The image which is usually digitally produced using CAD products does evoke a series of distinctions compared with a traditional version of imagery which initiates to photography or even handcraftsmanship. The major shift observed, when expanding this issue in a period of digital dominance in architecture, is this imageis transparency. This transparency either appears as a tangible, almost tactile quality, or as a vague sense, accessible only to a watchful observer. In both cases, transparency animates the digital image of architecture using a certain morphological vocabulary, closely defined by its transparency itself. The procedure, with which transparency retracts a set of physical laws, automatically places its architectural product among the broad array of the so called “virtual environments”. The examining of digital transparency as merely an additional quality of the architectural matter, which allows the human sight to cross the material, while blocking the physical transition, is definitely a safe suggestion. It leaves, though, a whole field of qualities and identities unexplored. These qualities are connected to the perception of space as simultaneously uniform and fragmented.  One can argue, with a relative safety, that the physical usage of digital transparency as a choice of construction materials, as well as its potential as a representative tool, seem to renegotiate the terms and the conditions of architectureis very procedure. The very nature of the architectural image each time is a transparent, lightweight and ambivalent one.