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The Human form can be translated and diagrammed in multiple components, such as movement, structure, emotion, and tendency. As the art of dance redefines the limits of the body, these characteristics can be directly applied to the development of and progression through an architectural space. By abstracting movement of the human body, an architectural form can be derived. Observing movement of the human body through an architectural space provides potential design insight and direction. Taking the existing components of the skin and bone in the human body, a structural form and potentially limitless skin for a building can be obtained. How does movement occur within a space and how can an architectural space be designed to 'move'? / Master of Architecture

In an effort to bolster Old Town Alexandria Virginia's burgeoning reputation as a mecca for the arts, I chose to design a dance center, set in what is currently a large parking lot adjacent to King Street's terminus at the Potomac River. Given the importance of movement to my site, especially in terms of pedestrians and the Potomac River, a dance center is a fitting building type. To aid in crafting a cohesive building that spoke to both the demands of the site and the programmatic needs of a dance center, I looked to movement as the answer to all design quandaries: movement as thesis. I developed a stepped parti- a concept informed by strategies to invite, accommodate, and glorify movement. All elements of the building reinforce this parti to create a holistic building. The building follows the ascension of a primary staircase, and is supported by a multitude of columns, simultaneously reminiscent of a corps de ballet and an enchanted forest, both staples in the classical story ballet. / Master of Architecture

The James A. Garfield National Historic Site in Mentor, Ohio includes numerous structures of mid 19th century Victorian Era architecture. After the grounds became a national landmark in 1945, all new additions conformed to the existing historic style. This Thesis proposes that the existing visitors center be relocated from the carriage house to a new structure on site. This new visitor center is sensitive to the existing however, visually different. This architectural position is contradictory to previous additions in the past 50 years. Therefore, to draw a parallel and in an effort to allude to the past, the contemporary visitor center contains the same philosophical ideals of the Victorian reform Aesthetic Movement. Three of those ideals that are present in the visitor center include horizontality, dynamic space and honesty of structure. For the Aesthetes, horizontality was an influence from Japanese design, while the creation of dynamic space was meant to create an emotional response. Honesty of structure meant that a building should posses a clear and evident expression of its structural system and materials. In other words, using materials for their own sake. Even though over one hundred years have passed since the beginning of the Aesthetic Movement, this thesis is an exploration and continuation of those main ideals into contemporary architecture. / Master of Architecture

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The traditionalist Marian movement known as "the Baysiders" began in 1968, when Veronica Lueken, a Catholic housewife from Bayside, Queens, first claimed she was receiving messages from heaven. Thousands flocked to her church to see "the seer of Bayside." Lueken's messages from Mary and other heavenly beings were apocalyptic and described a conspiracy within the Vatican. Church authorities censured Lueken's movement and eventually obtained an injunction banning her vigils from Bayside. However, she continued to appeal to traditionalist Catholics and gave regular prophecies until her death in 1995. Her "Bayside Prophecies" spread across the United States and throughout the world. Though this movement peaked in the 1980s, Baysiders continue to promote Lueken's prophecies today. This dissertation argues that the Bayside movement is best understood relationally-as the result of a dialectic between Lueken, her followers, and Church authorities. Opposition from officials of the Diocese of Greater Brooklyn alienated Lueken from Church authorities, pushing her deeper into her new role as a Marian seer. Similarly, diocesan officials used increasingly confrontational measures to censure Lueken and publicly distance themselves from her movement. This dialectical process led Lueken and her followers to form a new understanding of themselves and their relationship to the Catholic Church, becoming a sectarian movement. The dialectical model employed in this dissertation combines sociological models of charisma and sectarian movements with the reflexive considerations raised by lived religion historiography, which interrogate the assumptions and categorical frameworks of the historian. Religion scholars often frame divergent groups such as the Baysiders by using categories such as "new religious movement" or "folk piety" in ways that quarantine them from the larger religious landscape. This dissertation argues that by emphasizing the dialectic between divergent movements and established religious and secular institutions, it is possible to incorporate such movements into a larger narrative of religious history without entrenching their status as deviant or "other." / 2999-01-01

The "Impetus of Locomotion" takes the implication of a force in which movement happens. This thesis takes this connotatively resonant idea in which movement is construed and creates a static definition of it in a building, in this case a high speed rail station - a literal translation of movement. Through design interventions of modes of transportation, wayfinding, and architectural form, the impetus of locomotion is defined. / Master of Architecture / Architectural movement is an abstract concept in which the way certain forms and spaces are shaped and/or arranged in such a way that creates or invokes a feeling of motion in the architecture itself while remaining static. The goal of this thesis is to achieve this principle in a fundamental way using those arrangements and forms. On the technical side of my project scope, I have researched and implemented the literal modes of movement which would culminate in one location. These concepts of both architectural and literal modes of movement come together in the form of an intramodal station in Houston, Texas.

This thesis seeks to understand how architecture and concepts of movement can inform each other. In this context, the relationships of permeable frame and impenetrable mass become the main constituents of a space in which movement is celebrated. A frame system serves as the principal container for movement, providing a sense of order and orientation defined by architectural rhythm and regularity. Conceptually, the solid mass operates as the grounding element in which the more delicate frames hosting the dancers are secured and presented. The thesis proposes that contrasting notions of frame and mass are together able to foster an architecture, a spatial realm in which the culture of dance can teach and present the quintessential choreographed artistic human movements that we deeply admire. / Master of Architecture / This thesis seeks to understand how architecture and concepts of movement can inform each other. Architecture can use elements of frame and mass to assist in the presentation of movement. The frame provides a sense of order and orientation and acts as the container of movement. Mass provides solidity and acts as a grounding element in which it is able to receive the frame and present it forward. These interactions reveal the duality of the mass and the frame, the static and the dynamic, to enhance the spectacle of movement.