This article intends to draw the attention to a fact that has n otyet been addressed in the diverse writings about the iconic hou se E-1027by Eileen Gray built between 1926-1929 on the Mediterranean sho re atRoquebrune-Cap-Martin: the signs she left about her through sentenceswritten in diverse supports of her home. In E-1027, Gray used t he mostrecent innovations of modern architecture, however this paper aims tofocus on what we call the semiotics of her own –recalling the c ategories inwhich Peirce distinguished signs, namely icon, index and symbol through theinterpretation of some words and sentences Gray wrote in the vi lla. EileenGray wanted to communicate about herselfand make a claim for the inclusion of subjects,values and desires that were being denied bythe twentieth-century (male) modernism. ToGray, the realm of art, design and architecturewas a privileged crossroad to access the notionof “gender identity”.