I know the deep night ballet and its seasons best This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance—not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any one place is always replete with new improvisations. Jane Jacobs, The Death and Life of Great American Cities The stoop is a space of spectatorship danceorder
The senses of form and tone Man painted and danced long before he learned to write and construct. The senses of form and tone are his primordial heritage. Sibyl Moholy-Nagy, Pedagogical Sketchbook artformdance
His ear in his toes A Quote by Friedrich Nietzsche The dancer has his ear in his toes. The Eyes of the Skin: Architecture and the Senses dance
Aedicula Front of the Library of Celsus with aediculae in Ephesus. In ancient Roman religion, an aedicula (plural aediculae) is a small shrine. Many aediculae were household shrines that held small altars or statues of the Lares and Penates, household gods guarding the entire house. Other aediculae were small shrines within larger temples, usually set on a base, surmounted by a pediment and surrounded by columns. In ancient Roman architecture the aedicula has this representative function in the society. They are installed in public buildings like the triumphal arch, city gate, and thermae. From the 4th century Christianization of the Roman Empire onwards such shrines, or the framework enclosing them, are often called by the Biblical term tabernacle, which becomes extended to any elaborated framework for a niche, window or picture. Wikipedia en.wikipedia.org Thermal aediculae