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The enduring history of violence and violation permeating the work of Eileen Gray (1878-1976), particularly E1027 (1926-29) at Cap Martin, is well documented. Most infamous is that described by Le Corbusier in My Work: "eight murals (free of charge) in the Badovici and Helen [sic] Gray House at Cap Martin." Within feminist architectural writing, one might argue he has begun to be held accountable, charged, for his acts and words. And yet many argue it is precisely because of those murals, their value as 'masterworks' that the house has been left derelict for so long, violated now by time and the elements Gray's design so thoroughly embraced. If it were to be restored, at what point in its history would the house be frozen; removing the murals would also mean removing Eileen Gray's original stencil work which Le Corbusier embedded in his images, most ironically her "entrez lentement" famously captured in the background of a photograph of Badovici and Le Corbusier taken at the house.
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