The order comes from a passage describing the trigrams in sequence as a process: activity begins in one quarter, the things of the world come forth, they are set in order, they labour, they are brought to completion, and the cycle returns to its start. Read as a circle that gives each trigram a direction and a point in the year, and the resulting figure describes the world in operation rather than in balance.
Opposite trigrams are no longer complementary pairs, which is the visible difference from the other arrangement. That directional assignment is what connects the figure to the rest of Chinese correlative cosmology. Each direction already carried a season, a phase, a colour and a class of things, and the trigrams slot into that framework, so a single position on the circle can be read for its trigram, its season, its phase and its associated qualities at once. It also maps onto the nine cell square of numbers known from the same body of tradition, with the eight trigrams arranged around a centre that belongs to none of them. That correspondence is what makes the arrangement usable as a grid laid over a physical space rather than only as a circle to be contemplated, and it is the basis of every practice that divides a site, a building or a room into eight sectors and a middle. Once a figure can be laid on a floor, it can be used to make decisions about that floor, and that is the whole of the difference in how the two arrangements are employed.