Through the Looking-glass, we encounter many Models. Representation of these peculiar models wavers between the medium of photo and render, with frames used as technique to allow the simultaneity of multiple mediums. Its representation acknowledges that fact that we no longer view the world through a single frame of reference. Images of a range of scales and mediums are seamlessly rescaled, collected, and archived across our devices and media platforms. The constructed drawings coinciding with the images reveal how we are able simultaneously engage the Models and its site. The method of representation questions the contradiction of how we observe architecture as image in fluidity and multiplicity despite the fact architecture as building remains singular and static. The consequence is an ambiguity of scale, which is evidenced by how the Models are observed, constructed, and represented. To represent is to construct, and the Models demonstrate how the method of representation projects itself to a method of construction. The framed image is reframed and multiplied to speak about both the image and the physical model. The physical and digital world are blurred by the projection of its shadows.” This presents ways to disrupt and intersect, where the juxtapositions and contradictions are welcomed. As a result, the interpretation of the Models is not singular but multiple, serving as representation of the image-based society. The Models sit as objects of curiosities at the scale of exhibition, victims of the blurred consequence between the physical and the digital world, where its singular objecthood opens up to multiple interpretations and scales.