Eileen studied the journal Architecture Vivante in depth and traveled widely with Badovici. She owned and read all the articles published in the journal l'Esprit Nouveau and had a lot of enthusiasm for the book "Vers une Architecture". Two early unrealized house designs were highly influenced by the work she saw through this publication. In sketches from1923, she adapted Loos' Villa Moissi, inserting a circular stair. In 1926, she designed the House for an Engineer, based on Le Corbusier's Maison Citrohan mixed with aspects of van Doesburg. In 1922 she exhibited furniture at the Salon d'Automne, with Le Corbusier and Mallet-Stevens. Her appreciation of the journals can be further read through her incorporation of them as props in the photographs of E. 1027 in L'Architecture Vivante (see photo of desk with Documents 1 prominently displayed).
Her work was more appreciated, and published, in Holland than in France. The Dutch magazine Wendingen devoted a special issue to her work, published in 1924. The issue principally represents her furniture, all in black and white photographs. No drawings are presented. The construction document still appears to be a foreign language to her. Two articles by Jan Wills and Badovici are published, in holandish and french. Again her work is framed within a dialogue of foreign and familiar languages.
From 1926-32 she did interior renovations in Vezelay with Badovici, working from the inside out. She also collaborated in the Flower Room at Villa de Noailles, Hyeres, by R Mallet-Stevens, designing some furniture and rugs. Later Mallet-Stevens asked her to work with him but she refused.
Eileen engages in a dialogue with the modernism movement, using and distorting its most familiar ideas to make them foreign. The dialogue is conceived as parcour toward the truth or the inexpressible. She criticizes modernism's sterile interpretation of the relationship between architecture and mechanization. "L'art de l'ingénieur ne suffit pas s'il n'est pas guidé par les besoins de l'homme. Une maison n'est pas une 'machine à habiter.' Elle est la coquille de l'homme, sa prolongation, son élargissement, son rayonnement spirituel. Non seulement son harmonie plastique, mais toute son ordonance, tout le terme de l'oeuvre concourt à la rendre humaine dans le sens le plus profond" (Adam (French version): 309). Architecture should not be a mechanistic monologue, but a dialogue between inhabitant and machine. "Il ne s'agit pas de construire seulement de beaux ensembles de lignes, mais avant tout, des habitations pour hommes"(Gray & Badovici, 23). Always, she is breathing life into the modernist formula of regulating lines.
