During the first decade at OODA, many ideas were tested and considered for multiple contexts and frameworks. Many had consequences, but many more fell aside, crystallized in a sea of ​​conceptualized, suggested, or theorized possibilities. Therefore, I recently became interested in recycling part of this intangible heritage as inspiration to be reinterpreted through a logic of abstraction and synthesis. As creative tools, abstraction allows us to distance our thinking from the specificity of the project and amplify the dialectic between shadow and form, while synthesis allows us to emphasize the ethereal genesis of the idea or the timelessness of its potential. Thus, these essays in white and shadow were born. Without pretentiousness or artifice, without plans or higher ambitions, they were gradually produced during the pandemic, also as a way to approach and question the creative connection between imagination, digital modeling, and three-dimensional formalization using processes typically more confined to industry, such as 3dprinting, painting, and finishing. Art, like architecture, could be summed up as a process of thought and critical reflection that then uses various tools to materialize it. These essays, besides aiming to expose the beauty of shadow as it traverses and occupies various formal compositions, also seek to address how digital media and new technologies can complement the analog and tactile practice of visual expression.