In Deleuze and Guattari’s ‘A Thousand Plateaus’, the Body without Organs oscillates between the limits of abjection, in the sense of Kristeva, and a lucid, even tactical subjectivity. This paper, in asking what the Body without Organs can do, responds through a reconceptualization of the Baker House and a renegotiation of the erotic in architecture through an instrumentation of laughter following Bergson; not for mockery, but in joy.