The Crystal Palace was built in Hyde Park to house the treasures of the world for the Great Exhibition of 1851. It became a microcosm of Victorian life, industry and leisure, reflecting every aspect of its age. Designed by Joseph Paxton as a temporary structure its success meant that when it closed it was moved to Sydenham and rebuilt. "... widely regarded as the most authoritative book written about the history of the famous glass Crystal Palace ... " Kentish Times
This volume covers one of the most influential buildings of the 19th century. Joseph Paxton's Crystal Palace was the first public building to omit references to the past. Amid the historicist debates and battle of the styles of mid-19th-century Britain, Paxton's design was rational and straightforward.
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Before Marcuse and Laing, before Heidegger and Sartre, even before Freud, the way was prepared for the anarcho-psychological critique of economic man, of all codes of ideology or absolute morality, and of scientific habits of mind. First published in 1974, this title traces this philosophical tradition to its roots in the nineteenth century, to the figures of Stirner, Nietzsche and Dostoevsky, and to their psychological demolition of the two alternative axes of social theory and practice, a critique which today reads more pertinently than ever, and remains unanswered. To understand this critique is crucial for an age which has shown a mounting revulsion at the consequences of the Crystal Palace, symbol at once of technologico-industrial progress and its rationalist-scientist ideology, an age whose imaginative preoccupations have telescoped onto the individual, and whose interest has switched from the social realm to that of anarchic, inner, 'psychological man'.
A casual outing to the Crystal Palace in London takes a mysterious and murderous turn in The Corpse at the Crystal Palace, the latest mystery in Carola Dunn’s beloved Daisy Dalrymple series. April 1928: Daisy Dalrymple Fletcher is visited in London by her young cousins. On the list of must-see sites is the Crystal Palace. Discovering that her children's nanny, Nanny Gilpin, has never seen the Palace, Daisy decides to make a day of it—bringing her cousins, her 3-year-old twins, her step-daughter Belinda, the nurserymaid, and Nanny Gilpin. Yet this ordinary outing goes wrong when Mrs. Gilpin goes off to the ladies’ room and fails to return. When Daisy goes to look for her, she doesn't find her nanny but instead the body of another woman dressed in a nanny's uniform. Meanwhile, Belinda and the cousins spot Mrs. Gilpin chasing after yet another nanny. Intrigued, they trail the two through the vast Crystal Palace and into the park. After briefly losing sight of their quarry, they stumble across Mrs. Gilpin lying unconscious in a small lake inhabited by huge concrete dinosaurs. When she comes to, Mrs. Gilpin can't remember what happened after leaving the twins in the nurserymaid's care. Daisy's husband, Detective Chief Inspector Alec Fletcher of Scotland Yard, finds himself embroiled in the investigation of the murdered nanny. Worried about her children's own injured nanny, Daisy is determined to help. First she has to discover the identity of the third nanny, the presumed murderer, and to do so, Daisy must uncover why the amnesic Mrs. Gilpin deserted her charges to follow the missing third nanny.
Intrepid cook Kat Holloway puts aside her apron to delve into Victorian London’s high society and catch a killer in this thrilling new mystery from the New York Times bestselling author of Murder in the East End. While attending an exhibition at the Crystal Palace, young cook Kat Holloway is approached by a woman in distress. Lady Covington is a wealthy widow convinced that her entire family is trying to kill her. Kat feels compelled to help. So, she escorts the lady home to discover whether she is delusional or in true danger. When it quickly becomes apparent that the threat is all too real, Kat promises aid. Her charming confidant Daniel McAdam is busy infiltrating a plot against the Crown, and she worries he will not have time to lend his sleuthing expertise. This might be for the best, as Kat fears her growing emotional entanglement with Daniel can only lead to disaster. But soon, Kat faces a more serious threat when her involvement in both investigations plunges her into peril.
Launched in 2002, Swarovski Crystal Palace is a shimmering series of sculptural pieces that had its debut at the Milan Furniture Fair. Through a brief history of Swarovski crystal we learn of its refined tradition as well as its bold vision for the future. Along the way, we delve deeper into the Crystal Palace designers.
From the moment it opened on the first of May in the Crystal Palace in Hyde Park, London, the Great Exhibition of 1851 was one of the defining events of the Victorian period. It stood not only as a visible symbol of British industrial and technological progress but as a figure for modernity--a figure that has often been thought to convey one coherent message and vision of culture and society. This volume examines the place occupied both materially and discursively by the Crystal Palace and other nineteenth- and twentieth-century exhibitions in the struggle to understand what it means to be modern. Initiated in part by a number of conferences held in 2001 to commemorate the 150th anniversary of the Crystal Palace, Victorian Prism provides new perspectives to historians, literary critics, art historians, and others interested in how a large glass building in a London park could refract meaning from Caracas to Calcutta. In its investigations of the ways of knowing and shaping the world that emerged during the planning and execution of this first "world's fair," Victorian Prism not only restores the multiplicity of experiences and other determining factors to our picture of the Great Exhibition; it makes reevaluation of the exhibition and its legacies the occasion for reevaluating modernity itself in its broadest sense--as the cultures, potentialities, and liabilities of the Enlightenment. With essays by a number of leading scholars in their fields, the collection as a whole focuses on how these exhibitions, in attempting to define the cultures of their day, incorporated a range of conflicting ideologies and agendas. In doing so, it offers a richer, more complex understanding of the experience of modernity than we have previously acknowledged. The volume also addresses the ways in which the cultural processes and tendencies brought together in these exhibitions have been refracted down to the present, thus informing and complicating our own relationship to both modernity and postmodernity.
