Many disciplines have taken an ‘affectual’ turn, from the philosophical lineage of Spinoza, Nietzsche to Deleuze & Guattari where affects constitute bodies according to capacities and processes of becoming, to more recent engagements with ‘new materiality’ that has redirected attention to the expressive properties of materials - matter's relational, interactive and affective capacities. Affect and its indeterminacy as a concept encourage different interpretations. This paper is situated in this complex theoretical landscape. Although numerous studies have examined how affect emerges in- and through- the occupation of architectural spaces, little analytical attention has been paid to the creative process of design and the role that affect plays in the many contingencies that arise in the process. In this context and specifically, this article explores the production and circulation of affect within architectural practices invested in image-making processes. Importantly, it illustrates how affective aspects of image-making in architecture plays a role in the process of design. The study concentrates first on the work of Sara Ahmed who provides a critical engagement with affect as a sticky process, and then extending this to incorporate such things as sticky images. An analysis of the architectural practice of Reiser +Umemoto, RUR Architecture DPC and their project for Kaohsiung Port Terminal is put forward to show how images and image-making can inform and be informed by the design process, and moreover, how they can produce certain affective economies. The article explores the usefulness affect theory in architectural discourse to provide other ways of conceptualising architectural practice beyond being governed by the generations of actual objects and clear processes of production.