In 2019, Bolles + Wilson created a new listing on their website for an old project, the Osaka Folly (1990). The listing reflects on the existence of the long-absent Folly: physically, as a temporary structure at the International Garden and Greenery Exposition in Japan (Expo ‘90), and thematically within Peter Wilson’s conceptual and built work. By drawing attention to its civic siting and atmosphere of the Expo, and by describing the Folly as ‘a building type whose authenticity is based on experiential affect’, this listing responds to previous iterations of the work in architectural media which do not explicitly engage with its reality at Expo ‘90. This article examines the iterations of Wilson’s Folly, arguing that an inherent quality in the Folly indeed anticipates multiple interpretations. This quality is the condition of emptiness in the structure, understood as both an empty vessel for events and the structure’s constant refusal of fixed meaning. Situating the Folly within a broader intellectual and historical frame, the article cross-examines representations of Wilson’s Folly from the new listing with those published in architectural media in 1991 and discusses how they all cast the identity of the Folly in different ways. Consequently, the condition of emptiness invites broader speculation into the Folly’s own critical position on the representation and experience of architecture.

中文翻译：

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观察者效应：在彼得威尔逊的《大阪愚蠢》中体验空虚

2019 年，Bolles + Wilson 在其网站上为一个旧项目大阪愚蠢（1990 年）创建了一个新列表。该清单反映了长期缺席的愚蠢行为的存在：物理上，作为日本国际花园和绿化博览会（90 年世博会）的临时结构，以及彼得威尔逊的概念和建筑作品的主题。通过引起人们对其城市选址和世博会氛围的关注，并将 Folly 描述为“一种真实性基于体验影响的建筑类型”，该清单回应了之前在建筑媒体中没有明确参与的工作迭代它在 90 年世博会上的现实。本文研究了威尔逊的愚蠢的迭代，认为愚蠢的内在品质确实预示着多种解释。这种品质是结构中空虚的条件，既可以理解为事件的空容器，也可以理解为结构对固定意义的不断拒绝。文章将愚蠢置于更广泛的知识和历史框架内，对新上市的威尔逊愚蠢的表现与 1991 年在建筑媒体上发表的表现进行交叉检验，并讨论它们如何以不同的方式塑造愚蠢的身份。因此，空虚的状态引发了对 Folly 对建筑表现和体验的批判立场的更广泛的思考。这篇文章对新上市的威尔逊愚蠢的表现与 1991 年在建筑媒体上发表的表现进行了交叉检验，并讨论了它们如何以不同的方式塑造愚蠢的身份。因此，空虚的状态引发了对 Folly 对建筑表现和体验的批判立场的更广泛的思考。这篇文章对新上市的威尔逊愚蠢的表现与 1991 年在建筑媒体上发表的表现进行了交叉检验，并讨论了它们如何以不同的方式塑造愚蠢的身份。因此，空虚的状态引发了对 Folly 对建筑表现和体验的批判立场的更广泛的思考。