c o n d e le m e n t o f G ra y ’s a g e n d a is th e u se o f a rc h ite c tu re fo r th e e m a n c ip a tio n o f w o m e n , in su c h a m a n n e r th a t w o u ld b e o f g e n u in e b e n e fit to in h a b ita n ts, u n lik e sim ila r a tte m p ts b y h e r c o n te m p o ra rie s. L ik e S ch ü tte L ih o tz k y, L e C o rb u sie r h a d a c o m p a ra b le o b je c tiv e , b u t th is b e nig n in te n tio n w a s m a n ife ste d in a d iffe rin g a n d c o n sid e ra b ly le ss sa lu b rio u s w a y .

C o rb u sie r h a d g e n u in e c o n c e rn fo r th e n e e d s o f w o m e n , b u t h is u se o f h e g e m o n ic ic o n o g ra p h y - in c o m p re h e n sib le to m o st w ith o u t h is a c c o m p a n y in g te x ts a n d p h o to g ra p h y – in d ic a te th a t h e d e sig n e d fo r a m a n ’s w o rld . In 2 R u e N u n g e sse r e t C o li, th e p e n th o u se h e sh a re d w ith h is w ife Y v o n n e , w e se e a sh o rtco m in g in C o rb u sie r’s a b ility to tru ly m e e t th e n e e d s o f th e fe m a le in h a b ita n t d u e to h is te n d e n cy to co n ce p tu a liz e th e w o m a n 43 a n d h is fix a tio n w ith th e id e o lo g ic a l. T h e a p a rtm e n t w a s b a se d o n a b a la n c e o f m a scu lin e a n d fe m in in e e le m e n ts, a s illu stra te d in h is rig o ro u sly c o m p o se d p h o to g ra p h s. T h e y d e p ic t m o tifs e x p re ssiv e o f a u n io n o f o p p o site s; su ch a s th e p la y o f lig h t (m a scu lin e ) a n d d a rk (fe m in in e ) o n fo rm s re p re se n ta tiv e o f th e o p p o sin g g e n d e r. 44 (F ig .1 2 ) L ik e G ra y , C o rb u sie r a d v o c a te d th e n e e d fo r p riv a te sp a c e fo r e a c h in d ivid u a l – th e re w a s su c h a sp a c e fo r h im se lf; th e a te lie r; b u t n o n e fo r Y v o n n e . S h e w a s n o t a ffo rd e d th e p riv ile g e o f p riv a c y , a n d h e r d ista ste fo r th e e x te n siv e u se o f g la ss a n d lo n g in g fo r m o re c o n v e n tio n a l fu rn ish in g s 45 in d ic a te th a t w h ilst th e a p a rtm e n t m ig h t b e sy m b o lic o f e q u a lity , p ra g m a tic a lly th is is n o t th e c a se .

T h e fle x ib le , e x p e rie n tia l in te rio rs o f E 1 0 2 7 o ffe r th e m se lv e s u p to th e m a n o r w o m a n o f th e h o u se to b e a lte re d , g iv in g th e m a n a g e n cy to co n tro l a sp a c e ’s fu n c tio n – su c h fre e d o m is n o t fo u n d in th e stasis o f L e C o rb u sie r’s p e n th o u se .

43

Ibid. Pg. 21 Ibid. Pg. 143-148 45 “all this light is killing me!” Le Corbusier, Y. As quoted by Samuel, F. 2004. Pg. 148 44

2 2

T h is in te n tio n is re la te d to m y fin a l p o in t o n G ra y ’s d e sire to tra n sg re ss se x u a l a n d p a tria rc h a l b o u n d a rie s w ith th e u se o f a rc h ite c tu re . T h is c rite ria w o rk s in sy m b io sis w ith th e p u rsu it o f e m a n c ip a tio n : w h e re G ra y re m o v e s c o n n o ta tio n s o f g e n d e r fro m w h a t a re tra d itio n a lly th o u g h t o f a s g e n d e re d sp a c e s, o r in stills p ro v o c a tiv e m o tifs o f se x u a lity in h e r a rc h ite c tu re , sh e p ro v id e s a se ttin g fo r e m a n c ip a tio n . In tu rn , it is th e e m a n c ip a te d su b je c t, w ith th e fre e w ill o f th e flâ n e u r, w h o c a n c o m p re h e n d a n d u tiliz e th e se fe a tu re s m o st re a d ily . E ile e n G ra y d id n o t e x p re ssly ra ise q u e stio n s o f se x u a lity a n d g e n d e r, b u t th e su b tle ty o f v isu a l re p re se n ta tio n o f se x u a l d issid e n c e a t th is tim e is u n su rp risin g g iv e n th e lia b ility o f so c ia l p e rse c u tio n . 46 If E 1 0 2 7 is re a d a g a in st th e p ro d u c ts o f G ra y ’s fe m a le c o n te m p o ra rie s a n d th o se o f th e w id e r a v a n t - g a rd e , a c o rre la tio n w ith th e fo rm e r a n d a d isp a rity w ith th e la tte r c la rify G ra y ’s a sp ira tio n s. I a rg u e th a t th is in te n tio n is m o st stro n g ly su g g e ste d in th e m isa lig n m e nt o f h e r a rc h ite c tu re w ith th e In te rn a tio n a l M o d e rn sty le . A s p re v io u sly d isc u sse d , th e p e rc e iv e d ‘d e c a d e n c e ’ o f H isto ric ism , a n d to so m e e x te n t A rt N o u v e a u w h ic h h a d b e e n strip p e d to e sse n tia ls b y a rc h ite c ts su c h a s A d o lf L o o s a n d L e C o rb u sie r, in th e in te re sts o f a ch ie v in g h o n e st, ‘m o ra l’ fo rm s, w a s b e in g h a rn e sse d b y fe m a le d e sig n e rs re p re se n ta tiv e o f a n a lte rn a te , ‘w o m a n c e n tre d ’ m o v e m e n t. T h is w a s in th e in te re sts o f re a liz in g a liv in g sp a c e w h ic h re v e a ls th e su b je c t’s se x u a l id e n tity a n d a c c o m m o d a te s th e d e g e n e ra te su b je c t e x c lu d e d b y m a in stre a m M o d e rn ism . 47 It b e c o m e s a p p a re n t th a t E 1 0 2 7 w a s e n v isa g e d fo r a n in h a b ita n t v e ry d iffe re n t fro m Je a n B a d o v ic i.

T h e re a re th re e k e y p h e n o m e n a a t p la y in E 1 0 2 7 w h ic h I su g g e st a re th e m a n ife sta tio n s o f E ile e n G ra y ’s q u e st fo r in tim a c y , e m a n c ip a tio n a n d

46 47

Rault, J.2011. Pg. 95 Ibid. Pg. 29 2 3

tra n sg re ssio n . F irstly , th e e le m e n ts o f th e h o u se c o n c e a l o th e r e le m e n ts, e v e n in th e a c t o f re v e a lin g . 48 It d ra w s o n a te n sio n b e tw e e n th e o b se rv e r a n d o b se rv e d w h ich G ra y e x p e rie n ce d in th e city . If w e co n sid e r E 1 0 2 7 a m ic ro c o sm o f th e c ity , th e n it is p o ssib le th a t th is o b je c tiv e c o m e s a s a re a ctio n to th e d e n ia l o f o b se rv a tio n a l p o w e r e x p e rie n ce d b y G ra y , a n d is a n a tte m p t to lib e ra te th e fe m a le su b je c t fro m th e m a le g a z e a n d a ffo rd h e r e q u a l a g e n c y a s o b se rv e r. S e c o n d ly , th e h o u se e lic its a p ra g m a tic e n g a g e m e n t, a n d in tu rn b e a rs a c a p a c ity to c h a n g e . T h e o c c u p a n t is a llo w e d to g iv e m e a n in g to th e a rc h ite c tu re , w h ic h e x p la in s th e im p o rta n c e o f b o d ily o ccu p a tio n o f sp a ce a s a g e n e ra tiv e 49 p h e n o m e n o n a t E 1 0 2 7 . L a stly , th e h o u se d e fie s h e g e m o n ic a p p ro a c h e s, re sistin g th e n o rm a tiv e . E ile e n G ra y c h a lle n g e s th e m a n n e r in w h ic h M o d e rn ism im p o se s itse lf u p o n h u m a n b e in g s a n d in d o in g so , e m a n c ip a te s th e su b je c t fro m w h a t m ig h t b e c o n sid e re d d e h u m a n iz in g . E 1 0 2 7 d e fe rs fro m sta n d a rd iz a tio n in th e in te re sts o f a c h ie v in g a re sp o n siv e , a c c o m m o d a tin g a rc h ite c tu re , p la c in g e m p h a sis o n d e sig n in g fo r th e in d iv id u a l a s o p p o se d to th e u n iv e rsa l.

F ro m th e ch o ice o f site to th e o rie n ta tio n o f in te rn a l d o o rs, E 1 0 2 7 ’s c o m p o sitio n is d riv e n b y a d e e p c o n c e rn w ith th e d y n a m ic s o f lo o k in g a n d se e in g . In L ’a rch itectu re V iv a n te, th e re is e x te n siv e d isc u ssio n o f th e h o u se ’s in te n tio n s w ith re g a rd s to p riv a c y . G ra y p re se n ts fo u r p rin cip le o b je ctiv e s fo r E 1 0 2 7 , w h ic h a ll re la te to th re sh o ld s:

“1. The problem of the windows…

2. The problem of shutters, which is often overlooked yet very important: a window without shutters is a lidless eye…

48 49

Ibid. Pg. 98 Constant, C. 1994. Pg. 275 2 4

3. The problem of independence of the rooms: everyone, even in a small house, must remain free, independent. It must give the impression of being alone, and if desired, entirely alone…

4 . T h e p r o b l e m o f t h e k i t c h e n , w h i c h s h o u l d b e e a s i l y a c c e s s i b l e y e t s e c l u d e d … ” 50

It is a p p a re n t th a t sh e w a s k e e n to e m b e d c e rta in d e v ic e s in th e h o u se w h ic h p re se n t th e o p p o rtu n ity fo r se c lu sio n . It m ig h t b e su g g e ste d th a t G ra y ’s fa sc in a tio n w ith th e o p tic s w a s d riv e n b y h e r e x p e rie n c e o f th e c ity . A s p re v io u sly d isc u sse d , th e p o e try o f B a u d e la ire 51 illu stra te s th e su b o rd in a tio n o f th e fe m a le o b se rv e r in m id - n in e te e n th - c e n tu ry P a ris, th e b o u rg e o is v a lu e s o f w h ich w e re still d o m in a n t in G ra y ’s tim e . U ltim a te ly , th e m a le h a s su p e rio r o b se rv a tio n a l p o w e r; h e is m o re a t e a se to in v e stig a te , re c o rd a n d re sp o n d to h is su rro u n d in g s. C o n se q u e n tly th e w o m a n is su b je c t to th e m a le g a z e , a ssu m in g th e ro le o f th e o b se rv e d . T h is im b a la n c e is e ra d ic a te d a t E 1 0 2 7 a s n e ith e r m a le o r fe m a le su b je c t is g iv e n su p e rio r o b se rv a tio n a l p o w e r: a n y o n e c a n fin d a p la c e to b e “e n tire ly a lo n e ”.

T h e site a n d e n try se q u e n c e d e m o n stra te th a t fro m its v e ry c o n c e p tio n , E 1 0 2 7 w a s ro o te d in a c o n c e rn su rro u n d in g w h a t is se e n a n d u n se e n . It sta n d s a t th e e n d o f a n iso la te d fo o tp a th a to p th e c liffs o f R o q u e b ru n e - C a p M a rtin a n d ca n n o t b e d riv e n to o r o v e rlo o k e d : a se ttin g ch o se n b y G ra y fo r its iso la tio n a n d in a c c e ssib ility . 52 (F ig .1 3 - 1 4 ) T h e se q u e n c e o f e v e n ts w h ic h u n fo ld s u p o n e n try is c o h e re n t w ith th e se id e a s, a n d is d isp a ra te fro m th e M o d e rn ist co n ce p t o f th e p ro m en a d e a rch itectu ra le; in itia lly c o in e d b y L e C o rb u sie r. In re la tio n to th e L a R o c h e h o u se , h e d e fin e s th e p ro m e n a d e a rc h ite c tu ra le a s fo llo w s:

50

Badovici, J. and Gray, E. 1929. Pg. 28 This is prominent in Les Fleurs du Mal, where the male artist, searching for inspiration has far greater access to urban institutions than the female.

52 Adam, P. 2000. Pg. 174 51

2 5

“This house will be like an architectural promenade, one enters and the architectural vista presents itself immediately to view; one follows a set route and a g r e a t v a r i e t y o f p e r s p e c t i v e s p r e s e n t t h e m s e l v e s . ” 53

A t E 1 0 2 7 th e su c c e ssio n o f im a g e s w h ic h u n fo ld b e fo re th e e y e s o f th e su b je c t h a s n o n e o f th is tra n sp a re n c y , th e jo u rn e y is in d ire c t a n d c ry p tic.

