In Facades 3, the latest in a series of such sets, French photographer Zacharie Gaudrillot-Roy ones again visits flatland, imagining the world constructed like a stage set from virtually two-dimensional building fronts (or sides).

In architecture schools and firms, students and designer often draw or photograph (or these days: turn to Google maps) to capture the street- or ally-facing parts of buildings adjacent to their site — an exercise to understand the context around their new vision.

In previous iterations of this series, the photographer focused on day-lit scenes, often occupied by people and cluttered with other contextual cues. In this latest set, calm, quiet and lonely evenings along country roads are the focus instead, all the more eerie as subjects.

Gaudrillot-Roy adds a twist to this approach, looking at structures from an angle, but nonetheless imagining them to be two-dimensional. He accomplishes the effect by photographing real places, then nearby landscapes to infill gaps when he subtracts. The surrealistic results call into question what lies beyond shared public space, highlighting the invisible voids concealed by facades.

His photographic manipulations are uncanny, creating bizarre effects and optical illusions, all while remaining highly realistic and (perhaps most impressively) quite true to the original real-life source material.

By working from actual photographs, Erik Johansson manages to capture but subvert everyday built environments. Take Under the Corner, for instance, a photo montage he worked on for months.”I shot all the buildings in Prague,” he explains, and “combined the photos using Photoshop. No CGI or illustrated elements.”

He also spent a long time with one of his latest works, Self Supporting, which he says was an “idea I’ve been carrying with me for a long time. I find the structural properties of an arch interesting, where each part is supporting the other. If you remove one it will all collapse but as long as the structure is untouched it will remain strong.”

The landscape for Self Supporting was shot in Bohemian Switzerland in the Czech Republic and the houses were photographed in Prague and Stockholm. One of the constituent structures is shown above. “The sketches start very simple but over time become more detailed.” He sometimes uses SketchUp to model his ideas, but says they also get reshaped by the source material he photographs.

Full Moon Service is about as surreal as the come, but there is a surprising amount of reality baked in per the behind-the-scenes video above. “I brought out 7 rice lamps, 7 light bulbs, an electric generator, a car and two models out in a field” in Sweden, recalls Johansson. It still required some magic, though. “The main part that has been retouched in this photo is to replace the rice ball with a moon texture, the light and the mood was very close to what you see in the photo.”

More from the artist’s website: “Erik Johansson (born 1985) is a photographer and image creator from Sweden based in Prague, Czech Republic. His work can be described as surreal scenes created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn’t capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible.”

When a cold front blew in over Lake Ontario, photographer John Kucko caught wind of the phenomenon and rushed to shoot images of a remarkably frozen home.

Located in Webster, New York, the house is entirely trapped inside ice, a combination of sheets and icicles wrapping the residence on all sides. Outdoor furniture and landscaping elements between the lake and the house were likewise wrapped in frozen water.

An unusual combination of waves, wind and freezing weather contributed to the mix, as well as the home’s proximity to the lake. Winds over 80 mile per hour pushed water the short twenty feet to the residence. You can see more images and videos on the photographers Facebook page.

Years ago, artists in Detroit did something similar but intentional with an abandoned home, showering it with water and letting it ice over for effect.

All kinds of architecture is being inexplicably erased from the Baidu Total View image database (analogous to Google Street View) … and whoever is behind it is doing an oddly haphazard job of removing things.

Freelance photographer Jonathan Browning encountered this mystery a few years ago. He was searching for locations on Total View and discovered a half-erased bridge near some sooty factories and industrial complexes.

A resident of Shanghai, Browning dug deeper and found government buildings, prisons and other municipal infrastructure. These semi-deleted structures were all over, partially hidden in hundreds of Chinese cities viewed by hundreds of millions of monthly Total View users.

In some cases, the partial deletions seem intentional – a building might remain with its sign and smoke stacks gone. In other instances, at least some attempt has been made to erase the entire structure. Often, aftereffects of cloning tools and other basic Photoshop-style manipulations are easy to spot in the picture. Since some of these structures are high, many of them have to be edited in dozens of surrounding views, too. Even normal-sized, street-facing buildings often show up in a few different shots.

Like Google Street view, the images found on Baidu are assembled from shots taken from cars (or persons) with mounted cameras. Also like their international counterpart, Total View removes some sensitive details, but the removals in this case don’t add up in terms of privacy or national security. If anything, they leave traces and thus highlight areas that people like Browning might find worth exploring.

Of course, Browning had to be careful when driving around and photographing places that someone (corporate or governmental) had decided shouldn’t be on publicly-accessible image maps. In the end, no one seems quite sure what these attempted deletions are all about, and the Chinese government, as usual, isn’t saying a thing (via BldgBlog and Wired).

Though the apartheid ended decades ago, many physical barriers remain in South Africa, highly visible in the built environment … especially from above.

Roads, rivers and strips of open land captured by Cape Town-based photographer Johnny Miller illustrate the divide in a photo series dubbed Unequal Scenes.

Details give way to patterns in these birds-eye views, highlighting a landscape-scarring history of institutionalized segregation and inequality. Haphazard and densely packed shacks may fall on one side of a line while organized and expansive homes can be seen on the other, often separated by nearly-invisible lines.

“During apartheid, segregation of urban spaces was instituted as policy,” explains Miller, with “buffer zones of empty land, and other barriers were constructed and modified to keep people separate.” Even today, “communities of extreme wealth and privilege will exist just meters from squalid conditions and shack dwellings.”

“My desire with this project is to portray the most Unequal Scenes in South Africa as objectively as possible. By providing a new perspective on an old problem, I hope to provoke a dialogue which can begin to address the issues of inequality and disenfranchisement in a constructive and peaceful way.” Miller has an upcoming show this fall in Johannesburg for those who want to see his work large and up close, to be announced on his social feeds (via Colossal).