The park still contains Benjamin Waterhouse Hawkins's Crystal Palace Dinosaurs which date back to 1854. Designed by Joseph Paxton, the Great Exhibition building was 1,851 feet (564 m) long, with an interior height of 128 feet (39 m). When completed, the Crystal Palace provided an unrivalled space for exhibits, since it was essentially a self-supporting shell standing on slim iron columns, with no internal structural walls whatsoever. Over the years many world leaders visited and were accorded special festivals, with extended published programs. More than 5,000 navvies worked on the building during its construction, with up to 2,000 on site at one time during the peak building phase. A good record of the Festival is provided by the photogravure plates in the sale catalogue published shortly afterwards by Knight, Frank and Rutley and Horne & Co "The Crystal Palace Sydenham To be sold at auction on Tuesday 28th November" (London, 1911), During the First World War it was used as a naval training establishment under the name of HMS Victory VI, informally known as HMS Crystal Palace. The phrase Crystal Palace was originally coined by Punch magazine to describe The Great Exhibition, an iron and glass building designed by Joseph Paxton which was moved to Crystal Palace Park in 1854 and destroyed by fire on 30th November 1936. That which included a description of the dinosaurs was entitled: 'Geology and Inhabitants of the Ancient World. The resulting cube, with a floor area of 24 feet (7.3 m) by 24 feet (7.3 m), formed the basic structural module of the building. It was rebuilt at the top of Penge Peak next to Sydenham Hill, an affluent suburb of large villas. Paxton's modular, hierarchical design reflected his practical brilliance as a designer and problem-solver. When a reasonable number of bays had been completed, the columns for the upper floor were erected (longer shear-legs were used for this, but the operation was essentially the same as for the ground floor). It consisted of an intricate network of slender iron rods sustaining walls of clear glass. Edward Milner designed the Italian Garden and fountains, the Great Maze, and the English Landscape Garden. The flooring consisted of boards 22 centimetres (8.7 in) wide, which were spaced about 1 centimetre (0.39 in) apart; together with the louvres, this formed an effective passive air-conditioning system. [41], Between 15 and 20 October 1934, the Pageant of Labour was held at the Crystal Palace.[42]. The project took place before the development of powered cranes; the raising of the columns was done manually using shear legs (or shears), a simple crane mechanism. Following a contest held on 13 March 1850, it was Joseph Paxton’s project in collaboration with engineer Charles Fox that prevailed over the more than 200 projects submitted to the Building Committee, which included architects Charles Barry and Charles Robert Cockerell. Rain ran off the angled glass roof panes into U-shaped cast-iron channels which ran the length of each roof section at the bottom of the 'furrow'. The fire spread quickly in the high winds that night, in part because of the dry old timber flooring, and the huge quantity of flammable materials in the building. In the years after the Festival of Empire the building fell into disrepair, as the huge debt and maintenance costs became unsustainable, and in 1911 bankruptcy was declared. The FA Cup Final was held here between 1895 and 1914. Two designs, both in iron and glass, were singled out for praise—one by Richard Turner, co-designer of the Palm House at Kew, and the other by French architect Hector Horeau[7] but despite the great number of submissions, the Committee rejected them all. The event showed a significant profit, and a closing ceremony was held on October 15. Thanks to the simplicity of Paxton's design and the combined efficiency of the building contractor and their suppliers, the entire structure was assembled with extraordinary speed—the team of 80 glaziers could fix more than 18,000 panes of sheet glass in a week[16]—and the building was complete and ready to receive exhibits in just five months.[10]. The Palace and its park became the location of many shows, concerts and exhibitions, as well as sporting events after the construction of various sports grounds on the site. The latter was later designed to protect the centuries-old trees of Hyde Park, an excuse for the conservatives to protest against the London Exposition. The basic roofing unit, in essence, took the form of a long triangular prism, which made it both extremely light and very strong, and meant it could be built with the minimum amount of materials. The grand fountains and cascades were opened, again in the presence of the Queen, who got wet when a gust of wind swept mists of spray over the royal carriage. It was instantly regarded as an icon of modernity, and many of its achievements remain unequalled to this day. The Centre Transept of the Crystal Palace also once housed a circus and was the scene of daring feats by acts such as the tightrope walker Charles Blondin. At the end of the Great Exhibition, Prince Albert decided to continue to pursue the objective of the Great Exhibition, namely the education of the general public, as well as of designers and industrial producers, through a new museum institution. In northern corner of the park is the Crystal Palace Bowl, a natural amphitheatre where large-scale open-air summer concerts have been held since the 1960s. [32] The sculptor Benjamin Waterhouse Hawkins was commissioned to make 33 lifesized models of the (then) newly discovered dinosaurs and other extinct animals in the park. It has been suggested that the name of the building resulted from a piece penned by the playwright Douglas Jerrold, who in July 1850 wrote in the satirical magazine Punch about the forthcoming Great Exhibition, referring to a "palace of very crystal".[3]. [40] Buckland and his staff also worked on improving the fountains and gardens,[49] including the Thursday evening displays of fireworks by Brocks. The geometry of the Crystal Palace was a classic example of the concept of form following manufacturer's limitations: the shape and size of the whole building was directly based around the size of the panes of glass made by the supplier, Chance Brothers of Smethwick.
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