Léopold Lambert, from The Speech of Things.

“A ruin is not, however, a proof as such. Only a narrative that would integrate the ruin as the object of its plot could transform it into one. The degree of consistency of this narrative is consequently proportional to the degree of truth that it will reach. In other words, we should avoid thinking of justice as the place where “true truth” is established, but rather as the forum—the same etymology as forensic—where “public truth” is debated. Similarly, the law should be less seen as the embodiment of a perfectly ethical set of rules but, rather, as the product of historical dominations crystalized into legislative norms. The public truth is therefore public insofar that it represents the ideological domination at work at the time this truth is constructed. In this way Forensis newly orients the designer’s expertise.

Part of this expertise is built on the ability to use specific tools that inform the discipline. In this regard, many instances of the book introduce a reconstruction of the witness architecture/object as a digital model. This constitutes a chronological inversion to the traditional architectural method, which initially foresees a given building or object through this technique of modeling, then organizes its construction or production. Two particularly probing instances of such an inversion can be found in the book.”