New York Crystal Palace
The New York Crystal Palace was a 1853-1858 exhibition of existing palace in New York City on the nature of the eponymous London's role model. The building was built for the New York World's Fair of 1853, the " Exhibition of the Industry of All Nations ".
Prehistory
The plan for an American " Crystal Palace " came from Edward Riddle, a Boston auctioneer and wheelwright, who had cared for the American part in London. He gathered a group of New York bankers who either visited the London exhibition or wonderful stories had heard about it and were more than willing to invest in a similar project in the United States. The investor group submitted a petition to the board of aldermen in New York City for the use of Madison Square, in Lower Manhattan, where Broadway and Fifth Avenue meet at 23rd Street to a "house of iron and steel for a industrial Exhibition " to build. The petition was granted and issued the necessary press releases. However, as the residents were told around the Madison Square of the project, there were many complaints that the aesthetics of the neighborhood would be ruined, and the construction and traffic noise up to and during the show was unreasonable. The case was brought before the Chief Justice City of New York. The Board of Aldermen granted to investors instead the use of the reservoir area, the. On 42nd Street between Fifth Avenue This place was once the home of Reservoir Park, which still exists as Bryant Park and was named after William Cullen Bryant. It is also the current location of the New York Public Library, which was inaugurated in 1911.
Edward Riddle sold his stake in the project to other investors, who began to organize the exhibition. This commission was a private corporation, but their members themselves had many political connections. By Daniel Webster, Secretary of State at that time, was the new President of the Commission Theodore Sedgwick III, explain the future exhibition building as a customs warehouse.
At the tender for the New York Crystal Palace, Joseph Paxton (1801-1865), architect of the London Crystal Palace, Leopold Eidlitz (1823-1908) who later became the New York State Capitol built in Albany, James Bogardus (1800-1874) involved and his assistant, Hamilton Hoppin (1821-1885) who submitted perhaps the most exciting model. Bogardus he was a tireless advocate for the use of cast iron. His proposal was a 300 foot tall tower, the roof of which was suspended on chains. At the end, the Commission opted for the design of the Danish architect Georg Carstensen, who was known by the Tivoli Gardens in Copenhagen and its partner, the German architect Karl Gildemeister.
Instead of trying to outdo the Palace in London, the Committee had recommended to build a one-story building with a budget of not more than $ 175,000. With the increasing applications for the exhibition soon became apparent that the plans for a two story building had to be designed. Soon the construction costs had risen to $ 200,000.
As had been the architects plan finally adopted in August 1853, the contracts for the masonry work and for the foundation were on September 25 were awarded to Smith & Stewart and Mr. Lorenzo Moses. In order to achieve conformity of individual cast iron arches and railings, the workshop of Messrs. Shepard & Purvis was established as supervision in New York. The suppliers for this have been divided between Messrs. Jackson, Stillman, Allen & Co., Hogg & Delamater, Buckup & Proh, and FS Claxton from New York; Slater & Steel in Jersey City; The Mattrawan Company in Fishkill; Messrs. Templin from Easton, Pennsylvania; Betis, Posry, Jones & Seal in Wilmington, Delaware; and Miller & Williamson in Albany.
Delays in the construction
In the introduction to her book, give the architects from a statement in which they describe, which is why there was a delay in the construction and they carried no blame; For example, the price of iron had now risen and the foundries were waiting for a better price. The responsible engineer made several attempts, which dragged on for several months, for the construction of the dome and was finally believes that this should be built in London. This of course was unacceptable and would have meant a further delay. Thus prepared, the architects, who lacked liquidity, the assistant engineer Mr Kroehl one who supported the contractors Messrs. Mott & Ayers and Hogg & Delamater in the construction of the dome. A leak in the roof made then for additional excitement. Carstensen & Gildemeister have in their " preliminary opinion " indicates that - without an order of the Association - thus began to build the arcades for the machine, but of which they lacked the degree.
