In the years prior to the commencement of major built works, Bridgebuilding No.4 Ponte Dell’ Academia holds a critical position within the formative work of the architect Peter Wilson. Significantly, it sits between the two key AA publications of this period, Peter L Wilson — Bridgebuildings + the Shipshape and Western Objects Eastern Fields: Recent Projects by the Architekturbüro Bolles Wilson. As such, this response to Aldo Rossi’s Biennale competition of 1985 articulates a transition between the graphic operations of a lone practitioner, where the representation of architecture is itself the final product and the establishment of a collaborative practice engaged in construction. The transition mirrors the particularities of the representational techniques employed — a movement away from heavily worked, soft graphite renderings to tighter, more immediately tectonic articulations of fine line drawings and detailed models. The project was published twice, featuring in the spring 1986 edition of the AA Files and then, later that year, in the August release of The Architectural Review. Subtle, yet revealing, transformations took place in the intervening months, changes that anticipate the construction of the Münster Library. My article takes its title from terms associated with this multivalent structure and offers a close reading of its representations. Through a close reading of the Ponte Dell' Academia proposal, it positions the project within Peter Wilson’s then established themes of typology, ritual and the figurative, and an emerging methodology of what he termed ‘Frame and Adjacency Theory’, an approach which allowed ‘a double way of reading a building, both figuratively and abstract’. From this moment onwards, Wilson’s work develops a closer relationship with the specifics of context and a deep concern for the city articulated through intense moments of connectivity, each manifest through the poetics of tectonic detail.

中文翻译：

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辅助/偏心/相邻：4 号桥建筑 Ponte Dell' Accademia

在主要建筑工程开始之前的几年里，4 号桥建筑学院在建筑师彼得威尔逊的形成工作中占据了关键位置。值得注意的是，它位于这一时期的两本重要的 AA 出版物 Peter L Wilson — Bridgebuildings + the Shipshape 和 Western Objects Eastern Fields：Architekturbüro Bolles Wilson 的近期项目之间。因此，对 1985 年阿尔多·罗西 (Aldo Rossi) 的双年展竞赛的这种回应阐明了一个单独从业者的图形操作之间的过渡，其中建筑的表现本身就是最终产品，并建立了参与建筑的协作实践。过渡反映了所采用的再现技术的特殊性——从繁重的、柔软的石墨渲染到更紧密、更直接的精细线条图和详细模型的构造连接。该项目出版了两次，在 1986 年春季版的 AA 文件中，然后在当年晚些时候，在八月版的建筑评论中。在随后的几个月中，发生了微妙但具有启发性的转变，这些变化预示着明斯特图书馆的建设。我的文章的标题取自与这种多价结构相关的术语，并提供了对其表示的仔细阅读。通过仔细阅读 Ponte Dell 的学术提案，它将项目定位在彼得威尔逊当时确立的类型学、仪式和比喻的主题中，以及他称之为“框架和邻接理论”的新兴方法论，这种方法允许“阅读建筑物的双重方式，具象和抽象”。从这一刻起，威尔逊的作品与环境细节建立了更密切的关系，并通过强烈的连接时刻表达了对城市的深切关注，每一个时刻都通过构造细节的诗意表现出来。