Abstract
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.
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