Movement has been a central concept in space syntax research since its conception, and the field has significantly contributed to knowledge on relations between the articulation and configuration of space, patterns of movement flows, spatial cognition, and experience. However, this understanding remains largely focused on cognition as a mental process, and on the perceiving subject through affordances of accessibility-visibility combinations. Movement “as such” tends to remain largely undifferentiated, understood as either rates, densities, or paths. This raises questions concerning the role of embodied experience as well as bodily expressions, communication, and forms of knowledge. This paper engages with choreographic studies to develop a differentiated understanding of movement and find experiential, communicative, and qualitative aspects that can be further linked to spatial configuration, where choreographic concepts such as path, figure, and gesture are understood to operate through architectural formulations. Building on these concepts, this paper addresses the need to (1) develop how configurative analysis can be employed to capture if, how, where, and when movement is differentiated and characterized into different choreographies, and (2) develop notational techniques that enable observations to include such qualitative characteristics and thereby enable more thoroughly qualitative analysis of relations between architecture and movement.