LeDeuzzy, Q. |
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| Or again basically taking all the models, the digital and experiments he made among the series of variations of Le Corbusier's projects and putting them all together and producing a sort of hyper Le Corbusierian project. So in this case the pool of digital files combined into a new whole is not, and this is the main difference, I would say, with |
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| the work of Mark Foster Gage downloaded from the web, it's not already available, in this case the pool of available material is built from scratch by Stephen Lauf himself. And so the digitization of this material, the translation of digital content into sequences of ones and zeros, in the end, of this content is the technique that allows Stephen lauf to cast a curatorial eye on architectural history which becomes all the same because it really is the same, it's all sequences, binary sequences of ones and zeros. And then to select some of its parts and to recombine them into new projects, In this case, apparently, and not necessarily there seems to be any ideological stance in front of what modern architecture is, rather it is an exploration of the potential of a digital tool such as in this case AutoCAD [sic], which at that moment was still quite a recent tool for architectural design. |
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