America holds more than two million inmates in its prisons and jails, and hosts more than two million daily visits to museums, figures which represent a ten-fold increase in the last twenty-five years. Corrections and Collections explores and connects these two massive expansions in our built environment. Author Joe Day shows how institutions of discipline and exhibition have replaced malls and office towers as the anchor tenants of U.S. cities. Prisons and museums, though diametrically opposed in terms of public engagement, class representation, and civic pride, are complementary structures, employing related spatial and visual tactics to secure and array problematic citizens or priceless treasures. Our recent demand for museums and prisons has encouraged architects to be innovative with their design, and experimental with their scale and distribution through our cities. Contemporary museums are the petri dishes of advanced architectural speculation; prisons remain the staging grounds for every new technology of constraint and oversight. Now that criminal and creative transgression are America's defining civic priorities, Corrections and Collections will recalibrate your assumptions about art, architecture, and urban design.

America holds more than two million inmates in its prisons and jails, and hosts more than two million daily visits to museums, figures which represent a ten-fold increase in the last twenty-five years. Corrections and Collections explores and connects these two massive expansions in our built environment. Author Joe Day shows how institutions of discipline and exhibition have replaced malls and office towers as the anchor tenants of U.S. cities. Prisons and museums, though diametrically opposed in terms of public engagement, class representation, and civic pride, are complementary structures, employing related spatial and visual tactics to secure and array problematic citizens or priceless treasures. Our recent demand for museums and prisons has encouraged architects to be innovative with their design, and experimental with their scale and distribution through our cities. Contemporary museums are the petri dishes of advanced architectural speculation; prisons remain the staging grounds for every new technology of constraint and oversight. Now that criminal and creative transgression are America's defining civic priorities, Corrections and Collections will recalibrate your assumptions about art, architecture, and urban design.

Reyner Banham examined the built environment of Los Angeles in a way no architectural historian before him had done, looking with fresh eyes at its manifestations of popular taste and industrial ingenuity, as well as its more traditional modes of residential and commercial building. His construct of "four ecologies" examined the ways Angelenos relate to the beach, the freeways, the flatlands, and the foothills. Banham delighted in this mobile city and identified it as an exemplar of the posturban future. In a spectacular new foreword, architect and scholar Joe Day explores how the structure of Los Angeles, the concept of "ecology," and the relevance of Banham's ideas have changed over the past thirty-five years.

How does one envision architecture? Forays gathers the work of Joe Day and Deegan-Day Design into six diptychs, unified by this question. Working in a wide range of media and scales, Day's work mines the differentials between perspective and projection. Forays is organised in six diptychs, the first two paired projects are books in their own right; the second pair, a clothing line and a first building; the third, two houses; the fourth, two plays on brand identity and design methodology; the fifth, permanent and transient cinema proposals; and the sixth, two series of speculative work in local and global registers. Modelled on a comparison of two classic cameras - the Leica M3 and Polaroid SX-70 - each diptych includes a project with more 'Leica' to it - a more bounded, Cartesian clarity or distilled focus - and another closer to an SX-70 in its moving or folding parts, its shape-shifting adaptability.