Description of the building
The reservoir Square is 3 ¼ miles from the town hall and is overshadowed on the east side of the massive walls of the Croton Reservoir. The base is based on a Greek cross, surmounted by a dome. The length of each arm of the cross is 111.40 m, and the width is 45.56. That does not include the three entrance halls with one, on 6th Avenue, 40th and 42nd Streets and lead out are again 8.25 m wide and reached by stairs. Externally, the cruciform shape of an octagon, whose diameter is the same as that of the arms of the cross. The triangular intervals were filled with one-storey 7.30 m high extensions to create more space for the exhibition.
The arrangement of the columns can be seen in the drawings. You divide the interior into two main vessels, each 12.65 meters wide, with aisles of 16.45 m to each side. The intersection of the vessels provides a space of octagonal 30.5 m in diameter. The pillars further subdivide the triangular interval between the arms of the crosses in squares and half departments with a side length of 8 m. The aisles are covered by galleries, which in turn unite in wide connections at the end of the ships. The galleries are borne of 16 semicircular arches made of cast iron, which have a diameter of 12.5 m and are at a distance of 8 m apart.
The number of columns on the main floor is 190 pieces. They rise up to 6.5 m, are octagonal and have a diameter of 20.3 cm. The thickness at the sides varies from ½ to 1 inch. The cast iron carrier, 90 cm long, the longest of which is 8 m long, and the wrought iron with a length of 12.5 m are shown on the dotted lines. The first third of the carrier supports the floors of galleries and reinforced construction in all directions. You are connected to the columns by connecting pieces of 90 cm size. The number of carriers in the first third is 252 pieces. The second floor contains 148 columns with a height of 5.40 m, the rest on the bottom and have the same shape. In a second series of supports 160 which support the roof above the aisles. You also have the semicircular arches of the ships. All roofs are supported by arches or beams by means of wrought iron inverted carriers. The roofs are uniformly made of wood, covered with zinc.
The dome, classy and beautiful in their proportions, is the main feature of the building. It has a diameter of 30.5 m, 21.3 m high is almost up to the springing line and 37.5 m to the crown of the arch. This makes it the largest dome in the United States. It is supported by 24 pillars that lead across the 2nd floor addition up to a height of 18.80 over the main hallway. A system of wrought-iron trusses connecting them at the highest point and form two concentric polygons, each with 16 pages. These are embedded in a cast-iron plate, in whose shoes the cast iron ribs of the dome are screwed. The number of the window is 32, which are securely connected to fret. In the top of the ribs are bolted together into a horizontal ring of 6 m diameter, crowned by a lantern, by the light falls also. The windows are glazed with stained glass, representing the Union and form a crest States and part of the interior decoration.
The exterior walls of the building are also made of cast iron, in the windows are recessed and the vents for ventilation. The glass was 1 inch ( 2.54 cm) thick and was produced by the Jackson Glass Works and then enameled by the company Cooper & Belcher in Camptown, NJ The enamel is applied with a brush on the glass until the whole thing is covered, and fired in the kiln after drying. Thus, the flooring is as durable as the glass itself, it produces an effect similar to the ground glass which is translucent but not transparent. The sun's rays to diffuse light and therefore comfortable and give them the intensity is made by heat and Flash. New York had learned from the mistakes of the London exhibition, where the windows had to be imposed in order to achieve the shade.
Each located at each corner of the building an octagonal tower of 2.45 m in diameter and 23 in height, are accommodated in the spiral stairs leading to the galleries and onto the roof. They are intended for use by the members of the Management Board and the employees. Twelve wide staircases, one at the inputs and four under the dome connecting the main hall with the galleries. The floor of the galleries is made of wood planks. Above each entrance hall, the galleries lead to balconies offer ample space for flower arrangements, vases and statues. On both sides of the inputs is ticket sales and in addition to these rooms, the telegraph connection for the members of the Board.
