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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 76 is structured as a glossary of terms relevant to contemporary debate in architecture. Each entry has been contributed by a different author, and represents a personal position as much as an attempt to frame the topic in a broader context; the issue therefore maps both a landscape of current concerns, interests, and ambitions, and also an overview of diverse positions and forms of practice. The authors of this glossary are practitioners, academics, students, lawyers, politicians, activists, and their contributions do not only seek to explore the potential of the themes put forward, but also to question the ways in which we can discuss space - as designers, as scholars, as citizens.
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.
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.
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.
Taking inspiration from Giorgio Vasari's Lives of the Artists and Harold Bloom's The Anxiety of Influence, this book elucidates the theory and practice of a selected group of key Japanese architects by situating them within a wider cultural context of art, technology, literature, and politics. Illustrated with rarely seen images and interspersed with previously untranslated texts, the book uses biographical profiles and comparative analyses to trace the evolution of spatial, aesthetic, and behavioral concepts in Japanese architecture over the postwar decades. In particular, the political activism of architects in the 1960s and the social criticism of architects in the 1970s provide a vital source of inspiration for the protean creativity of the Japanese architectural world today.
"This issue of AA Files, the long-running house journal of the Architectural Association, revisits 75 issues of writing and publishing under four successive editors: Mary Wall, Mark Rappolt, David Terrien and Thomas Weaver... Thirty-two pieces have been republished here in facsimile, spliced together to give a portrait of the magazine's life, reflecting its seminal discoveries, thematic spectrum and formal explorations."--Page 3 of cover.
During a tumultuous period in the 1960s and 70s, a new generation of architects began their careers amidst a period of profound social change, new conditions for architecture and the city and lasting changes to popular and critical forms of cultural production. First Works tells the story of this period and reassesses the conditions of architecture and the beginnings of architectural careers through a selection of projects undertaken during the 60s and 70s. The book presents a single key early project, in the form of models, sketches, photographs and drawings, by 20 young architectural practices: Archigram, Archizoom, Aldo Rossi, Alvaro Siza, Cedric Price, Robert Venturi, Norman Foster and Richard Rogers, Paul Virilio and Claude Parent, Rafael Moneo, Renzo Piano, Peter Eisenman, Coop Himmelb(l)au, Toyo Ito, Rem Koolhaas, Daniel Libeskind, Tom Mayne and Michael Rotondi, Morphosis, Bernard Tschumi, Herzog & de Meuron and Zaha Hadid. Alongside these 'first works', 20 invited critics, including Kenneth Frampton, Sylvia Lavin and Pier Vittorio Aureli, offer contemporary commentaries on these projects and their place within the architects' subsequent careers.