The exhibition “Until Every Shape Has Found Its City” includes a one-quarter-scale Sears bungalow, originally built by the artist for a show in Aachen, Germany, a sister city of Arlington. (Michael O'Sullivan/The Washington Post)

We’re used to seeing dollhouse-size structures at the National Building Museum, where architectural models are its stock in trade. But sculptor Evan Reed’s miniature buildings, on view at the Greater Reston Arts Center, aren’t so much about the realm of design as they are about the realm of the imagination. Read my review of Reed’s beautiful and mind-bending exhibition here, and check out a few of the artists’s jaw-droppingly elaborate constructions after the jump.

Inspired by Dubai’s construction boom, the 13-foot-tall “Burj al-Shawq” resembles an assemblage made from Tinker Toys. (Michael O'Sullivan/The Washington Post)

“October Hive” is based on philosopher Jeremy Bentham’s Panopticon, a building with a central courtyard surrounded by prison-like cells. (Michael O'Sullivan/The Washington Post)

“A Corner for Gaston and Gonzalo” presses up against the gallery’s window. The circular opening at the top is the aperture of a camera obscura, which projects an image of the street onto a glass plate on the other side of the structure. (Michael O'Sullivan/The Washington Post)

A street lamp across the street from the gallery (and the awning of Il Fornaio restaurant) can be seen on a etched-glass screen built into Reed’s “A Corner for Gaston and Gonzalo,” which functions like a giant camera. (Alex Jamison)

True to its name, Reed’s “Plan and Frame to Confuse” — which features nine house-like structures superimposed on one another — is a mystifying but gorgeous jumble of crazy angles. (Michael O'Sullivan/The Washinton Post )