By David Curt Morris
In 1997, the City of Palm Springs Arts Commission held a national competition for a sculpture to be placed in a prominent public space, the Frances Stevens Park. I was intrigued by the site’s high visibility – and by the fact that the California city wanted a sculpture that used water in a desert setting.
Working from my studio on the East Coast, I put together an initial proposal that included a number of ideas – provocative to me, but not yet fine-tuned.
It wasn’t until I actually visited the site in Round Two of the selection process that I knew just how perfect a setting was being offered – a wide-open space in the center of town, ringed by tall palm trees and low-lying buildings with the stunning
By Lynn Wolff & John Copley
Founded in 1634, Boston Common is the oldest public park in America – a significant and historic public place. It is familiar to us as Bostonians, of course, but we’ve also been privileged as a firm to have worked there before, when we renovated the park’s main watershape, the Frog Pond, to serve as a splash pool in summer and as an ice-skating rink in winter.
During the pond renovation, we learned that tackling projects in such storied surroundings can be a tall order. For example, we had to place all of the pond’s chillers and pumping equipment underground to mask any obvious intrusion on the 17th-century space. As we approached a second major project – this time the renovation of the park’s playground – we knew going in that those who hired us were keenly sensitive to the nature of the place and came armed with preconceptions about colors, images and what would be “appropriate” for the setting.
To keep things moving, we worked very closely with the city’s Historic Commission in establishing the color palette, procuring artwork and developing an overall plan that would result in a space that was attractive and safe for children and suited to the surroundings. To be sure, the negotiations were intense as we
By Curt Straub
Kansas City, Missouri, proudly calls itself “The City of Fountains,” and it comes by the title legitimately. In fact, more than 150 public fountains grace its plazas, boulevards, parks and public buildings, and the community has long held to a tradition of creative use of moving water and sculpture in developing its public spaces.
As a resident of the city, I get a sense of civic history and our collective self-image as I look at these fountains. As a watershaper, I take additional pride in the variety of forms and styles I see and in the course of technological development that has lifted fountains to new heights of
By Stephen Hamelin
Fifteen years ago, aquatic play attractions were found mainly in commercial waterparks in the form of large, multi-level, themed structures. Some smaller elements were found in the shallow ends of swimming pools, but they were generally limited to a few play apparatuses such as water umbrellas.
Much has changed in recent years, and aquatic play systems are now featured in a greater variety of settings including city parks, recreation centers, resorts and a range of other recreational spaces. This trend did not burst forth overnight: For more than ten years, our firm and others have been helping things along by focusing attention on the value of concepts related to zero-depth aquatic play.
We at Vortex Aquatic Structures in Montreal, for example, have designed our “Splashpads” to bring the joy and recreational value of aquatic play to almost any space. Among our objectives is bringing a measure of the commercial waterpark experience to places such as neighborhood parks, housing developments, campgrounds and other facilities, thereby allowing everyone within a community to experience
By Rhadiante Van De Voorde
Successful residential exterior design is akin to a precisely choreographed dance. One sequence of steps defines the relationships among hardscape, water and plants. Other sequences distinguish light and shadow, color and texture, open views and intimate spaces. If the choreographer has done a good job, we don’t see the individual steps so much as we enjoy the overall experience of motion.
The key to making these multifarious steps work together? It’s all about balance.
Transferring these principles to backyard design, there’s a similar need for
By Larry O’Hearn
The Crown Fountain in Chicago’s Millennium Park is an ingenious fusion of artistic vision and high-tech water effects in which sculptor Juame Plensa’ s creative concepts were brought to life by an interdisciplinary team that included the waterfeature designers at Crystal Fountains. Here, Larry O’Hearn describes how the firm met the challenge and helped give Chicago’s residents a defining landmark in glass, light, water and bright faces.
In July last year, the city of Chicago unveiled its newest civic landmark: Millennium Park, a world-class artistic and architectural extravaganza in the heart of downtown. At a cost of more than $475 million and in a process that took more than six years to complete, the park transformed a lakefront space once marked by unsightly railroad tracks and ugly parking
By Jon Mitovich
For many of us in the watershaping business, the design and creation of fountains and water displays follows a predictable set of functional patterns. Given the traditional tools of the trade and our repertoire of nozzles and spray apparatus, for example, we tend to fashion effects and shapes from the ground up, literally throwing water in the air in a more or less uncontrolled manner.
From a design standpoint, the problem with this tradition is that it eats up space like nobody’s business: The pools needed to catch free-falling flows of any noteworthy height need to be large enough to capture water subject to the effects of splash, wind drift and overspray. The higher the spray, the larger must be the footprint of the pool to contain it adequately.
As a rule, these pools need to have diameters of twice the height of the spray – by any measure a significant contribution of expensive commercial real estate to the creative effort at a time when property owners are motivated to make every available square foot an income producer.
