It’s not unusual for architecture enthusiasts to drool over elaborate scale models, but edible materials definitely add an extra dimension to our hunger for accurate miniature details. More than 200 pounds of gingerbread, 60 pounds of royal icing and 10 pounds of gum paste and pastillage went into the making of this holiday masterpiece completed by “gingerbread architect” (it’s a thing) Beatriz Muller for Williams Sonoma.

Currently on display in the window of the Columbus Circle location in New York City, the model recreates some of the Big Apple’s most iconic buildings and scenes, all measured and built to scale, including One World Trade Center, the Empire State Building, the Chrysler Building, the Woolworth Building and the Statue of Liberty with the Time Warner Center as the centerpiece. “Gingerbread City” stands more than six feet tall and weighs 300 pounds.

Look closely and you’ll spot some authentic details like a gingerbread subway, taxi cabs, tiny people, store windows painted with icing, construction zones, street signs and trash bags along with trees made of rosemary and dill. Muller notes that many complex gingerbread structures are technically edible, but made with altered doughs that are high on strength and durability while tasting like sawdust. That makes it possible to use carpenter’s tools and sanders for easy construction. Hers, in contrast, actually taste good, and the only tools she uses are a small x-acto knife and ruler.

“I make traditional soft gingerbread cookies and not construction gingerbread. Cookies are baked at a lower temperature so they are a little bit crisper but still soft. The secret to building such big and tall buildings with soft gingerbread cookies lies in erecting the right internal  edible structure that will support the soft cookies. I do this by baking gingerbread posts and beams as well as making pastillage beams to support weight bearing walls.”

“The hardest part of building the gingerbread city was designing the buildings as accurately as possible using Google earth as my guide. I was able to find some information on the web regarding the buildings’ general measurements like height and width, but not much else. I used these measurements as my guide to scale down the buildings and a keen eye on the tablet screen to figure out the rest.”

Nature begins to take back New York City after all the humans are gone in this series of artfully photographed post-apocalypse miniatures. A collaboration between artists Lori Nix and Kathleen Gerber, ‘Empire’ is the duo’s second series on this theme, the first focusing on interiors while the latest depicts exterior scenes. Living in New York provides all the inspiration the artists need, particularly subway rides between Brooklyn and Manhattan, and all of the architectural detail that can be appreciated if you just look up.

Nix is the architect of these tiny structures, while Gerber is the sculptor. The work is labor-intensive, with a single diorama taking anywhere from three to fifteen months to complete. They start each piece in their apartment, and then move to the outside studio when it’s close to being finished to set it up for documentation. The lighting and the tiny details are what give each one its realistic edge.

The materials used include basswood, extruded foam sheets, acrylic, polymer clay and epoxy. The most challenging aspect of the work is making those materials look like something else – for instance, turning a tiny piece of foam and wood into a leather and steel office chair.

“I don’t really have a death wish, it just seems that way,” says Nix. “For the last eight years my photographs have highlighted a fictional urban landscape ‘after’. An aquarium after a flood, a church after a fire, a beauty parlor after…who knows what. Mankind is gone and what remains are vacant fragments of buildings, a few slowly being reclaimed by nature.”

“‘The City’ imagines what New York City and Brooklyn would look like if suddenly mankind had disappeared. The exact cause for the desertion is left vague. Was it a natural disaster, a virus, global warming, war? A few images hint at the destructive history of the space – a library dome crushed by a tornado or a subway car filled with sand. To me, imagining something so globally catastrophic is both chilling and exciting. I often wonder about my own survival instincts when pondering an emptying city.”

Empire, on the other hand, “presents a world transformed by climate uncertainty and a shifting social order as it stumbles towards a new kind of frontier. These places are eerily beautiful but also unsettling in their stillness and silence. Long ago, man entered the landscape and forced nature to his will. Once grand and emblematic of strength and prosperity, these landscapes now appear abused and in decay, and it is uncertain how they will continue to (d)evolve.”

Cities can change so rapidly, leaving behind barely-recognizable versions of the streets we once knew and loved, adapting and transforming along with the rest of the world. It may be a fact of life, but that doesn’t mean we shouldn’t try to preserve what we can of the history that’s meaningful to us – even if that just means paying tribute to it with art. Australian-born, London-based illustrator Max Tiles does just that with tiny illustrated cut-outs, which he often photographs against the real-life buildings they represent.