T h is p ro m e n a d e a rch ite ctu ra le 54 o f so rts b e g in s a t th e n o rth o f th e site ; th e la rg e ly im p e n e tra b le n o rth w a ll o f th e h o u se re fu se s v ie w s to se a a n d d ista n t h o riz o n s. (F ig .1 5 & 1 8 ) T h e e n try sp a c e is re v e a le d a s a c o v e re d a triu m ; u p o n a rriv a l th is ap p e ars as a sh ad o w y n ich e co n ta in in g a m b ig u o u s p lan ar o b je cts a n d v o lu m e s w h ich b e co m e a rticu la te d a s b o u n d in g w a lls o f th e sp a c e o n ly a s o n e e n te rs u n d e r ca n o p y . H e re , e n try is o b stru cte d a g a in b y a n e a rth - c o lo u re d w a ll, in sc rib e d w ith th e w o rd s “e n tre z le n te m e n t”, “su g g e stin g th e id e a o f re sista n c e ”. 55 (F ig .1 6 ) T h e o b se rv e r e n te rin g th e liv in g ro o m is fa c e d w ith y e t a n o th e r o b sta c le ; “a p a rtitio n - sc re e n o b stru c ts v ie w s th a t m ig h t p e n e tra te fro m th e e x te rio r to th e in te rio r w h e n th e d o o r is o p e n ”. 56 (F ig .1 7 ) E n try is ta n ta liz in g ly c lo se ; th e sc re e n a llo w s p a rtia l g lim p se s b u t a g a in , th e in te rio r is c on c e a le d a s it is re v e a le d . T h e p ro m e n a d e is fo rm e d o f a se rie s o f e v e n ts w h ic h a t first d e n y , a n d e v e n tu a lly a llo w th e p o ssib ility o f th e n e x t. It is in itia tio n - lik e a s o p p o se d to a g u id e d to u r o f sp a tia l situ a tio n s, a c le a r- c u t su c c e ssio n o f im a g e s e a g e rly a n tic ip a tin g th e ir re v e la tio n to th e o b se rv e r. W h e re a s L e C o rb u sie r c o n te ste d th a t M o d e rn ist a rch ite ctu re sh o u ld b e a b o u t “R E W A R D IN G

53

Corbusier, L. 1929. Pg. 60 The following journey is described by Tucker. S. 1992. Pg.10-12 55 Badovici, J. and Gray, E. 1929. Pg. 28 56 Ibid.

54

2 6

T H E D E S IR E O F O U R E Y E S ”, 57 G ra y p re fe rre d to d e fle ct a n d w ith h o ld th e g ra tific a tio n o f a b so lu te v isib ility in th e in te re sts o f “th e p le a su re in su sp e n se ”. 58 C irc u la tio n a n d a c c e ss to ro o m s fo llo w in a sim ila r v e in . A ll ro o m s a re o rie n ta te d a w a y fro m o n e a n o th e r 59 in th e in te re sts o f p riv a c y a n d d e ta c h m e n t. T h e b e d ro o m d o o rs a re c o n fig u re d in a m a n n e r w h ic h “ a v o id s m a k in g a d o o r w h e n o n e fe a rs th a t it m a y o p e n a t a n y m o m e n t, e v o k in g th e p o ssib ility o f a n in o p p o rtu n e v isit.” 60 D o o rs a re su n k e n , p o sitio n e d in n ic h e s, a n d o p e n in to th e ro o m so th a t o n e n try , o n e ’s v ie w o f th e m a in sp a c e is o b stru cte d ; th e re is n o p o ssib ility o f th e in h a b ita n t b e in g lo o k e d in o n o r w a tc h e d fro m a n e ig h b o u rin g ro o m . (F ig .1 9 ) T h e y c o n c e a l a s th e y re v e a l.

B e a triz C o lo m in a u se s th e a n a lo g y o f th e th e a tre b o x to d e scrib e th e p h e n o m e n o n w h e re th e o c c u p a n t o f a ro o m is n o t im m e d ia te ly re c o g n iz a b le to a n in tru d e r, w h o w o u ld b e n o tic e d im m e d ia te ly , “ju st a s a n a c to r e n te rin g th e sta g e is im m e d ia te ly se e n b y a sp e c ta to r in a th e a tre b o x ”. 61 T h e o ccu p a n t o f G ra y ’s b e d ro o m s is th e sp e c ta to r, w h o is in sta n tly a w a re o f a n in tru sio n , a n d th e ro le s o f th e o b se rv e r a n d th e o b se rv e d a re re v e rse d – th e o b se rv e d is n o w in a p o sitio n o f su p e rio r p o w e r. In a d d itio n to th e h id d e n d o o rs g iv in g a c c e ss to th e in te rio r, th e ro o m s in c o rp o ra te p riv a te d o o rs to th e o u tsid e . A t E 1 0 2 7 th e re is n o w a y o f c o n tro llin g o r m o n ito rin g w h o is e n te rin g a n d le a v in g th e h o u se ; a ll o c c u p a n ts a re a t w ill to e sc a p e th e p o te n tia l c la u stro p h o b ia o f d o m e stic life w h e n e v e r th e y c h o o se .

57

Corbusier, L. 1923. Pg. 16 Gray’s notes, as quoted by Adam, P. 2000. Pg. 217 59 Hecker Kitsios, S. and Muller, C. F., 1993. Pg. 120 60 Badovici, J. and Gray, E. 1929. Pg. 28 61 Colomina, B. 1992. Pg. 76 58

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T h e se c o n d p o in t in q u e stio n , th e p o te n tia l E 1 0 2 7 o ffe rs to its in h a b ita n t to re a rra n g e a n d d ic ta te th e fu n c tio n s o f v a rio u s sp a c e s th ro u g h p ra g m a tic e n g a g e m e n t , is re fle c te d in G ra y ’s d ra w in g s o f th e h o u se . O n e o f th e m o st p ro lific p ie c e s o f v isu a l m a te ria l d o c u m e n tin g E 1 0 2 7 is a d ia g ra m m a tic p la n sh o w in g b o th th e p a th o f th e su n a n d c irc u la tio n o f th e o ccu p a n ts, in a so lid lin e , a n d th e h o u se k e e p e r, in a d o tte d lin e . (F ig .2 0 ) It e m p h a siz e s th e im p o rta n c e o f h u m a n tra n sit in re la tio n th e te m p o ra lity o f n a tu re ’s c y c le s, a n d is in d ic a tiv e o f th e h o u se ’s c a p a b ility to c h a n g e e x p e rie n tia lly b y v irtu e o f th e p ra g m a tic e n g a g e m e n ts o f e v e ry d a y life . T h is in te n tio n is a lso m a n ife ste d in G ra y ’s co lla g e s d e p ictin g co lo u r sch e m e s fo r a w a ll c u p b o a rd a n d th e k itc h e n c a b in e ts. (F ig .2 1 ) T e c h n ic a l lin e d ra w in g s o v e rla id w ith b lo ck s o f b o ld co lo u r, in th ick ca rd , re fle ctiv e a ce ta te a n d h e a v ily la y e re d p a in t e m p h a siz e th e ta c tility a n d u sa b ility o f h e r in te rio rs – o n e is in v ite d to fe e l th e ir w a y a ro u n d th e d ra w in g , a s th e y a re th e h o u se .

G ra y ’s in te n tio n s fo r E 1 0 2 7 a re a lso a rtic u la te d in h e r p h o to g ra p h y ; h e r im a g e s p re se n t th e ro o m s c o m p le te w ith tra c e s o f h u m a n life ; c a p tu re d d u rin g u se , w h e th e r th a t b e lu x u ria tin g o r w o rk , e x u d in g p ra g m a tic c la rity . 62 (F ig .2 2 - 2 5 ) T h e p rin c ip a l fe a tu re o f E 1 0 2 7 w h ic h b rin g s a b o u t th is p a lp a b ility a n d c a p a c ity fo r tra n sfo rm a tio n is its fle x ib le fu rn itu re . G ra y ’s e x p e rie n tia l in te rio rs m a k e a c la im o n th e u se r to in te rv e n e , th e m a le o r fe m a le su b je c t is a b le to a lte r th e sp a tia l h e ira c h y o f a ro o m . T h e se e le m e n ts e lic it a fre e d o m o f a ctio n a n d it is th is fre e d o m w h ic h d ic ta te s th e fu n c tio n s o f th e sp a c e s.

G ra y re co g n iz e d th a t E 1 0 2 7 ’s u se r w ill c h a n g e , so th e b e st w a y to a c c o m m o d a te th e in d iv id u a l su b je c t, a s o p p o se d to th e u n iv e rsa l, w a s to

62

Rault, J. 2011. Pg. 97 2 8

p ro d u c e a d a p ta b le fu rn itu re , o n e o f th e h a llm a rk s o f h e r ‘h u m a n e ’ stra n d o f M o d e rn ism . S h e p ro d u ce d a v a rie ty o f in n o v a tiv e , a d ju sta b le su rfa c e s w h ic h im p ly th a t a n y a c tiv ity c a n ta k e p la c e in a n y p a rt o f th e h o u se – th e su b je c t is in c o n tro l o f w h a t h a p p e n s, w h e re . T h e E 1 0 2 7 ta b le o f ste e l tu b in g , w h ic h c a n b e a d ju ste d in h e ig h t, m a k in g it u sa b le in a ll p a rts o f th e h o u se – d u e to its sh a p e , it c a n b e in te g ra te d w ith a n y p ie c e o f fu rn itu re to fa c ilita te e a tin g , d rin k in g , re a d in g , w ritin g , a n y w h e re . (F ig .2 2 ) T h e g a te le g te a ta b le h a s ro ta tin g tra y s e x te n d in g o u tw a rd s, g iv in g o n e th e o p tio n to d in e a t a n e arb y so fa , o r sta n d w h ile e n te rta in in g fre n d s w ith d rin k s a t a rm s’ re a c h . (F ig .2 3 ) T h e b e d s a n d d iv a n s h a v e in te g ra te d re a d in g lig h ts, p ro v isio n s fo r b o o k sto ra g e , a n d b e d sid e ta b le s: th e b e d ro o m s a re p o te n tia l stu d ie s. (F ig .2 4 ) P riv a cy is in stille d in th e se sp a c e s o w in g to th e h isto ric a l c o n n o ta tio n s o f th e stu d y ; 63 e n tire ly in d e p e n d e n t, a ffo rd in g th e m a ste r o f th e h o u se th e m a sc u lin iz e d p riv ile g e o f p riv a c y 64. H e re is a n in sta n c e o f th e fle x ib le fu rn itu re fu lfillin g d u a l ro le s: it n o t o n ly m e e ts th e p ra g m a tic n e e d s o f th e u ser, b u t a p sy ch o lo g ic al n e ed fo r in d ep e n d en c e, to rem ain u n o b serv e d .

G e rrit R ie tv e ld h a d sim ila r in te n tio n s fo r h is fle x ib le in te rio r o f th e R ie tv e ld - S ch ro e d e r H o u se in 1 9 2 4 . D e sig n e d in c o lla b o ra tio n w ith T ru u s S ch ro e d e r, its p a tro n , th e h o u se h a d to a cco m m o d a te a d o m in a n t h e a d o f h o u se h o ld , h e r c h ild re n a n d h e r n o n c o n fo rm ist life sty le . 65 T h is re q u ire d a re th in k in g o f th e sp a tia l b o u n d a rie s o f p riv a te a n d sh a re d sp a ce . T h e u p p e r flo o r c a n b e tra n sfo rm e d fro m o n e la rg e sp a c e fo r liv in g a n d w o rk in g in to a su b d iv id e d sp a c e c o n sistin g o f d istin c t b e d ro o m s w ith th e u se o f m o v a b le p a rtitio n s. T h e d istin c tio n b e tw e e n G ra y ’s a n d R ie tv e ld ’s fle x ib le fu rn itu re

63

Rault, J. 2011. Pg. 101 “More than just another room in the house, the study participates in the construction of gender roles through the allocation of privacy. Masculine spaces afforded privacy, feminine spaces were subject to interruption.” Rosner, V. 1999. Pg. 159 65 Friedman, A. 2003. Pg. 67 64

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is th a t th e fo rm e r d ic ta te s a sp a c e ’s fu n c tio n in c o n ju n c tio n w ith n a tu ra l h u m a n a c tiv ity , a n d th e re is sc o p e fo r m u ltip lic ity o f u se a s d iffe re n t a c tiv itie s c a n p ro g re ss flu id ly a n d sim u lta n e o u sly ; w h e re a s th e la tte r is a m o re rig id d e lim ita tio n o f o c c u p a tio n w h ic h d e p e n d s o n th e p re fe re n c e s o f a sin g le in d iv id u a l; o n e p re sc rip tiv e sp a c e b e co m e s m u ltip le p re scrip tiv e sp a c e s.