As an alternative in this space race, watershapers have found dry-deck or curbless fountains to be a great way to
By Daryl Toby
When you execute complex projects for sophisticated clients, your ability to satisfy them and their tastes by bringing something different or interesting or unique to the table can make all the difference. As our firm has evolved, we’ve increasingly come to focus on identifying these compelling touches, which for us most often center on old-world influences that resonate, sometimes deeply, with our clients.
I’ve always loved to travel and have spent extended periods in Asia, Latin America and Europe. At some point, it occurred to me that by working not only with the principles of classical European and Asian garden design, but also with authentic, imported materials and art objects, the work would take on greater meaning and interest for me – and for my clients as well.
To that point, our firm had followed a path of influence that still reflects itself in our replication of ancient stone-setting techniques. While traveling in China and Japan, I began spotting stone pieces and other objects we could use directly in our watershapes and gardens and started acquiring pieces for that purpose.
This step beyond evoking not only the style but actually using elements of authentic design quickly turned into a powerful element in our work. As we moved further in this direction, the channels opened wider, the creative possibilities blossomed and we soon began incorporating more and more of the materials and ideas that I’d encountered
By Maria Lynch Dumoulin
It’s amazing how the traditions of art and craft tracing back through centuries still inform today’s designs.
That’s particularly true in the field of garden ornamentation, where modern statuary, fountains, vases and seating elements take their cues from original works found in ancient Greece and China, in Renaissance Italy and France – and from just about every other era and location around and between.
This depth of available imagery is both a boon and a challenge to those in the business of supplying garden ornaments to today’s architects, landscape architects, watershapers and their clients. There’s just
By Paul L’Heureux & Douglas Duff
The shopping mall as we know it first emerged in the United States in the 1960s and since then has become a dominating retail presence on both the urban and suburban scenes.
They started out in larger cities but soon were found just about everywhere – indoors or outdoors, small and large, visually appealing and, well, less visually appealing. Some are organized around upscale shopping and recreational activities, others around discount centers and manufacturers’ outlets. There are many that are filled with mom-and-pop boutiques, while a few are integrated with amusement parks. Whatever seems likely to succeed, mall developers have certainly been willing to give it a whirl.
At their core, however, every mall of any type has the primary mission of pulling people together so they can spend money on all kinds of merchandise; all the entertainment, dining and socializing are, in other words, secondary activities. In this sense, today’s retail forums are a modern version of marketplace traditions that reach back to ancient times and almost every human society – with lots of modern conveniences added for good measure.
Today’s malls, in fact, are
By Roger Hopkins
I’ve always been conservative when it comes to guaranteeing my work, which is why I only offer a 300-year warranty on my sculptures. I’m fairly certain that the vast majority of my pieces will last well beyond that span, but there’s always the possibility one might be consumed by a volcanic eruption, blown up in disaster of some sort or drowned when the ice caps melt and cover the land with water.
Those sorts of cataclysms aside, it’s hard to imagine that the massive pieces of stone I use to create what I call “primitive modern” art will be compromised by much of anything the environment or human beings can throw at them.
Ultimately, that’s one of the beauties of working in stone: It possesses a profound form of permanence – and there’s a certain comfort that comes with knowing my work won’t be blown away by wind, eroded by rain or damaged by extremes of heat or cold. And given the fact that these pieces are so darn heavy, it’s safe to say that most people are going to think at least twice before trying to move or abscond with them.
Beyond the personal guarantees and despite the fact I don’t dwell on too much, working with stone also has a unique ability to connect me and my clients with both the very distant past and the far distant future. Human beings have been carving stone for thousands of years, and many of those works are still with us in extraordinarily representative shape. There’s little doubt that those pieces
By Anne Gunn
If ever there was an example of the power of simplicity, it’s been the rise of what we call floating-granite-ball fountains. They’ve been around since the early 1990s and are now found in a range of commercial and even residential settings.
I hadn’t ever seen one when I joined HydroDramatics back in 1996, but I do know that soon after I started we began receiving a steady flow on inquiries about them – and it wasn’t long before we received our first commission for a floating sphere for a major automobile manufacturer in Detroit.
As has been the case every time a prospect has asked about one of these fountains since then, school administrators wanted
By Dave Wooten
Sometimes you just know that a client is going to want something special – something nobody else has. I can think of no other entity that better fills that bill than the Walt Disney Co.
Justly famed for its remarkable creativity, spirit of innovation and ultra-high standards for design and execution, I knew going in that working with this amazing organization would mean coming to the table with strong ideas, supreme self-confidence and a demonstrated willingness to test boundaries and perform beyond expectations.
Our firm, Captured Sea of Sunset Beach, Calif., was founded with those exact qualities in mind and a mission to create fountain systems throughout southern California that are distinctive, unique in concept, superbly engineered and built to last. Through the past eight years, we’ve been fortunate to tackle several projects for Disney in southern California. In each case, they were looking for watershapes that would delight visitors while enduring the rigors of heavy-duty use and near-constant operation.
The call about the fountain featured in this article came in late summer 1999 from Glendale, Calif.-based Walt Disney Imagineering (WDI), the remarkable division of the company responsible for designing its theme parks and attractions. They told us that they were