Fountains
For years, Montréal’s arts district has been the venue for music and theater performances, art exhibitions, festivals and all manner of cultural events. As part of a revitalization process in the area, notes David L’Heureux, the city recently unveiled the Place des Festivals and a spectacular watershape he and a distinguished design team built at its heart as a gathering place for residents and visitors of all ages and a civic focus for fun, relaxation and visual joy. Throughout North America in recent years, cities have turned to a variety of watershapes to enliven and, occasionally, revitalize their public spaces. These watershapes are more than the wonderful fountains long found in public parks and plazas. Indeed, the recent success of projects including Chicago’s Millennium Park and its ambitious combination of significant waterfeatures with gardens, architecture and art has demonstrated the tremendous potential that lies in crafting interesting, multi-functional places for people to gather. Canada offers a spectacular recent example of this trend in the form of
{Multithumb} When second-generation metalworker and sculptor Kris Kesler wanted to take his custom waterfeatures to a higher, more artistic level, he took off his welding mask and picked up a computer mouse. It’s been liberating, he says, enabling him to design everything from simple scuppers to hurricane-proof fountains and take care of the details that make them work on screen before he puts his hands in gloves and goes at it with hammer and tongs. Growing up in a family of industrial and commercial fabricators, I was steeped from an early age in traditional metalworking techniques – hammering, planishing, leather-sandbag shaping and my favorite, torch welding. Learning at my father’s knee in his commercial steelwork factory led me to admire the artistry of craftspeople as they transformed raw hunks of metal into functional and often beautiful works of art. The power of that experience has always stuck with me. Later in life, when I decided to launch my own water- and fire-feature company, I was excited to get back behind the welding mask and
It was no easy task: We were called on to take the majestic landscape defined by the confluence of the Mississippi and Missouri rivers; use it as a template for an urban oasis filled with sculptures, plants and water; and develop a park that would mesh seamlessly with its surrounding urban spaces. Furthermore, they wanted this park to appeal to every conceivable user – people of all ages, needs and backgrounds – while also serving as a catalyst for growth and a profound revival of the city’s core. And not only was the space to carry that symbolic load, but it also had to function efficiently with long-term reliability. We at Hydro Dramatics (St. Louis, Mo.) know from experience that projects of this scope and scale require much planning and coordination to go along with large measures of innovation. We also know that these types of challenges make success that much sweeter. So we jumped into the task with all our energy, supporting the design team charged with developing Citygarden, a 2.9-acre parcel to be filled with
In recent centuries, watershapers have done a tremendous job of figuring out how water behaves in visual and aural terms and learned how to use those characteristics to make strong aesthetic impressions. Now that we’re entering an era in which environmental concerns are of increasing importance, however, we’re being challenged to think differently about water, how it affects us physically and the essential role it plays in maintaining a healthy world. That challenge is not insubstantial: As a species, we’ve done a great deal to squander water as an asset, whether by contaminating and otherwise polluting natural bodies of water or by treating pools and other watershapes with harsh chemicals. Isn’t it ironic that spas, which exist primarily so we can
Advances in fountain technology have defined a new class of animated watershapes that is not only more sophisticated but is also becoming more readily available. Here, Simon Gardiner of Crystal Fountains shares a pair of projects to illustrate how just two of these technologies – that is, submersible LED lighting and systems that make water dance – are helping his company and others bring fresh excitement to watershapes worldwide. The international fountain business is an exciting, highly competitive and ever-challenging field, basically because the clients are as distinctive as the projects they commission, the settings they provide and the countries they represent. At Crystal Fountains (Toronto), we’ve staked our reputation in the global marketplace on understanding those distinctions and built our competitive edge on keeping up with technological developments that help us animate spaces with water. The reason this constant forward progress in technology is so critical is that there’s a persistent, ongoing
One of the clearest trends I’ve seen in watershaping through the past few years involves the use of water in the front spaces of properties, usually along a driveway or close to the main entrance. It’s something I’ve noticed on both the residential and commercial sides of the business, and these projects really do seem to be gaining traction as more time passes. In some cases, they might be the only watershape you’ll find on site. In others, they introduce a presence of water to be echoed
Oregon watershaper Giorgos Eptaimeros has developed a reputation for providing his clients with the full range of exciting aquatic experiences. Always on the lookout for new options to offer and, more specifically, for ways to bring popular commercial- and waterpark-type features to his residential projects, he recently turned to a leaping-jet/splash-pad kit to bring a dynamic backyard play feature to a distinctly mid-range project. When I emigrated from Greece to the United States nearly 20 years ago, I already had more than a decade of commercial project management experience under my belt. As is the case with
As a sculptor, I always seek ways to use my work to create positive (and sometimes intellectually challenging) experiences for those who have the opportunity to see what I've done. In my case, most of the time I'm not trying to make direct, narrative or literal statements. Instead, I seek to conjure feelings of fascination that lead to appreciation and enjoyment: You don't necessarily have to understand the forms I create to walk away from them with good feelings. When I have the opportunity to work in public settings (as was the case in the project featured on these pages), I'm stimulated by the idea that large numbers of people will be exposed to my sculpture and that, in many cases, those people will be exposed to what I've done over and over again because they'll be passing by at least twice each day as they go to and from their jobs in adjacent buildings. In this case, I was working next to an office tower in Century City - a famous business and entertainment district near downtown Los Angeles - which meant that thousands would repeatedly be walking right past my work and would come to accept it as part of their daily lives. In that light, I see art set amid architecture as a permanent commitment, as a cultural reference that has the potential to resound for generations. This recognition fills me with a heightened sense of
As a sculptor, I always seek ways to use my work to create positive (and sometimes intellectually challenging) experiences for those who have the opportunity to see what I've done. In my case, most of the time I'm not trying to make direct, narrative or literal statements. Instead, I seek to conjure feelings of fascination that lead to appreciation and enjoyment: You don't necessarily have to understand the forms I create to walk away from them with good feelings. When I have the opportunity to work in public settings (as was the case in the project featured on these pages), I'm stimulated by the idea that large numbers of people will be exposed to my sculpture and that, in many cases, those people will be exposed to what I've done over and over again because they'll be passing by at least twice each day as they go to and from their jobs in adjacent buildings. In this case, I was working next to an office tower in Century City - a famous business and entertainment district near downtown Los Angeles - which meant that thousands would repeatedly be walking right past my work and would come to accept it as part of their daily lives. In that light, I see art set amid architecture as a permanent commitment, as a cultural reference that has the potential to resound for generations. This recognition fills me with a heightened sense of
Natural stone is one of the planet's most enduring artistic media and has been used in all historical eras across all design traditions in richly varied ways. From the pyramids of Egypt to the Great Wall of China, from the friezes of the Parthenon to the masterpieces of Michelangelo, it has always been the material of choice for work that matters. For all its beauty and durability, however, natural stone has its limitations: Even in modern times with modern technology, it must be quarried or harvested; fabrication of finished pieces is laborious; and its weight makes moving it from place to place both costly and time-consuming. It's also not a renewable material: Supplies of many of the world's most favored types are restricted, and some are simply no longer available. It's in this context that cast stone has emerged as a viable alternative in reproducing the looks, textures and sheer physical presence of natural stone materials. We at Haddonstone Ltd., for example, offer cast-stone products that can be used in architectural, landscape and watershape settings in ways that are virtually indistinguishable from pieces made of marble or limestone - and do so at a fraction of the cost with a consistency and precision that are difficult to achieve with natural materials. We started modestly in 1971 with a facility near Northampton, England, that turned out just seven ornamental pieces in cast stone. In the ensuing years, that list has grown to include more than
