This volume - the first in an anticipated series of similar anthologies - collates conversations from the past ten issues of AA Files, the long-running journal published by the Architectural Association School of Architecture. It includes extended interviews with architects François Dallegret, Léon Krier, John Winter, Mario Botta, John Frazer, Massimo Scolari, Ludwig Mies van der Rohe and Moshe Safdie, artists Richard Wentworth and Thomas Demand, fi lmmaker Sally Potter, philosopher Paul Virilio, historian Robin Middleton and photographers Tim Street-Porter and Hilla Becher.

This title features essays by Lilly Dubowitz on Stefan Sebok, the art historian Karin Gimmi on Max Frisch, the architectural historian Irene Sunwoo on AATV, the oral historian Linda Sandino on the oral archive, the design historian Eric Kindel on stencils and a conversation between John Morgan and Sally Potter about her father."

AA Files is the Architectural Association's journal of record and offers a platform for exchange connecting the research produced by the AA community to a larger architectural debate globally. Organised in a series of thematic sections that emerged from the AA Files Issue 76 Glossary, each 'file' contains two or more contributions that explore a common keyword constructing a dialogue between a heterogeneous set of authors with the aim to reframe architecture as a critical point of entry through which the most urgent social and environmental questions of today can be addressed. In Issue 77, the themes are Body, Care, Economy, Environment, Labour, Project and Resistance. A special feature 'file' on Home gathers ten perspectives on domestic living during lockdown from Mexico City to Teheran, while ARÓ (Allies Against Discrimination and Disparity) writes on four keywords that have been added to our AA Files Glossary: Afrofuturism, Exile, Third Space and Transience. With contributions by ARÓ, Panos Dragonas and Lydia Kallipoliti, Cooking Sections, Andrea Bagnato, Geoff Manaugh and Nicola Twilley, Leonard Ma, Brittany Utting and Daniel Jacobs, James Westcott and Federico Martelli, Ludovico Centis and Ed Ruscha, Georgios Eftaxiopoulos, Elena Palacios Carral, Neeraj Bhatia, Pietro Bonomi and Nicoló Ornaghi, Christophe van Gerrewey, Hugh Strange, Alejandra Celedón Forster, Hamed Khosravi, Ethel Baraona Pohl, Alessandro Bava, Fernanda Canales, Brendon Carlin, Mariabruna Fabrizi and Fosco Lucarelli, Dan Handel, Harriet Harriss, Peer Illner, Kaveh Rashidzadeh, Charles Rice, Francesca Romana Dell'Aglio, Gabrielle Eglen, Jeremy Lecomte, Oli Surel and Max Turnheim.

What can you do with a degree in architecture? Where might it take you? What kind of challenges could you address? Architects After Architecture reframes architecture as a uniquely versatile way of acting on the world, far beyond that of designing buildings. In this volume, we meet forty practitioners through profiles, case studies, and interviews, who have used their architectural training in new and resourceful ways to tackle the climate crisis, work with refugees, advocate for diversity, start tech companies, become leading museum curators, tackle homelessness, draft public policy, become developers, design videogames, shape public discourse, and much more. Together, they describe a future of architecture that is diverse and engaged, expanding the limits of the discipline, and offering new paths forward in times of crisis. Whether you are an architecture student or a practicing architect considering a change, you’ll find this an encouraging and inspiring read. Please visit the Architects After Architecture website for more information, including future book launches and events: architectsafterarchitecture.com

AA Files 75 features essays by Freya Wigzell, Kristina Jaspers, Claire Zimmerman, Laila Seewang, Roberta Marcaccio, Rebecca Siefert, Shantel Blakely, Francesco Zuddas, Joanna Merwood-Salisbury, Victor Plahte Tschudi, Francisco González de Canales, Ross Anderson, Salomon Frausto, Theo Crosby, Marco Biraghi and Zoë Slutzky, together with a personal reminiscence by Nigel Coates and a conversation between Thomas Daniell and Shin Takamatsu.

AA Files is the Architectural Association's (AA) journal of record. Currently under the editorship of Maria Shéhérazade Giudici, AA Files looks to promote original and engaging writing on architecture. It does this by drawing both on the AA's own academic research, public programme, exhibitions and events, as well as by a rich and eclectic mix of architectural scholarship from all over the world. The forthcoming issue of AA Files examines a range of building typologies and histories from Pyongyang to Lusaka and beyond - its geographic remit is broader than any previous issue. It also features articles looking at some of the wider contexts informing architectural practice, including timelines of ecological rupture, ways of measuring the human body, and the emergence of privatised public space. Contributors include Thandi Loewenson, Calvin Chua, Christina Varvia, Elisa Iturbe, Manijeh Verghese and Madeleine Kessler among others.

Why the rise of redundant precision in architecture and the accompanying fear of error are key to understanding the discipline's needs, anxieties and desires. When architects draw even brick walls to six decimal places with software designed to cut lenses, it is clear that the logic that once organized relations between precision and material error in construction has unraveled. Precision, already a promiscuous term, seems now to have been uncoupled from its contract with truthfulness. Meanwhile error, and the always-political space of its dissent, has reconfigured itself. In The Architecture of Error Francesca Hughes argues that behind the architect's acute fetishization of redundant precision lies a special fear of physical error. What if we were to consider the pivotal cultural and technological transformations of modernism to have been driven not so much by the causes its narratives declare, she asks, as by an unspoken horror of loss of control over error, material life, and everything that matter stands for? Hughes traces the rising intolerance of material vagaries—from the removal of ornament to digitalized fabrication—that produced the blind rejection of organic materials, the proliferation of material testing, and the rhetorical obstacles that blighted cybernetics. Why is it, she asks, that the more we cornered physical error, the more we feared it? Hughes's analysis of redundant precision exposes an architecture of fear whose politics must be called into question. Proposing error as a new category for architectural thought, Hughes draws on other disciplines and practices that have interrogated precision and failure, citing the work of scientists Nancy Cartwright and Evelyn Fox Keller and visual artists Gordon Matta-Clark, Barbara Hepworth, Rachel Whiteread, and others. These non-architect practitioners, she argues, show that error need not be excluded and precision can be made accountable.