G ra y a d o p te d th e “ca m p in g sty le ” a s a n o th e r m e a n s o f cre a tin g a c h a n g e a b le in te rio r th ro u g h p ra g m a tic in te rv e n tio n . T h e se p ie c e s w e re c ra fte d fro m m e ta l tu b in g , lig h tw e ig h t a n d m o b ile . O n e o f th e d e fin itiv e ite m s o f “ca m p in g sty le ” fu rn itu re w ith re sp e ct to its a b ility to re d e fin e a sp a tia l e n tity , is th e d in n e r ta b le . (F ig .2 5 ) G ra y d e scrib e s h e r in te n tio n s fo r th e d in in g sp a c e a s fo llo w s:

“In summer you can either push the table on the terrace or by opening the sliding d o o r , y o u c a n o p e n t h e d i n i n g r o o m t o t h e o u t s i d e . ” 66

T h e in fo rm a lity o f th e p rim a ry d in in g a re a is c o n tra ry to th e p ro m in e n c e o f su c h a sp a c e in th e b o u rg e o is h o m e . T h e P a risia n se m i- p u b lic d in in g ro o m in th e e a rly tw e n tie th - c e n tu ry w a s o f v ita l im p o rta n c e ; th e d o m e stic in te rio r w a s in te g e ra l to d istin g u ish in g b o u rg e o is id e n tity a s th e p o sse ssio n o f g o o d ta ste e q u a te d to p o w e r. 67 E 1 0 2 7 d o e s n o t h a v e a d istin c t d in in g ro o m , it is sim p ly p a rt o f th e m a in liv in g sp a c e , w h ic h c o n tra d ic ts th e b o u rg e o is e m p h a sis o n th e c o m p a rtm e n ta liz a tio n o f fu n c tio n. 68 W h a t d iffe re n tia te s G ra y ’s d in in g a re a fro m th e b o u rg e o is m o d e l fu rth e r is th a t th e sp a ce is n o t fix e d , it c a n b e e x te n d e d o r sh ifte d c o m p le te ly b y o p e n in g th e d o o r to th e

66

Badovici, J. and Gray, E. 1929. Pg. 31 Rich, R. 2003. Pg. 50 68 Ibid. Pg. 51 67

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te rra c e . T h e p o rta b ility o f th e ta b le a ssists th is, w h e re a s tra d itio n a lly th e p re sc rib e d so lid , m a sc u lin e d in in g fu rn itu re 69 w o u ld a llo w little m a n o u v e ra b ility . T h e stru c tu re o f th e d in in g sp a c e in c e rta in M o d e rn ist h o u se s is sim ila rly rig id , a s ty p ifie d b y V illa M a e ira , d e sig n e d b y A lv a r A a lto te n y e a rs la te r. (F ig .2 6 ) W ith in fle x ib ility a n d ca re fu l o rch e stra tio n c o m e s th e e m b o d im e n t o f tra d itio n a l, im b a la n c e d g e n d e r ro le s: w ith in th e d in in g ro o m , th e m a n ’s a llo c a te d se a t a t th e ta b le p u ts h im in c o n tro l. H e h a s a v ie w o f th e m a in e n tra n c e a n d c a n tra c k w h o is c o m in g a n d g o in g ; h e c a n a lso k e e p w a tc h o v e r th e liv in g ro o m th ro u g h th e w in d o w to h is sid e . 70 T h e w ife ’s v ie w is o f h e r h u sb a n d ju x ta p o se d a g a in st th e fire p la c e , sy m b o lic o f p o w e r, a n d is c o n v e n ie n tly p o sitio n e d c lo se st to th e d o o r le a d in g to th e k itch e n . 71 T h e d in in g sp a c e o f E 1 0 2 7 , a n d in a c tu a lity its w id e r sp a tia l stru c tu re, b e a rs n o n e o f th is p ro n u n cia tio n o f g e n d e r. It is stru ctu re d b y th e fre e w ill a n d d e sire s o f its o c c u p a n ts; th e m a le o r fe m a le su b je c t h a s th e p o w e r to d isp la c e w h a t is tra d itio n a lly a n d e fin itiv e ly b o u n d sp a c e .

T h e fin a l o f E ile e n G ra y ’s in te n tio n s fo r E 1 0 2 7 is m o tiv a te d b y a d issa tisfa c tio n in M o d e rn ist th e o ry ’s a b ility to m e e t th e ch a n g in g n e e d s o f e v e ry d a y life a n d its e x c lu sio n o f c e rta in su b je c ts b a se d o n se x u a lity . E 1 0 2 7 se e s a sh ift fro m h e r o rn a m e n ta l , d e c o ra tiv e p ie c e s to a n a rc h ite c tu re m o re in lin e w ith c o n te m p o ra ry th o u g h t; fu n c tio n a l a n d a b stra c t, b u t a lo o se a lig n m e n t w ith th e M o d e rn M o v e m e n t a t b e st. Ja sm in e R a u lt o b se rv e s th a t A d a m d ra w s p a ra lle ls b e tw e e n th e fo rm e r o f th e se sty le s a n d h e r “a e sth e tic a lly a n d se x u a lly e x p e rim e n ta l y o u th ” ; a n d a sso c ia te s th e la tte r w ith h e r in tim a te re la tio n sh ip w ith Je a n B a d o v ic i . In fa c t, G ra y ’s w o rk n e v e r

69

Ibid. Pg. 54 Kuhlmann, D. 2013. Pg. 8 71 Ibid. Pg. 9 70

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tru ly c o rre la te d w ith th e “p u re a rc h ite c tu re ” o f th e a v a n t- g a rd e b e ca u se sh e h a d n o in te re st in le a v in g b e h in d h e r se x u a lly c h a rg e d fo rm a l la n g u a g e , n o r h e r se x u a lly d issid e n t fe m a le a sso c ia te s. 72 L e C o rb u sie r w a s a d e cisiv e fig u re in th e fo rm a tio n o f G ra y ’s p e rso n a l sty le, 73 a n d I w ill fo c u s o n G ra y ’s c ritic a l e n g a g e m e n t w ith C o rb u sie r in p a rtic u la r, a s h e c o m e s to rep re se n t M o d e rn ism m o re b ro a d ly .

L e C o rb u sie r’s fiv e p o in ts o f a rc h ite c tu re a c te d a s sta rtin g p o in ts fo r E 1 0 2 7 , th e p a ra m e te rs o f w h ic h G ra y w o u ld re d re ss w ith th e se n sib ilitie s o f th e o c c u p a n t a s p rio rity :

“Nowhere has a line or shape been sought for its own sake; everywhere we thought o f m a n , o f h i s s e n s i b i l i t i e s a n d n e e d s . ” 74

T h e first o f th e fiv e p o in ts d e a ls w ith p ilo tis; re in fo rc e d c o n c re te c o lu m n s b e a rin g th e stru ctu ra l lo a d in re p la ce m e n t o f su p p o rtin g w a lls. 75 T h is iso la te s th e h o u se fro m th e g ro u n d p la n e, w h e re a s E 1 0 2 7 is e m b e d d e d in to th e la n d sc a p e w ith th e p ilo tis o n ly su p p o rtin g a p a rtia l lo a d , th u s th e lim its o f e x te rio r a n d in te rio r b e c o m e o b scu re d . 76 D w e llin g is re c o n c ile d w ith e a rth th ro u g h o c c u p a tio n o f a lo w e r liv in g sp a c e . 77 G ra y re fu se s to sa crifice liv e a b le sp a c e in th e in te re sts o f c o n fo rm in g to a c o h e re n t stru c tu ra l g rid in p la n , a n d a rra n g e s c o lu m n s a c c o rd in g to sp a tia l fu n c tio n a lity ; fo r e x a m p le th e sp a c in g s a re w id e r a t th e c e n tre , th e liv in g sp a c e, fo r th e g re a te st

72

Rault, J. 2011. Pg. 94 Gray had access to Corbusier’s entire collection of plans through Badovici, as editor of L’architecture Vivante.

74 Badovici, J. and Gray, E. 1929. Pg. 38 75 Corbusier, L. 1923.

76 Coulter, G. 2009.

77 Tucker, S. 1992. Pg. 11 73

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fle x ib ility . 78 (F ig .2 7 ) S e co n d ly , C o rb u sie r e n v isa g e d a fre e p la n ; G ra y d e lib e ra te ly in te rru p ts th e to ta l v ie w o ffe re d b y th e fre e p la n ’s a b se n c e o f in te rn a l lo a d b e a rin g w a lls, in th e in te re sts o f cre a tin g h id in g p la ce s a n d sp o ts o f in tim a c y . T h e fre e p la n re la te s to th e fre e fa ç a d e , C o rb u sie r’s th ird p o in t a n d a re su lt o f th e w a lls b e in g fre e d o f stru c tu ra l fu n c tio n . T h is is n o t th e c a se a t E 1 0 2 7 ; th e o p e n in g s w ith in th e h o u se a re c o n tin g e n t o n its stru c tu re, 79 re fle ctiv e o f G ra y ’s in te re st in th e in te rd e p e n d e n ce o f p a rts. In L ’a rch itectu re V iv a n te, sh e in sin u a te s th a t th a t in te rn a l sp a c e is n o t sim p ly a n e n tity to w ra p in a n in d e p e n d e n tly d e sig n e d fa ç a d e :

“The interior plan should not be the incidental result of the façade; it should lead a complete, harmonious, and logical life. Rather than being subordinated to the e x t e r n a l v o l u m e , i t s h o u l d o n t h e c o n t r a r y c o n t r o l i t . ” 80

G ra y su b v e rts C o rb u sie r’s h ie ra rc h y in p rio ritiz in g a n in te rio r c o n c e iv e d “ fo r th e w e lfa re o f th e re sid e n ts” 81 o v e r a n a e sth e tica lly p le a sin g e x te rio r. A g a in th e in te rio r/e x te rio r re la tio n sh ip is m e d ia te d d iffe re n tly b y G ra y in re sp o n se to C o rb u sie r’s fo u rth p o in t o n th e strip w in d o w , c u t a lo n g th e fa ç a d e ’s le n g th to illu m in a te sp a c e s e v e n ly . G ra y b u ild s u p o n th e co n ce p t o f th e h o riz o n ta l strip w in d o w in th e in te re sts o f b o th a n c h o rin g a n d lib e ra tin g th e in h a b ita n t, a p p e a lin g to th e h u m a n sc a le a n d c o n te stin g th e “sh a rp d e lin e a tio n ” o f C o rb u sie r’s th re sh o ld s. 82 G ra y d id n o t w ish th e w in d o w s to b e h a v e a s a “lid le ss e y e ” 83 a n d so d e v ise d m e m b ra n e s w h ic h a llo w e d fo r a slid in g sc a le o f e x p o su re to th e o u tsid e w o rld . S h e d re w o n th e v e rn a cu la r

78

Constant, C. 1994. Pg. 274 Buisson, E. and Mclendon, B. as quoted by Coulter, G. 2009.

80 Badovici, J. and Gray, E. 1929. Pg. 25 81 Ibid. Pg. 23 82 Constant, C. 1994. Pg. 273 83 Ibid.

79

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N iç o ise sh u tte r w h ic h e n a b le s n a tu ra l v e n tila tio n , w h ilst a llo w in g th e in h a b ita n t to c o n tro l th e d e g re e o f p riv a c y a n d su n lig h t a d m itte d to th e ro o m . (F ig .2 9 ) L e C o rb u sie r’s fin a l p o in t d icta te s th a t th e fla t ro o f b e u se d a s a ro o f g a rd e n , a te n e t fu lly d isre g a rd e d a t E 1 0 2 7 . F o r C o rb u sie r, th e ro o f g a rd e n se rv e s a s a d isp la c e d g a rd e n g ro u n d p la n e , h o w e v e r G ra y d id n o t se e k to d isp la c e n a tu re b u t to in c o rp o ra te it, e x te n d in g liv in g sp a c e in to th e o u td o o rs. 84 (F ig .2 8 ) A C o rb u sia n p rin c ip le e x p lic itly re je cte d b y G ra y is th e n o tio n o f th e h o u se a s a m a ch in e- à - h a b iter.

“ A h o u s e i s a m a c h i n e f o r l i v i n g i n . ” 85 – L e C o r b u s i e r “A house is not a machine to live in. It is the shell of man, his extension, his r e l e a s e , h i s s p i r i t u a l e m a n a t i o n . . . " 86 – E i l e e n G r a y

T h e m a c h in e fo r liv in g is th e c o n c e p tio n o f a h o u se w h ic h d ra w s o n te c h n o lo g ic a l a d v a n c e s o ccu rrin g a t a n in d u stria l sca le in o rd e r to cre a te a n e ffic ie n t d w e llin g . T o c o n v e y th is, C o rb u sie r e m p lo y s p ro d u c ts o f m a ss p ro d u c tio n a n d m e c h a n ic a l fo rm s fo r sy m b o lic v a lu e . 87 W h ilst G ra y u tilise d in d u stria l p ie c e s fo r d o o r h a n d le s, sc re e n s, sh u tte r ra ilin g s a n d filin g sh e lv e s, 88 th is w a s “sim p ly a s a c o n v e n ie n t m e th o d fo r a n e x c e p tio n a l c irc u m sta n c e ” 89 a n d n o t a b lin d a p p lic a tio n o f C o rb u sia n m e c h a n ic a l im a g e ry o f a e ro p la n e s a n d o ce a n lin e rs. S h e w a s u n in terested in su ch sy m b o lism , se e k in g a m o re p ra g m a tic re sp o n se to th e o ry . F o r e x a m p le , sh e sh o w e d in te re st in n a u tic a l sy ste m s a n d th e se rv ic e o f th e h u m a n b o d y th e y

84

Coulter, G. 2009.

Corbusier, L. 1923. Pg. 95 86 As quoted by Adam, P. 2000. Pg. 308 87 Constant, C. 1994. Pg. 275 88 Adam, P. 2000. Pg. 211 89 Badovici, J. and Gray, E. 1929. Pg. 28 85

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re p re se n t, 90 a n d h a rn e sse d th is a t th e te rra c e . (F ig .3 0 ) T h e c a n v a s ro p e d o n to th e m e ta l ra ilin g s, e v o c a tiv e o f sa ilc lo th , w ith sta n d s stro n g m istra l w in d s a n d p ro v id e s sh a d e in th e su m m e r, o r c a n b e re m o v e d in w in te r, a llo w in g “th e w in te r su n to w a rm u p th e le g s”. 91 In h e r a d a p tio n o f C o rb u sie r’s th e o ry , G ra y k e e p s E 1 0 2 7 in tu n e w ith cy cle s o f n a tu re a n d d a ily life .

