Peter Wilson’s early work from the late 1970s is unusual for its focus on representations of the self. This evolved through a positioning of his work in relation to: his colleagues at the Architectural Association School of Architecture such as Nigel Coates and Bernard Tschumi; the Austrian artist Walter Pichler; and more historic references including Jean-Jacques Lequeu and the Belgian Symbolist painter Fernand Khnopff. Responding to Wilson’s characterisation of the Villa Auto projects as ‘type noire’, this article interrogates his drawings in a forensic manner drawing on Ernst Bloch’s ‘A Philosophical View of the Detective Novel’ and Paul Auster’s City of Glass. By doing so, it uncovers how, through a series clues, traces, and red herrings, Wilson situates his persona into his work as he develops his own distinctive architectural language.

中文翻译：

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自动肖像和自我之谜：彼得威尔逊作品中的分心和检测几何

彼得威尔逊 1970 年代后期的早期作品因其对自我表现的关注而与众不同。这是通过他的工作定位演变而来的：他在建筑协会建筑学院的同事，如 Nigel Coates 和 Bernard Tschumi；奥地利艺术家沃尔特·皮克勒；以及更多历史参考资料，包括让-雅克·勒克 (Jean-Jacques Lequeu) 和比利时象征主义画家费尔南德·赫诺普夫 (Fernand Khnopff)。作为对威尔逊将别墅汽车项目描述为“黑色类型”的回应，本文以法医的方式审视了他的画作，借鉴了恩斯特·布洛赫的《侦探小说的哲学观》和保罗·奥斯特的《玻璃之城》。通过这样做，它揭示了威尔逊如何通过一系列线索、痕迹和红鲱鱼，将他的角色置于他的作品中，同时发展出自己独特的建筑语言。