ARTICLES Archives - Page 201 of 317

Swimming to Longevity

Delivering the keynote address to the World Aquatic Health Conference in September 2008, Dr. Steven N. Blair asked a simple question: Does swimming reduce your risk of dying? As he stressed then and repeats in detail here, the answer is a resounding yes. Indeed, the findings he offers stand among the most compelling reasons ever offered to promote swimming and other forms of aquatic exercise to the general public. Medical science has long seen exercise as a crucial part of a healthy lifestyle. In fact, there’s an enormous amount of evidence about its health benefits – so much that the U.S. Department of Health & Human Services recently stepped up with its first-ever guidelines for physical activity. Lots of individuals, organizations and other entities have proclaimed the positive outcomes of exercise through the years, but never before had the U.S. government published an official set of guidelines. These government recommendations were largely the result of

Last year, the project team planning Canterbury High School’s new aquatic center brought in watershaper William Drakeley to discuss the facility’s state-of-the-art competition pool. Before he could start, however, questions about how it should be built involved Drakeley in educating the project team about the distinctions between shotcrete and cast-in-place concrete – and which should be used in creating what was to be a huge, monolithic shell.

Top of the Class

Every so often, our company is confronted by the belief among certain design professionals that, as it is used by the pool industry, shotcrete is simply not viable for use as structural concrete in high-profile watershaping projects. The assumption, I’ve learned, is that the pool industry is filled with contractors and specification writers who know little about the material and therefore tend to produce substandard results. I could argue the merits of the case, but let it suffice to say that the upshot of this widespread belief is that institutions and commercial clients hesitate to use shotcrete and instead prefer cast-in-place concrete, which they perceive as having greater quality and reliability in watershape applications. We at Drakeley Swimming Pool Co. (Bethlehem, Conn.) recently encountered exactly that prejudice: A private high school that was in the process of designing and building a state-of-the-art aquatic center and an

To Colorado pond/stream specialist Dave Garton, a certain ‘flexible responsiveness’ is the quality of utmost importance in all of his watershape designs. It’s an approach, he says, that calls for a keen understanding both of the setting and of what makes his clients tick – a dual awareness he puts on eloquent display here in discussing how he maximizes the personal appeal of his designs even as he works across a broad range of project types and styles.

Making Frames

Architectural Majesty

Earlier this year, I attended the Texas Pool & Spa Expo in Fort Worth – and, upon arrival, was treated to an unexpected earful. As soon as I reached the show floor, I walked over to greet my friends at the Genesis 3 booth. Before I could even get in a good round of “hellos,” David Tisherman asked me if I’d ever been to the Modern Art Museum of Fort Worth – just down the block from the Convention Center and practically in my own backyard. For those of you who know David, whether as an instructor or as a prolific writer for WaterShapes, I’m sure you can guess how he reacted when I confessed

Keeping Pace

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

Gearing Up

As winter draws to a close here in the northeast, we begin preparing in earnest to deal with the inevitable springtime rush. There are contracts to sign, materials to order, plants to grow, schedules to set and hires (if any) to be made. And we do all of this knowing that, once the weather breaks, we want to burst out of the gate like an odds-on favorite at the Kentucky Derby. To make this happen, we need to be ready. Where I live and work, winters are usually long, so by spring our coffers are low, our staff is eager to get some exercise and our general desire to

Working on the Water

From its very first issue, this magazine has made one key point over and over again: Soil conditions determine the way a watershape’s shell is constructed; to achieve success in construction, the approach must be established by a competent engineer and followed on site. Through the years, numerous contributors to the magazine have described the process of placing watershapes on hillsides or dealing with soil conditions that lead to differential settlement. So far, however, relatively little attention has been paid to the challenges of working in locations where

Finding Hope

This is almost certainly the toughest column I’ve ever written – and probably the most important. In past editorials, it hasn’t been unusual for me to share various forms of personal information, some of it about my family, some of it concerning my own health. I’ve been keenly gratified by the words of support I’ve received from colleagues and friends on those occasions, and I thank you here, one and all. This is, I fear, another of those occasions, as I

Moving water has an uncanny ability to soothe and refresh no matter where you find it, observe watershapers Sheri and Roger Soares II– but, they quickly add, it has a special power in arid, desert environments, where its appearance is both unexpected and reassuring. That’s why their projects almost always include water-in-transit effects, from subtle spillways or runnels to complex vanishing edges or perimeter overflows.

Modern Movements

It’s not unusual for watershapers to have their signatures. For some, these noteworthy effects extend from their educations and personal design preferences, while for others, inspiration comes from distinctive qualities found in local landscapes or from tailoring designs to suit the characters of their clients. In our case, we at Hydroscapes (Fountain Hills, Ariz.) pull on all of the above and more in our design work. Through the years, we’ve done a lot of projects associated with Contemporary-style architecture – a specialty, perhaps, but not what we’d call a signature. This work has led us to invest lots of time in studying modern masters including Frank Lloyd Wright and John Lautner – and, as they did, in learning about Japanese garden design and the work of the great Craftsmen architects such as Greene & Greene. Those influences flow neatly together for us because all of those designers embrace simplicity of line and form as well as elegance in the use of colors and materials. It doesn’t hurt that these legacies suit our personal tastes as a husband-and-wife design team – and it helps even more that a majority of our clients these days seem to start with similar ideas in mind: They want

Artificial rock is so commonly used in today’s watershape and landscape settings that it might easily be taken for granted. That’s not the best of situations, says faux-rock artist Matt Wilson, because too much of what’s being done fails to live up to the material’s full potential. Here, in the first of two articles on the fundamentals of artificial rockwork, he begins the process of defining qualities that set superior work apart from lesser efforts.

Rock Talk

{Multithumb} Artificial rockwork is hardly new. In fact, its roots stretch back more than 100 years to Germany, where it was used for the first time to enliven zoological exhibits. Those early examples of artificial rockwork were decidedly crude – nothing more, really, than solid mounds of dumped concrete – but they met a need that couldn’t be accommodated by natural stone and made it possible to display hoofed stock (including antelopes and gazelles) on raised, natural-seeming terrains. Those early efforts were far from beautiful, and it’s no stretch to say that things have come a long way in the century since those first attempts took shape. Indeed, those of us who’ve worked in artificial rock for any length of time are proud to have witnessed the product’s evolution to a point where materials and techniques are now applied that are capable of transforming otherwise mundane settings into scenes of striking, naturalistic beauty. Certainly, deploying natural rockwork is another means of achieving the same end, but success often involves