1. Martin Heidegger, The metaphysical Foundations of Logic trans. Michael Heim (Bloomington: Indiana Press, 1984), p. 208.
  2. Friedrich Nietzsche, "On the uses and disavantages of history for life," Untimely Meditations trans. R. J. Hollingdale (Cambridge: Cambridge University Press, 1983), p. 63.
  3. Camillo Sitte, City Planning according to Artistic Principles trans. George R. Collins and Christiane Crasemann Collins idem Camillo Sitte: The Birth of Modern City Planning (New York: Rizzoli International, 1986), p. 183.
  4. José Ortega y Gasset, The Revolt of the Masses (New York: W.W. Norton & Company Inc, 1932), pp. 164-5; cited, J.L. Sert "Centres of Community Life," CIAM 8: The Heart of the City, Towards the Humanization of Urban Life ed. J. Tyrwhitt et al. (New York: Pellegrini and Cudahy, 1952), p. 3.
  5. Sert, "Centres of Community Life," p. 6.
  6. Sert, "Centres of Community Life," p. 8.
  7. Peter Adam Eileen Gray: Architect/Designer (New York: Harry N. Abrams, 1987), p. 174.
  8. Marie Louise Schelbert, letter to Stanislaus von Moos (February 14, 1969); quoted Stanislaus von Moos, "Le Corbusier as Painter," Oppositions (1980), n. 19-20, p. 93.
  9. James Thrall Soby, "Le Corbusier, Muralist," Interiors (1948), p. 100.
  10. Le Corbusier, My Work trans. James Palmes (London: The Architectural Press, 1960), p. 50.
  11. Samir Rafi, "Le Corbusier et 'Les Femmes d'Alger,'" Revue d'histoire et de civilisation du Maghreb (Algiers: January 1968), p. 51.
  12. Jean de Maisonseul, letter to Samir Rafi, (January 5, 1968); quoted, von Moos, "Le Corbusier As Painter," p. 89.
  13. From several conversations of both Le Corbusier and Ozenfant with Samir Rafi in 1964; quoted, Rafi, "Le Corbusier et 'Les Femmes d'Alger,'" p. 51.
  14. von Moos, "Le Corbusier as Painter," p. 91.
  15. Conversation of Ozenfant with Samir Rafi, (8 June, 1964); quoted, Rafi, "Le Corbusier et 'Les Femmes d'Alger,'" p. 52.
  16. von Moos, "Le Corbusier As Painter," p. 93.
  17. Rafi, "Le Corbusier et 'Les Femmes d'Alger,'" p. 54-55.
  18. Rafi, "Le Corbusier et 'Les Femmes d'Alger,'" p. 60.
  19. Le Corbusier refers to the mural as "Graffiti at Cap Martin," Le Corbusier, My Work; Stanislaus von Moos labels the mural "Three Women" (Graffite à Cap Martin), von Moos, "Le Corbusier As Painter;" and Samir Rafi labels the final composition from which the mural was derived "Assemblage des trois femmes: composition définitive. Encre de Chine sur papier calque. 49.7 X 64.4 cm. Coll. particulière. Milan," Rafi, "Le Corbusier et 'Les Femmes d'Alger.'"
  20. Marie Louise Schelbert, letter to Stanislaus von Moos, (February 14, 1969); quoted, von Moos, "Le Corbusier As Painter."
  21. Le Corbusier, Vers une architecture (Paris: Crès, 1923), p. 196. The passage here referred to is omitted in the English version of this book.
  22. Adam, Eileen Gray: Architect/Designer p. 311.
  23. See Adam Eileen Gray: Architect/Designer p. 334-335. No caption of the photographs of the murals published in L'Architecture d'aujourd'hui mentions Eileen Gray. In subsequent publications, the house is either simply described as "Maison Badovici" or credited directly to him. The first recognition of E Gray in architecture since the twenties came from Joseph Rykwert, "Eileen Gray: Pioneer of Design," Architectural Review (December 1972), pp. 357-361.
