A WHITE SANCTUARY

E-1027, a house born from a collaboration between Eileen Gray and Jean Badovici, was conceived and designed with emotions. It reflects their shared ideals and their individual perspectives while also embodying their relationship. Gray brought an acute understanding of how people live, creating spaces that respond to both practical needs and emotional resonance. Convertible furniture and carefully placed details embody movement and possibility. Badovici, with his architectural expertise, shaped its structural vision, amplifying their shared commitment to creating something human and functional yet profoundly intimate. The essay ‘From Eclecticism to Doubt‘ is a dialogue between the two of them, and remains an essential text for understanding Gray’s design philosophy overall, while strongly complementing her seminal work on E-1027.

It is maybe because I visited it during the holidays, but this house feels like leisure personified. It is synonymous with summer: sunlight, warmth, a floating shirt, and a glass of wine. It is a space for rest, reflection, and connection—a sanctuary where simplicity offers care for both the body and the spirit.

The house’s design blurs boundaries—between inside and outside, utility and art, private retreat and open connection. Eileen also built it as an expression of her romance, while Jean proudly showcased it to the public. A fireplace near the window draws in both light and warmth at dusk, while sail ropes and marine rugs evoke a sense of escape. It is a boat to take you away, prioritizing private comfort over public spectacle.

Its location enhances the sense of retreat: far from the city and close to nature’s essentials. The sounds of crickets, rustling leaves, and waves create a rhythm that complements the home’s design and leaves one feeling tipsy.

Yet, visiting the house today shatters this serene illusion. Entering its rooms feels like stepping into the private intimacy of a couple, uncovering remnants of a story marked by both love and heartbreak. The nearby presence of Le Corbusier’s Cabanon intensifies this feeling, offering an austere and brutal contrast to what a refuge can be: a minimalist retreat designed for solitude. Le Corbusier’s frescoes—a violation of Gray’s artistic integrity—add a layer of disgrace to the house’s narrative. These murals symbolize an intrusion, transforming what was once a sanctuary into a space of unresolved tension. Visiting E-1027 today puts a definitive end to the vibrant life it once held, as it now exists only as a dreamlike remnant, inhabited solely by passing strangers.

And yet, Gray’s philosophy endures, rejecting cold, sterile industrial modernism in favour of spaces that prioritize human experience. She once wrote: “Formulas are nothing, life is everything. And life is simultaneously mind and heart.” At its core, this house is a space of leisure—a place where time feels unhurried and the atmosphere fosters ease and well-being. Its design offers a rare balance: functional spaces for work and adaptable furniture that support daily life without compromising freedom or enjoyment.

In a world where stepping back from the demands of work feels increasingly essential, Eileen Gray’s vision remains strikingly relevant, quietly affirming the enduring value of thoughtful, human- centred living.