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Relevant bibliographies by topics / London Crystal Palace

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Academic literature on the topic 'London Crystal Palace'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "London Crystal Palace"

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Schoenefeldt, Henrik. "The Crystal Palace, environmentally considered." Architectural Research Quarterly 12, no. 3-4 (2008): 283–94. http://dx.doi.org/10.1017/s1359135508001218.

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In the nineteenth century, horticulturists such as John Claudius Loudon and Joseph Paxton, aware of the new environmental possibilities of glasshouses that had been demonstrated in the context of horticulture, contemplated the use of fully-glazed structures as a means to creating new types of environments for human beings. While Loudon suggested the use of large glass structures to immerse entire Russian villages in an artificial climate, Henry Cole and Paxton envisioned large-scale winter parks, to function as new types of public spaces. These indoor public spaces were intended to grant the u

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Wolska, Dorota. "Garden Palace rozebrany do kości. Sztuka jako anamneza." Prace Kulturoznawcze 21, no. 4 (2018): 69–78. http://dx.doi.org/10.19195/0860-6668.21.4.4.

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Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repress

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Macdonald, R. "Crystal Palace National Sports Centre--London, UK." British Journal of Sports Medicine 24, no. 1 (1990): 10–12. http://dx.doi.org/10.1136/bjsm.24.1.10.

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Eatock, Colin. "The Crystal Palace Concerts: Canon Formation and the English Musical Renaissance." 19th-Century Music 34, no. 1 (2010): 87–105. http://dx.doi.org/10.1525/ncm.2010.34.1.087.

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Abstract This article examines the role of London's Crystal Palace in the popularization of ““classical music”” in Victorian Britain, and in the creation of the orchestral canon in the nineteenth century. The Crystal Palace was originally built in Hyde Park for the Great Exhibition of 1851 and was reconstructed in the London suburb of Sydenham in 1854. This popular attraction assumed a musical prominence in British culture when the ambitious conductor Augustus Manns established an orchestra there in 1855, and presented a series of Saturday Concerts until 1900. Central to this discussion of the

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Addis, Bill. "The Crystal Palace and its Place in Structural History." International Journal of Space Structures 21, no. 1 (2006): 3–19. http://dx.doi.org/10.1260/026635106777641199.

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Completed in 1851 to house the Exhibition of All Nations in London, the Crystal Palace was the first large public building that departed completely from traditional construction materials and methods. It was the first major building to be conceived by its design engineers, William Barlow and Charles Fox, as a rigid-jointed iron frame and one of the earliest to use horizontal and vertical cross-bracing to carry wind loads. Working closely with the contractor John Henderson, the designers also applied their knowledge of modern production engineering methods to ensure the building was constructed

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Bishop, Andrew. "Deep-Time Tourism: "The Encantadas" and Crystal Palace Park." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 80, no. 1 (2024): 83–115. http://dx.doi.org/10.1353/arq.2024.a921518.

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Abstract: This essay explores how Herman Melville's "The Encantadas" (1854) participates in the rise of deep-time tourism, or the desire and market for encounters with long-vanished prehuman beings and places. The same year Putnam's Magazine published "The Encantadas" the Crystal Palace Park in London put on display the world's first full-sized, three-dimensional dinosaurs. After using this event to conceptualize deep-time tourism and the contradictions that define it, the essay makes a two-part argument about "The Encantadas." First, it shows how the tortoises in "The Encantadas" are Melville

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Jobst, Marko. "The problematic object of the London Underground." Architectural Research Quarterly 16, no. 2 (2012): 105–7. http://dx.doi.org/10.1017/s1359135512000425.

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This perspective looks at the London Underground station building and proposes that it has a problematic status which is yet to be fully acknowledged in architectural writing. The emergence of the London Underground in the second half of the nineteenth century challenged some of the basic premises of what would become, by the twentieth century, the standard interpretations of Modernism and, yet, it remains insufficiently researched. In outlining a trajectory that leads from Crystal Palace via the railway station and the hybrid nature of the arcade to the London Underground, the aim is to indic

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Opdahl Mathisen, Silje. "A record of ethnographic objects procured for the Crystal Palace exhibition in Sydenham." Nordisk Museologi 27, no. 3 (2020): 8–24. http://dx.doi.org/10.5617/nm.7719.

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This article investigates the events surrounding the discovery of a double set of Sámi artefacts collected in Norway in the 1850s. While the collecting had received government funding and was initiated by a Norwegian scholar, the commission for it came from London. One set of artefacts was to be exhibited at Crystal Palace in Sydenham, a commercial venue reaching a tremendously large audience. The other set became part of the Ethnographic Museum in Oslo, a much smaller scientific institution established in 1857. By turning the spotlight on the historical context and agencies of these two sets

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Doyle, Peter. "A vision of ‘deep time’: the ‘Geological Illustrations’ of Crystal Palace Park, London." Geological Society, London, Special Publications 300, no. 1 (2008): 197–205. http://dx.doi.org/10.1144/sp300.15.

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Jacklosky, Rob. "Recent Dickens Studies: 2022 (Part I)." Dickens Studies Annual 55, no. 1 (2024): 106–41. http://dx.doi.org/10.5325/dickstudannu.55.1.0106.

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ABSTRACT This article (part one of two) surveys Dickens scholarship and adjacent work with a special emphasis on Dickens Quarterly. The author’s approach was inspired by the alternating micro- and macro- method of Robert Douglas-Fairhurst’s Turning Point 1851, and the personal approach of Annette Federico’s But For You, Dear Stranger (My Reading) and Nick Hornby’s Prince and Dickens: A Particular Kind of Genius. The article identifies these key trends: (1) A turn towards artists and scholars’ personal and autobiographical responses to Dickens’s work/life; (2) a reckoning with race and empire,

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Books on the topic "London Crystal Palace"

1

Brino, Giovanni. Crystal Palace: Cronaca di un'avventura progettuale. Sagep, 1995.

