All the talk of darkness obscures what may come as an aesthetic surprise in “The Dark Knight”: the creepy shadows and gothic Wayne Manor are gone, replaced by sleek towers, shiny surfaces, bright lighting and the vistas of a city with shoulders bigger than Batman’s. “I’ve tried to unclutter the Gotham we created on the last film,” said Nathan Crowley, Mr. Nolan’s production designer. “Gotham is in chaos. We keep blowing up stuff. So we can keep our images clean,” setting a solitary hero against the vastness of Chicago.CLICK HERE to jump to the article in The New York Times. It's a fast, interesting read (with a few new pictures, if I'm not mistaken). Check it out!