Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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Paxton, Joseph (1801–1865)<br />
Crystal Palace proposal end elevation and cross-section sketch, June 11, 1850,<br />
V&A Picture Library, CT 14412, Pen and ink on blotting paper<br />
A businessman and gardener, Joseph Paxton designed the most prominent example <strong>of</strong> exhibition architecture<br />
<strong>of</strong> his era. Born near Woburn, England, Paxton received little formal education. Starting work<br />
early in life as a gardener, he moved in 1820 to the gardens at Woodhall, Hertfordshire (Chadwick,<br />
1961).<br />
Paxton was ambitious; he became a successful businessman, railway investor, and bridge builder.<br />
It was in the design <strong>of</strong> glass structures that he was most innovative. His interest in horticultural<br />
building design began with the Great Conservatory at Chadsworth and the additional pavilions on<br />
the grounds. These conservatories were mostly constructed <strong>of</strong> glass and wood, where he developed<br />
ridge and furrow systems for the ro<strong>of</strong>s (Chadwick, 1961). With a concern for tropical plants<br />
imported to England, Paxton refined the greenhouse with ro<strong>of</strong> ventilation and heating elements<br />
beneath the floor.<br />
The Industrial Revolution, which coincided with the rise <strong>of</strong> wealth and power <strong>of</strong> Great Britain,<br />
initiated London’s international exhibition <strong>of</strong> 1851. Henry Cole proposed to Prince Albert an industry<br />
and commerce exposition. After rejecting all <strong>of</strong> the competition entries, the steering committee<br />
(made up <strong>of</strong> engineers and architects) proposed a design that proved unpopular (Beaver, 1986). As<br />
time was short, Paxton submitted a glass and iron structure composed <strong>of</strong> standardized parts that could<br />
be quickly assembled and taken down (Beaver, 1986; McKean, 1994).<br />
Named the ‘Crystal Palace’ <strong>by</strong> the magazine Punch, Paxton’s huge exhibition hall communicated<br />
‘the new relationship established between the technical means and the desire for prestige and the<br />
expressive aims <strong>of</strong> the building’ (Benevolo, 1971, pp. 101–102). Crystal Palace, was nearly one third <strong>of</strong><br />
a mile long (1851 feet), contained 900,000 square feet <strong>of</strong> glass, and 3300 iron columns. It was constructed<br />
<strong>of</strong> twenty-four foot repeating bays set upon a raised wood slat floor.<br />
Having a short time to conceive <strong>of</strong> an appropriate solution, Paxton sketched this section and elevation<br />
(Figure 3.9) on blotter paper while attending a railway meeting (Chadwick, 1961). The sketch<br />
shows a three-tiered structure with ridge and valley ro<strong>of</strong> panels and a floor heating system utilized in<br />
his earlier projects. This minimal sketch appears remarkably similar to the final construction. This<br />
may in part be due to the restricted time allowed for design, but it also reveals how Paxton relied on<br />
his former experience to find a solution. The flat ro<strong>of</strong> with wavy lines can be more easily explained<br />
<strong>by</strong> understanding his previous conservatory projects; it was not necessary to detail the elements with<br />
which he was already familiar. Although the sub-floor heating system was ultimately not included in<br />
the Crystal Palace, the sketch gives the essence <strong>of</strong> the arched iron structure and tall, central, nave-like<br />
space. Surrounding Paxton’s sketches, the page shows spare notes, scratchings, and inkblots that<br />
reveal the prior use <strong>of</strong> the paper as a railroad desk blotter. The ink bleeding into the paper from the<br />
bold lines suggest a high level <strong>of</strong> confidence. The absorption <strong>of</strong> the ink into the blotting paper means<br />
he sketched slowly with a certain amount <strong>of</strong> accuracy and experience. This project depended not on<br />
complex relationships <strong>of</strong> spaces but rather upon rapid assembly (approximately five months) and<br />
Paxton’s knowledge <strong>of</strong> the fabrication <strong>of</strong> iron components. With these components as a ‘kit <strong>of</strong> parts,’<br />
the brief sketch could easily replicate the entire building. This sketch may be the only one Paxton<br />
completed to describe the building as a whole, since it was necessary to translate the idea so swiftly<br />
into construction drawings. The simple lines were able to provide the necessary information and<br />
capture the essence <strong>of</strong> his conceptual thinking.<br />
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