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Reeves, Graham. Palace of the people. Bromley Library Service, 1986.

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McKean, John. Crystal palace: Joseph Paxton and Charles Fox. Phaidon, 1994.

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James, Buzard, Childers Joseph W, and Gillooly Eileen, eds. Victorian prism: Refractions of the Crystal Palace. University of Virginia Press, 2007.

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Edwards, Alison. The Crystal Palace is on fire!: Memories of the 30th November, 1936. 2nd ed. The Crystal Palace Foundation, 1992.

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Ely, Ronald S. Crystal palaces: Visions of splendour : an anthology. Ronald S. Ely, 2004.

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7

1942-, Smith Keith, ed. Clapham Jn. to Beckenham Jn.: Via Crystal Palace (low level). Middleton Press, 1994.

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John, McKean. Crystal Palace: Joseph Paxton and Charles Fox. Phaidon, 1994.

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Campli, Antonio Di. La ricostruzione del Crystal Palace: Per un ripensamento del progetto urbano. Quodlibet, 2010.

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Mersmann, Arndt. "A true test and a living picture": Repräsentationen der Londoner Weltausstellung von 1851. WVT-Wissenschaftlicher Verlag Trier, 2001.

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Book chapters on the topic "London Crystal Palace"

1

Akın, Ömer. "Crystal Palace, London, UK." In Design Added Value. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-28860-0_15.

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"Anon. (1851) Have You Been to the Crystal Palace?" In London. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-139.

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Nichols, Kate, and Sarah Victoria Turner. "‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0001.

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This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and ma

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Boaden, James. "Peculiar pleasure in the ruined Crystal Palace." In After 1851. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0007.

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In 1951 the filmmaker and poet James Broughton moved to London from San Francisco. At that time he was beginning to garner a reputation for his short, whimsical, films, which often made use of outmoded costumes and decaying public spaces. One important reason he gave for moving was the idea that Britain had a more open-minded society for queer artists like himself to work within, in contrast to the McCarthy-era USA. With the help of a number of figures from the British film establishment he managed to make a half-hour-long film The Pleasure Garden in London. The film is for the most part set a

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Hales, Shelley, and Nic Earle. "Dinosaurs Don’t Die: the Crystal Palace monsters in children’s literature, 1854–2001." In After 1851, edited by Kate Nichols and Sarah Victoria Turner. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719096495.003.0008.

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Dinosaurs Don’t Die, claimed the title of Ann Coates’ 1970 children’s book. Coates’ prose, and the charming illustrations by John Vernon Lord which accompanied it, wondered what would happen if the antediluvian monsters from the Crystal Palace came back to life. In fact, the prehistoric creatures had already refused to die: first resurrected by Benjamin Waterhouse Hawkins and Richard Owen in the early 1850s they had survived the 1936 fire to become Sydenham’s only remaining display. The monsters have lived on, both on a set of South East London islands, but also in many children’s books from t

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"Afterlives." In The Great Exhibition, 1851, edited by Jonathon Shears. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719099120.003.0006.

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The Exhibition was an immediate commercial success, but it also had a legacy that went way beyond the event itself. The final chapter of this book shows both the short and long-term manifestations of the Exhibition’s impact. It includes material taken from the debates about the appropriate use of the Exhibition’s surplus funds and the future of the Crystal Palace along with an account of the closing ceremony. It provides reports about the rebuilding of the Palace at Sydenham and its destruction by fire in 1936. The long-term material benefits of the Exhibition are represented through the work

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McGuire, Charles Edward. "Spectacle and Empire." In The Oxford Handbook of Community Singing. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197612460.013.29.

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Abstract This chapter will examine the tradition of mass performances of Handel’s music in London, from the 1784 Westminster Abbey Handel Commemorations to the Handel Festivals at the Crystal Palace (1857–1926), and how they created an imagined, patriotic community. William Weber has called these performances a political emblem, and Howard Smither long identified them with a sense of Victorian progress. They are also an example of community singing, in that the imagined group created through them was less about performance than an assertion of nationality and aesthetic. Indeed, the Victorian p

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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer in Her Own Words." In Madeleine Dring. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0004.

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The most important primary source for the earlier part of Dring’s life is her notebooks, which she used as diaries. Within these fourteen books, she committed her thoughts on music, art, and contemporary films and plays. Other aspects of her life include her appearance and well-being, her horrific experiences at the dentist, the details of her struggles at La Retraite Roman Catholic Girls School, and her close friendship with Pamela Larkin. These diaries also record her impressions of current events, including the burning of the Crystal Palace, the abdication of King Edward VIII and the succes

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Nichols, Kate. "Remaking Ancient Athens in 1850s London: Owen Jones, Gottfried Semper, and the Crystal Palace at Sydenham." In Architectural History and Globalized Knowledge. gta Verlag, 2021. http://dx.doi.org/10.54872/gta/4241-08.

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Parry, Jonathan. "The British Corridor in Egypt." In Promised Lands. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691181899.003.0012.

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This chapter discusses the British policy towards Egypt: a free and unmolested thoroughfare. It argues that British passengers entrusted goods, mail, and gold of enormous value to this route, without qualms about its security. They were building the first railway in the Middle East across Egypt, in order to quicken and assist this transit. The chapter also highlights that Egypt was a valuable trading partner of Britain, noting that traveller familiarity with it gave Egyptian culture a significant presence in London lecture halls and at the Crystal Palace. The chapter then shifts to examine how

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