As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. And it was like a confirmation of their new dreams and excellent intentions that at the end of their journey their daughter sprang to her feet first and stretched her young body. Franz Kalka Both the opening and concluding sentences of Kafka's story Metamorphosis confirm the prominence of the body in the human perception of self and world. Consistent evidence of such anthropomorphism, whereby the symmetry, frontality, integrity or biology of the human body was advocated as an appropriate analogy for architectural production, may be seen in architectural treatises until the nineteenth century. As the functionalism and -progressivism of the Modern Movement continues to be excavated, it is interesting to note a 'reconstituted body' emerging within recent architectural criticism. This paper proposes to examine such renewed interest in corporeality by concentrating on three architectural theorists whose work develops aspects of phenomenological enquiry : NorbergSchulz and his concept of Genius Loci, Karsten Harries and his description of the natural symbol, and Kenneth Frampton's proposal of the tectonic dimension of a work of architecture. The underlying influence of Merleau-Ponty's later work, in particular his interest in the embodiment of perception, on this corporeal advocacy in architectural theory will be acknowledged. The 'body' invoked by such authors inscribes itself on the body of architecture as a site of resistance to the predominance of the 'visual' and the 'slipperiness of language' in current theoretical writing. It does so along two major trajectories: as an index of time in the experience of a building (both in its circulation routes and in its construction), and as a reminder of the importance of a sentient tactility (enlarged beyond the visual dimension) within such experience. Emerging from such a reading is a body-centered proposition which attempts to reclaim a specific ethical ground for architectural production. It is not, however, without its tensions, oscillating as it does between consideration ofthe body as both an anchor and as an instrument of connectivity between interior and exterior worlds.