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Journal articles on the topic 'London Crystal Palace'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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Leventhal, F. M. "“A Tonic to the Nation”: The Festival of Britain, 1951." Albion 27, no. 3 (1995): 445–53. http://dx.doi.org/10.2307/4051737.

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No event of the post-Second World War decade in Britain is recalled as affectionately or enveloped in such an aura of nostalgia as the Festival of Britain, a five-month series of cultural events and exhibits, with its centerpiece at the South Bank in London. But the Festival dear to the recollections of those growing up during and after the war diverged sharply from the original conception of its progenitors.In 1943 the Royal Society of the Arts, partly responsible for the Great Exhibition of 1851, suggested to the government that an international exhibition along similar lines be staged in 19

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Isaac, López César. "La aportación estructural del Crystal Palace de la Exposición Universal de Londres 1851. Una ampliación del enfoque histórico tradicional = The structural contribution of the Crystal Palace to the 1851 Great Exhibition held in London. An extension of the traditional historical approach." rita_ Revista Indexada de Textos Académicos, no. 2 (October 9, 2014): 76–83. https://doi.org/10.24192/2386-7027(2014)(v2)(03).

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El objetivo del presente artículo es el de establecer la línea histórica que conduce desde la aplicación arquitectónica de los primeros elementos estructurales de hierro industrializado en edificios de varias plantas y cubiertas hasta la aplicación primigenia del pórtico rígido autoportante en un edificio de varias plantas. En este recorrido, el Crystal Palace de la Exposición Universal de Londres 1851 se revela como un elemento clave que articula la transición desde la tipología de entramado metálico estabiliz

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Chatterjee, Arup K. "Oriental Dressings, Imperial Inhalations: The Indian Hookah in British Colonial Culture." Journal of the Economic and Social History of the Orient 65, no. 1-2 (2022): 279–324. http://dx.doi.org/10.1163/15685209-12341568.

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Abstract Over the course of its Anglo-Indian career, the hookah began as an archetype of colonial hybridity in eighteenth-century Bengal, before entering nineteenth-century London and its consumer sensorium as a seductive Oriental artefact, through travelogues, hookah clubs, Indian-styled diwans and a massive cataloguing of Eastern artefacts culminating in the Crystal Palace Exhibition (1851) and the Colonial and Indian Exhibition (1886). Hookahs appeared simultaneously as smoking instruments, decorative artefacts and visual signs of surplus colonial enjoyment in memoirs, travelogues and paint

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WITTON, MARK P. "THE PAST, PRESENT AND FUTURE OF MEGALOSAURUS BUCKLANDII IN PALEOART." Earth Sciences History 44, no. 1 (2025): 202–46. https://doi.org/10.17704/1944-6187-44.1.202.

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ABSTRACT Seven years separate the naming of Megalosaurus bucklandii from its inauguration into paleoart in 1831, an event that also marked the first flesh reconstruction of a non-avian dinosaur. Megalosaurus has been a mainstay of paleoart ever since, but its popularity as subject matter has wavered. Widespread interest was achieved in the mid-1800s, associated with display of a life-size model in the Crystal Palace park grounds of Victorian London, but competition from other, more completely known dinosaurs diminished its paleoart role in the 20th century. Internationally, modern paleoartists

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Jones, Paul. "Architecture, Time, and Cultural Politics." Cultural Sociology 14, no. 1 (2020): 61–79. http://dx.doi.org/10.1177/1749975520905416.

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Architecture is inextricably entangled with time. Illustrating this point, the article explores two moments of architectural production centred on London in the mid-19th century: the ‘Battle of the Styles’, a struggle over the social meaning of historicist architectural design and its suitability for state-funded public buildings; and the proto-modernist Crystal Palace, which housed the Great Exhibition of 1851. While ostensibly involving different cultural orientations to pasts-presents-futures, both cases reflect how political claims can involve the mobilisation of temporalised architectural

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Schoenefeldt, Henrik. "Adapting Glasshouses for Human Use: Environmental Experimentation in Paxton’s Designs for the 1851 Great Exhibition Building and the Crystal Palace, Sydenham." Architectural History 54 (2011): 233–73. http://dx.doi.org/10.1017/s0066622x00004068.

