This special issue of The Journal of Architecture has its beginnings in a symposium that was organised jointly by Drawing Matter and the Edinburgh School of Architecture and Landscape Architecture, and held in Edinburgh between 9 and 10 April 2018. Recent accessions to the Drawing Matter collection had included drawings and sketchbooks by Peter Wilson, such as his 1998 Eurolandschaft — A Dérive, drawn in a Japanese concertina sketchbook, and it seemed an opportune time to linger with his work. The aimwas to take a long view, revisiting the drawings, texts, and projects in order to explore continuities and transformations across them, and to examine, with a new closeness of attention, their force and consequence. Considerations thus spanned from Wilson’s early speculative projects through those developed during his longstanding collaboration with Julia Bolles, which started in 1980 and that led, with the award of the competition for the New City Library in Münster in 1987, to the establishment of what would in due course become known as Bolles +Wilson, as the practice continues to be called. While the symposium — and this is reflected in this special issue — was especially interested in questions of drawing, it was so in their connection to architectural thinking and the way that graphic techniques inform and shape processes of design. The intention throughout was to reflect upon the interrelationship between Wilson’s drawings and writings, and the designs that he has developed both individually and collaboratively. Born in Australia, Wilson studied at the University of Melbourne before travelling to London in 1971 to join the Architectural Association (AA), which he entered the following year — a period explored in the first part of the extended interview printed in this issue. Although the school was in a precarious state, in the grip of a funding crisis that had threatened its independent status, this was, at the same time, a significant moment of transformation that released great energy. Wilson’s arrival in London had coincided with the appointment of Alvin Boyarsky — whose celebrated unit system was introduced at the start of Wilson’s second year at the school — to the newly established role of AA chair. Studying with

中文翻译：

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简介：建筑线条——彼得威尔逊作品中的冒险

《建筑杂志》这期特刊始于一次研讨会，该研讨会由 Drawing Matter 和爱丁堡建筑与景观建筑学院联合组织，于 2018 年 4 月 9 日至 10 日在爱丁堡举行。最近加入的 Drawing Matter 收藏有包括彼得威尔逊的绘画和速写本，例如他 1998 年的 Eurolandschaft — A Dérive，绘制在日本六角手风琴速写本上，这似乎是一个停留在他的作品中的好时机。目的是放眼长远，重新审视图纸、文本和项目，以探索它们之间的连续性和转变，并以一种新的密切关注来审视它们的力量和后果。因此，考虑范围从威尔逊早期的投机项目到他与 Julia Bolles 长期合作期间开发的项目，该项目始于 1980 年，随着 1987 年明斯特新城市图书馆竞赛的获奖，最终建立了将在由于这种做法继续被称为，适当的时候被称为 Bolles +Wilson。虽然研讨会——这反映在本期特刊中——对绘画问题特别感兴趣，但它与建筑思维的联系以及图形技术告知和塑造设计过程的方式也如此。贯穿始终的目的是反思威尔逊的绘画和作品之间的相互关系，以及他个人和合作开发的设计。生于澳大利亚，威尔逊曾在墨尔本大学学习，然后于 1971 年前往伦敦加入建筑协会 (AA)，并于次年加入该协会——本期刊载的扩展采访的第一部分探讨了这一时期。虽然学校处于岌岌可危的状态，但在资金危机威胁到其独立地位的同时，这也是释放巨大能量的重要转型时刻。威尔逊抵达伦敦恰逢阿尔文·博亚尔斯基（Alvin Boyarsky）被任命为新设立的 AA 主席一职——他著名的单位制是在威尔逊在学校第二年开始时引入的。与学习 次年，他进入了这一时期——本期刊载的延长采访的第一部分探讨了这一时期。虽然学校处于岌岌可危的状态，但在资金危机威胁到其独立地位的同时，这也是释放巨大能量的重要转型时刻。威尔逊抵达伦敦恰逢阿尔文·博亚尔斯基（Alvin Boyarsky）被任命为新设立的 AA 主席一职——他著名的单位制是在威尔逊在学校第二年开始时引入的。与学习 次年，他进入了这一时期——本期刊载的延长采访的第一部分探讨了这一时期。虽然学校处于岌岌可危的状态，但在资金危机威胁到其独立地位的同时，这也是释放巨大能量的重要转型时刻。威尔逊抵达伦敦恰逢阿尔文·博亚尔斯基（Alvin Boyarsky）被任命为新设立的 AA 主席一职——他著名的单位制是在威尔逊在学校第二年开始时引入的。与学习 释放巨大能量的重要转变时刻。威尔逊抵达伦敦恰逢阿尔文·博亚尔斯基（Alvin Boyarsky）被任命为新设立的 AA 主席一职——他著名的单位制是在威尔逊在学校第二年开始时引入的。与学习 释放巨大能量的重要转变时刻。威尔逊抵达伦敦恰逢阿尔文·博亚尔斯基（Alvin Boyarsky）被任命为新设立的 AA 主席一职——他著名的单位制是在威尔逊在学校第二年开始时引入的。与学习