Tilse’s most recent series captures some of London’s most charming pubs, like The Bricklayers Arms in Fitzrovia, which he describes as “a quaint piece of Georgian architecture… the Bricklayers Arms has been a running pub since 1789.” Other pubs seen here include the Coach & Horses at 5 Bruton Street in Mayfair, The Blackfriar, The Crown in Seven Dials, Covent Garden and The Dove on Broadway Market in Hackney.

Tiles also draws miniatures of other major London landmarks, from Big Ben to the Tower Bridge. While backpacking across Europe, Tilse kept a ‘diary’ of sketches of the scenes he liked most, turning them into 5×5-inch postcards.

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You can see more of his work at his website, and purchase prints at his Etsy shop.

When catching a contemporary Hollywood movie like ‘Blade Runner 2049’ at the theater, it’s easy to assume nearly everything we see is CGI, but a new video from the famed Weta Workshop gives us an inside look at the incredible miniature world they created for the film. They bring Philip K. Dick’s dystopian sci-fi vision of Los Angeles even further into terrifying focus through the lens of director Ridley Scott, showing how the city evolved over the decades that have ensued since the original 1982 film took place.

The city is now blanketed by smog, constant rain and snow from extreme pollution of the entire earth. The Weta design team built upon the original film’s classic aesthetic, making the architecture even more doom and gloom than it was before, and exploring the ways in which the polluted atmosphere affects residents of the city, even at ground level.

Weta artists conceived, built and hand-painted the miniature sets, creating an entire fictional L.A. that’s terrifying and amazing all at once. The centerpiece of the set is the LAPD building, which has come to loom villainously over the rest of the city. The miniature for this particular structure is 16 feet tall, so large and heavy, they had to build it lying down and lift it into vertical position with a chain block.

As noted on Weta’s Instagram, each and every shot of the city (led by cinematographer Alex Funke) “represents many, many hours of meticulous setup and painstaking attention to every detail.”

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“During the film’s production, Weta Workshop was brought on to build large miniatures for many of the key environments. The sequences had been worked out in pre-vis, but required a detailed design pass to imbue the environments with life and realism, these concepts were used as a guide for the miniature teams. Extreme weather, tropical storms, and tsunamis are commonplace in 2049, leaving coastal cities destroyed. Mostly abandoned, the cities are now wastelands, occupied only by scavengers and those that were unable to escape.”

Fit for the most discerning fans of modern architecture, these dollhouses and other miniature architectural creations feature tiny moving parts, high-end designer furniture, swimming pools, built-in lighting and other fun details, rendered in astonishing realism. You’ll almost wish you could shrink yourself small enough to tour their often-fantastical layouts, which range from the luxurious to the gritty.

Flipped Structures & Tiny Towers by Takahiro Iwasaki

Japanese artist Takahiro Iwasaki makes mirrored wood architectural models and tiny towers made of toothbrush bristles, both in ongoing series inspired by the structures commonly found in Japan. The artist says ‘Reflection Model’ is meant to show that everything can become vastly different depending on your perspective.

Urban Utility Buildings by EVOL

Grimy rectilinear urban objects become weathered, aging apartment buildings in the hands of street artist EVOL, who uses cardboard, stencils and spray paint to transform them into micro cities.

Architectural Furniture by Ted Lott

Wooden stools and chairs act as the structural basis for tiny timber-frame buildings by artist Ted Lott. Using found furniture and pine, the artist re-contextualizes stick frame construction, adapting it to the curves of the base object in works that are remarkably skeletal.

Hyperrealistic Architectural Models by Joshua Smith

Every last detail on Joshua Smith’s incredible architectural models looks aged, weathered and utterly realistic, from peeling paint and stained awnings to graffiti and posters wheat pasted onto the walls. The artist finds real-life urban buildings to use as a starting point and crafts everything from trash bags in a dumpster to Chinese takeout on tiny rooftop dining tables, from the restaurant on the bottom floor.

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Architecture In Miniature 13 Modern Dollhouse Other Tiny Buildings