{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","uuid":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","normalized_title":"bodiesincodeinterfaceswithdigitalmedia","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","isbns":["0415970164","0415970156","9780415970167","9780415970150"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":348,"navigation_url":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title_url":"https://workshop.closeclaw.top/ai/title/Bodies%20in%20code%20%20interfaces%20with%20digital%20media","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","page_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/search"},"page":{"printed_page":205,"pdf_page":218,"physical_index":218,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"990fedb766cf69bf4bf69c748e66d3b58436559781a1d86b882731f6dc55f8b1"},"chapter":"bodies in code","content":"For Rocker, the architectural constraint of the virtual is directly correlated with the capacity of embodied affect to transform architecture's interiority.\n\nThis observation returns us to our opening discussion of the singularity of architecture within the field of digital media, its privileged status as the art of the frame. We can now see that architecture must be differentiated from other aesthetic engagements with new media precisely because its vocation is to frame space for inhabitation: architecture alone deploys digital media to conjoin spatial form and embodied inhabitation. This vocation is inscribed into Virtual House through the architectural team's embrace of“incompletion” as the operative element of this confrontation of spatial form and embodiment. In Virtual House, the supersaturating of space through vector modelization yields a spatial form containing a field of forces: the result of a certain delimitation (and protoactualization) of the virtual, these forces can only be actualized as affects through the embodied inhabitation of this spatial form, which can be said to complete the space (though only provisionally), leaving it open to other affective responses and potential completions.\n\nThrough this coupling of formal incompletion and embodied inhabitation the virtual comes to infiltrate architecture; as against a simple and literal materialization of the immaterial, at issue here is a “working of architectural space that affects subject and object.\" The payoff is the coevolution of response and form so that the necessity of stopping the virtual at the level of form has as a necessary correlate finding a way to continue the virtual by other means—that is, through the affective inhabitation triggered by digitally synthesized spatial form. That is why the building's “realization\" is the mode in which it \"continues to become\" (Rocker, \"The Virtual,\" 23).\n\nIf Virtual House articulates the theoretical program for such a coevolution, Eisenman's project for the Staten Island Institute of Arts and Sciences puts it into practice (see Figure 4.9). The project is an ambitious attempt to cross-pollinate two architectural institutions—the ferry terminal and the museum—by breaking down architectural barriers that have long served to separate them:\n\nOur idea is to take an established institution, the Staten Island Institute of Arts and Sciences and, instead of locating it in a nineteenth-century manner at the Snug Harbor parkland, place it in a transformed and enlarged museum facility on top of the ferry terminal. In doing so, the waiting room will open up to become the atrium for the museum. Instead of the traditional museum experience, we propose a museum concept with several different and flexible museum venues. Thus the museum will house interactive displays of science and technology based on the Institute's permanent collection, a \"kunsthalle\" for large traveling exhibitions, and possibly a New York Sports Hall of Fame. In addition, there will be an IMAXlike theater, educational facilities, shops and restaurants available for all users of the terminal. Thus a new dimension of an intermodal facility would be introduced, bringing art, commerce, and travel into a new synthesis.19\n\nWEARABLE SPACE\n\n205","previous_page":204,"next_page":206}