The rapid and unexpected demand from applicants for exhibition space forced the Board to build additional buildings, as already mentioned. They consisted of two parts, each one - and two-storey extensions and include the entire area between the main building and Compton reservoir. The extension is designed for machines that are to be shown in motion, cabinets for minerals and mining, as well as for refreshments with the required spaces. The entire second floor, which is 137 long and 6.5 m wide, is intended for the exhibition of paintings and statues. He is illuminated by a skylight of 127.7 m length and 2.60 m width.
With the decoration was commissioned Henry Greenough from Cambridge, who had studied Italian art for many years. His task was to beautify the building, and succeeded him. He mixed oil paint, the base was white lead paint by the company Belleville Co.. The facade appears in a bright bronze in the golden shimmer all ornaments. Inside the building, there is still a richer cream tone, which was applied to all cast iron parts. This color was relieved by the moderate use of the three positive colors red, blue and yellow with some shades of vermilion, garnet red, sky blue and orange, certain parts of the ornaments are gold plated. The only exception to the oil colors forms the dome, which was executed in tempera.
The dome was designed by Sr. Monte Lilla. From the center of the great dome sent a golden sun, its rays through a pile of silver stars. The foliage along the balconies under the roof left a natural touch of beauty shaped by human hands.
The whole building was all provided with gas light and also with water. The gas light was provided for the lighting in the evening and also served to protect the building by the police in the dark. The drinking water came from the neighboring Croton Reservoir and was offered in a number of refreshment stations. One could also connect hoses in case of fire.
The required total amount of iron amounted t at 1800, of which 300 tons forging and 1,500 tons of cast iron were. The amount of glass panes or 5110 was 15,000 sqm. On wood 228 600 linear meters were consumed.
Christian Edward Detmold, Horatio Allen and Edward Hurry supervised the construction work. Through a well thought out system they used prefabricated parts that were manufactured by 28 different iron foundries, such as the company James L. Jackson, Daniel D. Badger, and the Novelty Iron Works of Stillman & Allen. These parts were assembled in place.
The New York Crystal Palace Exhibition was opened on July 14, 1853 with great ceremony by the American president Franklin Pierce and had around 5,000 exhibitors, of which about half came from the USA.
The cost-effectiveness
As financial companies in the New York Crystal Palace was a letdown. When the president, Theodore Sedgwick, finally resigned in 1854, already unpaid bills in the amount of $ 100,000 had been collected. The company was PT Barnum win for the new presidency in March 1854 to win. He opened "The New York Crystal Palace " again and dedicated it to the working class. But even the great American entrepreneur was not able to save the Crystal Palace. Barnum took effect on July 1, 1854 from his office and the new company had on November 1, 1854 $ 300 000 debt include the exhibition.
The interest in events in the " Crystal Palace " had waned and the palace was, according to "The Times" as "dead property ". The building was leased by the Company for some concerts and meetings until January 1857. In May 1857, the City of New York took over the building.
The fire
On October 5, 1858 during the exhibition of the " American Institute ", a fire broke out. Approx. 2000 people were still in the building, which could be evacuated thanks to the heroic use of the fire department. The building, which almost all glass and cast iron and there was a little wood, was praised as " refractory". Internal 15 minutes collapsed the dome and within 25 minutes the whole building was in flames. Human sacrifices were not to complain, but the material loss was significant. The losses caused by the fire was estimated to be $ 500,000 ( today's value: about $ 12,802,150 ), including the building and the exhibits and the art of sculpture, which still stemmed from the " Exhibition of Industry of All Nations ".
See also: Exhibition of the Industry of All Nations (1853 )
Photo Gallery
The division of the exhibition space by letters and numbers and the main attractions
Crystal Palace of New York, 1852. Perspective drawing 42nd St. and 5th Ave. , The reservoirs Square, New York, NY
The Crystal Palace with Latting observation tower in 1853
Under the dome with the 4 grand staircases and the equestrian statue of George Washington
Iron constructions and light are clearly visible
Law, the exhibition area of France
View of the exhibition halls at the re - opening in 1854