The aim of this thesis is to build a paradigm to unravel the human mind’s fundamental kinship with the cosmos and its role as the vehicle of the universe’s unfolded meaning. The concept of ‘boundary’ is presented as a primary ontological force that drives, provokes and defines our thinking, consciously and subconsciously, in our attempt to achieve an understanding of self within the cosmos. It provides the hidden thread, the ‘limited concept’ that acts as a guide towards the building of this paradigm. Challenging its primarily physical interpretation, this thesis examines the concept of boundary from its genesis, imbedded in the primary moment of the birth of human consciousness within the universe, following it along its progressive complexity. Merging a primarily phenomenological with an epistemological approach by building on a number of essential evolutionary phases in our existence, through a synthesis of induction and deduction, we are confronted by how they are driven by boundary. Myth, religion, language, culture, philosophy, science, and even architecture are manifestations of humanity’s gradual attempt to understand, adapt to and transform our world and ourselves within it and in reference to it, displaying an inherent dynamic between our mind and our world. Bound in this dialectical creative opposition, our conceptualisations of the world are seen both as insights of our mind in its attempt to unravel the meaning of the cosmos, as well as the cosmos’s attempt to gradually reveal its nature within us, thus revealing their radical kinship. Ultimately, the aim is to reveal architecture and its embodied nature as a fundamental manifestation of our existence within the cosmos and to distil its message and purpose, its timeless task. Architecture is exposed as an existential medium, engaging the boundary between man and the cosmos, inviting us to read a model of the world while at the same time endowing us with our own sense of self and finally enabling us to coexist with our world in an interactive evolving equilibrium.

Frente a uma compreensão projetual ampliada na arquitetura contemporânea devido às intersecções disciplinares experimentadas no pós-modernismo, esta pesquisa destaca os processos que anunciam o diagrama como conceito que efetiva um novo modus operandi arquitetônico. Percebendo as ramificações teóricas que são geradas sobre este tema dentro do discurso dos arquitetos, este trabalho busca na definição semiótica de diagrama em Charles S. Peirce e na sua derivação filosófica em Gilles Deleuze e Félix Guattari um suporte instrumental para a compreensão da configuração do discurso do diagrama na arquitetura. Partindo do pressuposto que a possibilidade de um conceito só é efetivada em sua interpretação, recorremos à análise de textos e obras de Peter Eisenman e do escritório UNStudio na tentativa de compreender como o conceito transita nestas arquiteturas. / Facing an amplified projectual comprehension in contemporary architecture due to the disciplinary intersections experimented in the postmodernism, this thesis emphasize the processes that announce the diagram as a concept that effects a new architectural modus operandi. Apprehending the theoretical ramifications that are generated about this theme inside the architect´s speeches, this thesis searches in the Charles S. Peirces semiotics definition of diagram and in its philosophic derivation of Gilles Deleuze and Félix Guattari an instrumental support for the comprehension of the dis- course ´s configuration of the diagram in architecture. Starting from the assumption that the possibility of a concept is only effective inner its interpretation, we had recoursed to the analysis of texts and works of Peter Eisenman and of the office UNStudio in the attempt to understand how the concept transits in these

Frente a uma compreensão projetual ampliada na arquitetura contemporânea devido às intersecções disciplinares experimentadas no pós-modernismo, esta pesquisa destaca os processos que anunciam o diagrama como conceito que efetiva um novo modus operandi arquitetônico. Percebendo as ramificações teóricas que são geradas sobre este tema dentro do discurso dos arquitetos, este trabalho busca na definição semiótica de diagrama em Charles S. Peirce e na sua derivação filosófica em Gilles Deleuze e Félix Guattari um suporte instrumental para a compreensão da configuração do discurso do diagrama na arquitetura. Partindo do pressuposto que a possibilidade de um conceito só é efetivada em sua interpretação, recorremos à análise de textos e obras de Peter Eisenman e do escritório UNStudio na tentativa de compreender como o conceito transita nestas arquiteturas. / Facing an amplified projectual comprehension in contemporary architecture due to the disciplinary intersections experimented in the postmodernism, this thesis emphasize the processes that announce the diagram as a concept that effects a new architectural modus operandi. Apprehending the theoretical ramifications that are generated about this theme inside the architect´s speeches, this thesis searches in the Charles S. Peirces semiotics definition of diagram and in its philosophic derivation of Gilles Deleuze and Félix Guattari an instrumental support for the comprehension of the dis- course ´s configuration of the diagram in architecture. Starting from the assumption that the possibility of a concept is only effective inner its interpretation, we had recoursed to the analysis of texts and works of Peter Eisenman and of the office UNStudio in the attempt to understand how the concept transits in these

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The thesis deals with the history and the interpretation of the development of sacral architecture during the first half of the twentieth century. It interprets the topic in a broad framework, which mentions the historical preconditions of this development and in the most important cases also its international relations. The introductional chapters list all up-to-date publications to the topic and suggest certain means of interpretation of sacral architecture which reflects the natural division of this topic between the disciplines of architectural theory and religion science. The own thesis begins with characteristics of social and religious situation in the Austria-Hungary and its consequences of sacral architectural development. It mentions basic examples of sacral buildings and the measure of their relation to the contemporary architectural development in general. Subsequently it mentions transformational influence of World War I and of declaration of souverain Czechoslovakia, which led to the emergence of new churches with their own architectural ambitions and also to the focus shifting of discipline to new contemporary topics. It follows the parallels with contemporary architectural trends of 1920's and the level of their use in the specific field of religious buildings also in relation to individual churches with their different architectural developments. Further it mentions sacral building development in 1930's with the emphasis in relation to the contemporary social atmosphere and in accent transformation between conservative and progressive religious approach. Than it follows with a review of religious culture transformation during World War II in Protectorate Czech Moravia and shows particularity of unnumerous examples of church buildings and projects from this era. The final part than reflects the evolution of the social role of religion after the War as well as an influence of communist coup in 1948 at potential of sacral architecture. It states the negative influence of both totalitarian regimes on the quality of sacral buildings of following period and on a poor measure of disciplines theoretical knowledge, which among others results in unsufficient primary sources, from which this thesis would likely have taken. Even when this thesis have not and cannot have an ambition of full exploration of the topic, it presents the factography and collecion of interpretations, by means of which the significant gap in the historiography of 20th century Czech sacral architecture can be at least partially bridged.