  24. For example, in an article entitled "Le Corbusier, muralist," published in Interiors (June 1948), the caption of the murals at Cap Martin reads: "Murals, interior and exterior, executed in sgraffito technique on white plaster, in a house designed by Le Corbusier and P. Jeanneret, Cap Martin, 1938. And still in 1981 in Casa Vogue n. 119, Milan, the house is described as "Firmata Eileen Gray-Le Corbusier" ("signed Eileen Gray and Le Corbusier"), and an Eileen Gray sofa as "pezzo unico di Le Corbusier" ("unique piece by Le Corbusier); quoted, Jean Paul Rayon and Brigitte Loye, "Eileen Gray architetto 1879-1976," Casabella (May 1982), n. 480, pp. 38-42.
  25. "Quelle réclusion étroite que m'a faite votre vanité depuis quelques années et qu'elle m'a faite plus particulièrement cette année". Badovici, letter to Le Corbusier, (December 30, 1949), Fondation Le Corbusier; quoted, Brigitte Loye, Eileen Gray 1879-1976: Architecture Design (Paris: Analeph/J.P. Viguier, 1983), p. 86. English in Adam, Eileen Gray: Architect/Designer p. 335.
  26. ... Vous réclamez une mise au point de moi, couverte de mon autorité mondiale, et démontrant - si jecomprends le sens profond de votre pensée - 'la qualité d'architecture fonctionnelle pure' manifesté par vous dans la maison de Cap Martin et anéantie par mon intervention picturale. D'ac (sic), si vous me fournissez les documents photographiques de cette manipulation fonctionnelle pure: 'entrez lentement;' 'pyjamas;' 'petites choses;' 'chaussons;' 'robes;' 'pardessus et parapluies;' et quelques documents de Castellar, ce sous-marin de la fonctionnalité: Alors je m'efforcerai d'étaler le débat au monde entier ...

    Le Corbusier, letter to Badovici, Fondation Le Corbusier; quoted in Loye, Eileen Gray 1879-1976: Architecture Design p. 83-84. English translation in Adam, Eileen Gray: Architect/Designer p. 335-336.
  27. Le Corbusier, letter to Eileen Gray, Cap Martin, (28 April, 1938); quoted, Adam, Eileen Gray: Architect/Designer pp. 309-310.
  28. "J'admets la fresque non pas pour mettre en valeur un mur, mais au contraire comme un moyen pour détruire tumultueusement le mur, lui enlever toute notion de stabilité, de poids, etc." Le Corbusier, Le passé à réaction poétique catalogue of an exhibition organised by the Caisse nationale des Monuments historiques et des Sites/Ministère de la Culture et de la Communication, (Paris: 1988), p. 75.
  29. "Mais pourquoi a-t-on peint les murs des chapelles au risque de tuer l'architecture? C'est qu'on poursuivait une autre tâche, qui était celle de raconter des histoires" Le Corbusier, Le passé à réaction poétique p. 75.
  30. Le Corbusier, Creation is a Patient Search (New York: Frederick Praeger, 1960), p. 203.
  31. Le Corbusier, Creation is a Patient Search p. 37.
  32. About French postcards of Algerian women circulating between 1900 and 1930 see Malek Alloula, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986).
  33. Zeynep Çelik, "Le Corbusier, Orientalism, Colonialism," Assemblage (1992), n. 17, p. 61.
  34. von Moos, "Le Corbusier As Painter," p. 93.
  35. Victor Burgin, "The Absence of Presence," The End of Art Theory: Criticism and Postmodernity (Atlantic Highlands, New Jersey: Humanities Press International, 1986), p. 44.
  36. Rafi, "Le Corbusier et 'Les Femmes d'Alger.'" p. 61.
  37. Victor Burgin, "Modernism in the Work of Art," 20th Century Studies (December 1976) n. 15-16. Reprinted in The End of Art Theory p. 19. See also Stephen Heath, "Lessons from Brecht," Screen (1974), v. 15, n. 2, pp. 106 ff.
  38. Le Corbusier, My Work p.50-51. My emphasis.
  39. von Moos, "Le Corbusier As Painter," p. 104.