Alluding to Peter Wilson’s book Some Reasons for Travelling to Italy (2016) and adopting its narrative device, this article invites a journey of discovery into Wilson’s own architectural universe. Listing idiosyncrasies of Wilson’s work and reasons for delving into its multi-layered nature, the article decodes conceptual, figurative, and tectonic references from which Wilson derived his architectural vocabulary. Scanning Wilson’s oeuvre requires traversing distant territories and intimate thresholds, looking simultaneously backwards and forwards, and moving through spatial practices of writing, drawing, and building, which together define its productive complexity. Accordingly, defying a chronological narrative, the article explores a series of built and speculative projects, drawings and installations, offering a transversal reading into accumulations of tropes and relations that underpin Wilson’s work. His categories ‘Appropriations’, ‘Juxtapositions’, ‘Narratives’, ‘Choreographies’, ‘Adjacencies’, ‘Artefacts’, ‘Objects’, ‘Fields’, ‘Material Assemblages’, and ‘Atmospheres’ offer a particular projective taxonomy. The article presents them as a collection of plays, each with a set of rules and its own micro-narrative; each with its own mask. Masks recur in Wilson’s work as both figurative and procedural frameworks embodying his concern with finding a role for the architectural object in the performance of everyday life. Uncovering these masks, the article argues that even though Wilson’s work has distinct evolutionary stages, they cannot be seen as a diachronic succession. They rather fold into each other in a process of constant deviation from their own rules, rejection of fashions, or revalorisation. Such a process of internal folding mirrors Wilson’s consistently provocative and experimental nature. It is one of the reasons why Wilson’s work retains a particular allure, calling for an exploration of its conceptual complexity as well as spatial sensibility, and awakening our imagination.

中文翻译：

---

谈论彼得威尔逊的一些理由

本文暗指彼得威尔逊的书《前往意大利的一些原因》（2016）并采用其叙事手段，邀请威尔逊自己的建筑世界进行探索之旅。本文列出了威尔逊作品的特质以及深入研究其多层次性质的原因，对威尔逊从中衍生出他的建筑词汇的概念、比喻和构造参考进行了解码。浏览威尔逊的全部作品需要穿越遥远的领域和亲密的门槛，同时向后和向前看，并通过写作、绘画和建筑的空间实践，这些共同定义了它的生产复杂性。因此，这篇文章无视时间顺序，探讨了一系列建成和投机的项目、图纸和装置，提供对支撑威尔逊作品的比喻和关系积累的横向解读。他的类别“拨款”、“并置”、“叙事”、“编排”、“邻接”、“人工制品”、“物体”、“场域”、“材料组合”和“气氛”提供了一种特定的投影分类法。文章将它们呈现为剧集，每个剧集都有一套规则和自己的微观叙事；每个人都有自己的面具。面具在威尔逊的作品中反复出现，作为比喻和程序框架，体现了他对在日常生活表现中为建筑对象寻找角色的关注。揭开这些面具，文章认为，尽管威尔逊的工作有不同的进化阶段，但它们不能被视为历时的继承。他们宁愿在不断偏离自己的规则、拒绝时尚或重新估价的过程中相互融合。这种内部折叠的过程反映了威尔逊一贯的挑衅性和实验性。这也是威尔逊的作品之所以具有独特魅力的原因之一，需要对其概念的复杂性和空间感性进行探索，唤醒我们的想象力。