Figure 10 – Screenshot from Maholy-Nagy ’ s @ New Architecture at the London zoo ( New Architecture at the London Zoo , 1936 )
Figure 11 - “ Zoo ”, Page 5 ( Browne , 1992 )
ARCH321 themselves were moved from the pool forty-two years before “ Zoo ” was first published . Demonstrating an antiquated post-war example of zoo enclosures was clearly an intentional decision in order to better support the moral narrative of the story , as it shows an enclosure such a far cry from the widely used imitations of natural environments which constitute most zoo habitats today .
The book finishes with an image of the zoo after closing time ( Fig . 12 ), the buildings silhouetted against a moonlit night . This image is intended as a reflective tool , following swiftly after the conclusion of the narrative and offered as a crutch to support the reader ’ s understanding of the text . The colour used follows a similar manipulative pattern that has been exhibited previously throughout the book , however here cold grey skies grow more colourful as the eye climbs the page , dissolving into a deep blue sky . Further to this there is a lifeless nature to the black and greys used to shade the lower portion of the image , while the gradual increase in colour saturation as the eye travels away from the architecture subliminally implies that as the zoo is left behind , so too is the lifelessness , boredom and fear which Browne has insinuated exist within the architecture in the book .
In the uppermost portion of the image the silhouettes of two birds can be seen . With this Browne has clearly further exaggerated the disconnection illustrated in the relationships between the animals and their enclosures over the previous pages ,
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ARCHITECTURE