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Nietzsche Memorial Hall was a building promoted by Nietzsche’s sister Elisabeth Förster-Nietzsche as a way of maintaining his legacy and estate. It was also a way for Förster-Nietzsche to secure funding through associating her brother’s work with National-Socialism. The building has lain derelict since 2000. During 2012 the architect historian Simone Bogner and co-worker documented the building to present a case for its preservation.

Haus Wittgenstein was designed by Ludwig Wittgenstein to house his sister Margaret Stonborough-Wittgenstein in Vienna. The completed building was earmarked for demolition in the late-sixties but saved when architect Bernhard Leitner successfully embarked upon a campaign to showcase the building’s architectural worth to the city of Vienna.

The 2 screenplays are set across the dual architectural spaces of The Memorial Hall and Haus Wittgenstein, using ambiguous narrative techniques to draw attention to the building, the unseen camera and the work. The screenplays are mounted onto movable and configurable apparatus which are dimensionally-based on the Haus Wittgenstein. The screens are attached to castors which reference both camera dollies and theatrical partitions.

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