Fountains
Who took the water out of watershapes? That may seem a ridiculous question, but it's also an obvious one when you see as many plans as I do - and by that I mean plans intended to indicate and initiate the watershaping parts of a wide variety of projects. Indeed, in my long experience in running an engineering-oriented firm, I've repeatedly been asked by designers to flesh out their watershape "ideas" (although in most cases vague inklings would probably be a more accurate way to describe them) and provide working drawings that reflect their "thinking." In my estimation, more than three-quarters of these plans lack any real indication of what the designers expect the water to do or how they want it to look. Instead, what I get is the typical overhead views with the ubiquitous "blue ghosts" or, in some cases, rudimentary sections of structures designed to contain water. It's left to me to probe and ask questions and determine what expectations they have about how the water is to appear and what it is to do. I've endured these common plan shortcomings for more years than I care to count, always wondering
When it comes to the myriad specialties of the world of watershaping, it's tough to think of any as broad as the one occupied by floating fountains: It's a category of systems that encompass flotation, illumination, spray systems, submersible pumps, connecting devices and land-based controls. On the one hand are the huge systems installed near the shores of lakes and rivers. These fountains can be monumental in size and visually dramatic - the sorts of popular landmarks that become tourist attractions and, often, community icons. On the other, there are the countless smaller floating fountains and aerators located in golf-course ponds and water hazards, in municipal-park and stormwater ponds, on private estates and institutional campuses and in the bays of larger bodies of water, either as single features or as groups. For 45 years now, our firm has been fortunate enough to have designed (and at times installed) floating fountain systems across this full spectrum, from the large and spectacular to the small and surprisingly subtle. Some have been purely decorative, while others have been totally
When it comes to the myriad specialties of the world of watershaping, it's tough to think of any as broad as the one occupied by floating fountains: It's a category of systems that encompass flotation, illumination, spray systems, submersible pumps, connecting devices and land-based controls. On the one hand are the huge systems installed near the shores of lakes and rivers. These fountains can be monumental in size and visually dramatic - the sorts of popular landmarks that become tourist attractions and, often, community icons. On the other, there are the countless smaller floating fountains and aerators located in golf-course ponds and water hazards, in municipal-park and stormwater ponds, on private estates and institutional campuses and in the bays of larger bodies of water, either as single features or as groups. For 45 years now, our firm has been fortunate enough to have designed (and at times installed) floating fountain systems across this full spectrum, from the large and spectacular to the small and surprisingly subtle. Some have been purely decorative, while others have been totally
When people ask me how long it takes to create one of my sculptures, I sometimes like to answer, "My whole life." I've always loved art and started collecting it while still in high school, but I never imagined in those formative years that I'd become an artist myself. After all, I have no formal training, and to this day I can't draw - not well, at any rate. My first career was as a computer programmer, my second as a marketing consultant - both distinctly sedentary occupations that led me to seek something physical to do in my spare time. For whatever reason, I decided to try my hand at sculpting stone, crafting a few rough pieces and taking pleasure mostly from the hard work they involved. Right from the start, however, people
When people ask me how long it takes to create one of my sculptures, I sometimes like to answer, "My whole life." I've always loved art and started collecting it while still in high school, but I never imagined in those formative years that I'd become an artist myself. After all, I have no formal training, and to this day I can't draw - not well, at any rate. My first career was as a computer programmer, my second as a marketing consultant - both distinctly sedentary occupations that led me to seek something physical to do in my spare time. For whatever reason, I decided to try my hand at sculpting stone, crafting a few rough pieces and taking pleasure mostly from the hard work they involved. Right from the start, however, people
For the last few months, the Getty Villa in Malibu, Calif., has hosted a special exhibit called "Stories in Stone," which is all about the nature, preservation and conservation of stone mosaics found in the ancient Roman cities of North Africa. Even a quick walk through the halls is enough to show why these art objects speak to us across the millennia: Their colors are vivid, their decorative capacity is amazing, their durability is unrivalled and their sheer beauty is a delight even to the unschooled eye. At best, tile mosaics of any caliber are both aesthetic and functional, timeless and contemporary, subtle and dramatic. They are also versatile - interior or exterior, commercial or residential - and have long been among the very best media available to designers and architects looking to infuse their work with the
For the last few months, the Getty Villa in Malibu, Calif., has hosted a special exhibit called "Stories in Stone," which is all about the nature, preservation and conservation of stone mosaics found in the ancient Roman cities of North Africa. Even a quick walk through the halls is enough to show why these art objects speak to us across the millennia: Their colors are vivid, their decorative capacity is amazing, their durability is unrivalled and their sheer beauty is a delight even to the unschooled eye. At best, tile mosaics of any caliber are both aesthetic and functional, timeless and contemporary, subtle and dramatic. They are also versatile - interior or exterior, commercial or residential - and have long been among the very best media available to designers and architects looking to infuse their work with the
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
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
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
