Using the lens of recent feminist theory and gender studies, this paper offers a reading of E. 1027, Eileen Gray's villa built between 1926 and 1929 in collaboration with Jean Badovici. Because her architecture emanated from a critical relationship to certain leaders of the European avant-garde, Gray was both assailed by her peers and neglected in historical accounts of modernism. Adopting and working within the framework of certain modern spatial devices, such as Le Corbusier's "five points of a new architecture," Gray sought to overcome the reductive dehumanizing qualities associated with abstraction by prioritizing the subjective qualities of experience. The article analyzes Gray's critical engagement with modern movement principles at E. 1027 in light of both her early involvement in furniture design and her coeval collaboration in Badovici's Vézelay houses. It concludes with an examination of the events surrounding the murals Le Corbusier painted on the walls of E. 1027 in 1938-39 and his subsequent efforts to control the villa's fate.

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