T h e o c c u p a n t o f E 1 0 2 7 liv e s d iffe re n tly to th e o c c u p a n t o f a h o u se w h ic h a b id e s stric tly to M o d e rn ist te n e ts. Its se c re t p a ssa g e s, in tim a te n ic h e s, v isu a l o b stru c tio n s, a n d a n ti- M o d e rn e le m e n ts p ro v id e a d istin c t liv in g c o n d itio n a n d d o m e stic stru c tu re , in c o h e re n t w ith th e n e e d s o f th e “h e a lth y” m o d e rn su b je c t. It c o u ld b e a rg u e d ; th e re fo re , th a t E 1 0 2 7 is re p re se n ta tiv e o f a n a lte rn a te M o d e rn ism , o n e w h ich p ro p a g a te s a v isu a l la n g u a g e o f fe m a le se x u a l d issid e n c e . F ro m th e e x te rio r, th e w h ite w a lls o f th e h o u se a p p e a r in lin e w ith th e In te rn a tio n a l S ty le , sta n d in g fo r h e a lth , v isib ility a n d th e c le a n sin g o f d e c a d e n c e . 92 A s o n e ste p s in sid e a n d is fa c e d w ith a b e d a s c e n te rp ie c e to th e e x tro v e rte d liv in g sp a c e , p ile d w ith c u sh io n s a n d b la n k e ts a to p th ic k o v e rla p p in g ru g s, th e y re g iste r th a t th is h o u se w a s c o n c e iv e d w ith a d iffe re n t a g e n d a. (F ig .3 1 ) T h e m a in liv in g ro o m is u n d e rsto o d a s a b o u d o ir, a p ro v o c a tiv e re a ssig n m e n t o f a g e n d e re d sp a c e. T ra d itio n a lly , th e fe m in in e sp a c e o f th e b o u d o ir a sso cia te s w o m e n w ith th e b o d y , w h e re a s m a sc u lin e sp a c e s su c h a s th e lib ra ry o r stu d y c o n n o te ra tio n a lity a n d th e m in d . 93 B ro u g h t in to th e p u b lic re a lm , th e se g e n d e r n o rm s a re su b v e rte d th ro u g h o c c u p a tio n ; th is m u ltip u rp o se sp a c e c a n a c c o m m o d a te a n y a c tiv ity fro m re st, to stu d y in g , to p a rtie s. T h e m a rg in a liz e d su b je c t is b ro u g h t to th e

90

Constant, C. 1994. Pg. 275 Badovici, J. and Gray, E. 1929. Pg. 31 92 Rault, J. 2011. Pg. 94 93 Bonneivier, K. 2005. Pg. 166 91

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fo re fro n t; th e m a in liv in g sp a c e is p e rm e a te d w ith se n su a lity a n d in tim a c y .

T h e c o lo u rs, te x tu re s a n d m a te ria ls C o rb u sie r w o u ld a sso c ia te w ith th e “h o t h o u se s o f P a ris” 94 a re a ll e m p lo y e d a t E 1 0 2 7 ; m u te d to n e s o f g re y , b la c k w h ite , d e e p g re e n s, b lu e s a n d re d s; lu x u rio u s fu r, v e lv e t, th ic k w o o l a n d la c q u e r. 95 T h e se e m b le m s o f n in e te e n th- c e n tu ry d e c a d e n c e , sig n ify in g h o m o se x u a lity , k n o w in g ly ju x ta p o se d a g a in st m o re p u rist e le m e n ts p o in ts to a d e sire fo r th e se x u a lly d issid e n t id e n tity to b e m a d e v isib le . T h is, c o u p le d w ith E 1 0 2 7 ’s sp a c e s o f e x tre m e in te rio rity (su c h a s th e p rin c ip a l b e d ro o m , c lo se te d b y o v e rla p p in g w a lls, a c c e sse d b y a p a ssa g e - n ic h e ), se c re t p a ssa g e s a n d e sc a p e ro u te s (fo r e x a m p le , th is sp a c e o ffe rs th re e d iffe re n t e x its – th ro u g h th e liv in g ro o m , b a th ro o m o r b a lc o n y – a llo w in g o n e to e n te r a n d le a v e w ith o u t b e in g se e n ) 96 is in d ic a tiv e o f a d e sire “to o ffe r a c c e ss to a life o u tsid e th e ru le s o f civ iliz e d b e h a v io u r a n d co n v e n tio n a l a rch ite ctu re .” 97 T h e e le m e n ts d e sc rib e d a b o v e su g g e st th a t th e a lte rn a tiv e life sty le in q u e stio n c o rre la te s w ith th a t o f G ra y ’s : o n e o f se x u a l d issid e n c e .

94

Rault, J. 2011. Pg. 49 Ibid.

96 Bonneivier, K. 2005. Pg. 177.

97 Lavin, S. 1996. Pg. 187 95

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CONCLUSION

In th e y e a rs th a t fo llo w e d , E 1 0 2 7 w a s n o t sh o w n th e a p p re c ia tio n a n d re sp e ct it w a rra n te d . L e C o rb u sie r h a d d e v e lo p e d a stro n g , v e rg in g o n o b se ssiv e p e n ch a n t fo r th e h o u se . A fte r G ra y m o v e d o u t in 1 9 3 2 , C o rb u sie r to o k it u p o n h im se lf to p a in t n in e la rg e m u ra ls o n its in te rio r w a lls w ith o u t h e r c o n su lta tio n . (F ig .3 2 ) H e d o c u m e n te d th is in h is 1 9 3 9 O eu v re C om p lete :

“They are not painted on the best walls of the villa. On the contrary, they burst o u t f r o m d u l l , s a d w a l l s ‘ w h e r e n o t h i n g i s h a p p e n i n g . ’ ” 98

In a fu rth e r a tte m p t to p la c e E 1 0 2 7 w ith in a “C o rb u sia n fra m e ”, 99 h e c o n stru c te d a tw o - sto re y e le v a te d h o ste l o n th e site o f h is ca b a n on . T h is o v e rlo o k e d a n d im p o se d itse lf u p o n G ra y ’s v illa , e lim in a tin g its c o m p le te se c lu sio n : th e re a so n fo r w h ic h sh e h a d c h o se n th e site . (F ig .3 3 ) It is h a rd to sh a k e th e su sp ic io n th a t th e se w e re a c ts o f sa b o ta g e a s o p p o se d to g e n u in e a ffe c tio n . T h e m u ra ls h a v e b e e n e q u a te d to “ra p e ” 100 a n d it h a s b e e n su g g e ste d th a t th e y w e re “h e ld to g e th e r b y a n o v e ra rc h in g e m p h a sis o n se x u a lity ”, 101 p ro m p tin g in sin u a tio n th a t th is v io le n c e c o n stitu te d a s a n a tta c k o n G ra y ’s g e n d e r a n d se x u a l d issid e n c e . 102 H o w e v e r, I w o u ld a rg u e th a t it is u n lik e ly th a t th is in tru sio n w a s fu e lle d b y a h a tre d fo r le sb ia n s, b u t ra th e r a n o v e r- in d u lg e n c e in h is o w n id e o lo g y a n d a m isu n d e rsta n d in g o f th e p iv o ta l ro le th e se w a lls p la y in th e e v e ry d a y life o f th e in h a b ita n ts;

98

Corbusier, L. 1939. As quoted by Hecker Kitsios, S. and Muller, C. F., 1993. Pg. 118 Constant, C. 2000. Pg. 279 100 Adam, P. 2000. Pg. 311 101 Pearson pg. 46 102 Colomina, B. 1993. Pg. 28-29 99

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p a rtic u la rly th a t o f th e w o m a n . It is p o ssib le th a t, h a v in g n o t e x p e rie n c e d th e sa m e re p re ssio n a s G ra y , th e su b tle tie s a t p la y g ra n tin g e q u a l a g e n c y a n d in d e p e n d e n c e to its in h a b ita n ts w e re lo st o n L e C o rb u sie r. P a sse d b e tw e e n se v e ra l m o re o w n e rs a n d e v e n tu a lly a b a n d o n e d , in h a b ite d b y sq u a tte rs a n d le ft to d e te rio ra te u n til th e tu rn o f th e c e n tu ry , p e rh a p s th e se a c ts o f u tte r d isre sp e c t fo r E 1 0 2 7 a re d u e to a m isre a d in g o f th e h o u se o n a n e x p e rie n tia l, p ra g m a tic le v e l. G ra y ’s d e sig n is so in tu n e w ith th e rh yth m s o f th e e v e ry d a y , th e fu n c tio n a litie s o f su b je c tiv e life , th a t its o rig in a lity m a y o n ly b e tru ly co m p re h e n d e d b y th o se h a v in g liv e d o u t e v e ry d a y life th e re , p a rtic u la rly so fo r w o m e n . T h e tra n sg re ssio n s tra n sla te d in to a rc h ite c tu ra l la n g u a g e a re u ltim a te ly a b o u t g ra n tin g w o m e n th e sa m e p riv ile g e s a s m e n .

W e h a v e w itn e sse d h o w th e h o u se h a s g a in e d cu rre n cy w ith tim e , fe m in ist re a d in g s ste a d ily a ffo rd in g it a g re a te r w e ig h t in th e h isto ry o f M o d e rn ism .

T h e re is a lso th e q u e stio n o f E 0 1 2 7 ’s a c c o m m o d a tio n o f th e se x u a lly d issid e n t su b je c t – o th e rw ise d ra stica lly u n d e rre p re se n te d in th e fie ld o f M o d e rn a rch ite ctu re . W h ilst th is is sp e cu la tiv e , in d e sig n in g a h o u se fo r a w o m a n lik e h e rse lf, I h a v e a rg u e d th a t th e h o u se c o m m u n ic a te s th is th e m e in a la te n t w a y . A t th is tim e , th is m e a n t c o m m u n ic a tin g th e in c o m m u n ic a b le , a s th e w o rd “le sb ia n ” w a s w ith o u t a fix e d re fe re n t; 103 a g a in th is m a y h a v e le d to th e m isu n d e rsta n d in g o r o v e rlo o k in g w h a t m a k e s th is a re v o lu tio n iz e d m o d e rn h o m e a ffo rd in g e q u a lity fo r a ll.

W h a t m a y h a v e e m e rg e d h a d th e tra d itio n s o f E 1 0 2 7 b e e n fu lly a p p re c ia te d a n d fo llo w e d th ro u g h , h a d h e r p a rt re la te d to th e w h o le , n a m e ly th e c ity ? E n v isa g e a n e w k in d o f V ille R a d ieu se – a c ity w h e re m e n a n d w o m e n w o u ld liv e to g e th e r in to ta l h a rm o n y - w h ic h re sists th e rig id ity o f a

103

Rault, J. 2011. Pg. 3 3 8

m o d u la r g rid a n d a n y in ta n g ib le e m b o d im e n ts o f g e n d e r, a n d e m b o d ie s E 1 0 2 7 ’s q u a litie s o f a d a p ta b ility , p riv a c y a n d in tim a c y . U n lik e 2 4 R u e N u n g e sse r e t C o li, e n v isa g e d b y L e C o rb u sie r a s a n in c re m e n t o f th e R a d ia n t C ity , a n u rb a n ism c o u ld h a v e d e v e lo p e d w h ic h th e m a tise s g e n d e r in a w h o lly p ra g m a tic m a n n e r. T h e risin g in te re st in L in a B o B a rd i is a n in d ic a tio n th a t p e rh a p s E ile e n G ra y ’s h u m a n M o d e rn ism is g a in in g c u rre n c y o v e r tim e . S h e to o a d v o c a te d a n u a n c e d a p p ro a c h to a rc h ite c tu re ; "u n w a v e rin g , a n d sh a p e d b y a lo v e o f h u m a n ity " 104 b u t b u ilt a t th e sca le o f th e c ity , ra th e r th a n sim p ly th e d o m e stic . M u sin g o n a sc e n a rio in w h ic h G ra y h a d b e e n g iv e n th is o p p o rtu n ity , to q u estion ev eryth in g in th e u rb a n re a lm , a co m p e llin g im a g e is co n ju re d o f a n o p p o sin g city sca p e , w h ich co u ld h a v e o ffe re d B o B a rd i a n d o th e r fe m a le a rc h ite c ts o f th e p re se n t, g re a te r m o m e n tu m . T h is n e w k in d o f c ity m a k in g , th e c re a tio n o f a m a c ro c o sm o f E 1 0 2 7 , c o u ld u ltim a te ly re n d e r “flâ n e u se ” a d e fu n c t sig n ifie r in a ffo rd in g m e n a n d w o m e n e q u a l a g e n c y in th e u rb a n re a lm .

104

Bo Bardi, L. 1951.

