Since time immemorial, images have been an elemental component of architectural knowl­edge. Not only the processes of designing, but also the legitimation, storage, and transmis­sion of historical and theoretical information are based on particular pictorial practices. No less recurring, since Vitruvius canonized the fuzzy terminology of scaenographia as an essen­tial form of representation, have been the debates on the permissibility, in architectural practice, of perspectival and realistic images. With the appearance of digital tools, visual­izations of planned architecture have not only attained an unheard-of realism, but are also expanding the possibilities of manipulation and leading to new forms of aesthetic expression. Not least with respect to the academic interest in the self-contained logic and function of images (iconic turn), these tools and the digital aesthetic that they generate give cause for interrogating the new architectural imagery.