Mark Dorrian - The Place of Silence: Architecture / Media / Philosophy

One of four slide sheets given by John Hejduk to editor Brian Healy, which formed the basis of the 1982 Silent Witnesses publication in Perspecta, vol. 19. Courtesy of Brian Healy.

John Hejduk, Sketch for The Silent Witnesses, 1976. Ink with coloured pencils on cardboard, 21.7 x 36 cm, DR1998:0092:001:009, John Hejduk fonds, Canadian Centre for Architecture.

John Hejduk, Plans and elevations for The Silent Witnesses, 19741979. Graphite on paper, 76.3 x 101.7 cm, DR1998:0092:002:006, John Hejduk fonds, Canadian Centre for Architecture.

John Hejduk, Sketch for The Silent Witnesses, 19741979. Felt-tip pen and watercolour on cardboard, 38 x 50.7 cm, DR1998:0092:002:003, John Hejduk fonds, Canadian Centre for Architecture.

Hieronymus Bosch, The Third Day of the Creation of the World, outer faces of the side panels of the triptych, The Garden of Earthly Delights, 14901500. Photographic Archive Museo Nacional del Prado.

Harold E. Edgerton, Atomic Bomb Explosion, 1952. 2010 MIT. Courtesy of MIT Museum.

Legionnaires ironing their uniforms at the French Foreign Legion camp in Djibouti. Film still. Beau Travail directed by Claire Denis Courtesy Curzon Artificial Eye 1999. All rights reserved.

Sentain in the salt flats of Lake Assal. Film still. Beau Travail directed by Claire Denis Courtesy Curzon Artificial Eye 1999. All rights reserved.

The former dance floor, Visaginas, 2017. Photo Daryna Kapatsila, courtesy of the photographer.

Truck driver in front of the Ignalina Nuclear Power Plant, c. 1980. Photo Vasilij Chupachenko, courtesy Marija erbakova.

Detail of the Banga (Wave) Concert Hall, Visginas 2017. Photo Daryna Kapatsila, courtesy of the photographer.

For Sale: Abandoned neoclassical building, Athens city centre. Photo by author.

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Michelangelos hammer, detail from Sigismondo Fanti, Triompho di Fortuna, card 38, 1527. Image in public domain.

Giorgio Vasari, Vulcans Forge, 156768, Oil on copper, 38 x 28 cm, Galleria degli Uffizi, Florence. Image credit: bpk/Alfredo Dagli Orti.

Michelangelo, detail of Mosess knee from the Tomb of Julius II. Photo by author.

Michelangelo, Piet, detail of damage inflicted on the face of Mary by Lszl Tth on 21 May 1972. Vatican, St Peters Basilica. Photo SCALA, Florence.

Aires Mateus, Casa en Brejos de Azeito, 19992000. Photo by author.

Bronze ornament from a chariot pole, c. 1st2nd century AD (Rogers Fund, 1918).

and 9.2b Chapel elevation (9.2a) and enlarged detail (9.2b), Carlo Scarpa, NR #2573 recto. MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura, Archivio Carlo Scarpa.

Diagram by author over fragment of chapel elevation drawing emphasizing eyes and projected lines that the architect drew.

Chapel exterior concrete wall. Photo by author.

Chapel elevation (detail), Carlo Scarpa, NR #2573 recto. MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura, Archivio Carlo Scarpa.

Carlo Scarpa, NR #3455 recto. MAXXI Museo nazionale delle arti del XXI secolo, Roma. Collezione MAXXI Architettura, Archivio Carlo Scarpa.

Gaetano Pesce, The Church of Solitude, Plan View, 197477, MoMA Archives_0136115D Digital image, The Museum of Modern Art, New York. Photo SCALA, Florence.

Gaetano Pesce, The Church of Solitude, Longitudinal Section, 197477, MoMA Archives_0137517D Digital image, The Museum of Modern Art, New York. Photo SCALA, Florence.

Gaetano Pesce, The Church of Solitude, Transversal Section, 197477, MoMA Archives_0137516D Digital image, The Museum of Modern Art, New York. Photo SCALA, Florence.

Stage production of Endgame in the Citizens Theatre, Glasgow in 2016. Tim Morozzo Photography.

Paul Klee, Angelus Novus, 1920. Getty Images/Heritage Images.

John Hejduk, Partial site plan, Victims I, Victims, 1984. Reference number: DR1998:0109:003:019. Part of: DR1998:0109:003:017-019, Site plans and plans. John Hejduk fonds, Collection Centre Canadien dArchitecture/Canadian Centre for Architecture, Montral. Courtesy of Canadian Centre for Architecture. CCA.

The Old Cemetery of Darmstadt. Photo by author.

The Old Cemetery of Darmstadt. Photo by author.

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The cathedral at Worms. Photo by author.

Elisabethen Stift, Darmstadt. Photo by author.

The toilet at Caf Richard opposite Cologne cathedral, Germany. Photo by author.

Offending the Audience by Peter Handke (2013), director Christian Lapointe. Source: Recto-Verso Productions.

Plan of the Comdie franaise in Paris, showing benches on the stage. Source: J.-F. Blondel, Architecture Franoise, 1752.

Section through the auditorium of the theatre in Besanon. Source: C.-N. Ledoux, LArchitecture considre sous le rapport de lart, des murs et de la lgislation, 1804.

A glance at the Besanon theatre. Source: C.-N. Ledoux, LArchitecture considre sous le rapport de lart, des murs et de la lgislation, 1804.

Manuela Antoniu obtained her professional (BArch) and post-professional (MArch) degrees in Canada, and her doctorate at the Architectural Association in London. Her work has been exhibited in Europe and North America. She has published with, among others, Princeton Architectural Press, McGill-Queens University Press, Ashgate and Routledge (for Architectural Theory Review). Having most recently taught at the Bartlett School of Architecture, University College London, in history and theory, she is currently teaching architecture students in Japan how to present their projects in English. She lives and trains in a Zen temple in Kyoto.

Aikaterini Antonopoulou is a lecturer in the School of Architecture of the University of Liverpool, UK. Her research examines the role and agency of digital mediation and representation in the way urban space is perceived, used and produced. From 2016 to 2018 she was the Simpson Postdoctoral Fellow in Architecture at Edinburgh College of Art. Under the theme Digital Cultures and Crisis Athens, her work has focused on the interaction of the digital with the phenomena of the crisis in Athens, Greece: how the homeless, the unemployed and the immigrant, whose active presences in public are minimal, seek to create new grounds for social interaction and a new sense of belonging; how far-right propaganda videos on YouTube reveal unknown Athenian landscapes; and how violence, austerity and poverty become aestheticized via internet images and mass-consumed through the social media.

Gernot Bhme studied physics, mathematics and philosophy, receiving his PhD from Hamburg University, Germany. He was a Professor of Philosophy at the Technical University of Darmstadt and Chair of the Graduate School of Technification and Society. Since 2005 he has been the director of the Institut fr Praxis der Philosophie. His publications in English include: The Knowledge Society (edited with N. Stehr, 1986), Coping with Science (1992), Ethics in Context: The Art of Dealing with Serious Questions (2001), Dark Medicine: Rationalizing Unethical Medical Research (with William R. LaFleur and Susumu Shimazono, 2007), Invasive Technification: Critical Essays in the Philosophy of Technology (2012), The Aesthetics of Atmospheres (2016) and Atmospheric Architectures: The Aesthetics of Felt Spaces