Power followed in the family tradition, became an architect and worked in his father's practice. He excelled here, and in 1900 won The Sloane Medallion, awarded by the Royal Institute of British Architects (RIBA) for his design for an art school. He also wrote and published a three-volume work, illustrated with his prints and drawings, on the ‘History of English Mediaeval Architecture'.

Power moved to London and in 1925 they helped Iain McNab and Claude Flight set up The Grosvenor School of Modern Art in Warwick Square. Architecture was the subject of most of Cyril Power's early linocut prints, such as ‘At Lavenham' (1928) and ‘Westminster Cathedral' (1928); but with Power's and Andrew's posters on the sporting venues the interest in speed and movement in his work first became evident. This vorticist's concern, not only with speed and movement, but with the modern and the urban, Power was to develop further: in his art prints ‘Whence and Whither?', ‘The Merry-Go-Round' and in the exceptional ‘Tube Station' on the London Underground and ‘The Sunshine Roof' - amongst his best works - all ingredients are present.