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When the horticulturist Joseph Paxton first published his proposal to house the 1851 Great Exhibition of the Works of Industry of All Nations inside a glasshouse of enormous scale at Hyde Park, London, the scheme was praised as a more practical alternative to an earlier idea that had been put forward by the Royal Commission for the Great Exhibition’s own Building Committee. However, the feasibility of Paxton’s idea soon became the subject of concern. The use of glasshouses for the cultivation of plants was well established, but could this type of building now be adapted to the task of accommod

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Speck, Olga, and Thomas Speck. "Biomimetics in Botanical Gardens—Educational Trails and Guided Tours." Biomimetics 8, no. 3 (2023): 303. http://dx.doi.org/10.3390/biomimetics8030303.

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The first botanical gardens in Europe were established for the study of medicinal, poisonous, and herbal plants by students of medicine or pharmacy at universities. As the natural sciences became increasingly important in the 19th Century, botanical gardens additionally took on the role of public educational institutions. Since then, learning from living nature with the aim of developing technical applications, namely biomimetics, has played a special role in botanical gardens. Sir Joseph Paxton designed rainwater drainage channels in the roof of the Crystal Palace for the London World’s Fair

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Merrill, Lisa. "Exhibiting Race ‘under the World's Huge Glass Case’: William and Ellen Craft and William Wells Brown at the Great Exhibition in Crystal Palace, London, 1851." Slavery & Abolition 33, no. 2 (2012): 321–36. http://dx.doi.org/10.1080/0144039x.2012.669907.

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Howlett, E. A., W. J. Kennedy, H. P. Powell, and H. S. Torrens. "New light on the history of Megalosaurus, the great lizard of Stonesfield." Archives of Natural History 44, no. 1 (2017): 82–102. http://dx.doi.org/10.3366/anh.2017.0416.

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Early reports of large bones from slate mines in the Middle Jurassic rocks at Stonesfield, Oxfordshire are reviewed, along with previously unpublished accounts of the workings. The material that formed the basis for publication of the genus Megalosaurus Buckland and Conybeare, 1824 is documented. The lectotype, a partial right lower jaw, was acquired by Sir Christopher Pegge, Dr Lees Reader in Anatomy at Christ Church, Oxford in 1797. The paralectotype sacrum was acquired by an Oxford undergraduate, Philip Barker Webb, sometime prior to 1814, as revealed by a letter to William Buckland from Ge

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Morley, Ian. "James Buzard, Joseph W. Childers, and Eileen Gillooly, eds. Victorian Prism: Refractions of the Crystal Palace. Charlottesville and London: University of Virginia Press, 2007. Pp. 327. $45.00 (cloth)." Journal of British Studies 47, no. 3 (2008): 703–4. http://dx.doi.org/10.1086/590298.

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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.

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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every build

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Lenoir, Timothy. "A ciência produzindo a natureza: o museu de história naturalizada." Episteme – Filosofia e História das Ciências em Revista 2, no. 4 (1997): 55–72. https://doi.org/10.5281/zenodo.6509731.

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<strong>RESUMO</strong>: A partir da história dos museus de história natural, este texto discute como a natureza tem sido representada nestes espaços privilegiados, os quais têm “autenticado” visões de natureza, desde o século passado. Tais representações da natureza têm sido produzidas de acordo com os interesses políticos, econômicos, etc., dos grupos que as produzem. Examinando a história do estabelecimento da Exposição do Palácio de Cristal e do Museu Britânico de Hist&oa

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Spear, Jeffrey L. "BOOK REVIEW: Peter H. Hoffenberg.AN EMPIRE ON DISPLAY: ENGLISH, INDIAN AND AUSTRALIAN EXHIBITIONS FROM THE CRYSTAL PALACE TO THE GREAT WAR. Berkeley and London: University of California Press, 2001." Victorian Studies 45, no. 2 (2003): 343–44. http://dx.doi.org/10.2979/vic.2003.45.2.343.

