More questioning than musing, I offer the following thoughts:
This is Raw:
What is the world-view, which Peter Sloterdijk terms 'ecumene' (which I term 'cosmological ontology - the placement and locale of our sentient existence: 'being-in-the-world', of the early 21st century? How are contemporary theorists placing this world-view in a its historical context?
What is the historical narrative of this world-view - what is its lineage? How far back is this evolution traced? What architectural projects mark the liminal moment between contemporary world-view and that of the past? I anticipate a shift in this world-view in the British panoramas of the late 18th century; how do these series of projects act as a transition between two world-views?
In what way can architecture address, either positively or negatively, this world-view? Is it possible to address this world-view beyond mere representation, or naive nostalgia? Is there an example of a recent architectural project which imbues this idea? Is a theatre the appropriate project type that imbues a microcosmic reflection of the world-view? If so, what is a contemporary theatre in a non-traditional sense?
Through what theoretical apparatus can we critically analyze architecture, taking into account its, and our, being-in-the-world?
If space and time are intertwined, is it possible to trace the narrative of my thesis not through a single seminal project in time, but rather through a seminal locale (space): empire and its effect on the way we 'see the world', what Lefebvre might term the 'world-image'? Is London an apogeic example of this transiton between world-views (ecumene)?
What contemporary theorists describe this new world-image?