Tom Dutton demonstrating the freedom to be found away from the zoo . He has included in the illustration an exaggerated bird cage in the bottom left corner , encasing a tree and openly acting as a metaphor for the architecture imprisoning nature .
The silhouetted elevation of the zoo at the bottom of the image is one of the most overt examples of Browne ’ s indifference towards shunning Pre and Post-war architecture . The Giraffe House and Penguin Pool have been omitted from this illustration , while pride of place is taken by two structures , the Elephant and Rhinoceros Pavilion previously discussed and the Mappin Terraces ( Fig . 13 ). Designed by Sir Peter Chalmers Mitchell in 1913 , the terraces are a clear example of the ambitions of late Pre-war architecture beginning to imitate nature , with faux-rocky outcrops creating a natural aesthetic . Despite this , the deep moat and spiked ridge illustrate the hostile environment that these terraces were . It is therefore obvious that Browne has placed these two hostile exhibits at the centre of the image to ensure that in the reader ’ s eyes all architecture at the zoo gives a holistically negative impression .
Conclusion It is evident from a comparison between Browne ’ s presentation and manipulation of Pre and Postwar architecture , that his sole intention is to highlight the hostile nature of enclosure design within the modern zoo , and not to target a specific architectural style . His adaptation of the colour for the Giraffe House and the choice
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Figure 12 - “ Zoo ”, Page 23 ( Browne , 1992 )
Figure 13 - The Buildings of London Zoo , Mappin Terraces ( Guillery , 1993 )