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A journey through the legacy of Eileen Gray and her most famous house in the French Riviera, “E.1027 – Eileen Gray and the House by the Sea,” by directors Beatrice Minger and Christoph Schaub, invites viewers into the layered legacy of the pioneering Irish architect and her unique vision of modernism. Designed in the late 1920s, the villa not only embodies Gray’s architectural genius but also bears the shadow of an uneasy narrative involving Le Corbusier and Jean Badovici. Through their docufiction, Minger and Schaub illuminate Gray’s groundbreaking work and critique the prevailing narratives of male dominance in modernist history.
The film was initially conceived as a project about Le Corbusier, yet as Minger and Schaub delved deeper into their research, they uncovered Gray’s untold story and felt compelled to shift the film’s focus. Reflecting on this turning point, Minger explains, “the movie was initially thought to be about Le Corbusier, but when Christoph and I started the research process, we stumbled upon this story involving him and Eileen Gray and fell in love with her.” This pivotal moment allowed the directors to reframe the narrative from Gray’s perspective, revealing the complexities and tensions between the two architects in a fresh and nuanced light.
The relationship between Gray and Le Corbusier remains a source of intrigue and debate. Drawn to E.1027’s uncanny charm, Le Corbusier visited the house several times and eventually painted murals on its walls without Gray’s consent — an act widely regarded as a violation of her work. Minger’s film reexamines this event through Gray’s eyes, aiming to look beyond the infamous act to explore broader implications. “The idea was to go beyond the vandalization of the house by Le Corbusier, showing her perspective of the whole situation in that historical context,” she explains. For Minger, the conflict transcends the physical act; it embodies Le Corbusier’s imposition of his ideals and, symbolically, male dominance over Gray’s creative expression. “This male desire of conquering everything that is unknown speaks volumes on colonialism,” Minger adds, underscoring how the personal entanglements of these architects echo larger issues of power and control.
Gray’s journey resonates today not only for her architectural achievements but also as a reminder of the challenges women continue to face in male-dominated fields. E.1027 was more than a home; it was a manifesto of Gray’s design philosophy and her dedication to modernism. By framing Gray’s story within a modern context, the film connects past and present, highlighting the enduring impact of gender dynamics in creative fields.
The filmmakers bring a theatrical approach to their fiction, incorporating stage-like set designs that enlarge the narrative. “We made use of this set design that resembles a theater stage to both expand the narrative beyond the cinematic space and also as a way to depict the moment Le Corbusier paints the walls of the house,” Minger explains. This stylized approach amplifies the story’s dramatic tension, transforming the set into a symbolic arena where Gray’s ideals confront Le Corbusier’s overbearing influence, providing a layered experience for the audience.
Filming at E.1027 itself presented unique challenges. As a heritage site, the villa’s preservation rules imposed strict limits on the crew. “We didn’t have much time available to shoot in the house,” Minger recalls. “As a heritage building, there are certain rules that we need to follow… It was not easy, but certainly very interesting to have the opportunity to be there to shoot some scenes.” To navigate these constraints, the directors used computer graphics to reconstruct the villa’s surroundings as they appeared in Gray’s era, blending historical authenticity with visual storytelling.
Ultimately, “E.1027 – Eileen Gray and the House by the Sea” transcends traditional narratives, inviting viewers into a multidimensional exploration of Gray’s legacy, her vision, and her struggles. By spotlighting the emotional and symbolic facets of her conflict with Le Corbusier, Minger and Schaub not only reclaim Gray’s rightful place in architectural history but also prompt audiences to reflect on the lasting influence of gender and power in design.
The film granted Beatrice Minger and Christoph Schaub the Best Director Award at the Zurich Film Festival 2024, and had its U.S premiere at the Architecture & Design Film Festival in New York City in September this year. ArchDaily’s Claire Brodka and Romullo Baratto had the opportunity to talk to Minger on the occasion.