How does one envision architecture? Foraysgathers 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.Foraysis 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 identityand 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.

How does one envision architecture? Foraysgathers 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.Foraysis 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 identityand 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.

How does one envision architecture? Foraysgathers 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.Foraysis 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 identityand 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.