Detroit once stood as the intransigent core of the automobile industry, enabling the gestation of a culturally rich and economically productive city.  As a result of its cultural affluence, multiple contextual conclusions can be drawn from its surroundings, each conclusion as ontologically validated as its counterpart. Within the span of a few years, in the present context of the city, Detroit has been disavowed of its previous context and has become a hallow shell of its previous glory. Remnants of its former context inspired the building program as an automobile museum, but given the degeneration of culturally significant typologies the building is treated as an object.

Vector divorce establishes its form from the collision of multiple objects which stretched flatten into each other, creating void space within they interior while retaining the illusion of a complete form on the exterior. Formally vector divorce investigates the manipulation of lines on the facade of the form. These line are the tattoo described as dynamic differentiation of the scale and direction of the tattoo on the object. The object manipulation is concluded as figural cuts are introduced to allow light to enter into the space.