This is part 2 in a series. Lost Lagoon Terrace at 845 Chilco in Vancouver, built in 1972, is another example of 1960s/70s modernist apartment architecture. The undulating patterned concrete tile extends the whole way up the front face. Whatever happened to patterned concrete, and why are the 1970s the most reviled of all decades, when the 1980s are so much more deserving of dislike? I realize not everyone likes it – my boyfriend included – but to me the patterned section has aged really well. This abstract ornamentation is typical of modernist concrete architecture from this era, which tended to be minimalist except for one or two subtle decorative features, often with this primitive look. Once affordable, 845 Chilco now contains million-dollar condos, one per floor. With that most exotic of features, private keyed entry off the elevator.

This series is about a style of architecture that repelled me when I was growing up but that I now find strangely attractive. These examples of brutalist modernism are all from Vancouver, but there are equivalents all over North America. The brutalist hand-etched steel front door of this building is a classic in this style. I’ve always found it odd that concrete brutalism tends to be accompanied by this sort of medieval or Middle Earth/Lord of the Rings decorative treatment on metal (and in furniture), but it works. Is it concrete harking back to stone or what exactly? 815 Chilco Street, built in 1970, was designed by Vancouver’s “father of modern architecture,” Charles Burwell Kerrins van Norman (1907-1975).

The building of modernist lo-rise condos and apartments in the 70s was part of a deliberate move on the part of the city’s planning department to do away with a certain type of groovy downtown living in funky, sometimes decrepit (but affordable) Victorian and Edwardian houses. Read about the politics of this history in curator Scott Watson’s Urban Renewal: Ghost Traps, Collage, Condos and Squats. Despite the politics of their introduction into Vancouver, these buildings have the virtue of being solid and livable, and they’re now prized. This building, which sits right next to the large and beautiful Stanley Park, is particularly pricey these days. See the next post for another fantastic building, right next door at 845 Chilco Street. Vancouver, let’s not knock down any more 60s and 70s architecture.

Everyone always leaves.

The Unhappy Hipsters blog features Dwell Magazine photos with the captions they were crying out for. Because it’s lonely in the modern world.

Even in your company I feel so alone.

Dwell has a sense of humour; this is their Twitter reply.

Concrete block and perforated screen fetishists should visit this Flickr pool. The wall above and below is at the abandoned Besser Vibrapac office, a building that served as a display of the company’s own concrete blocks. Besser Vibrapac by The Mover, on Flickr. Click on photos to read more. And see this.

Above, “Empty midcentury modern building in Ft. Meade, FL. It has 2 of my favorite things. Circles and squares.” By JennRation.

Above, Frank Lloyd Wright patterned blocks, by Usonian. Below, Vancouver’s Planetarium (by me), and Blomberg Windows, Sacramento, CA by atomicpear.

Above, Penticton Fire Hall, photo by Drew Makepeace. Below, Mexico City facade, “Concrete Lace,” by VonMurr.

Deformscape is by Faulders Studio, the San Francisco office of architect Thom Faulders. This post is for Paul, who misses posts with mathematical content, and @jennifergardy, who first pointed it out.

“Deformscape is an outdoor extension to a private dwelling in San Francisco. Situated in a tightly packed urban neighborhood, this limited space outdoor sculpture garden inherits a large tree, and uses this sole arboreal presence to establish a gravitational pattern of grooves that are focused towards the tree’s centroid. This asserts the valued presence of the carbon-absorbing tree and its green canopy overhead, while allowing for a maximum of usable surface area below free of other vegetation. To generate the resultant pattern, a 3-dimensional bulge is formed around the tree, and its distorted wire-grid projected onto a 2-dimensional surface. Taking into account appearance effects created by perspective views from inside, the resultant planar surface appears sink around the tree.”

New house in an old neighbourhood of Wroclaw, Poland, in the NYT today. Spruce on the outside, particle board on the inside, and the whole thing cost US$80,000 to build. It will fade to grey. This seems equivalent to laneway housing in Vancouver – and memo to Vancouver: modern mixes well with traditional architecture. Take a chance! I just hope they used non-formaldehyde particle board in the interior, because if not that’s a lot of off-gassing. Photos: Olo Rutkowski. See more current Polish architecture here.