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Worden, Nigel. "Peter H. Hoffenberg, An Empire on Display: English, Indian and Australian Exhibitions from the Crystal Palace to the Great War. Berkeley, Los Angeles and London (University of California Press) 2001. 418 pp., illus. ISBN 0-520-21891-4." Itinerario 27, no. 1 (2003): 121–23. http://dx.doi.org/10.1017/s0165115300020350.

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FORGAN, SOPHIE. "HERMIONE HOBHOUSE, The Crystal Palace and the Great Exhibition: Art, Science and Productive Industry. A History of the Royal Commission for the Exhibition of 1851. London and New York: Athlone, 2002. Pp. xx+451. ISBN 0-485-11575-1. £40.00 (hardback)." British Journal for the History of Science 37, no. 4 (2004): 479–80. http://dx.doi.org/10.1017/s0007087404336174.

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Peers, Douglas M. "Reading Empire, Chasing Tikka Masala: The Contested State of Imperial HistoryAfter the Imperial Turn: Thinking with and through the Nation, edited by Antoinette Burton. New York, Routledge, 2003. vi + 360 pp. $69.95 US (cloth), $23.95 US (paper).Captives: Britain, Empire and the World, 1600-1850, by Linda Colley. London, Cape, 2002. xvii + 424 pp. $27.50 US (cloth), $16.00 US paper.Imperial Fault Lines: Christianity and Colonial Power in India, 1818-1940, by Jeffrey Cox. Stanford, California, Stanford University Press, 2002. xiv + 349 pp. $60.00 US (cloth).Empire: The Rise and Demise of the British World Order and the Lessons for Global Power, by Niall Ferguson. New York, Basic Books, 2003. xxix + 383 pp. $17.95 US (paper).An Empire on Display: English, Indian and Australian Exhibitions from the Crystal Palace to the Great War, by Peter H. Hoffenberg. Berkeley, California, University of California Press, 2001. xxvii + 404 pp. $50.00 US (cloth).Empire and the Sun: Victorian Solar Eclipse Expedition, by Alex Soojung-Kim Pang. Stanford, California, Stanford University Press, 2002. xii + 194 pp. $55.00 US (cloth), $21.95 US (paper).The Strangled Traveler: Colonial Imaginings and the Thugs of India, by Martine Van Woerkens. Translated by Catherine Tihanyi. Chicago, Illinois, University of Chicago Press, 2002. xvi + 343 pp. $55.00 US (cloth), $24.00 (paper)." Canadian Journal of History 39, no. 1 (2004): 87–104. http://dx.doi.org/10.3138/cjh.39.1.87.

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Boardman, Philip. "From Extraordinary Success to No Considerable Results: Victorian Music Entrepreneurialism and the Crystal Palace Brass Band Competition 1860–1863." Nineteenth-Century Music Review, December 15, 2021, 1–24. http://dx.doi.org/10.1017/s1479409821000446.

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The July 1860 Crystal Palace Brass Band contest brought brass bands out of their heartlands to London in unprecedented numbers, The Times (12 July 1860, 9), lauding its success as ‘quite extraordinary’. This landmark event was repeated in three successive years, but in 1863 it was abruptly terminated, and no cogent explanation has been established for its failure. The entrepreneur organizing the contests, Enderby Jackson, later wrote in his autobiography that other business dealings prevented him from further involvement in the series. Jackson had made full use of his talents and contacts to b

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Bower, Bruno. "Creating a ‘Classic’ in the Programme Notes of the Crystal Palace Saturday Concerts." Nineteenth-Century Music Review, February 14, 2025, 1–28. https://doi.org/10.1017/s1479409824000399.

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The Crystal Palace held a key position in London concert life during the 1860s and 70s as one of the few public venues to host high quality orchestral music. Importantly, audience members were able to buy single tickets on the day, as opposed to the prevailing practice of paying for a whole-season subscription, making the Saturday Concerts accessible to a much greater range of people. To cater to this newly-broadened audience, the programme booklets featured lengthy programme notes, a form of writing that was still in its infancy (the earliest examples date from the 1840s). These notes were a

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John, Simon. "A Crusader Duel at the Crystal Palace: The statues of Godfrey of Bouillon and Richard the Lionheart at the Great Exhibition." Journal of Victorian Culture, April 27, 2021. http://dx.doi.org/10.1093/jvcult/vcab011.

