The mechanical process is also extended to the plan. The graphic representation of the plan is reminiscent of her screens: 4 sectional elevations folded out from the plan like a screen opened in 3 dimensions and folded onto (displayed in) two. Plan and section are considered coherently, like the architecture and furnishings they re-present. Again, two things typically opposed are interwoven.
The plan is layered like the lacquer craft. No differentiation is made between two dimensional and three dimensional divisions of space. Changes in level (single stairs) and color (tile pattern) are rendered the same. Changes of color or material are considered of equal significance to more tectonic transformations. Floor, furniture, and ceiling are collapsed onto one plan. Tile colors, beds, skylights are rendered as superimposed, translucent layers.
Rugs and more mobile furnishings (style camping) are not shown in the overall plan. They are rendered in separate folded-out plan-sections of specific rooms or elements. Within the pages of L'Architecture Vivante, a table is presented with graphical equivalence to a room. Rugs punctuate spaces with different tactile experience, muffling sounds that the tiles reflect. Varied materials are juxtaposed to create a diverse spatial experience. A moveable tea table with tubular metal legs was given a cork top, muffling the sounds of service. These elements combine to create the experience of a lived architectural symphony. Its music rings only when it is acted, inhabited. As with Valery, the "body is an admirable instrument." (Valery, 90). While Valery sets architecture and music apart from other arts as the ones "within which we live" (Valery, 93), Gray proposes to extend the possibilities of "an architecture that sings" by embedding within the house painterly surface coverings and sculptural elements which both adorn and hinder "a portion of our view" (Valery, 93). Thus from the main living space, we hear the music of the bath's running water played over the top of the painted partitions hindering our view of its musician.
As with Quebecois, Deleuze's illustration for a minor language, Gray's architecture "'est riche de tant de modulations et variations d'accents régionaux et jeux d'accints toniques que sans routefois exagérer, il simble parfois qu'elle serait mieux préservée par la notation musicale que par tout wystème d'orthographe'" (Michel Lalonde, in Mille Plateaux, 129). It plays with both traditional regional Mediterranean architectural traditions, the traditional crafts of colonized countries, and tonic French/ Dutch/ English modernisms, mediating luxury, technology, craft. These existing languages, recontextualized, are made to "stammer, or make it 'wail,' stretch tensors through all language, even written language, and draw from it cries, shouts, pitches, durations, timbres, accents, intensities" (Constantin Boundas, ed. The Deleuze Reader . New York: Columbia University Press, 1993:148). Gray draws out such accents and timbres, composed through a rich assortment of materials with varied colors, textures, and acoustical properties (tubular steel, cork, tile, carpet, wood, fur). (note: Dance notation might be an even better language for her work. Dance sequences were spelled out with the first initial of each step, much as the title of E.1027 spells the sequence of its choreographers. Traditionally written over or across the musical registers, dance notation articulates the relationship between the body and the ephemeral. There is something in the plan d'ensoleillement of choreography, the overwriting of the lyrical surfaces with varied paths of movement, turnings, breaks. Body notation, movement notation are overlaid on compositional notation of music/building. Varied actors (host/guest/servant as well as sun) follow unique but overlaid courses. Labanotation, developing contemporaneously with E.1027, was the first to record in its markings not only the steps but their duration (it was thus able to free itself, to move outside its former location within music's temporal registers). Within the plan d'ensoleillement, the walls start to disintegrate; the standard double line is reduced to one or entirely erased (on the north face). It is not only the paths of actors, but that of the sun, which poses an alternative movement while recording the passing of time).
