Images, photographs, animations, and renderings are some of the most visible media through which architecture is conveyed. As a product of the architect, images have probably existed since the Renaissance, but gained a surge of popularity in the industrialization of Europe at the end of the 19th century. They proliferate as an easily understandable medium through which to market, identify, sell, and signal to both the patrons and public. Étienne-Louis Boullée’s rendered images of impossible architecture have remained so salient through their dramatization and painterly worldbuilding. Archigrams images of fantastic urbanisms, or Meis’s collage of an unrealized Berlin skyscraper are examples of images permeating both the discipline and professional practice in profound ways. Fundamentally images have no scale, and thus are separated from drawings and scale models through this abstraction. The lack of dimensionality and flatness has limited their role in construction, but elevated their significance for professional exposure. Today, images dominate the discourse. Social media and the internet has in particular led to an explosion of images. Criticism, conversations, and advertisements are almost exclusively led by digital memes, renderings, photos, and graphics. This cambrian blast of networked signaling is demanding the architect equally produce trendy images for an insatiable follower group, and realistic depictions of constructed projects, bifurcating the image into either a category of cultural production or technocratic archive.