Projective Architecture, as a term of art within the depth-psychology corpus, does not emerge as a single codified concept but rather as a field of convergence among several distinct intellectual traditions: the phenomenology of sacred space, object-relations theory, and the psychology of projection. On one axis, the corpus treats built form — temples, cities, mandalas, mosques — as exteriorizations of psychic structure, wherein inner cosmological imagery is cast outward and crystallized in stone, plan, and proportion. Eliade, Corbin, Jung, Campbell, and Moore each contribute to this axis, reading architecture as the spatial inscription of archetypal content projected from the collective or individual psyche into the material world. On a second axis, the term resonates with the Kleinian-Bionian concept of projective identification, understood not merely as intrapsychic mechanism but as an interpersonal architecture — a constructed relational space built between subject and object through the externalization of internal states. Ogden’s analytic third, Bion’s container-contained model, and von Franz’s meditations on projection as involuntary event all bear on this axis. McGilchrist’s distinction between architective and connective modes of interaction introduces a third register, framing the structural versus fluid dynamics of bonding itself in quasi-architectural terms. The tensions among these readings — literal versus metaphorical, sacred versus clinical, voluntary versus compelled — constitute the productive instability of the term within the library.