The deeper you look into the incredibly detailed drawings of artist Benjamin Sack, the more the cities depicted seem to multiply, as if you could travel through his fractal cities forever and ever without stopping. Drawn in a classical style in black and white, his works play with the topography of architecture that has run amok, growing and expanding upon itself without limits. A little bit Leonardo da Vinci, a little bit MC Escher, the surreal pen-and-ink drawings draw you into fantastical worlds where ‘urban density’ has taken on a whole new meaning.

The American artist, who received his BFA from Virginia Commonwealth University in 2011, also produces time lapse videos of his work, so you can watch it come alive on the page.

“Sacks’ work explores architecture as a flexible medium capable of expressing the unique space between realism and abstraction; where interpretation and our ability to create meaning is in flux,” says Robert Fontaine Gallery, where the artist has displayed work many times over the years. “Within this space, Sack, furnished with pen and ink, encapsulates both the infinite and the infinitesimal. His work invites the eye to explore drawings of the ‘big picture,’ to gaze into a kaleidoscope of histories and to look further into the elemental world of lines and dots.”

“Sack draws a majority of his inspiration from art history and classical music. By combining these interests, Sack’s works become symphonies of ink. As well as art history and classical music, Sack derives a great amount of inspiration from the sciences, history, literature and the contemplation of paradoxes.”

The experience calls the mind the climactic moment of the classic 2001: A Space Odyssey by Arthur C. Clarke, in which our protagonist stares into the void and proclaims “it’s full of stars” in awe before being whisked off to a galaxy far away.

This pair of eye-popping installations in New York by Yayoi Kusama  at the David Zwirner Gallery takes visitors into a field of suspended and spectrum-spanning LED lights, organically staggered like stars, and wall-to-wall, floor-to-ceiling mirrors.

The all-encompassing effect extends to the very door you enter through and close behind you, leaving you and as plank (Silver Surfer board, perhaps) as the only objects in a sea of apparent infinity(images by Steven Meidenbauer, and Rebecca Dale Photography via Colossal).

The artist has been making rooms along these lines for nearly half a century, but in these latest LED-filled wonderlands are the most immersive to date. The show also includes a series of illuminated sculptures, projected videos and wall-hung paintings, but culminates in this pair of these so-called Infinity Rooms that seem to step beyond the boundaries of an art gallery in exist in worlds all their own.

Forget floors, get over familiar geometries and start really thinking in three dimensions if you want to understand this futuristic and multifaceted home concept. Levels are secondary – the focus is movement, interior experience and exterior interaction.

Didier Faustino (images via By Encore) took to the Solo Houses challenge with an outside-in approach, but avoided the typical mistakes of many Postmodern shape-oriented architects who aim for appearance over function.

Dubbed In the Center of the Infinite, the jagged form frames a residential experience of open space, light and views, with occupiable levels filling in around human needs.

Outside, the object spikes out in all directions, clad in rusted steel and perforated by huge windows. Inside, the plan is wide open and floors bleed into walls, which in turn blend into ceilings. This effect is reinforced by a uniform use of plywood and similarly-colored materials throughout.

About the Portugese designer: “Didier Fiuza Faustino works reciprocally summons up art from architecture and architecture from art. Spaces, buildings and objects show themselves to be platforms for the intersection of the individual body and the collective body in their use. Each project represents a concept that subverts the social context, in which seeing is experimenting beyond submission to the dichotomy of the rules that normally mark out public space and private space.”