Folding and flexible geometric forms seem to weave in and out of the structures graced with murals by David Louf (known as Mr. June), seeming to imply what a blank facade could have been in the past or become in some imagined future.

Louf toys with a combination of reality and abstraction. Depending on the piece, he sometimes hints at hidden doors, windows and interior spaces. In other cases, his work appears to deconstruct spacetime itself through layered voids.

His murals have been painted everywhere from Miami and Denver to Aruba, China and Berlin, Germany, each a collaboration with his graphic design studio and an exploration of architectural speculation, like science fiction in art form.

Each piece is naturally site-specific, drawing on the materials and structure of the setting, playing up existing features while imagining new details, many of which warp reality around them. See videos of his works in progress above.

Squint and you can see familiar shapes behind the dazzling detail and metallic gold of these 3D-printed chairs, but up close: finer geometries dominate each design.

Developed by John Briscella, this series of seats illustrates how metal printing can optimize for materiality (by leaving calculated voids), against a backdrop of classic furniture forms (and in some cases: set upon more traditional chair leg formations).

But it also highlights the rich array of aesthetic possibilities offered by such an approach, when one, for instance, introduces algorithms and other new technologies to inform geometric expressions.

More about the individual chairs in the series: ‘Nuum’ takes the classical form and progresses toward something new; in an homage to eames, briscella adds the mathematical letter ’n’ — a non negative integer. ‘Geofrei’ is geometrical and free. ‘Seafoam’ is calming — the entire collection is one flush with history — past, present, and a 3D printed, highly optimized future.”

A series of elaborately curved houses designed for Eindhoven will rest like large boulders in the Dutch landscape, illustrating the complex forms made possible by new and evolving 3D-printing technologies.

The first single-story house will be around 1,000 square feet and allow for process refinements for the multi-story units to follow – research and innovation are part of the mandate of the Eindhoven University of Technology and other project partners.

The goal, in part, is to optimize for quality, comfort and cost, with each phase building on the previous iteration, a marriage of experimentation and architectural creation.

Construction will begin this year and the first unit should be occupiable sometime next year. While the ideas are bigger than creating a single small neighborhood of homes, having them be functional in the end is also a key aim of the project.

Weighing close to 10,000 pounds, the complex shape and curvy form of this stainless steel bridge reflects the multi-axis printers that made it, line by molten line, and help highlight the potential of metal-printing technologies.

The MX3D Bridge was designed by Joris Laarman Lab (with engineering help from Arup and other partners) and spans just over 40 feet. It is constructed from a new type of steel, laid down by a team of robots. There is a certain roughness that is a byproduct of the printing process, which could be buffed away, but also may be left to highlight the novel method of construction.

Tucked in a linear warehouse with ordinary-shaped tools and materials, the design really stands out — it is full of winding curves, demonstrating possibilities for complex forms for architectural, industrial, maritime and space applications. Shot out beyond Earth’s orbit, machines like these may build the first non-terrestrial colonies on the moon or Mars using local materials.

This first bridge, however, which has been going through design and construction phases for a long time now, we be installed over a canal in Amsterdam next year, after being subjected to rigorous load tests and analyzed so engineers can learn from and iterate on its design. Given its unusual shape, it doesn’t fit typical building codes — new ones may need to be written for its future counterparts.

Looking at one of his sculptures from a single perspective, it would be easy to mistake them for 2D drawings on a flat surface. After all, architects have a tendency to layer lines as they solve design problems in realtime, resulting in a sketchy quality in their “working” drawings. They often also sketch buildings with overlapping lines, leaving structural intersections seeming fluid and unfinished.

Spanish artist David Moreno sculpts along similar lines, using thin strands to model out architectural creations that appear almost like two-dimensional art on a page.

Strung together with slim piano wire, he builds up his pieces from steel rods that form outlines of buildings as well as architectural details.

There is rarely a clear starting point, and one could imagine any of these constructions being half-finished or, conversely, well past their natural end point.

In the end, there is a kind of gestural quality and uncertainty to each piece, something that architect’s often intentionally cultivate — by creating overlaps and ambiguities, they can allow observers (and clients) to read their own vision into it.

Moreno has created and iterated on these kinds of three-dimensional sketch sculptures for a long time, but has also worked on large-scale installations and furniture-based works. You can see more, too, on his Behance page.