This set of 12 digital prints appropriates Sol LeWitt’s Forms Derived from a Cubic Rectangle aquatint etching prints from 1990 in an exercise of reinterpretation. Rodriguez’s revised version of these minimalist compositions uses emoji characters as a graphic language to transform the original geometric forms into lively architectural objects.

Moving away from the trends of computational form-finding that have gained popularity in the last decades of architectural history, this exercise aims to treat form as a condition defined by external factors. Conceptually, these images treat form and color “as found” as a self-imposed restriction for architectural imagination. The artistic contribution of these images lies primarily in the superposition of meaning and mediums, the collapse of linear time, and vandalism as an authentic artistic gesture.

As a medium for architectural inquiry, the 12 prints are a space for inventive imagination, where both familiar and unexpected situations collide, and narratives are left open for interpretation by the viewer. At the same time, these images aim to explore the architectural possibilities of the box as a formal typology.