Outdoor Living, Fire Features, Amenities & Lighting
It’s often hard to tell exactly when you begin a career as an artist. As children, both of us loved to play with clay – but that’s been true of countless other children the world over for untold generations. And it really was just fun for us, but now when we look back on those days, we also see that, even then, we’d started on the road to our current calling. It helped, of course, that we were raised in a family of artists. Both of our parents drew and painted, and our father, James Doolin, was respected in the art world. But it was our mother, Leslie Doolin, who started it all for us professionally when she decided to paint on tile: Eventually we joined her in what was to become
From my perspective on the design and installation side, I see bringing landscape lighting to a property as a process that includes careful planning and execution as we compose the different scenes and lighting elements; count and select fixtures; lay out the power-distribution system; install everything properly; and, finally, fine-tune it all before turning things over to our clients. Looking at it from the other side, it’s been my observation that clients approach these projects with an equivalent level of deliberation: Even among relatively affluent clients, landscape lighting represents a significant
In the landscape lighting business, we often hear complaints about glare and get lots of questions about how to bring it under control. In some cases, it’s a minor annoyance, but in others, some clients are so sensitive to the discomfort it can produce that it ruins entire lighting designs for them. So what exactly is “glare”? I define it as light transmitted directly from a source into an onlooker’s eyes (either directly or indirectly) in such a way that it’s a nuisance. Beyond the squinting
It's not an uncommon goal: Nearly all of the homeowners I speak with about lighting designs want to be able to move safely and comfortably around their properties at night. Perhaps more important, they want guests and others unfamiliar with those spaces to be able to do the same without anyone being concerned about suffering an injury as a result of a misstep brought on by darkness or glare. The interesting this is, some of my clients need convincing when it comes to path or step lighting: Even if they see
As I see it, successful landscape lighting is a two-part process: First, the designer applies aesthetic principles that create the art, then he or she supports that artistic vision with scientific and technological savvy. One without the other doesn’t work: You can’t effectively practice the art until you’ve mastered the science. In my 17 years as a lighting designer, I’ve encountered lots of professionals who have the artistic part of the equation down pat but fall well short when it comes to working with electricity. The plain fact is, you can use the best fixtures in the world and understand the aesthetic issues like the back of your hand, but if you can’t consistently deliver power to those fixtures at correct, reliable voltages, the overall system will not perform properly and has the potential to become a maintenance nightmare. There’s no way a single article can bring anyone up to speed with all of the issues involved in the science lighting. Instead, my intention here is to introduce watershapers to a basic, commonsense approach to laying out low-voltage, halogen lighting systems, the goal being to enable you to converse intelligently and persuasively with lighting designers in the interest of helping
Although the eye is commonly drawn to structures and other architecture elements found in any given exterior environment, very often it is trees that serve as visual anchors in modern landscapes. Indeed, they tend to be the largest objects on most properties and will often become focal points even in settings in which they might have started out in supporting roles. This dominance or even potential for dominance is why, as a lighting designer, I believe that trees should always receive
Those of us who are designers and builders of full-scale outdoor environments (you know who you are) face a distinct challenge: In our work for our clients, we are expected to provide the outline and details for a huge range of project elements, from watershapes and patios to plantings and walkways and more. That list, at least so far as clients are concerned, also includes appropriate lighting, but that is not always something on which we focus. Indeed, lighting design is seen as a specialty even by those who tackle almost every other project feature - and there's no problem with that unless
Those of us who are designers and builders of full-scale outdoor environments (you know who you are) face a distinct challenge: In our work for our clients, we are expected to provide the outline and details for a huge range of project elements, from watershapes and patios to plantings and walkways and more. That list, at least so far as clients are concerned, also includes appropriate lighting, but that is not always something on which we focus. Indeed, lighting design is seen as a specialty even by those who tackle almost every other project feature - and there's no problem with that unless
Landscape-lighting design is my obsession: Not only do I make my living at it, but it has also reached a point where it informs the way I look at every landscape and watershape I encounter - whether I'm working on those spaces or not. When I visit almost any site - and particularly when I spot an interesting garden - I almost instantaneously begin formulating ideas about how I'd light it. That's a good thing, because it keeps me professionally sharp, but it's also a bit addictive: Once you start visualizing how dynamic particular places can be when properly lit, you get hooked on the mental exercise and start enjoying the intensity of the experience. In the beginning, of course, those clear visualizations
Landscape-lighting design is my obsession: Not only do I make my living at it, but it has also reached a point where it informs the way I look at every landscape and watershape I encounter - whether I'm working on those spaces or not. When I visit almost any site - and particularly when I spot an interesting garden - I almost instantaneously begin formulating ideas about how I'd light it. That's a good thing, because it keeps me professionally sharp, but it's also a bit addictive: Once you start visualizing how dynamic particular places can be when properly lit, you get hooked on the mental exercise and start enjoying the intensity of the experience. In the beginning, of course, those clear visualizations
