The main purpose of this thesis on Space Networks is to make a contribution to urban design - aiming at the level of the urban designer's or architect's prestructure (after the site has been seen, and before any plan/section/elevation drawings are done). It is meant for those designers involved in research themselves, and who accept the idea that they are, in a way, the first users of what they design. The additional purpose is to provide a sociological, psychological, and spatial scale context for dynamic design. Space is looked upon as a network. Where the space-of-possible-movement (taking the shortest/most agreable/most energy demanding/etc way, depending whether you are in a hurry/strolling/exercising yourself/etc respectively) is called Hodological Space Movement - through-space-with-intention is used as a generator for design. We start with a proposed cognitive/perceptual notation of four spatial conceptual components: First with Section-Perspective (by which we do away with the facades, and considering the building not in isolation - in the form of an endless isometric). Then the Tube (employing the anticipation, cognitively, of the projecting brain of man for his path of action), and also the Sequential (progressive sequences) and Binary (visual contrasts of 'wholes') - these perceived as man moves through his Hodological space. There are six Chapters and an Appendix. Chapter I is introductory, and its three parts are extended in the Chapters that follow: Movement Through Space in Chapters 3 and 4, Space-Movement Notation in Chapters 5 and 6, and the Intended Fieldwork And Pilot Questionnaires in the Appendix. In Chapter 2 the clarifying distinction is made between space for activity and space for profit. Which issue, far from a refinement, shifts the problem back to where it belongs: the society values - of which the designer himself partakes. ln Chapter 3 man is not seen from the stimulus-response, but the cognitive psychology side: not passive, but projecting his intentions into his environment - and if it goes a bit too far in that direction it is in compensation for the opposite view. In Chapter 4 a comprehensive classification of space, into Hodological, Ambient, and Personal, is made for the designer's understanding and use. All three spaces are more fundamental to him than Euclidean space which is significant only in relation to them. In Chapter 5 the four-component Notation is a rticulated into the cognitive/perceptual anthropological model of cognitive anticipation (see Tube), and perceptual experience (see Sequential and Binary), together with a comparative discussion of the other notatorst work, ranging between the scales of landscape design (Halprin) and microspace behaviour (Hall). In Chapter 6 the proposition of using the present anthropological model of a cognitive/perceptual notation of design-for-movement has been taken up as a process employed in experimental design. The program of designing for Hodological space - as well as for Ambient space which accompanies progress through Hodological space - links psychological research to design for the pedestrian.