Outdoor Living, Fire Features, Amenities & Lighting
The most famous artists and designers often become known for one particular style or motif. When we see the cubism of Pablo Picasso or the drip paintings of Jackson Pollack, for example, we firmly link those distinctive artistic "moves" with the artists themselves. In some cases, those associations are extremely positive and add to the artist's or designer's mystique and prestige - certainly the case with Picasso and Pollack. For other artists who are less famous, however, an identifiable mode of expression can lead to confinement, predictability and, in some cases, a needless limitation of vision and creative possibilities. Since I began my career in the early 1980s, I've focused on capturing aquatic life forms in mixed-media sculptures to such an extent that my name is associated with the genre - although I'm certainly no Picasso. Indeed, in the years I've been active, there have been so many sculptures, statues and paintings depicting whales, dolphins and fish that the genre I love has become something of a cliché. So many consumers love such images that a vast number of enterprising artists have stepped in to meet the demand. The problem is that so many of these efforts are uninspired and
From the streets of London to the forbidding environs of horror movies, fog has always been capable of stirring our imaginations. It's the stuff clouds are made of and an enduring symbol of mystery, and it's not too surprising that enterprising people would try to figure out how to generate and use this most elemental of atmospheric vapors as a practical tool and distinctive design element. To start our story, let's flash back to 1970, when the first-ever artificial-fog system made its debut at the World's Fair in Osaka, Japan, as part of Pepsi's revolutionary Pavilion of the Clouds. Just a year earlier, my father, cloud expert Tom Mee, had founded Mee Industries to provide instrumentation that was to enable the government to do a better job of studying clouds and airborne pollution. I can only imagine what it was like for him to receive a call from Japanese artist Fujiko Nakaya, who asked him to develop a system that would generate a cloud to would enfold the outside of a 200-foot dome as a key element of her design for the pavilion. Interestingly, Nakaya was the daughter of the man who had pioneered snowmaking technology, and I've always been intrigued that she wanted to make a
As part of my work on movies and television shows through the past dozen years, I've developed a range of special effects that focus specifically on fire. For the science fiction hit Men In Black, for example, I was charged with devising the flame-spewing weapons wielded by Tommy Lee Jones and Will Smith in a spectacular scene in which they shoot down a flying saucer. That system involved a range of safety issues along with devising a specially formulated fuel (alcohol mixed with various metals) to create blue flames as well as a combination of inert gases and electronic control systems that were used to extinguish the fire and protect the actors. As is the way with so much in Hollywood, an on-screen sequence that lasts just a couple of seconds took my team
When we work in public settings, the basic demand on lighting designers is for straightforward fixture layouts capable of providing enduring effects and requiring minimal ongoing attention. That doesn't sound particularly exciting - and it's not, unless the lighting designer uses it as a baseline and reaches above and beyond.Parks, plazas, resorts and historical sites (among many others) are all spaces that really should come alive at night, but their lighting designs often run counter to that vitality by being so utilitarian that they spark boredom rather than energy. It's easy to understand why this happens: Because such spaces play host to high levels of traffic and often multiple uses, they demand lighting treatments that
When we work in public settings, the basic demand on lighting designers is for straightforward fixture layouts capable of providing enduring effects and requiring minimal ongoing attention. That doesn't sound particularly exciting - and it's not, unless the lighting designer uses it as a baseline and reaches above and beyond.Parks, plazas, resorts and historical sites (among many others) are all spaces that really should come alive at night, but their lighting designs often run counter to that vitality by being so utilitarian that they spark boredom rather than energy. It's easy to understand why this happens: Because such spaces play host to high levels of traffic and often multiple uses, they demand lighting treatments that
We all know that plants are beautiful in daylight. Perhaps less well known is the vast visual potential they posses when carefully and thoughtfully lit at night. It's no small challenge. Indeed, maximizing the beauty of most any landscape while also ensuring that your lighting design works well throughout the lifetime of the landscape requires a keen understanding of both plant materials and the lighting techniques that will bring them to life when the sun goes down. Furthermore, surrounding watershapes with well-lit spaces and foliage will add a distinctive aesthetic dimension to the overall design. To my mind, there's no substitute for paying attention to every plant in the plan, because overlooking any of them or ignoring the role each has to play in the overall landscape will almost invariably detract from the effectiveness of the lighting design. You can't overlook technology, either, or the need to sort through the variety of techniques that can be used to light plants while keeping an eye on a wide range of practical, aesthetic and creative issues. When you encompass all of this successfully, the results will often
Maximizing the potential of landscape lighting is always about thinking ahead - a philosophy that absolutely applies when it comes to planning and designing the lighting for a watershape. The process begins with a set of questions that should be considered at the outset of any project: Is the watershape to be the focal point of the composition, or is it to be one among equally important features such as plantings, sculptures or hardscape details? Is the feature to be visually prominent at night, or is it to blend in with the darkness? Will the water you are lighting be in motion, or are you working with a still surface? Observers and chief vantage points also come into play. If the feature will mostly be viewed from passing automobiles rather than by pedestrians, for example, the issue of glare must be directly considered for safety reasons. If the watershape is to be seen from a lit interior space, then we know that its lighting level must be equal to or greater than that of the interior lighting. Likewise, relative brightness is an issue in making the illuminated watershape work with the rest of an illuminated landscape. The most important need in all of this is for
An amenity once found almost exclusively on major commercial properties, sophisticated outdoor sound systems are becoming increasingly popular in today's residential landscapes and gardens. In fact, says audio specialist Scott Sylvester, modern speaker systems are adding all-new dimensions to exterior spaces, giving watershapers and others the opportunity to provide their clients and guests with a complete outdoor sensory experience.
When we think about how the environments we create are used, the first image that probably comes to mind is one of people enjoying themselves in or near the water on a beautiful, warm afternoon. That's natural - and a vision that's a big part of the watershape experience we set up for our clients - but it ignores the other half of the day when our clients are left to themselves with our work. The fact is that watershape owners are mostly working people who spend their days away from home earning their daily bread. So despite the fact that we build these things
For the most part, the designers and builders of pools, spas and other watershapes visualize their projects in full sun, install them during daylight hours and seldom (if ever) see them after the sun goes down. That's both a problem and a shame, and it's reflected in the fact that the run of projects you encounter by mainline pool-industry folks - and, to a lesser extent, by people from the landscape trades - tend to treat the lighting of exterior spaces as an afterthought if it's really thought about at all. In fact, I'll go so far as to say that
