Left in the hands of nature by residents fleeing Tehran, these ordinary houses have become backdrops for an extraordinary series of photographs by Gohar Dashti, born during the Islamic Revolution.

Dubbed Home, the series is about the power of nature in the wake of human absence. She was inspired to begin the project after returning to her hometown and discovering a single plant on the deck of a neighboring house.

“It had flourished in their absence,” she recalls, “and its neck now curved against its own weight. It had the power to stay there. Left alone, it would eventually consume and conquer the home.” From there, she began to shoot organic scenes as well as staged setups to illustrate the overwhelming forces of nature, extrapolating reclamation based on a combination of reality and imagination.

More about the artist: “Gohar Dashti received her M.A. in Photography from the Fine Art University of Tehran in 2005. After studying photography in Iran, she has spent the last 14 years making the large scale of her practice concerning in social issues with particular references to history and culture through a convergence of interest in anthropology and sociology.”

“She tries with her own means to express the world around her. Her starting point is always her surrounding, her memory, but with her very personal perception of things. She tries to trace her relationship to society and the world in it’s most sensitive way. Her practice continuously develops from life events and connection between the personal and the universal, the political and the fantasised.”

In countries where walking barefoot is the norm, these durable shoes that grow with a child’s feet can improve health, confidence, even school attendance, according to The Shoe That Grows project from Because International.

Fast-growing feet have always been a problem for children, and is even more challenging in places where families can’t afford frequently purchasing pairs. A combination of velcro and fasteners helps allow these shoes to expand on demand — each pair can shift between five sizes (with three different starter sizes).

The group works with non-profits, schools, churches and individuals to bring this adaptable footwear to kids in need around the world. So far the organization has distributed 120,000 pairs in 91 countries.

“Without shoes, children are especially vulnerable to soil-transmitted diseases and parasites that can cause illness and even death. Children who get sick miss school, can’t help their families, and suffer needlessly.

“And since children’s feet grow so quickly, they often outgrow donated shoes within a year, leaving them once again exposed to illness and disease.”

These kinds of clothing innovations are also not limited to shoes. Ryan Yasin, at the time a master’s student in London’s Royal College of Art’s Innovation Design Engineering program, was likewise inspired to create outfits that would grow with a child. He started experimenting and realized that by pleating synthetic fabric in a particular pattern, it was possible for a piece of clothing to stretch in both directions. One of his early prototypes was able to be used from the age of 6 months up to 36 months, saving parents the cost and hassle of forever buying new jackets.

Powered by solar-paneled roofs overhead, these barge farms feature hydroponic space for produce above and support fish farming below, using extant technologies to offshore vast quantities of food to be grown on the water.

Based in Barcelona, Forward Thinking Architecture is pushing its Smart Floating Farms concept to interested cities and investors, boasting the modularity of this system that can start with a single barge or morph into a fleet of connected vessels. Each barge is designed to yield over 8 tons of fruits and vegetables and nearly 2 tons of fish per year.

The barges would be 656 by 1,150 feet and contain its own desalination plant, able to turn saltwater to fresh for farming purposes. Solar, wind and wave power render each platform self-sufficient in terms of energy as well as relatively independent, needing little human interaction or intervention to function.

While there is no set date for launching the first of these floating farms, the feasibility of the system is promising. It does not presuppose any technology that does not already exist, and represents a natural expansion of development beyond land to adjacent open spaces on the water.

From the architects: “The world population is predicted to grow from 6.9 billion in 2010 to 8.3 billion in 2030 and to 9.1 billion in 2050. By 2030, food demand is predicted to increase by 50% (70% by 2050). The main challenge facing the agricultural sector is not so much growing 70% more food in 40 years, but making 70% more food available on the plate.”

Nestled in the hills on a remote island at the mouth of the Yangtze River in China and full of rich foliage, one could imagine this small fishing hamlet to be an idyllic place, at least for nature if not for people – it has been abandoned by humans now for nearly half a century.

Ivy has become the dominant and defining feature of both the natural and built environments of this place, slowly but surely creeping over sidewalks and streets, up walls and roofs, and ultimately taking over the town.

In some cases, collapsed portions of structures have made it all the more easy for the greenery to work its way over the sides of buildings and into their empty floors.

Set on Gouqi Island, one of hundreds of small islands in the area, the Houtou Wan Village was a victim of changing times and circumstances, a combination of urbanization and depleted fish populations that drove its inhabitants to seek work elsewhere.

Today, it is enjoyed only by visitors who seek it out explicitly, like photographer Jane Qing, chartering boats to travel to its shores and document the decay as well as the rebirth the place is now home to in its second life.

Some say art is as much about process as product – these time-lapse animations show just how true that can be, illustrating the evolution of green-themed graffiti as it creeps, crawls and overtakes the walls on which it is painted.

Weeds is a series of projects by artist Mona Caron (via Colossal), captured on film, that is as much about slow and usually-unseen urban processes as it is about artwork in public spaces.

Of her work and plants themselves, she writes: “they may be tiny but they break through concrete. They are everywhere and yet unseen. And the more they get stepped on, the stronger they grow back. This is a series of paintings of weeds, some of them on-site animations, created as a tribute to the resilience of all those beings who no one made room for, were not part of the plan, and yet keep coming back, pushing through and rising up.”

Mona paints native wild plants and invasive species alike, bringing to light processes that are typically hidden both due to their slow progression and their ubiquitous nature – over time, we stop noticing what is happening “at the margin of things” if we are not paying attention. So far, she has painted plants in Switzerland, India, Greece, and the United States but she is looking for more places to travel and paint as well.