Cap Moderne 背后的疯狂故事

在海湾的另一边 摩纳哥，有一个杰出的文化和自然遗址，现在被称为 Cap Moderne。这个非传统的博物馆包括 艾琳·格雷的别墅E-1027， 勒·柯布西耶的 Cabanon、度假小屋和 Etoile de Mer 酒吧餐厅（于 1984 年停止营业）——所有这些都是神话般的建筑标志，周围环绕着无与伦比的自然美景。其核心的一系列传奇建筑已被重新命名 摩登角 2015年首次接待访客时。

这场秀真正的明星是 E-1027，这座房子是爱尔兰天才设计师艾琳·格雷 (Eileen Gray) 在蓬勃发展的二十年代建造的。从它神秘的名字——使用艾琳·格雷名字的第一个字母（E, 7）和她当时的情人让·巴多维奇（Jean Badovici）（10, 2）的字母表中的位置——到它被柯布西耶绘制的壁画污损的历史（墙上赤裸着的、谋杀案和被忽视的遗弃，使这里成为法国众多现代主义房屋中最神秘的一个。

这是路易威登 2023 年广告大片中的特色内容：

Cap Modern E-1027 住宅背后的故事

In 2009, a chocolate-leather Dragon armchair by the Irish furniture designer Eileen Gray sold at Christie’s in Paris for $28.3 million, shattering the record for 20th-century decorative art. Those in the know were always aware of her massive but somewhat unrecognized talent, but the auction officially –and finally– crowned Gray as one of the immortals of modern design.

1902 年，她移居巴黎，成为装饰艺术运动中至关重要的漆器使用先驱。 1920 年代，她与同龄人同时将铬、钢和玻璃融入到她的设计中 马塞尔·布鲁尔 和 密斯·凡德罗。但它是 勒·柯布西耶, her contemporary and onetime friend, with whom Gray’s history on the Cote d’Azur is most intertwined.

格雷和她的情人、罗马尼亚评论家 让·巴多维奇, were looking to build a beach-side love nest on the Cote d’Azur, and here Gray found the perfect secluded site. From 1926-1929 — without any clue that she was creating a masterpiece years ahead of its time — Gray oversaw every detail of construction of the house, including wrangling the mules that hauled materials up and down the hills to the site.

Set on a gentle slope saturated in Mediterranean sunshine and thick with pines, the house was the pinnacle of modernism: tiered with squared-off planes of white, floor to ceiling windows, sliding doors and open spaces making full use of the sea and sky. It is a marvel of elegance and simplicity, with right-angled roofs and walls fashioned from white concrete, the kind of house that by now we may have seen before, but which no one but Gray could have dreamed of in 1929.

她将其命名为 E-1027，这是一个数字代码：E 代表 Eileen，IO 代表 Jean 中的 J，2 代表 Badovici 中的 B，7 代表 Gray 中的 G，旨在向他们交织在一起的生活致敬。

It is a sheer drop past olive trees and rosemary bushes to the cliffs below. Gray furnished it with her own designs, adding ingenious touches such as a black tiled swimming pool that she filled with sand and where she relaxed for cocktail hour.

进入 查尔斯·爱德华·让纳雷（Charles-Édouard Jeanneret）（又名勒·柯布西耶）, who visited Badovici and Gray often at their seaside idyll. Whether he was or was not threatened by her talent, most scholars agree that Le Corbusier was obsessed with Gray and her triumphant E-1027.

He was so jealous, in fact, that in 1938, after the bisexual Gray split with Badovici and returned to loving women, Le Corbusier took it upon himself to paint –some say defile– the interior walls with eight garish murals depicting charged lesbian imagery. To add to the insult, he took photos of himself doing so, wearing nothing but his trademark glasses. When she heard about this brazen act of disrespect, Gray was horrified and vowed never to return.

But Le Corbusier continued to visit. In 1951, Le Corbusier arranged with the owners of the cafe L’Etoile de Mer (in the lot adjacent to E-1027) to construct a beach hut connected to their restaurant.

Soon, he added a hyper-efficient guesthouse next door to the property. At E-1027, the drama turned to tragedy. Nazi soldiers looted the house and used it for target practice during World War II; in 1996, its morphine-addicted owner was murdered there. The house was abandoned and left for dead, battered from disrepair, appropriated and damaged by squatters, junkies, and drifters.

Finally, in 2000, a group of concerned conservationists and the local landmarks commission stepped in to rescue one of the country’s most distinct architectural treasures from the wrecking ball.

卡巴农·勒·柯布西耶背后的故事

Whatever your theory of Le Corbusier’s role in Eileen Gray’s disappearing into decades of obscurity, his little Cabanon is ingenious, a masterstroke of high style and low maintenance, nestled among the citrus as if house and trees were joined at the roots.

Corbu believed that a house should be a machine for living in, and this one is a feat of efficiency, where the bedroom, dining table, chairs that double as storage boxes, bathroom, and cabinets either have their dedicated corner or disappear into the walls of this tiny, wooden space.

Everywhere are Cubist-looking bright blue, electric green, and yellow murals that Corbu loved to render, the architect most at home in another medium. The miniature restaurant connected to the house by a door is chic, and every corner of the room, from the rounded bar lined with vintage carafes and painted with fish, to the tiny table in the corner, has the patina of wear and style.

Le Corbusier spent many peaceful holidays at Le Cabanon, and each time he walked down the steps to jump in the waves, or back up to resume his painting, he passed by E-1027, a couple of arm’s lengths away. One wonders what his memories were of the place, or of Eileen Gray, or if he even chose to access them. Le Corbusier was said to truly admire his former neighbor’s work, but it’s hard to imagine what possessed him to appropriate the walls of a villa that did not belong to him.

Some have said that later, Corbu may have taken credit for some of Gray’s design. Lanie Goodman doesn’t sugar coat it. “Corbu’ s murals are an unquestionable act of sabotage, whether he was conscious of what he was doing or not,” she says. “As Gray’s former friend and mentor, he was certainly not very invested in her success.”

Certainly, he owed her some gratitude for drawing him to this lush corner of the Riviera in the first place, at least while he lived. In August 1965, he drowned while swimming in the water at the foot of the hill, on the beach just below Le Cabanon and E-1027.

Cap Moderne 视频之旅

Cap Moderne 参观信息

想要更多？ 这是一个 著名别墅列表、拥有它们的名人，以及那里发生的疯狂事情。