Sensation of movement might seem irrelevant to experiencing an immobile object, save for the fact that, in architecture (as in sculpture) not all facets of a given whole work, or many other architectural objects, can be perceived at the same time. The spectator or user must move around or within the object to perceive any significant percentage of it, much less the whole. Experience of movement around architectural objects highlights for us the design feature of circulatory paths and contributes to grasping an object’s formal features (such as rhythm in spatial patterns) and perhaps, at least derivatively, its aesthetic features (such as somberness) (Sauchelli 2012a; Rasmussen 1959). These aspects of architectural experience capture the immersive nature of a spectator’s or user’s relationship to a built structure. Further aspects of our experience may capture the architectural object’s immersion in its larger environment and surroundings, its “localized nature” or context and “sense of location” (Carlson 1994). As architectural objects standardly shape our actual, imagined, or remembered bodily engagement, so are our richest experiences of architecture informed by such engagement (J. Robinson 2012).