POWER IN BUILDINGS
An Artist's View of Contemporary Architecture
Hugh Ferriss
New York: Columbia University Press, 1953. First edition. Quarto. Gray cloth decorated in silver and black. Photo illustrated dust jacket. Gray calendared endpapers. 102 pp. 50 modern architectural projects rendered in black and white. Lower cloth edge abraided with white dot to rear panel [see scan]. Dust jacket complete except for one tiny chip to spine crown and neatly split at lower fore edge junctions. Interior unmarked and clean. Out-of-print. A very good copy in a very good dust jacket. Uncommon thus.
8.5 x 11 book with 102 pages illustrating 50 modern architectural projects rendered in black and white. A beautifully realized, lavish production from the Columbia University Press. Building projects visualized by Ferriss for this volume include Cherokee Dam, Triborough Bridge, Norriss Dam, Grand Coulee Dam, Shasta Dam, National Airport in Washington DC, Kansas Grain Elevator, Ohio Steel Foundry, Cranbrook Library, Johnson Wax Company, Taliesin,Rockefeller Center, metropolitan museum of Art, Trylon and Perisphere, United Nations Headquarters, Red Rocks Park Hoover Dam and others.
Hugh Macomber Ferriss (1889 – 1962) was an American architect, illustrator, and poet. He was associated with exploring the psychological condition of modern urban life, a common cultural enquiry of the first decades of the twentieth century. After his death a colleague said he 'influenced my generation of architects' more than any other man. Ferriss also influenced popular culture, for example Gotham City (the setting for Batman) and Kerry Conran's Sky Captain and the World of Tomorrow.
Hugh Ferriss was born in 1889 and trained as an architect at Washington University in his native St. Louis, Missouri.
Early in his career, Ferriss began to specialize in creating architectural renderings for other architects' work rather than designing buildings himself. As a delineator, his task was to create a perspective drawing of a building or project. This was done either as part of the sales process for a project, or, more commonly, to advertise or promote the project to a wider audience. Thus, his drawings were frequently destined for annual shows or advertisements. As a result of this, his works were often published (rather than just given to the architect’s client), and Ferriss acquired a reputation. After he had set up as a free-lance artist, he found himself much sought after.
In 1912, Ferriss arrived in New York City and was soon employed as a delineator for Cass Gilbert. Some of his earliest drawings are of Gilbert’s Woolworth Building; they reveal that Ferriss’s illustrations had not yet developed his signature dark, moody appearance. In 1915, with Gilbert’s blessing, he left the firm and set up shop as an independent architectural delineator. In 1914, Ferriss married Dorothy Lapham, an editor and artist for Vanity Fair.
By 1920, Ferriss had begun to develop his own style, frequently presenting the building at night, lit up by spotlights, or in a fog, as if photographed with a soft focus. The shadows cast by and on the building became almost as important as the revealed surfaces. His style elicited emotional responses from the viewer. His drawings were being regularly featured by such diverse publications as the Century Magazine, the Christian Science Monitor, Harper's Magazine, and Vanity Fair. His writings also began to appear in various publications.
In 1916, New York City had passed landmark zoning laws that regulated and limited the massing of buildings according to a formula. The reason was to counteract the tendency for buildings to occupy the whole of their lot and go straight up as far as was possible. Since many architects were not sure exactly what these laws meant for their designs, in 1922 the skyscraper architect Harvey Wiley Corbett commissioned Ferriss to draw a series of four step-by-step perspectives demonstrating the architectural consequences of the zoning law. These four drawings would later be used in his 1929 book The Metropolis of Tomorrow.
This book illustrated many conte crayon sketches of tall buildings. Some of the sketches were theoretical studies of possible setback variations within the 1916 zoning laws. Some were renderings for other architect's skyscrapers. And at the end of the book was a sequence of views in Manhattan emerged in an almost Babylonian guise. His writing in the book betrayed an ambivalence to the rapid urbanization of America: “There are occasional mornings when, with an early fog not yet dispersed, one finds oneself, on stepping onto the parapet, the spectator of an even more nebulous panorama. Literally, there is nothing to be seen but mist; not a tower has yet been revealed below, and except for the immediate parapet rail . . . there is no suggestion of either locality or solidity for the coming scene. To an imaginative spectator, it might seem that he is perched in some elevated stage box to witness some gigantic spectacle, some cyclopean drama of forms; and that the curtain has not yet risen . . . there could not fail to be at least a moment of wonder. What apocalypse is about to be revealed? What is its setting? And what will be the purport of this modern metropolitan drama?”
In 1955, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1960. Ferriss died in 1962. His archive, including drawings and papers, is held by the Drawings & Archives Department of the Avery Architectural and Fine Arts Library at Columbia University. Every year, the American Society of Architectural Illustrators gives out the Hugh Ferriss Memorial Prize for architectural rendering excellence. The medal features Ferriss’s original "Fourth Stage" drawing, executed in bronze.