This thesis is a hermeneutical interpretation of Dalibor Vesely's book Architecture in the Age of Divided Representation: the Question of Creativity in the Shadow of Production. Its primary objective was to examine how Vesely uses art to establish a theoretical basis (a model) for architectural representation. The value of this study is that it clarifies the role of art within his attempt to establish alternative credentials of intelligibility to those provided by instrumental thinking. Ontological hermeneutics was used as the approach to undertaking research. This defined two areas of focus: the analysis of the part to whole relationships within Vesely's book, and the examination of his sources to locate his work within a philosophical tradition. Specific attention was paid to Vesely's deployment of concepts and interpretive techniques derived from the work of Hans-Georg Gadamer, Martin Heidegger and Jan Patočka. Undertaking these exercises clarified the relationship between his explicit arguments (his critique of the aesthetic understanding of art) and his hermeneutical interpretive techniques. This provided answers to the more obtuse aspects of Vesely's book, including an explanation of why he does not relate his interpretation of Surrealist and Cubist art to specific works of art. The main body of the thesis is dedicated to analysing examples of divided and undivided forms of representations in art produced between the fifteenth and twentieth centuries. Divided forms of representations in art demonstrate the influence of scientific models of intelligibility. This manifests in the formation of emancipated representations that are tied to self-sufficient systems and in representations that objectify the world. Connections were made between Vesely's critique of divided representations in art and his critique of contemporary architecture. The latter part of the thesis was dedicated to the analysis of Vesely's hermeneutical interpretation of Cubist and Surrealist art. His reading of these art movements is overdetermined by the priority within hermeneutics to form continuums in history. Examination of the part to whole relationships in Vesely's book foreground the continuums he forms obliquely by interpreting modern and Ancient Greek art through a consistent set of terms and themes. The thesis concluded by explaining how Vesely uses undivided models of representation in art to form a theoretical basis for architectural representation.