During my years of early development, I trained with a professional ballet company. Through the experience of being a dancer, I understand the application of the body as a structural medium, which operates within the mechanics of ballet to create a vernacular of movement. The classical arabesque pose embodies suspension; when the leg is lifted at a 90-degree angle in derrière, the head, chest, back, and suspended leg must be held in balance. The supporting leg acts as the stabilizing mechanism, comparable to an architectural object distributing weight to posture a building. Understanding the body as a structure, I am simultaneously aware of how the body is confined by, and responds to, the latent potentiality of the surrounding architecture. The enclosure of an architectural shell, around the body, produces a dichotomy of positive and negative space, where the body’s existence is facilitated by their container. The subject’s expression of movement affects the manner in which the space is perceived, and thus, affords new capacities for the shell. The human body can be viewed as an architectural object as their presence alters the description of the built environment, introducing the body as a type. Reimagining the body as a typological unit, a part of architecture, we can imagine what it means to live with architecture.