Looking at one of his sculptures from a single perspective, it would be easy to mistake them for 2D drawings on a flat surface. After all, architects have a tendency to layer lines as they solve design problems in realtime, resulting in a sketchy quality in their “working” drawings. They often also sketch buildings with overlapping lines, leaving structural intersections seeming fluid and unfinished.

Spanish artist David Moreno sculpts along similar lines, using thin strands to model out architectural creations that appear almost like two-dimensional art on a page.

Strung together with slim piano wire, he builds up his pieces from steel rods that form outlines of buildings as well as architectural details.

There is rarely a clear starting point, and one could imagine any of these constructions being half-finished or, conversely, well past their natural end point.

In the end, there is a kind of gestural quality and uncertainty to each piece, something that architect’s often intentionally cultivate — by creating overlaps and ambiguities, they can allow observers (and clients) to read their own vision into it.

Moreno has created and iterated on these kinds of three-dimensional sketch sculptures for a long time, but has also worked on large-scale installations and furniture-based works. You can see more, too, on his Behance page.

Photographing real people in actual places, Serge Najjar manages to make the mundane seem strange and fantastical, highlighting the intersection of humans and the architectural spaces they inhabit.

His planned-looking portraits of people in urban environments are surprisingly spontaneous, appearing staged but usually featuring strangers he has never met and captured as he wanders cities.

Technically, Najjar, a lawyer by trade in Beirut, Lebanon, is not even a professional photographer, though the beauty and popularity of his work would suggest otherwise.

His work, which spans from his home city to Rome and Berlin, features both generic architecture and famous places, all with his eye for making the familiar stream foreign and fresh.

While there are common threads, themes and angles to much of his photography, it is impossible to describe the commonality strictly in terms of perspective, as various works break the very conventions he generally follows.