...think of the "document" as a collections of essays and project documentation. The openning essay can be my figuring out how to open the overall topic, in essence, an introduction to all the issues at hand. Always keep in mind that appositions is a design strategy (and not so much a design theory, per se).
...construct the Villa Appositional model, and then generate a bunch of related graphics as well.
...what other models need to be made. Well, there's the Brant House Addition, as well as the DeVore, Adler and Fisher Houses. There's actually all kinds of CAD work that needs to be done...
Today I found a passage from 2013 that had fallen through the cracks, at it mentioned the novel starting at the Palais des Congrès where there is a named conference being attended by all the various architects that have been inspired by the late Le Corbusier design (which, come to think of it, isn't all that many different architects). I had totally forgotten this intention, and I like its general idea of starting the story via specific building locations. Thus, just maybe the novel comprises stories about all the various buildings as they arrive within my personal chronology. Going by my personal chronology then, it starts with Bannister Fletcher and Kedleton Hall/Whitmarsh Hall, Scott's Architecture of Humanism chapter 8 (then Clark's The Nude--for the canon of Polyclitus), the a+u Kahn book/Dominican convent, Bernini's double theater, Huff's 'Symmetry', Serlio's Geometry, Dresdner Bank, Stanza's "Geometry", House for Schinkel competition, Clay Workers Co-op, Museum of Architecture, Ichnograpica. This is all getting a little funky, but it is how it all happened for me. Did I take the Building Analysis course during my year off (Fall '78, Spring '79)? I think so, maybe Fall '78. In any case, I already made the Giurgola-Stirling connection by that time, a precursor to reenactment. Try to get all these early occurrances in correct chronological order. Include Hal Guida's Roma Interrotta presentation Spring '78 (3rd year housing studio). And I still want to find out when I saw the Stirling Düsseldorf model at Catelli gallery (Fall '75? TASA NYC trip--Beaux Arts at MoMA) or there was also a TASA NYC trip Fall '77?). Gosh, this is all getting a bit too complicated, but maybe that's just how the novel starts, by trying to figure out what influences and ideas happened when and in what sequence. When did the Kahn-Piranesi-Campo Marzio connection sink in? After the Museum of Architecture comes "Urbanization of the Benjamin Franklin Parkway", then the Stewardson competition, then the ICA thesis. Since I used the Campo Marzio for a preliminary Stewardson design (Januray 1981), I definitely made the connection before then. I knew of the Civic Art book by Spring '79, thus I knew the Campo Marzio in full by then as well--what are the earliest occurrances of the ICM in Oppositions? Actually, all this makes for a very good/interesting beginning of novel architecturale.
(2015.08.31) The Fasolo Campo Marzio diagrams are in Oppositions 13, and Kahn and the Ichnographia are in the Frampton "French Connection" Oppositions 22, so I'll go by those dates, plus the ICM in Tafuri's Architecture and Utopia, which I was at least aware of in Sprind '78 (early meeting for Stanza 3 and the theme of history--I was going to write a review of the book so I probably had a copy of the book by Summer '78 (I guess, did I have it with me in Missouri?). Just start compiling all the data via web pages, and that's how the novel starts.
where am I now?
...the [dossier] index, is going to greatly aid in making quondam.com a much better museum. It really is important for me to start consolidating all the 'topic' data into 'essays' or 'books'.
...placing most of the dossier-essays-books within saga/city. It is what is taught at GAUA.
...thinking about how to begin Appositions and I'm thinking I have to construct Villa Appositional and compare it to OMA's NATO Headquarters.
list of tasks
ASouq modeling (at Villa Valeriani) with library elements(?).
Philadelphia School redux much like "in the zeitgeist"--just follow the outline.
NNTC modeling as per new sections.
redo of PSAOCRI, again, much like "in the "Zeitgeist".
place all the museum plans along the Via Flaminia; see if they all fit; dossier.
labyrinth dossier somewhere; mirror-copy plans; Cubist ICM?
working title dossier; does it coordinate with labyrinth?
Cubist ICM story.
give a lot more consideration to 'Changing History'; like 'redrawing history'? note 9-11.
architectural otherness; 21st century Lequeu.
Hadrian's Villa redo (using Quondam collection mixed with ICM fragments?; here's where mirror-copies could be very useful; keep it all to scale.
redo re:Hejduk into more stream of consciousness, make it mostly about redrawing.
library 2 opaque.
make up a Deux Jessieu library model; it won't be exact, rather a new design; I could start by using Palais des Congrès as the baseline mixed with the [virtual] museum museum idea and overlay graphics/plans.
a smaller version Deux Jessieu library with Villa Savoye (or Governor's Palace) as the baseline.
start making my own Andalusian Houses models (using data fragments that are already available, including the mesh surfaces and the REMs.
fill out ICM edges with portions of Cubist ICM; at least fill out the blank areas due to the new IQ grid.
finally get to designing dtm towers where portions of the grid are extruded out as cantilevers, the same goes for portions of the grid that are recessed.
insert House 15 into the John Wanamaker building; still have to see how the plans scale, maybe I just rescale the House 15 plan if it's too short.
in collecting (and learning) the early OMA projects I imagined creating 'knock-off' models of the design.
insert bands of Cubist ICM through the regular ICM; are there opportunities to insert bands throught the Philadelphia plan? There is the Pantheon Paradigm band that need to be developed.