16mm, s/w
sound found footage YouTube
7:50 min

Eine filmische Liebeserklärung an das Haus E.1027 der Architektin Eileen Gray (*Irland 1878/†Paris 1976)
und ein kritischer Kommentar zur aktuellen Erzählung über sie. »E.1027« wurde von Eileen Gray in den 20er
Jahren des letzten Jahrhunderts an der Côte d’Azur erbaut und ist erst seit Sommer 2015 der Öffentlichkeit
zugänglich. Le Corbusier baute sein berühmtes »Cabanon« mit Blick auf »E.1027«, da ihn das Haus nicht mehr
losließ. Eileen Gray hatte in seinen Augen als Autodidaktin in der Architektur erreicht, was er sein Leben lang
vergeblich versuchte, das Haus schwebte. Nachdem Eileen Gray ausgezogen war, bemalte Le Corbusier nackt
die Innenund Außenwände mit großen Malereien, die jetzt mit restauriert wurden, obwohl das Haus als
Gesamtkunstwerk gebaut wurde. Diese Aneignung Le Corbusiers ist insofern Teil des Films, als dass die Übersetzung
dieser immer im Vordergrund stehenden Geschichte verweigert wird. Le Corbusier behauptete außerdem eine Zeit lang,
dass er der Architekt von »E.1027« sei. Er starb schlussendlich an einem Herzinfarkt zu Füssen des Hauses beim
Schwimmen im Meer. An diesem skandalumrankten Ort zu filmen war nur durch ein Loch im Zaun möglich. Es herrschte
vor der Wiedereröffnung strengstes Filmverbot. Die Tonspur ist einer aktuellen Reportage aus dem irischen Fernsehen
entnommen und steht stellvertretend für eine unbedarfte Art über das Werk „vergessener“ Frauen zu berichten.

Begleitend zum Film gibt es eine Kopie der Originalausgabe der Architekturzeitung »L’Architecture Vivante« von 1929:
»E. 1027: Maison en bord de mer«. Das Gespräch Eileen Grays mit Jean Badovici »From Eclecticismto Doubt« ist die
einzige Veröffentlichung von Eileen Gray persönlich über »E.1027«.

It’s a filmic declaration of love to the house «E.1027» of architect Eileen Gray (1878/1976) and a critical comment about
the current report about her. «E.1027» was built in the 20th of the last century at Côte d’Azur (France) and is reopened
for public in summer 2015. Before there was no way to film the house for almost 10 years. Le Corbusier built his famous
«cabanon» just next to «E.1027» to be able to look at it through his window. He was obsessed by «E.1027». As an
autodidact in architecture Eileen Gray achieved in his eyes what he himself never reached: the house floats. After she
moved out he came and painted naked a number of wall painting in- and outside the house before he later claims it to be
his piece of architecture. This appropriation is part of the film insofar as the translation is rejected. Le Corbusier finally died
of a heart attack while swimming in the sea below the house. Filming at this hot spot was possible due to a hole in the fence.
There was a strict prohibition of filming. The found footage sound is taken from an irish TV report and points on the naive way
of telling stories about the work of „forgotten“ women._

_Accompanying the film there is a copy of the architecture revue «L’Architecture Vivante» from 1929:
«E. 1027: Maison en bord de mer».
The discussion between Eileen Gray and Jean Badovici «From Eclecticism to Doubt» is the only publication about «E.1027»
by Eileen Gray herself._

«From Eclecticism to Doubt» Eileen Gray and Jean Badovici «Maison en bord de mer» (House by the Sea)
First puplished in «L’Architecture Vivante», 1929.

A conversation between Jean Badovici and Eileen Gray.

Jean Badovici: Don‘t you fear that this return to fundamentals, this systematic simplification that seems to dictate modern art, will only end
by grounding this art in general, and architecture in particular, in a purely theoretical pursuit that is too intellectual to satisfy
the demands of both our minds and our bodies? The human being is not a pure intellect. And when one sees these large
buildings with smooth lines and especially these interiors, where everything seems to derive from strict and cold calculations,
one must ask whether people could be satisfied living in such a place.
Eileen Gray: You are right. This return to essential elements, this emancipation from all that was inessential, responded to a need.
It is necessary to liberate oneself from such oppression in order to experience freedom anew. But this state of intellectual coldness
that we have reached, which corresponds only too well to the harsh laws of modern mechanization, can be no more than a passing
phase. We must rediscover the human being in plastic expresssion, the human intention that underlies material appearance and the
pathos of this modern life, which has initially been expressed only in algebraic terms.
J: To what pathos are you referring?
E: To the pathos that is inseparable from all real life.
J: In short, you mean to rediscover emotion.
E: Yes, but a purified emotion that can be expressed in a thousand ways. It is not necessary to return to old complexities. Sometimes
all that is required is the choice of a beautiful material worked with sincere simplicity. It is necessary to reconstruct an ideal that is able
to satisfy the most general modern consciousness while guarding against all excesses, but without neglecting individual pleasures.
J: So you advocate a return to feelings, to emotionalism!
E: Yes, but once again to an emotion that is purified by knowledge and enriched by ideas and does not exclude the knowledge and
appreciation of scientific achievements. It is only necessary to demand of artists that they be of their time.
J: You intend that they be of their own era and express it.
E: Yes, without artifice of any kind. The work of beauty is more genuine than the artist.

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