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4 1

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P a rso n s, D ., 2 0 0 0 . S treetw a lk in g th e M etrop olis: W om en , th e C ity a n d M o d ern ity . N e w Y o rk : O x fo rd U n iv e rsity P re ss R a u lt, J., 2 0 1 1 . E ileen G ra y a n d th e D esig n of S a p p h ic M od ern ity . S u rre y , A sh g a te

R ic h , R a c h e l. 2 0 0 3 . ‘D e sig n in g th e D in n e r P a rty : A d v ic e o n D in in g a n d D é c o r in L o n d o n a n d P a ris, 1 8 6 0- 1 9 1 4 ’ Jou rn a l o f D esig n H istory, V o l. 1 6 , No. 1 R o sn e r, V ., 1 9 9 9 . ‘H o u sin g M o d e rn ism : A rc h ite c tu re , G e n d e r a n d th e C u ltu re o f S p a c e in M o d e rn B ritish L ite ra tu re ’ (P H .D d isse rta tio n , C o lo m b ia U n iv e rsity )

R u e g g , A . 2 0 0 2 . ‘M a rc e l L e v a illa n t a n d “L a Q u e stio n d u M o b ilie r’” in L e C orb u sier B efore L e C orb u sier, e d . V o n M o o s, S . a n d R u e g g , A . N e w H a v e n : Y a le U n iv e rsity P re ss

S a m u e l, F ., 2 0 0 4 . L e C o rb u sier: A rch itect a n d F em in ist. C h ic h e ste r: W ile y Academy

S h o w a lte r, E . 1 9 9 0 . P g . S ex u a l A n a rch y: G en d er a n d C u ltu re a t th e F in d e S iécle. N e w Y o rk : V ik in g

S m ith so n , A ., 1 9 6 8 . T ea m 1 0 P rim er. L o n d o n : S tu d io V ista L im ite d

S te in e r, H ., 2 0 1 4 . T h e E m erg en ce of a M od ern C ity: G old en A g e C op en h a g en 1 8 0 0 - 1 8 5 0 . S u rre y : A sh g a te

S u tcliffe , A . 1 9 9 3 . P a ris: A n A rch itectu ra l H istory . N e w H a v e n : Y a le U n iv e rsity P re ss.

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T u c k e r. S ., 1 9 9 2 . ‘T h e m y ste rie s o f th e C h a te a u o f th e D ic e : a stu d y o f E 1 0 2 7 b y E ile e n G ra y a n d Je a n B a d o v ici’ (5 t h y e a r d isse rta tio n , U n iv e rsity o f C a m b rid g e )

W e isb e rg , G ., 1 9 8 6 . A rt N o u v ea u B in g : P a ris S ty le 1 9 0 0 . N e w Y o rk : H a rry N . A b ra m s, In c .

W o lff, J., 1 9 8 5 . ‘T h e In v isib le F lâ n e u se : W o m e n a n d th e L ite ra tu re o f M o d e rn ity ’ T h eory, C u ltu re a n d S ociety . V o l 2 , N o . 3

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Appendix 2

T h e follow in g is m y tra n sla tion from F ren ch of Jea n B a d ov ici a n d E ileen G ra y’s ‘D e L ’E clectism e a u D ou te’ in L ’a rch itectu re V iv a n te, W in ter 1 9 2 9 .

Page 17

D o y o u n o t fe a r th a t th is re tu rn to th e e le m e n ts, th is sy ste m a tic sim p lific a tio n th a t se e m s to m a k e a la w to m o d e rn a rt d id e n d u p fix in g th is a rt in g e n e ra l, a n d e sp e c ia lly a rc h ite c tu re , in a p u re ly th e o re tic a l a n d to o in te lle c tu a l to sa tisfy b o th th e re q u ire m en ts o f o u r m in d s an d th o se o f o u r b o d ie s? T h e m a n is n o t a p u re sp irit. A n d w h e n y o u se e th e se g re a t b u ild in g s w ith so lid lin e s a n d e sp e c ia lly th e in te rio r w h e re e v e ry th in g se e m s to m e e t stric t a n d c o ld c a lc u la tio n , o n e w o n d e rs if th e m a n c o u ld b e c o n te n t to re m a in th e re . - Y o u 're rig h t. T h is re tu rn to th e p rim o rd ia l e le m e n ts, th is lib e ra tio n fro m a ll th a t w a s n o t p rim a ry , re sp o n d in g to a n e e d . W e h a d to u n lo a d a n o p p re ssio n to fee l free d o m ag ain . B u t th is in tellec tu al c o ld n ess w h ic h h a d b e e n re a c h e d a n d w h ic h re fle c te d o n ly to o w e ll th e h a rsh la w s o f th e m o d e rn m e c h a n ism c a n n o t b e th e w a y . W e m u st a g a in fin d th e h u m a n in p la stic a p p e a ra n c e , th e h u m a n w ill in th e p h y sic a l a p p e a ra n c e , a n d p a th o s o f th is m o d e rn life th a t w e h a d first se e n a so rt o f tra n sla tio n in to a lg e b ra ic la n g u a g e . - W h a t d o y o u m e a n p a th e tic ? - In th is p a th e tic w h ic h is in se p a ra b le fro m a n y re a l life . - Y o u m e a n a fte r a ll, fin d e m o tio n . - Y e s, a p u rifie d e m o tio n th a t c a n b e e x p re sse d in m a n y w a y s. T h e re is n o n e e d to re tu rn to th e o ld c o m p lic a tio n s: th e o n ly c h o ic e a b e a u tifu l m a te ria l in itse lf 7 0

a n d w o rk e d w ith sin c e re sim p lic ity it is so m e tim e s su ffic ie n t. It w a s n e c e ssa ry to re c o n stru c t a n id e a l c a p a b le o f m e e tin g m o d e rn c o n sc io u sn e ss th e m o re g e n e ra l, b u t w ith o u t h a v in g to sto p th e jo y o f th e in d iv id u a l a n d b y re fra in in g fro m a n y e x ce ss. - S o y o u a d v o ca te d a re tu rn to th e fe e lin g s, th e e m o tio n s! - Y e s, b u t a g a in , a p u rifie d e m o tio n a l k n o w le d g e ; e n rich e d b y th e id e a , w h ic h d o e s n o t e x c lu d e th e k n o w le d g e a n d a p p re c ia tio n o f sc ie n tific a c h ie v e m e n ts. W e m u st a sk th e a rtists to b e o f th e ir tim e . - Y o u m e a n to liv e w ith th e ir tim e a n d e x p re ss. - Y e s, w ith o u t a rtifice o f a n y k in d . T h e b e a u tifu l o p e n is tru e r th a n th e a rtist.

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- B u t h o w to e x p re ss o n e tim e , a n d e sp e cia lly a tim e lik e o u rs , so fu ll o f c o n tra d ic tio n s, w h e re th e p a st su rv iv e s in so m a n y w a y s a n d , o n th e o th e r h a n d , w e se e so m a n y e x tre m e p o in ts o f v ie w ? - A n y w o rk o f a rt is sy m b o lic .

It su g g e sts th e e sse n tia l id e a ra th e r th a n lite ra lly re p re se n tin g it. T h is is fo r a rtists to fin d in th is m u ltitu d e o f c o n tra d ic to ry a ttitu d e s th o se w h ic h a re th e re a l, in te lle c tu a l a n d e m o tio n a l u n d e rp in n in g s o f th e in d iv id u a l a n d so c ie ty a t o n c e . - D o y o u th in k th e in sp ira tio n n e v e r b e e n o u g h to su c h a ta sk ? - T h a t's life e v e n th e m e a n in g o f life is in sp ira tio n , b u t it is n o t in sp ire d n o r fa ith th a t c a n c o m p e n sa te fo r a c o m p le x k n o w le d g e th a n is n o w re q u ire d - k n o w le d g e o f th e co n d itio n s o f life , ta ste s a n d d e sire s o f m a n , h is p a ssio n s a n d n e e d s, a s k n o w le d g e o f te c h n ic a l a n d m a te ria l re so u rc e s. â&#x20AC;&#x201C; F o r y o u , th e n , th e a rch ite ct m u st h a v e a u n iv e rsa l o u tlo o k ? - A lm o st! B u t th e k e y is th a t h e u n d e rsta n d s th e m e a n in g o f e a ch th in g ; a n d th a t h e k n o w s to b e sim p le a n d h e a lth y ; w h ile n o t n e g le ctin g a n y m e a n s o f e x p re ssio n . T h e

7 1

m o st d iv e rse m a te ria ls w ill b e u se fu l to e x p re ss w h a t h e w a n ts fro m life a ro u n d h im , b o th b y th e ju d ic io u s u se o f n e w m a te ria ls a s th e a c tu a l a rc h ite c tu ra l stru c tu re . - T h e re is a w o rd w h ic h y o u h a v e n o t u se d b u t w h ic h y o u r e n tire d iscu ssio n re m in d s m e o f: it is u n ity . B e ca u se it is q u ite ev id en t th a t th is d iv e rsity o f th e e le m e n ts o f in sp ira tio n , a s w e ll a s th e d iv e rsity o f th e e le m e n ts o f re a liz a tio n , w ill re su lt in n o th in g b u t c h a o tic d iso rd e r if th e a rc h ite c t d o e s n o t tu rn th e m a ll, a n d in a n e x p re ssiv e w a y , to w a rd a sp e c ific a im . - In d e e d , it is n o t stric tly a rc h ite c tu ra l d e sig n th a t is a n o rg a n ic u n ity .

B u t w h ile th a t u n ity u se d to b e c o n fin e d to th e su rfa c e , n o w th a t u n ity h a s to e x ist a s a n o v e ra ll fa c to r e m b ra c in g e v e ry d e ta il. - B u t co u ld su ch a sy ste m a tic u n ity b e re c o n c ile d w ith th is d iv e rsity y o u sp o k e o f ju st n o w ? O f co u rse ! Ju st a s it is b y tra n sla tin g th e in d iv id u a l m a n w ith d e sire s, p a ssio n s a n d ta ste s th a t tra n sla te th e b e tte r so c ia l life a n d th e c o lle c tiv e o rd e r. T h e a rt is b a se d o n th e u su a l, b u t n o t th e u su a l fle e tin g , o r ra th e r c re a te d b y th e d u m m y m o d e . W h a t is n e e d e d is to g iv e th e su b je c t th e fo rm th a t b e st su its th e sp o n ta n e o u s g e stu re o r in stin c tiv e re fle x to w h ic h it c o rre sp o n d s in d e stin a tio n . - D o n o t y o u fe a r th e n th e m a te ria l life o v e rflo w s to o m u ch o n t h e sp iritu a l. - C o u n te r- se n se a g a in st w h ic h th e p u b lic ta ste h a s a lre a d y re a c te d a n d h e h a s sp e e d y ju stic e . S o th a t th e se e x a g g e ra tio n s w e re to in tro d u c e a p a rt fo r re stin g o r w o rk in g a t h o m e , c a m p fu rn itu re ,

19

A m e ric a n c h a irs a n d fo ld in g c h a irs. M o re p riv a c y , m o re a tm o sp h e re ! O n e sim p lifie s to d e a th . S im p lic ity d o e s n o t a lw a y s m e a n sim p lific a tio n , a n d

7 2

e sp e c ia lly n o t c ru d e sim p lific a tio n .- F o rm u la s a re n o th in g : life is e v e ry th in g .

A n d life is m in d a n d h e a rt a t th e sa m e tim e . - In sh o rt y o u w a n t to re a c t a g a in st th e fo rm u la s in fa sh io n , g o b a c k . - N o , in ste a d I w a n t to d e v e lo p th e se fo rm u la s a n d p u sh th e m to th e p o in t a t w h ic h th e y re c o n n e c t w ith life ; to e n ric h th e m ; to p u t re a lity w ith in th e ir a b stra c tio n . A rt is n o t in th e e x p re ssio n o f a b stra c t re la tio n sh ip s; it m u st a lso m a k e co n cre te co n n e ctio n w ith a n d e x p re ss th e m o st se c re t n e e d s o f su b je c tiv e life . Y e t to su sta in c re a tiv ity , re a l sc ie n tific e x p e rim e n t is n e c e ssa ry . - Y o u w a n t a n a rc h ite c tu ra l sy m p h o n y in w h ic h a ll fo rm s o f d o m e stic life a re e x p resse d . E x a c tly . T h e d re a m a n d a c tio n a re e q u a lly im p o rta n t. - T h e d e c o r c o u ld h e lp m ig h tily . - T h is is th e a rc h ite c tu re m u st b e to itse lf its o w n d e c o ra tio n . T h e p la y o f lin e s a n d c o lo u rs m u st b e su c h , so e x a c tly m e e t th e re q u ire m e n t o f th e in te rn a l a tm o sp h e re th a t a n y lo o se p a in t w h ile p a in tin g a p p e a rs n o t o n ly u seless, b u t h a rm fu l to th e h arm o n y o f th e w h o le. - Is th is n o t w h a t th e so c a lle d a v a n t - g a rd e a rc h ite c tu re w a n te d to d o ? - In a w a y y e s, b u t in o n ly o n e w a y . B e c a u se fo r h e r a rc h ite c tu ra l c re a tio n m u st b e su ffic ie n t in itse lf, re g a rd le ss o f th e a tm o sp h e re th a t d e m a n d s in te rio r life . It is a cre a tio n o f so m e sc h o la rly p ro p o rtio n s, b u t a s d e ta c h e d fro m its p rim a ry p u rp o se , w h ic h is th e liv in g m a n . It u se s th e c a su a l, a c c id e n ta l, w h e re a s o n ly u n i- sa lts fe e lin g s m u st b e tra n sla te d a n d sa tisfie d , a n d th a t a lo n e sh o u ld b e c o n sid e re d th e m a n , b u t th e m a n o f a c e rta in a g e w ith th e ta ste s, fe e lin g s a n d g e stu re s th a t tim e . - Y e s, silly still it w a s sh e w h o first e m p h a siz e d th e n e e d to re sp e c t th e p ro p o rtio n s, c re a tin g b a la n c e d th in g s. - S h e re ca lle d o n ly a v e ry o ld p rin cip le to o o fte n fo rg o tte n , a n d m o re o v e r w ith o u t se e in g th e p ro p o rtio n a n d b a la n c e w e re in a rt b e c a u se th e y w e re first in life ; life p rin c ip le s. S h e is to o in te lle c tu a list: a rt o f th in k in g a n d c a lc u la tin g w h e re

7 3

th e h e a rt is to o la c k in g . - It is tru e th a t m a n y w o rk s a re a b it c o ld : b u t is it n o t b e c a u se w e a re still u n d e r th e in flu e n c e o f th e re c e n t p a st? A n d th e p rin c ip le s o f h y g ie n e a lo n e a re th e y n o t a little re sp o n sib le fo r th is c o ld n e ss th a t sh o c k s u s?

