{"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":208,"pdf_page":221,"physical_index":221,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"10d993e286d4d29e096d3db1a6729ed7d36ce184b16e7b2e82c041d4540a88a0"},"chapter":"bodies in code","content":"Insofar as it highlights the way in which the Staten Island Institute interrupts the narrative continuity characteristic of architecture—the continuity between vertebrate man and axial building\"—this comparison serves to expose just how integrally the experiential dimension is built into Eisenman's project. Although, like the Guggenheim museums, it seems massed toward the center,\" in it “the subject moves across the striations, and is denied any continuous spiral.\" Moreover, \"the smooth nature of the space is striated by deep V-shaped sections which begin to define a series of interlocking interstitial layers. The organizing principle of these layers comes from a resistance diagram of flows and vectors. The spatial experience becomes an incomplete narrative, a destination without end” (23).\n\nIn this regard, the Staten Island Institute culminates Eisenman's exploration of interstitial space in earlier projects like the Wexner Center, the Columbus Convention Center, and the Aronoff Center; here, specifically, what originated as a technique designed to interrupt linear spatial narrative is substantially complexified by the deployment of vector modelization.xvi Thus, \"the linear nature of the warps and striations\" of the earlier projects becomes “torqued into a centroidal mass' made all the more complex by its deceptive similarity to a central axis (23). In experiential (or \"narrative\") terms, as the separate architectural forms of museum and terminal interpenetrate (the waiting room literally becoming the museum hall), the itineraries characteristic of each blend together in the local flows of people moving through them.\n\nDissolved into \"bands intersected by vibrant slits and deep Vshaped grooves,\" the architectural object no longer functions to guide the vertical body through horizontal space (Galafaro, 78); rather, as a continuously dilating fluid space, it draws on the \"active, magmatic underground energy” of the site as a force capable of “displacing the body from its hierarchical, upright position within the axial system' (78). The result is a seepage of the spatial dilation onto the body as the conversion of this force into affect replaces the constituent material elements of the building as the index of the architectural sign.\n\nBODIES IN CODE\n\n208","previous_page":207,"next_page":209}