Critical response to the film was largely negative.  In one critical review, Elizabeth Weitzman from the New York Daily News writes, "It’s not an insult to say the black-and-white film looks like a grad-school thesis project, since that’s what it is (for Franco’s MFA at NYU). .But that does mean you should be prepared for some high-minded pretension, lots of self-consciously arty shots, and long stretches of apparently profound nothingness."  Although Weitzman is critical of Franco's writing and directing, she does compliment the film's cinematography and Franco's acting. In a review in The Village Voice , Melissa Anderson wrote that the film was "sincere, amateurish, and misguided" and that it was full of literary biopic cliches. 
Le Corbusier’s answer to the standardization of the construction industry was his modular. It was developed on the principles of proportions set forth by the “Golden Section” and Fibonacci sequences. However unlike his predecessors, Le Corbusier regulated his proportional schema to the realm of relative rather than absolute standards (34). “Taking man in his environment, instead of [utilizing] universals” Le Corbusier was able to quell some skeptics due to its lack of “metaphysical connotations”(35) Le Corbusier stated in his own manifesto that “man looks at the creation of architecture with his eyes, which are 5 feet 6 inches from the ground (Fig. 13).(36)” Relating the human body to Modulor enabled a “co-ordination at every level from town planning to furniture.”(37) The Modulor which consisted of “two divergent series of irrational numbers derived from the Golden Section” had its roots in the early proportional explorations by Le Corbusier in his work on the purist Villas like that of Graches (Fig. 12)(38).