20

- Y e s I D o ! H y g ie n e to d e a th ! H y g ie n e m isu n d e rsto o d . F o r h y g ie n e e x clu d e s n e ith e r c o m fo rt n o r th e a c tiv ity . N o , th e y a re in to x ic a te d b y th e m a c h in e ry .

B u t it's n o t ju st th e m a ch in e ry . T h e w o rld is fu ll o f a llu sio n s liv e , liv e sy m m e trie s, h a r d to fin d , b u t re a l. T h e ir e x c e ss in te lle c tu a lity w a n ts to e lim in a te w h a t h e w a s w o n d e rfu l to b e in life , lik e th e ir c o n c e rn m isu n d e rsto o d h y g ie n e m a k e s th e u n b e a ra b le h y g ie n e . T h e ir rig id p re c isio n d e te rm in a tio n m a d e th e m o v e rlo o k th e b e a u ty o f a ll th e se ; d isk s, c y lin d e rs, th e w a v y lin e s a n d z ig z a g lin e s a re e llip so id a l a s stra ig h t m o v in g . T h e ir a rc h ite c tu re h a s n o so u l. - It is c le a r th a t th e y b u ild h o u se s lik e th e id io tstru ise n t th e ir m a c h in e s e n g in e e rs. B u t is it n e c e ssa ry ? - A s fo r th e te c h n iq u e , y e s. B u t te c h n o lo g y is n o t e v e ry th in g . It is o n ly th e m e a n s. W e m u st b u ild fo r m a n , h e fin d s in th e a rc h ite c tu ra l c o n stru c tio n jo y o f fe e lin g h im se lf, a s a w h o le , w h ic h p ro lo n g s a n d c o m p le te . T h a t th e sa m e fu rn itu re , lo sin g th e ir o w n in d iv id u a lity , m e rg e in to th e a rc h ite c tu ra l e n se m b le ! - O n e h a rd ly sp e a k s o f sta n d a rd iz a tio n a n d ra tio n a liz a tio n a m o n g a rc h ite c ts to d a y .

C o u ld y o u e x p la in w h a t m e a n in g th e y g iv e th o se w o rd s I o fte n h e a rd e lse w h e re , b u t w ith a m e a n in g th a t I d o n o t se e th e re la tio n sh ip w ith th e a rc h ite c tu re ? - It is a lw a y s th e sa m e . T h e te c h n iq u e c a m e to b e th e m a in c o n c e rn . W e fo rg e t th e e n d fo r th in k in g m e th o d s. S ta n d a rd iz a tio n a n d

7 4

ra tio n a liz a tio n a re e x ce lle n t w a y s to re d u ce co sts, o n ly su cce e d if w e a re n o t c a re fu l, th a t w e g iv e c o n stru c tio n s m o re w ith o u t sco p e s so u l a n d in d iv id u a lity th a t w e se e n so fa r. Is lo o k in g fo r a lo t m o re ty p e o f a rc h ite c tu re , a g e n u in e sty le . B u t fo r a c e rta in ty p e o f a rc h ite c tu re to h a v e re a l v a lu e , it m u st m a tch a n a cce p te d d e sig n , a co lle ctiv e ta ste , a n id e a l. B u t h o w to a c h ie v e su c h a re su lt if y o u b u ild w ith o u t a n y c o n c e rn fo r th e w e ll b e in g a n d p e rso n a l co m fo rt, re g a rd le ss o f th e n e e d o f m e n to re tu rn to th e p la c e s th e y liv e , so m e c h a ra c te r th a t e x p re sse s th e ir u n iq u e p e rso n a lity a n d th e ir o w n ta ste s? H o w a rc h ite c ts w h o h a v e fo r th e m in im u m c o st, c o u ld th e y m e e t th e p u b lic ta ste a n d p le a sin g h is e lite ? B e sid e s, it se e m s to m e in e v ita b le th a t th is k in d o f re se a rc h sy ste m le a d to a n e x tre m e sim p lific a tio n a n d th e re fo re to c o n c e p tio n s a s p o o r a s lim ite d . - T h e se a rc h fo r th e c o n stru c tio n d e v ia tio n o b v io u sly c o rre sp o n d s to th e e c o n o m ic c irc u m sta n c e s a g a in st w h ic h n o b o d y c a n d o a n y th in g . - N o d o u b t! B u t w o u ld n o t it in tro d u c e o u rse lv e s a s a n id e a l, w h ic h is th e re su lt o f a sa d n e c e ssity ,

21

- I th in k m o st p e o p le a re w ro n g a b o u t th e m e a n in g to b e g iv e n to th e w o rd 'ty p e '. F o r th e m "ty p e " is sy n o n y m o u s w ith sim p lific a tio n . C re a tio n to th e e x tre m e a n d d e stin y h a s to b e re p ro d u c e d in se rie s. B u t I u n d e rsta n d o th e rw ise . A ty p ica l h o m e is fo r m e a h o u se w h o se co n stru ctio n w a s p e rfo rm e d a c c o rd in g to te c h n ic a l p ro c e sse s b e st a n d le a st e x p e n siv e a n d w h o se a rc h ite c tu re re a liz e d fo r a g iv e n situ a tio n , th e m a x im u m p e rfe c tio n ; th a t is to sa y , it is lik e a m o d e l th a t w e w ill h a v e , n o t re p ro d u c e in fin ity , b u t w h ic h w ill b u ild to b u ild in th e sa m e sp irit to o th e r h o u se s. - It is c e rta in

7 5

th a t th is is h o w w e m u st h e a r th e p u rsu it o f "ty p e " a rc h ite c tu re th a t su its o u r tim e . A n d if it is th u s u n d e rsto o d , th is re se a rch , fa r fro m b e in g d a n g e ro u s, n o t o n ly b e c o m e s a n e c o n o m ic n e c e ssity , b u t a lso o n e o f b o th lo g ic a n d m o ra lity . F u rth e rm o re it h a s th e g re a t a d v a n ta g e o f h u g e lib e ra te a c tiv itie s fo r th e fu tu re , it c a u se s a k in d o f fu n d a m e n ta l u n ity w h ic h in th e d iv e rsity o f d e ta ils a n d th e m u ltip lic ity o f a p p lic a tio n s, g iv e a h ig h e r v a lu e to fu tu re a ch ie v e m e n ts. T h e ty p e m u st n o t o n ly a n sw e r h a s co m m e rcia l c o n c e rn s. It m u st b e th e sa m e e x p re ssio n o f th e p sy c h o lo g ic a l re a lity o f a n e ra .

E IL E E N G R A Y A N D JE A N B a d o v ic i.

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D E S C R IP T IO N . â&#x20AC;&#x201C; E x te rn a l a rc h ite c tu re se e m s to h a v e in te re ste d A v a n t G a rd e a rc h ite c ts a t th e e x p e n se o f th e in te rio r. A s if a h o u se sh o u ld b e c o n c e iv e d to p le a se th e e y e m o re th a n fo r th e w e lfa re o f th e re sid e n ts. If th e ly ric ism c a n g iv e c a re e r in th e g a m e o f th e m a sse s in th e b a la n c e d d a y lig h t, th e in te rio r m u st m e e t h u m a n n e e d s a n d re q u ire m e n ts o f in d iv id u a l life a n d a llo w re st a n d p riv a c y . T h e th e o ry is n o t su ffic ie n t fo r life a n d d o e s n o t m e e t a ll its n e e d s. It w a s n e c e ssa ry to id e n tify a tre n d w h o se fa ilu re s a re o b v io u s, a n d se e k to cre a te a n in te rio r a tm o sp h e re in h a rm o n y w ith th e re fin e m e n ts o f m o d e rn in n e r life , w h ile u sin g th e re so u rce s a n d o p p o rtu n itie s o f th e cu rre n t te ch n iq u e . T h e co n stru cte d th in g is m o re im p o rta n t th a n h o w it is c o n stru c te d , a n d th e p ro c e ss is su b je c t to th e p la n , n o t th e p la n to th e p ro c e ss. It's n o t o n ly b u ild b e a u tifu l se ts o f lin e s, b u t

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a b o v e a ll, m e n 's h o m e s. C o n sid e r b u ild in g a ta b le , a c h a ir a s th e re a liz a tio n o f a p la stic ta b le , p u ttin g th e m se lv e s a t o n e p o in t o f v ie w o f th e h a rm o n y o f fo rm n e c e s- la rly le a d s to e x c e sse s a n d th e c o n s- se n se m isle a d th e p u b lic ta ste a n d sh o w a s stra g g le rs w h o h a v e n o t lo st th e n o tio n o f p ra c tic a l u tility .

T h e ste e l tu b e a s th e d e sig n a n d u se o f a v a n t- g a rd e a rc h ite c ts, is e x p e n siv e , fra g ile a n d c o ld . T h e n e e d to sta n d o u t, to b e o rig in a l a t a ll c o sts, e v e n tu a lly a b o lish e s th e m o st b a sic p ra c tic a l c o n v e n ie n c e sa k e . A ll th e se m o d e rn in v e n tio n s c la im w e se e a p p e a r a n d d isa p p e a r m e e t o n ly a fa d a n d e v e ry tru e sty le is a b se n t. T h e re is n o p a rtic u la r sty le . T h e tru e c re a to r is th e u n iv e rsa l.

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T h e "c a m p " sty le is o n ly a te m p o ra ry so lu tio n a n d c re a tio n s in sp ire d b y it a re o f u n q u e stio n a b le in se c u rity . It le a d s â im p o v e rish m e n t o f th e in n e r life b y re m o v in g p riv a cy . T h e tru ly civ iliz e d m a n n e e d s a ce rta in e le g a n ce sh a p e s: h e k n o w s th e m o d e sty o f c e rta in a c tio n s; it n e e d s to b e iso la te d . W e trie d to e x p re ss in th is tin y h o u se a t th e sa m e tim e th e se tw o life fo rm s: th e fo rm u la "c a m p in g " th a t re sp o n d s to a c c id e n ta l n e e d e x te rio - a u th o riz a tio n , a n d th e n o rm a l fo rm u la th a t te n d s to g iv e th e in d iv id u a l a in d e p e n d e n t a n d iso la te d c e n tre w h e re h e c a n d e v e lo p h is d e e p p o w e rs. It is e x p e c te d th a t th e c u rre n t n e e d fo r m o v e m e n t, tu rb u le n t life w ill e n d ; it su b sid e s d isa p p e a r a s th e in flu e n c e s o f w a r a n d w ill b e re p la c e d b y th e n e e d fo r in d o o r g ro w in g a n d re fin e d life . It is u p to th e a rtists to g e t a h e a d o f th is in e v ita b le re co v e ry , to ch a n g e d ire ctio n a n d to fa cilita te d e v e lo p m e n t. T h e in te rio r p la n sh o u ld n o t b e th e in c id e n ta l re su lt o f th e fa c ̧ a d e ; it sh o u ld le a d a c o m p le te , h a rm o n io u s, a n d lo g ic a l life . R a th e r th a n b e in g su b o rd in a te d t o

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th e e x te rn a l v o lu m e , it sh o u ld o n th e c o n tra ry c o n tro l it. N o t a s it sh o u ld b e in x v itie c e n tu ry p u re

(1 ) T h e to p sla b b e in g c o n stru c te d o v e rtu rn e d b e a m s, it h a s b e e n p la c e d o v e r a se c o n d slig h tly c o o k e d sla b b o d y c a v ity w h ic h , th a n k s to th e d o u b le la y er o f a ir th a t th e y e n clo se , a re a p e rfe ct in su la to r re sista n t a ll w e a th e r. T h is a rra n g e m e n t e lim in a te s th e to o fra g ile p la ste r c e ilin g , o n e c o n sistin g o f g ro ss strip p in g sla b . S e a lin g is a c h ie v e d b y C a lle n d rite c o v e re d w ith sa n d , p la c e d o n a th in la y e r o f c e m e n t a n d p ro te c te d b y c e m e n t sla b s. T h e fillin g b e tw e e n th e p o sts is h o llo w b rick 4 0 x 2 5 x 2 5 - 6 h o le cu rre n t ty p e . T h e h o u se is b u ilt o n stilts, w e b o o k e d u n d e r a p a v e d g a rd e n .

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c o n v e n tio n , b u t ra th e r, a s in th e G o th ic p e rio d , a h o m o g e n e o u s b u ilt fo r m a n , th e h u m a n sc a le , a n d b a la n c e d in a ll its p a rts. T h e h o u se w e a re g o in g to d e sc rib e is n o t to b e c o n sid e re d a s a p e rfe c t h o u se , w h e re a ll p ro b le m s w o u ld b e so lv e d . T h is is a n a tte m p t, a m o m e n t in a m o re g e n e ra l se a rc h . If so m e o f th e in n o v a tio n s it b rin g s se e m to b e re g a rd e d a s fin a l a n d n e e d to b e a d o p te d e v e ry w h e re , o th e rs re q u ire im p ro v e m e n ts, a n d still o th e rs w o u ld p ro b a b ly b e ru le d o u t. If lo o k in g a t th e h o u se a s a liv in g o rg a n ism , w e w e re le d to a d o p t th e c u rre n t fo rm u la o f th e "liv in g ro o m ", w e a t le a st w a n te d to c o m b in e th is p ie c e so th a t a n y p o p u la tio n c a n , o n o c c a sio n , fin d th e re c o m p le te in d e p e n d e n c e a n d a n a tm o sp h e re o f so litu d e a n d c o n te m p la tio n .

