The Metropolis of Tomorrow (Dover Books on Architecture)

In 1916, New York City enacted zoning laws that mandated the building of “set-back” structures so that light and air would be more freely admitted into the streets below. This concept was first proposed by Louis Sullivan in his 1891 article, “The High-Building Question” (inspired by William Le Baron Jenney’s recently completed Manhattan Building in Chicago.) Hugh Ferriss (1889-1962), American draftsman and architect, studied architecture at Washington University in St. Louis where the Beaux Arts school was favored. Early in his career he worked as a draftsman in the office of Cass Gilbert until he became a freelance delineator. In 1922, Ferris took part in a series of zoning envelope studies that sought to comply with the earlier city legislation. Such were the key ingredients that gave rise to the book at hand.In __The Metropolis of Tomorrow,__ 49 stunning illustrations depict towering structures, personal space, wide avenues, and rooftop parks — features that now exist in many innovative, densely populated urban landscapes. Ferriss uses metaphors from nature that lend his text a poetic quality. It is no wonder that the work inspired critics of the time to remark: “As a creative entity, as a symbol of the American spirit, it is superb” (__Survey__), and as “magically stirring as a prophecy” (Albert Guerard in __Books__).With its eloquent commentary and powerful renderings, __The Metropolis of Tomorrow__ is an indispensable resource for students, architects, and anyone else with an interest in American architecture. In 1916, New York City enacted zoning laws that mandated the building of “set-back” structures so that light and air would be more freely admitted into the streets below. This concept was first proposed by Louis Sullivan in his 1891 article, “The High-Building Question” (inspired by William Le Baron Jenney’s recently completed Manhattan Building in Chicago.) Hugh Ferriss (1889-1962), American draftsman and architect, studied architecture at Washington University in St. Louis where the Beaux Arts school was favored. Early in his career he worked as a draftsman in the office of Cass Gilbert until he became a freelance delineator. In 1922, Ferris took part in a series of zoning envelope studies that sought to comply with the earlier city legislation. Such were the key ingredients that gave rise to the book at hand. In The Metropolis of Tomorrow, 49 stunning illustrations depict towering structures, personal space, wide avenues, and rooftop parks — features that now exist in many innovative, densely populated urban landscapes. Ferriss uses metaphors from nature that lend his text a poetic quality. It is no wonder that the work inspired critics of the time to remark: “As a creative entity, as a symbol of the American spirit, it is superb” ( Survey ), and as “magically stirring as a prophecy” (Albert Guerard in Books ). With its eloquent commentary and powerful renderings, The Metropolis of Tomorrow is an indispensable resource for students, architects, and anyone else with an interest in American architecture. "In 1916, New York City enacted zoning laws that mandated the building of 'set-back' structures so that light and air would be more freely admitted into the streets below. This concept was first proposed by Louis Sullivan in his 1891 article, 'The high-building question' (inspired by William Le Baron Jenney's recently completed Manhattan building in Chicago). Hugh Ferriss (1889-1962), American draftsman and architect, studies architecture at Washington University in St. Louis where the Beaux Arts school was favored. Early in his career he worked as a draftsman in the office of Cass Gilbert until he became a freelance delineator. In 1922, Ferris took part in a series of zoning envelope studies that sought to comply with the earlier city legislation. Such were the key ingredients that gave rise to [this book]. In [this book], 59 stunning illustrations depict towering structures, personal space, wide avenues, and rooftop parks - features that now exist in many innovative, densely populated urban landscapes. Ferriss uses metaphors from nature that lend his text a poetic quality. It is no wonder that the work inspired critics of the time to remark: 'As a creative entity, as a symbol of the American spirit, it is superb' ('Survey'); and as 'magically stirring as a prophecy' (Albert Guerard in 'Books'). With its eloquent commentary and powerful renderings, [this book] is an indispensable resource for students, architects, and anyone else with an interest in American architecture"--Back cover

The metropolis of the future — as perceived by architect Hugh Ferriss in 1929 — was both generous and prophetic in vision. This illustrated essay on the modern city and its future features 59 illustrations.

Library Journal

In this 1929 volume, Ferriss presented his vision of how he believes the cities of tomorrow (which now are those of today) would look. Ferriss's specialty was skyscrapers, and the 108 illustrations here feature monstrous buildings, many of which came to fruition. Though basically black-and-white drawings of buildings, the plates are often extremely beautiful.

The metropolis of the future — as perceived by architect Hugh Ferriss in 1929 — was both generous and prophetic in vision. Largely an illustrated essay on the modern city and its future, Ferriss' book incorporated his philosophy of architecture. Includes powerful illustrations of towering structures, personal space, wide avenues, and rooftop parks. 59 illustrations. A FIRST IMPRESSION of the contemporary city-let us say, the view of New York from the work-room in which most of these drawings were made-is not unlike the sketch on the opposite page.