Once again, digitally facilitated vector modelization furnishes the means to transform the axial synchrony characteristic of architecture—the synchrony of the "vertebrate axis of man" and the "horizontal symmetries of classical Greco-Christian space"—into the initial coordinates of a temporal virtualization that generates a spatial form supersaturated with the entire repertoire of interstitial spaces buried ‘in-between" these two axes. Here, vectors allow for the morphing of the static museum and the dynamic ferry terminal into one another so that the differences between them are absorbed as the potentiality of the new spatial form.
Unlike the morphing of cubes in Virtual House, however, this process of vector modelization is a means to an end, in the sense that it furnishes the generative source for the built form. In this role, vector modelization functions to supersaturate the built form with interstitial spatial potentialities that comprise so many triggers for (variant) actualization via embodied inhabitation. It is precisely this potential for inhabitation that differentiates Eisenman's project from Frank Lloyd Wright's and Frank Gehry's Guggenheim Museums. Like theşe museum designs, Eisenman's deploys a“centroidal structure." However, whereas both Guggenheims deploy some kind of vertical central organizing axis, the spatial form of the Staten Island Institute envelops and twists on what is, in reality, a central void, effectively denying the orienting function of a large central axis that could link parts together in a continuous itinerary.
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