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Avery Index to Architectural Periodicals

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GreenFILE

Avery Index to Architectural Periodicals

Philadelphia Architecture and City Planning

John Howard, Lazarettos of Europe

J. Howard, /An Acct of the Principal Lazarettoes in Europe/ (e-book)

Spatial Organization & Med. Knowledge

The architecture of the hospital: A study of spatial organization and medical knowledge /

Lindsay Prior

1988

Journal article

British Journal of Sociology, 1988, 39: 86-113

Contains historical material.

Restructuring Isolation: Hospital Architecture, Medicine, and Disease Prevention

Restructuring Isolation: Hospital Architecture, Medicine, and Disease Prevention /

Jeanne Kisacky

2005

Journal article

Bulletin of the History of Medicine, Vol. 79 (2005), p. 1-49

Examines changing strategies of isolation at New York Hospital from 1771 to 1930. (from the abstract)

hist. of NY Hospital

Title:	An architecture of light and air : theories of hygiene and the building of the New York Hospital, 1771-1932 /
Author(s):	Kisacky, Jeanne Susan.
Corp Author(s):	Cornell University.
Year:	2001.
Description:	xiv, 563 p. : ill., plans ; 23 cm.
Dissertation:	Thesis (Doctoral)--Cornell University, 2000.

Copyright Issues and Applications in Architecture

When the subject of copyright law arises in a conversation, one might typically consider the application of copyright rules to written works, or to works of art. One profession that is significantly impacted by copyright law and that may not come to mind immediately, is architecture. Many of the same rules that apply to the creative works that we can read, experience, and hold in our own hands apply to architectural creations as well. However, the evolution of architectural copyright law has been much slower and periodic than the similar legislature that is applied to other creative works. The development of copyright law as applied to architecture found its beginning with the general Copyright Act of 1976, and continued as increasing numbers of specific cases dealing with the subject arose throughout the decades. With the creation of the Architectural Works Copyright Act (AWCPA), one of the most recent, and most important laws dealing with architecture and copyright, both architects and consumers have realized the importance of having at least some basic knowledge of copyright law.

Architecture and Metropolis: Symbolism Brick by Brick

The ways in which the architecture styles used in Metropolis, specifically the upper city and the lower catacombs, aid in the furthering of the film's message and how they have influenced films of future generations

Neil Gerlach and Sheryl N. Hamilton - Preserving Self in the City of the Imagination: Georg Simmel and Dark City - Canadian Review of American Studies 34:2

Gerlach, Neil, and Sheryl N. Hamilton. "Preserving Self in the City of Imagination." Review. Canadian Review of American Studies 2004: 115-34. Project Muse. 21 Nov. 2008 <http://proxy.library.upenn.edu:2298/journals/canadian_review_of_american_studies/v034/34.2gerlach

This article discusses the way the metropolis shapes the film Dark City. Neil Gerlach and Sheryl Hamilton, the authors of the article, delve into the ways in which a large city affects the mood and the theme of the film as well as past films that influenced the prominent use of the city in Dark City. The two also highlight the human psyche of the city and how it leads to the alienation of its citizens as well as the seedy, unnatural feeling of a large metropolitan area.
Dark City, with clear ties to Metropolis, acts as a modern day example of the ways a city’s architecture can drive a films plot as well as reveal facets of characters motivation and drive. Hamilton and Gerlach both give credit to Metropolis for revolutionizing the idea of using a city landscape as a reflection of the film’s motif: for Metropolis that would be the dehumanization of humanity through technology. As seen in the characters of Frederson, who lives high up on the building of the city, the further away he is removed from the ground, the further he is from the human soul and loses the very essence of humanity. This is exactly what Gerlach and Hamilton discuss in the article, concluding with the idea that most protagonist of these films, which rely upon the architecture of the cities to convey their moral, attempt to return to nature. In Metropolis’s case, this would be Freder choosing to be with Maria, the character who represents motherly, earthy nurturing.

Sarah L. Higley - A Taste for Shrinking: Movie Miniatures and the Unreal City - Camera Obscura 16:2

Higley, Sarah L. "A Taste for Shrinking: Movie Miniatures and the Unreal City." Camera Obscura. 2001. 20 Nov. 2008 <http://proxy.library.upenn.edu:2298/journals/camera_obscura/v016/16.2higley.html>.

This article by Sara Higley describes the optical techniques used by filmmakers that allowed them to give the daunting impression of an overbearing metropolis. Going through movies from different generations and genres, Higley offers insight into how these techniques were applied and in what ways they added to the film’s message. Separated by the specific technique, such as miniature cities or dark auras, with a movie that represents the described technique, the article connects many important aspects of movies that rely on the daunting affects that cities instill.
The section that is devoted to Metropolis offers an interesting insight into the way in which the city that adds so much to the film was designed. Lang used a miniature version of the metropolis to allow the feeling of helplessness to overtake the viewer. As it is the intent of Lang to make an individual who may walk in this futuristic city, the towering buildings that outlay the city, this miniaturized city allowed Lang to create these overwhelming towers without the need to actually build life-size models of them. Higley also mentions the use of shades of gray that Lang uses in this metropolis, which convey the idea of the questionable morality of those who live in these monstrosities. It is the architecture of the buildings and their coloring in the film that conveys these ideas of the “evil” rulers of the city and the lower “pure” worker motives. Additionally, Higley touches upon the different shapes that are used to construct the city. Much in the same way as Jacobsen and Sudendorf mention how the lack of uniformity emits a confusion and daunting feeling, Higley reaffirms this by mentioning the multitude of geometric figures that make up the buildings of this horrifying world.

JSTOR: LeonardoVol. 17, No. 2 (1984), pp. 108-112

Norden, Martin F. "The Avant-Garde Cinema of the 1920s: Connections to Futurism, Precisionism, and Suprematism." Leonardo 17.2 (1984): 108-12.

In this book, Martin Norden discusses the ways in which Futurism, Cubism, and Precisionism appear in film. Taking into considerations films of the 1920s, Norden discusses how each of these movements have influenced films and the ways in which one would be able to spot the attributes of these movements in film. Going into detail into what constitutes each of these artistic factions, Norden offers a unique way for viewers to pick up on directors’ subtle use of set designs in order to convey a message latent in the film.
Metropolis’s set design, specifically its city landscape, utilizes two of these movements to help Lang further his theme of the overbearing upper-world versus the underbelly where the workers thrive. Futurism and Precisionism both come into play in the ways in which Lang conveys the city, helping pronounce how the juxtaposition of the architecture movements between the futuristic metropolis and the ancient ruins of below reveal the individual motivations of the working class and the ruling class. Futurism shows up in much of the working class world, giving the workers an almost mechanical motion taking the humanity out of them. The very place in which they work is built around the idea of Futurism, having the machines have very intricate and specific designs, symbolizing the very jobs of the workers. Precisionism, an American idea of using sharp geometric shapes in the city landscape, is also very prominent in Metropolis. This movement adding an aspect of passionless intent to the upper-world, the sharp design of most of the buildings reveals a character attribute of the cold, heartless rulers of this world.

Metropolis : ein filmisches Laboratorium der modernen Architektur = Metropolis : a cinematic laboratory for modern architecture / herausgegeben von Wolfgang Jacobsen, Werner Sudendorf ; mit BeitraL