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Abstract This article examines the display of two sculptures of medieval figures at the Great Exhibition in 1851. Those sculptures – Carlo Marochetti’s Richard Coeur de Lion and Eugène Simonis’ Godefroid de Bouillon – both honoured figures remembered as crusaders, and are better known in their permanent bronze versions that stand today in London and Brussels respectively. However, it is often overlooked that both works appeared at the exhibition, with Marochetti displaying his work on behalf of England, and Simonis exhibiting his on behalf of Belgium. Their appearance in 1851 stimulated a mult

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Morley, Sarah. "The Garden Palace: Building an Early Sydney Icon." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1223.

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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memori

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Mahon, Elaine. "Ireland on a Plate: Curating the 2011 State Banquet for Queen Elizabeth II." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1011.

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IntroductionFirmly located within the discourse of visible culture as the lofty preserve of art exhibitions and museum artefacts, the noun “curate” has gradually transformed into the verb “to curate”. Williams writes that “curate” has become a fashionable code word among the aesthetically minded to describe a creative activity. Designers no longer simply sell clothes; they “curate” merchandise. Chefs no longer only make food; they also “curate” meals. Chosen for their keen eye for a particular style or a precise shade, it is their knowledge of their craft, their reputation, and their sheer abi

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Goodall, Jane. "Looking Glass Worlds: The Queen and the Mirror." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1141.

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As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure b

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Highmore, Ben. "Listlessness in the Archive." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.546.

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1. Make a list of things to do2. Copy list of things left undone from previous list3. Add items to list of new things needing to be done4. Add some of the things already done from previous list and immediately cross off so as to put off the feeling of an interminable list of never accomplishable tasks5. Finish writing list and sit back feeling an overwhelming sense of listlessnessIt started so well. Get up: make list: get on. But lists can breed listlessness. It can’t always be helped. The word “list” referring to a sequence of items comes from the Italian and French words for “strip”—as in a

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Sully, Nicole. "Modern Architecture and Complaints about the Weather, or, ‘Dear Monsieur Le Corbusier, It is still raining in our garage….’." M/C Journal 12, no. 4 (2009). http://dx.doi.org/10.5204/mcj.172.

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Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Ar

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Webb, Damien, and Rachel Franks. "Metropolitan Collections: Reaching Out to Regional Australia." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1529.

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Special Care NoticeThis article discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the processes of colonisation. Content within this article may be distressing to some readers. IntroductionThis article looks briefly at the collection, consultation, and digital sharing of stories essential to the histories of the First Nations peoples of Australia. Focusing on materials held in Sydney, New South Wales two case studies—the object known as the Proclamation Board and the George Augustus Robinson Papers—explore how materials can be shared with Aboriginal people

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Mules, Warwick. "A Remarkable Disappearing Act." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1920.

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Creators and Creation Creation is a troubling word today, because it suggests an impossible act, indeed a miracle: the formation of something out of nothing. Today we no longer believe in miracles, yet we see all around us myriad acts which we routinely define as creative. Here, I am not referring to the artistic performances and works of gifted individuals, which have their own genealogy of creativity in the lineages of Western art. Rather, I am referring to the small, personal events that we see within the mediated spaces of the everyday (on the television screen, in magazines and newspapers

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Green, Lelia. "No Taste for Health: How Tastes are Being Manipulated to Favour Foods that are not Conducive to Health and Wellbeing." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.785.

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Background “The sense of taste,” write Nelson and colleagues in a 2002 issue of Nature, “provides animals with valuable information about the nature and quality of food. Mammals can recognize and respond to a diverse repertoire of chemical entities, including sugars, salts, acids and a wide range of toxic substances” (199). The authors go on to argue that several amino acids—the building blocks of proteins—taste delicious to humans and that “having a taste pathway dedicated to their detection probably had significant evolutionary implications”. They imply, but do not specify, that the evolutio

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