“The Reversible Destiny Lofts – Mitaka (In Memory of Helen Keller) is a nine-unit multiple dwelling. It was first completed example of procedural architecture put to residential use. These lofts reflexively articulate the residents’ operative tendencies and coordinating skills essential to and determinative of human thought and behavior; which means to say, the lofts manage, by virtue of how they are constructed, to reveal to their residents the ins and outs of what makes a person, in this case the resident. This is the same set of tendencies and skills to which Arakawa and Madeline Gins gave diagrammatic form in their decades-long research project The Mechanism of Meaning”. – Wikipedia

Photo: The exterior of the concept design home “Reversible Destiny Lofts MITAKA: In Memory of Helen Keller” is seen on October 27, 2005 in Tokyo, Japan. (Photo by Koichi Kamoshida/Getty Images)

When Dutch photographer Marcel Heijnen moved to Hong Kong, the territory’s shop cats instantly caught his eye. While the “feline emperors” are the stars, his shots also offer insights into Hong Kong’s wares, from dried fish to paper. Here: Hong Kong Shop Cats #17. (Photo by Marcel Heijnen/Blue Lotus)

Roza Khamitova was born into a family of artists in Kazakhstan. After finishing design school in Manhattan, New York, she was working in fashion industry for about 8 years. As a visual artist Roza had always drawn most of her inspiration from the natural world around her in the mountains of Kazakhstan. In 2011 she launched Shovava, her personal line of women’s clothing based on her hand drawn paintings and prints of the animals, plants and patterns found in nature. Roza was enchanted by the beauty of wings, its structure and symbolism. First, she sketches big wide-spread wings on paper with a light pencil, adds black ink to create a three-dimensional feel and fills with stunning watercolors.

A painting of Chinese President Xi Jinping holding an umbrella is seen on the toilet wall in a guesthouse in Hong Kong December 30, 2014. Set up in a small apartment in the Causeway Bay shopping district, the guesthouse that gives what it calls “Umbrella Revolution Occupation Experience” charges guest HK$100 (US$13) a night to stay in a tent surrounded by pro-democracy banners, a cardboard cutout of President Xi Jinping holding a yellow umbrella, and serve toilet paper printed with the face of embattled leader of Hong Kong chief executive Leung Chun-ying. (Photo by Tyrone Siu/Reuters)

Randy Scott Slavin's photography is surrealism based in reality. His work portrays land and cityscapes in a 360 degree view, a perspective closer to that of the human eye than a 2D photograph, he says. Slavin's "Alternate Perspectives" is a series of photographs of a single location or landmark pieced together to create a 360 degree perspective in a flat image. The results are whimsical, and occasionally eerie, scenes that reflect the portion and scale of Slavin's surroundings when he took the photo.

“Natural History” is a series of completely candid single exposure images that merge the living and the dead to create allegorical narratives of our troubled co-existence with nature. Ghost-like reflections of modern visitors viewing wildlife dioramas are juxtaposed against the antique taxidermied subjects housed behind thick glass, their faces molded into permanent expressions of fear, aggression or fleeting passivity. After decades of over-hunting, climate change, poaching and destruction of habitat, many of these long dead diorama specimens now represent endangered or completely extinct species”. – Traer Scott. (Photo by Traer Scott)

During the feudal times, the society was very structured where everyone knew their place. Fishermen knew that they would always have to bend their knee for highborn ladies and gentlemen, while the latter considered themselves to be far too superior to even look at the common folk. Mont Saint-Michel is a living memorial of those times. Its structural composition clearly reflects the structure of feudal society: The monastery and abbey were built on the highest point; housing and stores were built some distance below; finally, fishermen’s and farmer’s houses were constructed, not even being within the city walls, making them the most vulnerable to the possible attack.

While communism, collectivism, worms, dry rot and casual looting failed to destroy the majestic wooden churches of Russia, it may be ordinary neglect that finally does them in. Dwindled now to several hundred remaining examples, these glories of vernacular architecture lie scattered amid the vastness of the world’s largest country. Just over a decade ago, Richard Davies, a British architectural photographer, struck out on a mission to record the fragile and poetic structures. Austerely beautiful and haunting, “Wooden Churches: Traveling in the Russian North” (White Sea Publishing; $132) is the result. Covering thousands of miles, Mr. Davies described how he and the writer Matilda Moreton tracked down the survivors from among the thousands of onion-domed structures built after Prince Vladimir converted to Christianity in 988.