To gain entrance to this darkened slaughterhouse chamber filled with seemingly infinite reflections, you’ll have to dial a phone number that produces a ripple on the surface of the water covering the building’s floor. Outside the otherworldly scene you’ll find a stack of business cards with instructions in two languages “to activate this artwork.” Your presence, the artist insinuates, is an interruption.

Even the title of the work, ‘Every Word is Like an Unnecessary Stain on Silence and Nothingness,‘ makes a statement on the potential sacredness of forgotten spaces, no matter what their origins may be. In this case, the charred room in which you’ll find yourself is the former cooling chamber of a slaughterhouse in Madrid.

Artist Eugenio Ampudia needs very little in the way of augmentation to create the atmosphere within this disused space. The water makes it seem to go on and on, and carries echoes so far that every little squeak of a shoe or muffled cough is amplified.

Ampudia explains that the work is a critique of modern communication. “It’s true that modern technology has allowed us to connect with thousands of people almost simultaneously. But what is happening with communication? Why is draft legislation eing put forward tov eto the flow of information among citizens? What is more disturbing: people trying to communicate something or people uniting with the same intent? Who is scared of the words ‘network’ and ‘community’?”

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.

An unlikely and unique collaboration is in the works between an architect, an inventor and a mathematician-plus-artist to produce a first-of-its-kind printed house in a single shot using cutting-edge 3D construction technologies.

Janjaap Ruijssenaars of Universe Architecture has teamed up with, Enrico Dini, the developer of D-Shape, with help from Rinus Roelofs to design and implement a looping wonder home made of a kind of concrete. It will use sand as the primary aggregate, and be based on huge panels (nearly 20 by 30 feet) with infill.

This connected-panel system will be three-dimensionally complex – incredibly difficult for normal manufacturing processes, and consequently an amazing illustration of the potential of 3D printing for architectural applications. The Möbius strip shape, suggesting infinite possibility, seems an apt one for the project.