T h e e n try is d e le te d a s a p p ro p ria te in a c o u n try w h e re w in d o w s a n d d o o rs a re ra re ly c lo se d ; b u t th e n , w e so u g h t a n a rc h ite c tu ra l la y o u t th a t b e tte r

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se p a ra te s th e in sid e fro m th e o u tsid e , o n e a v o id s m a k in g a d o o r w h e n o n e fe a rs th a t it m a y o p e n a t a n y m o m e n t, e v o k in g th e p o ssib ility o f a n in o p p o rtu n e v isit. T h is p ro v isio n w a s a d o p te d fo r ro o m s, fo r th e sa m e re a so n s. T h e fo u r k e y issu e s th a t h a v e p a rticu la rly ca u g h t o u r a tte n tio n a re 1 . T h e p ro b le m o f th e w in d o w s, fo r w h ich w e cre a te d th re e ty p e s (P 3 7 , 5 8 , 5 5 .)

2 . T h e p ro b le m o f sh u tte rs, w h ich is o fte n o v e rlo o k e d y e t v e ry im p o rta n t: a w in d o w w ith o u t sh u tte rs is a lid le ss e y e ; a n d se c o n d ly , a ll c u rre n t so lu tio n s p ro d u c e th e sa m e re su lt: in su ffic ie n t v e n tila tio n w h e n th e sh u tte rs a re c lo se d . O u r fo rm u la a llo w s fre e a d m issio n o f o u tsid e a ir w h ile sto p p in g e x c e ss lig h t (se e p . 2 4 ).

3 . T h e p ro b le m o f in d e p e n d e n c e o f th e ro o m s: e v e ry o n e , e v e n in a sm a ll h o u se , m u st re m a in fre e , in d e p e n d e n t. It m u st g iv e th e im p re ssio n o f b e in g a lo n e , a n d if d e sire d , e n tire ly a lo n e. T h is h a s le d u s to p o sitio n th e w a lls so th a t th e d o o rs re m a in o u t o f sig h t. (V p l. 4 1 ) 4 . T h e p ro b le m o f th e k itc h e n , w h ic h sh o u ld b e e a sily a cce ssib le y e t se c lu d e d e n o u g h so n o sm e ll c a n g e t in to th e liv in g q u a rte rs. W e se p a ra te d th e k itc h e n fro m th e re st o f th e h o u se : o n e p a sse s fro m o n e to th e o th e r b y th e e n tra n c e c a n o p y , w h ic h is o f c o u rse p o ssib le th a t in a n e x c e p tio n a lly m ild c lim a te (se e p . 2 9 ) A s fo r th e m a rin e c h a ra c te r o f th e h o u se th e re in e v ita b ly a ro se , a tm o sp h e re , m a te ria ls im p o se d b y th e a tm o sp h e re a n d th e p ro x im ity o f th e se a (P l. 2 6 a n d 2 7 ). E N T R Y . - T h is is a la rg e c o v e re d sp ac e : a so rt o f a triu m ; it is w id e , w e lc o m in g a n d n o t o n e o f th o se sm a ll a n d n a rro w d o o rs th a t se e m to o p e n o n ly re lu cta n tly . In fro n t, a la rg e b a re w a ll, su g g e stin g th e id e a o f re sista n ce , b u t sh a rp a n d cle a r; a n d d o o rs, th e rig h t th e m a in e n tra n ce , le ft

7 9

th e se rv ic e (P l. 2 8 a n d 2 9 ). T h e d o o r to th e rig h t le a d s in to th e h a ll; a p a rtitio n - sc re e n o b stru c ts v ie w s th a t m ig h t p e n e tra te fro m th e e x te rio r to th e in te rio r w h e n th e d o o r is o p e n . (P l. 3 1 ). E m b e d d e d in th e w a ll o f th e sta irc a se , o n th e le ft, h a ts n ic h e (P l. 3 0 ), h a lf- c y lin d e r tra n sp a re n t c e llu lo id , p re se n ts its ra y s m a d e o f ro p e n e ts w ith la rg e r m e sh e s w h e re d u st c a n se ttle .

A tu b e th a t ru n s a lo n g th e sp in e re c e iv e s th e o v e rc o a t th a t d e p o sit in to a fre e g e stu re , w ith o u t a n y e ffo rt. In th e d ru m o f th e e n tra n ce is a slid in g sy ste m th a t d riv e s a ll th e h a n g e rs c o a t. U n d e r th e h a ts n ic h e a d e e p c lo se t p ro v id e s sp a c e fo r c h a irs su rp lu s th a t se rv e a s re c e p tio n d a y s (P l. 3 0 ).

G R E A T R O O M (P i. 3 2 ). - T h e h o u se w a s b u ilt fo r th e m a n w h o lo v e s w o rk , sp o rts a n d e n te rta in in g frie n d s. A lth o u g h v e ry sm a ll, it h a d to b e a rra n g e d to a llo w th e o c c u p a n t to h a v e frie n d s a n d g iv e th e m a ll th e ir e a se .

T h e "c a m p " sty le a llo w e d o n e to so lv e th is p ro b le m w h ile e x c e p tio n a l: w e u sed it, w ith o u t b e lie v in g fo r a m o m e n t th at it c an g iv e a n o rm a l fo rm u la , o r th a t th is w o u ld b e th e sty le o f to m o rro w , b u t sim p ly a s a c o n v e n ie n t m e th o d o f a n e x ce p tio n a l circu m sta n ce .

30

It w a s a c o n v e rtib le ro o m . T o a llo w re c e p tio n o f g u e sts m a n y w e w ill h a v e a ro o m o f 1 4 m e te rs b y 6 m e te rs. 3 0 . B u t a s th is ro o m c a n b e u se d fo r o th e r p u rp o se s h a s b e e n fo rm e d , to w a rd its e n d , a lo w w a ll w h ile le a v in g a ll p o in ts o f v ie w th e to ta l a re a o f th e ce ilin g , co n ce a ls a fu ll b a th ro o m w ith sh o w e r, fu rn itu re to m a c h in e , c lo se t, e tc . (P l. 3 6 ). A g a in st th e so lid w a ll a la rg e so fa o f 2 m . 2 0 2 m e te rs w h e re y o u ca n lie d o w n o r sit d o w n , to re st o r co n v e rse a t e a se , e sse n tia l fu rn itu re th a t c a n tu rn in to b e d . T h e c u sh io n su p p o rts (P I.

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3 4 ) a re p la ce d a s m a n y sa te llite s in e x te n sio n o f th e co u ch to 4 cm . th e g ro u n d , o ffe rin g c o m fo rta b le a n d re la x in g se a tin g . In fro n t o f th e sh o w e r, a la rg e stru c tu re h o u se s a sm a ll n ic h e so fa a t w h o se h e a d w a s p u t a d ish c o n ta in in g fu rn itu re p illo w s, m o sq u ito n e t, k e ttle a n d b o o k s. M o b ile ta b le w ith tw o p iv o ts a llo w s o n e to re a d in b e d . W h ite lig h t b e tw e e n tw o b lu e g la sse s g iv e s a ra tio n a l c la rity (P l. 3 5 ). A t th e h e a d o f th e sm a ll c o u c h , a d o u b le d o o r o p e n s o n to a te rra c e la rg e e n o u g h fo r u s to b e a b le to su sp e n d a h a m m o c k a n d c o v e re d w ith a c a n o p y o f c o n c re te . T h e m e ta l d o o r fits in w a ll th ic k n e ss a n d a sw iv e l b la d e s fo rm in g c o m p o n e n t d o o r a n d a llo w s a ra tio n a l a e ra tio n , a n d e v e n g iv e s th e sle e p e r, if h e le a v e s th e first d o o r o p e n , th e fe e lin g o f b e in g o u td o o rs. O n h o t su m m e r n ig h ts b re a k th ro u g h h ig h o p e n in g in th e fix e d p a rt o f th e sk y lig h t a t th e fo o t o f th e sm a ll c o u c h , p ro v id e s e x c e lle n t v e n tila tio n . A th in c a b le , fro m g ro u n d le v e l, a b o v e th e so fa c a n d e v e lo p fo r th e n ig h t, th e m o sq u ito n e t. T h e fire p la c e p la c e d a g a in st th e lig h t, a llo w s y o u to e n jo y b o th th e fire lig h t a n d n a tu ra l lig h t (P l. 3 1 ).

C h a irs, se a ts, sc re e n s, d e e p p ile c a rp e ts, w a rm c o lo u r le a th e rs, th e d u ll sh e e n o f tin , d e e p c u sh io n s c o n trib u te to th e in tim a c y o f a n a tm o sp h e re w h e re a c h a rt, lit n ig h t, p u ts a n in g e n io u s ra tin g , e v o k in g d ista n t tra v e l a n d c a u sin g th e d re a m . T h e sa m e c a rp e t b y th e ir c o lo u r a n d sh a p e , a re re m in isce n t o f m a rin e h o riz o n s. T h e sp in e o f th e e n tra n ce to th e in te rio r o f th e ro o m , c o n sists o f a se rie s o f tra p s th a t e n d s in a v e rtic a l stro n g ly m a rk e d th e h a lf c y lin d e r e n c lo sin g a tra n sp a re n t c e llu lo id g ra m o p h on e re c o rd s c o lu m n . T h is is th e c o rn e r a t th e h a p p y m u sic a n d d isp o sitio n o f th e sp in e is u sed fo r so u n d am p lificatio n . T h e tea tab le is m ad e o f tu b e s th a t c a n b e fo ld e d a n d c o v e re d w ith a c o rk p la te to a v o id im p a c ts to fra g ile c u p s a n d n o ise . It c o n ta in s re c o rd s fo r fru it a n d c a k e s; c lo se r e n d o n w h ic h is p la c e d

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th e c u p w e w ill p ro v id e (P l. 3 3 ). T h e te rra c e in fro n t o f th e h a ll c o n tin u e s la tte r a n d e x te n d s w h e n th e p a n e ls a re fo ld e d w in d o w s a g a in st th e p illa rs.

T h e y re p la c e d th e fu ll ra ilin g , b a lu stra d e b y e a sily re m o v a b le c a n v a s th a t a llo w s th e w in te r to w a rm u p th e le g s to th e su n 's h e a t. T h e M a rq u ise c a n v a s is m a d e o f fo u r in d e p e n d e n t p a rts a n d c a n w ith sta n d th e stro n g m istra l; it p ro v id e s a c o o l sh a d e in th e su m m e r w h e n th e su n is h o t a n d w in te r to re c e iv e th e w a rm th o f a ir o u t o f th e w in d . O n th is te rra c e slig h tly tilte d in w a rd , w ith g u tte r flo w u n d e r th e d o o r- w in d o w , a flo o r m a t fo r g a rd e n te rra c e o ffe rs a c h e e rfu l n o te . P la y fre e ly th ro u g h o u t th e lig h t a n d sh a d e , a n d th e a ir c a m e fro m th e d ista n t h o riz o n . T h is is a sp e cia l co u rt w h e re o n e c a n , d e p e n d in g o n tim e a n d a c c o rd in g to th e m o o d o f th e tim e , sh e lte r o r lie in th e su n (P l. 3 7 ). W h e n th e se a is ro u g h a n d th e h o riz o n g lo o m y , o n e o n ly h a s to c lo se th e la rg e b a y w in d o w to th e so u th , d ra w th e c u rta in , th e n o p e n th e sm a ll n o rth b a y w in d o w o v e rlo o k in g th e g a rd e n o f le m o n tre e s a n d th e o ld v illa g e , to fin d a n e w w h o lly d iffe re n t h o riz o n w h e re th e m a sse s o f g re e n e ry re p la c e th e b lu e a n d g re y e x p a n se s (1 ).

(1 ) In th e d irty ro o m , n o tic e th e sp e c ia l sh a p e a n d v e ry c o m fo rta b le c h a ir; w a s re m o v e d b y o n e o f th e a rm re sts, to a llo w m o re fre e d o m to th e b o d y w h ic h c a n su p p o rt o n e sid e , b e n d o r tu rn th e o th e r w ith o u t a n y d isc o m fo rt.

V . p . 3 3 to p d r.

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T h e c le a rin g u se d to se rv ic e th e d in in g ro o m c a n b e tra n sfo rm e d in to b a r.

T h e se rra te d a lu m in iu m ta b le o f th e b a r, u se d d u rin g m e a ls, is fo ld a b le a g a in st th e p illa r, a n o th e r p ie c e o f fu rn itu re to se rv e h a s p iv o tin g d ra w e rs.

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T h e d in in g ro o m ta b le is c o rk to p re v e n t n o ise fro m p la te s a n d c u tle ry . T h e ste e l tu b e s th a t su p p o rt it h a v e a sh a p e th a t a llo w s lo n g e r le g s o r m o v e u n h in d ere d . A t th e e n d o f th e tab le ex ten sio n c o rd an d tw o le ath e r - c o v e re d p a d s a re u se d to d e p o sit th e se rv in g tra y . In su m m e r y o u c a n e it h e r p u sh th e ta b le o n th e te rra c e o r b y o p e n in g th e slid in g d o o r, y o u c a n o p e n th e d in in g ro o m to th e o u tsid e . T h e b a r is cu t th ro u g h th e ce ilin g in to tw o se ctio n s, o n e o f w h ich is h ig h e r th a n th e o th e r, w h ich re su lte d in a lig h tin g e ffe ct o n th e b o ttle s. A c irc u la r d e v ic e a tta c h e d to th e c e ilin g illu m in a te s th e fix e d p a rt o f th e ta b le o n w h ic h th e w o o d is p re p a re d so u n d s . T h e b a r still h a s a le m o n b o x a n d a tra y b o x . A d o o r c lo sin g tw o e x its a llo w s th e c o m p le te iso la tio n o f h o m e se rv ic e . T h e rig h t p a ss d ire c tly fro m th e k itc h e n to h is ro o m o n th e lo w e r flo o r.

L is T A B L E S e le m e n ts. - E a c h ro o m h a s o n e o f th e se ta b le s th a t c a n se rv e a s a w ritin g ta b le . F o r re c e p tio n s, it m e e ts a ll th e ta b le s in th e g re a t h a ll; it u n fo ld s th em a n d , lik e th e tu b es m ed ia fit in to e a c h o th e r, a v e ry la rg e ro o m ta b le g iv e s ro o m , lig h tly b u t p e rfe c tly sta b le (P l. 3 G ). T h e m a ste r b e d ro o m (P l. 3 7 , 4 0 , 4 1 ) c o n sists o f a b o u d o ir- stu d io , w ith a sm a ll p riv a te te rra c e , o n w h ic h th e re is a n o u td o o r d a y b e d . D re ssin g a lu m in iu m a n d c o rk (P l. 4 4 ) c o n c e a ls th e to ile t, a n d d e v e lo p e d , sh a p e d sc re e n ; a lth o u g h v e ry fla t it c o n ta in s a ll th e d ra w e rs a n d a ll b o ttle s n e e d e d fo r th e to ile t. A b a c k u p w a sh b a sin (P l. 4 3 ) is p ro v id e d fo r th e c a se w h e re frie n d s w o u ld u se th e b a th ro o m . T h e se rv ice is d o n e d ire ctly b y th e b a th ro o m th a t c o m m u n ic a te s w ith th e b e d ro o m . In th is ro o m y o u c a n g o o u t in th e g a rd e n in a sm a ll sta irc a se o u tsid e ; th e in d e p e n d e n c e o f e a c h ro o m is p ro v id e d , a lth o u g h th e h o u se is v e ry sm a ll; it h a s th e c o m fo rt o n e w o u ld th in k to fin d in a m u c h la rg e r h o m e . T h e ro o m is su n n y a ll

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e v e n in g a n d , th ro u g h th e w in d o w sc re e n , th e e n try o f lig h t a n d a ir is a d ju sta b le a t w ill, su c h a s a c a m e ra sh u tte r. T h e b e d , sh e lte re d a g a in st tw o so lid w a lls, h a s c o lo u rfu l b e d d in g , so th a t th e d iso rd e r is n o t n o tic e d w h e n th e b e d is u n m a d e . W ith th e a rra n g e m e n t o f th is ro o m (fo r m isa lig n m e n t) d o o rs a re in v isib le fro m th e in sid e . In P a rt a rra n g e d in th e stu d io , a w ritin g ta b le , m e ta l c h a irs, fu rn itu re fo ld e rs (P I. 4 5 ), a v e ry lo w lig h t d iffu se r, fro ste d g la ss, a n d a p a rtic u la r te rra c e w ith d a y b e d . T h is ro o m h a s a sm a ll lib ra ry , a b e d w ith its h e a d a g a in st p ly w o o d is o n e w ith th e w a ll, in w h ic h a re e m b e d d e d a w h ite la m p a n d a b lu e lig h t th a t m a k e s n ig h t; m o b ile n ig h tsta n d tw o m o v e m e n ts, a w a tc h w ith lu m in o u s d ia l; p o w e r o u tle ts fo r e le c tric k e ttle a n d h e a te r; a n e t tra n sp a re n t c e llu lo id , th e n e t g ro w s o n a v e ry fin e ste e l c a b le w ith te n sio n e r (P l. 4 2 ), w h ic h re m o v e s th e h e a v y a n d in e le g a n t a p p e a ra n c e o f o rd in a ry m o sq u ito n e ts. T h e lin e n c a b in e t is p la c e d b e fo re th e w in d o w a t th e h e ig h t o f th e h a n d s, so w e c a n re a c h th e b o tto m e ffo rtle ssly , w ith o u t h a v in g to b e n d . It h a n g s o n th e w a ll, w h ic h m a k e s it e a sy to c le a n th e p a v e m e n t b e lo w . A fu ll b a th ro o m , a b a sk e t, a sto o l, sh e lv e s, sin k , je w e lle ry d isc , a n d a n a lu m in iu m h a ird re sse r, b e a u tifu l m a te ria l w h o se fre sh n e ss is n ic e in h o t c o u n trie s, c o m p le te th e fu rn itu re (P l.

4 3 ). T h e tile is b la ck sa n d sto n e fo r th e stu d io ; w h ite sa n d sto n e fo r th e ro o m . T h e b a th ro o m (P l. 4 6 ) is v e ry sm a ll, b u t e q u ip p e d w ith a ll th e n e c e ssa ry a c c e sso rie s. V e n tila tio n is p ro v id e d b y th e d o o r le a f a s in th e n ich e o f th e ro o m a n d a la rg e fra m e w h ich o p e n s a b o v e th e b a th . T h e to p o f th e d o o rs w a s u se d a s lu g g a g e c lo se t; th is sa v e s o n e c u b ic m e te r u sa b le d o o r. A

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ste p m a k e s it e a sy to re a c h th e m (P I. 4 7 ). In th e b a th ro o m w a ll, a c o m b in e d c u p b o a rd h o u se s th e sh o e c o m p a rtm e n t, b a th ro b e s (w ith a sp e c ia l d ry in g sy ste m ) a n d a la rg e c lo se t b ia s th a t a llo w s e a sy p a ssa g e a s fo r th e c u rre n t u n d erw ear an d p y ja m a s . T h e tu b is a v e ry o rd in a ry b a th , b u t it w a s c o v e re d w ith a n a lu m in iu m sh e a th , w h ic h g iv e s it a p le a sa n t a p p e a ra n c e a n d re p o rts o f a b rillia n t n o te s th e to n e o f th e w h o le . T h e b id e t se a t is co v e re d w ith fo a m ru b b e r. T h e to ile t b a th ro o m s c lo se to th e g re a t ro o m a n d th e b e d ro o m is lo c a te d o u td o o rs, u n d e r th e en try a w n in g in th e d ru m ; v e n tila tio n is th ro u g h th e c e ilin g . T h e la y o u t o f th e k itc h e n (P l. 5 6 a n d 5 7 ) w a s su g g e ste d b y th e h a b it o f fa rm e rs in th e re g io n to p re p a re th e ir o u td o o r d in in g in th e su m m e r, in w in te r a n d in b a d w e a th e r. T h e k itc h e n c a n b e tra n s fo rm e d in to o u td o o r k itch e n w ith a w a ll m a d e o f g la ss p a n e ls th a t fo ld a g a in st e a ch o th e r. T h e p a rtitio n th u s o p e n e d , th e k itch e n is n o lo n g e r a re ce ss o f th e c o u rt b e lo w th e w a te r ta n k , p a v e d , a n d in w h ic h th e c o a l b u n k e r lo c a te d , th e n ic h e w o o d , w a sh h o u se , e le c tric c o o le r, a w a te r so fte n e r, a b o ttle c o v e re d w ith z in c c u p b o a rd , a fo ld in g ta b le a n d a ste a m fu rn a c e o il. A n o th e r b la st ly in g in sid e fo r th e w in te r (se e p . 2 9 ). S T A IR S . - W e h a v e a lso b u ilt th e sm a lle st sta irc a se p o ssib le , b u t w ith w id e ste p s a n d d u g so th e fo o t is c o m fo rta b le . T h e sta irw e ll is m u c h la rg e r th a n th e sta irc a se , th e sta irs se e m lig h t a n d a iry . A ro u n d th e m a so n c o li, w h ic h se rv e s a s sto o l, w a s sp a re d a ra n g e o f cu p b o a rd s, a cce ssib le fro m th e in sid e a n d o u tsid e , v e n tila tio n a n d lig h t. T h e lig h t c o m e s fro m a b o v e th ro u g h th e g la ss c a g e th a t se rv e s a s a c c e ss to th e ro o f (P l. 4 8 ). W e stu d y , in th is m o m e n t, e le m e n ts o f sim p le a n d c o n v e n ie n t c u p b o a rd s, w e b e lie v e th a t th e p ra c tic e o f e m p lo y in g a ll th e lo c k e rs a u n ifo rm a n d sta n d a rd iz e d m o d e l is c o n tra ry n o t o n ly g o o d ta ste , b u t e v e n co m m o n se n se . W e 'll ta lk la te r o f ce rta in ty p e s o f w a rd ro b e s o f

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su c h a sim p le a rra n g e m e n t, b u t in fin ite ly m o re fle x ib le a n d v a rie d . A n d a t th e sa m e tim e , w e h a v e to sp e a k fle x ib le a n d m o v a b le p a rtitio n s a n d c lo th e s c a b in e ts, in tro d u c e d in a lo g ic a l fa sh io n , a s tra v e lin g tru n k s.

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G R O U N D F L O O R R A S . - (P l. 4 9 ) T h e g u e st b e d ro o m h a s b e e n re a liz e d w ith th e p rim o rd ia l c o n c e rn to a v o id th e M istra l. T h e b e d h a d to b e sh e lte re d a g a in st d ra fts. A th o rn w a ll re m o v e s a n y a i r flo w . A stu d io . A to ile t w ith c e ilin g lig h tin g . T h e illu m in a tin g ic e sa te llite h a s a m irro r th a t a llo w s o n e to sh a v e th e ir n e c k (P l. 4 5 ): a la m p is a tta c h e d to th e c e n tre o f th e illu m in a tin g ic e so th a t e v e ry th in g is illu m in a te d b y a u n ifo rm lig h t w ith o u t sh a d o w s. T h e re a re a ll e x te rio r a n d in te rio r d ra w e rs, d ra w e r slid e s a n d p iv o ts, w h ic h m a y c o n ta in a n y o b je c ts (P l. 5 4 ). In d e p e n d e n t, th e g u e st b e d ro o m h a s its d ire ct o u tco m e o f th e g a rd e n a n d th e te rra ce u n d e r th e h o u se . T h e b e d is ju st a n o rd in a ry so fa m o d ifie d w ith a fix e d c u sh io n to re st th e n e c k d u rin g b re a k fa st in th e m o rn in g . A n e c c e n tric ta b le , w h o se fe e t a re m a d e o f ste e l tu b e s, w h ic h c a n e x te n d to c a rry th e tra y h e ig h t is d e sire d a n d is e n g a g e d u n d e r th e c o u c h (P l. 5 1 ). A c o m b in e d m u lti- d ra w e r c a b in e t (P l.

5 2 ), b o o k s a n d clo sa b le w ritin g ta b le . S o ft lig h t, w h ite a n d b lu e th a t d o e s n o t re a c h th e e y e s d ire c tly . A sm a ll p o rta b le d re ssin g tu b u la r ste e l a n d le a th e r (P l. 5 3 ), w ith p iv o tin g d ra w e rs. A b o v e th e d o o r a re sm a ll su itc a se s.

W e trie d to d e v e lo p th e sm a lle st liv in g c e ll. D e sp ite its c o m p a c t siz e , th e se rv a n t's ro o m a c h ie v e s su ffic ie n t c o m fo rt. T h e m o v e m e n ts a re e a sy , a lth o u g h th e sp a c e w a s stric tly sa v e d a n d th is ro o m c o u ld se rv e a s a ty p e fo r c h ild re n 's ro o m s, w h e re o n e se e k s o n ly b a sic w e ll- b e in g . (P l. 5 5 ). T h e b o ile r

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ro o m , clo se ts, th e g a rd e n e r's ro o m a re a lso in d e p e n d e n t. T E R R A C E S A N D G A R D E N S . - A p a v e m e n t ru n s th ro u g h th e g a rd e n ju st b e lo w th e h o u se b u ilt o n stilts. T o g iv e m o re p riv a cy to th e g a rd e n , w e clo se d th e fre e sid e to o w in d y , w ith a sm a ll c u t c o rru g a te d iro n (P l. 5 5 ) w h e re th e g a rd e n e r c a n sto re h is to o ls. W e a v o id e d th e m irro r o f w a te r, w h ic h w o u ld h a v e a ttra c te d m o sq u ito e s, b u t th e re is a rra n g e d a so rt o f c o u c h in c lin e d sla b s fo r su n b a th in g , a ta n k fo r sa n d b a th s (P l. 5 9 ), a m irro r ta b le c o c k ta ils a n d a b e n ch o n e a ch sid e fo r co n v e rsa tio n s. A sm a ll sta irca se le a d s d o w n d ire ctly to th e se a fo r b a th in g , fish in g o r b o a tin g . S o th is tin y h o u se c o n c e n tra te d in a sm a ll sp a c e , e v e ry th in g th a t c a n b e u se fu l to th e c o m fo rt, a ssist in th e jo y o f liv in g . N o w h e re h a s a lin e o r sh a p e b e e n so u g h t fo r its o w n sa k e ; e v e ry w h e re w e th o u g h t o f m a n , o f h is se n sib ilitie s a n d n e e d s.

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