ARTICLES Archives - Page 237 of 312

Revealed Truth

In discussing my role as a "forensic landscaper" a few months back, I expressed my disappointment in the quality of some of the work I was seeing in my local marketplace - and if the e-mail I've been receiving is any indicator, I am not alone in this experience. Indeed, questionable workmanship may be more prevalent that I ever could have imagined. As a result of this revelation, I will be using this space from time to time to demonstrate the fact that failure is often a better teacher than success and that, by exploring the nature and causes of failed projects, we can all come to a better understanding of the principles and practices that lead to good results. Before I begin, however, I'd like once again to salute

Constructive Collisions

Labels are often deceiving: They don't always tell the whole story. In the green industry, for example, most of us identify ourselves as either designers or contractors, but after 18 years of landshaping, it's clear to me that a majority of us are really to varying degrees both designers and contractors. The very best designers understand

Common to a huge percentage of watershapes, weirs play starring roles in the performance of everything from vanishing edges to naturalistic waterfalls. But common does not mean simple, says hydraulics expert Steve Gutai, who takes this opportunity to explore the physical characteristics of weir types, the ways they influence hydraulic design and basic approaches watershapers can use to keep things straight when pushing water over an edge.

Over the Edge

From the grandest waterfall to the smallest courtyard fountain, water flowing over an edge is one of the most compelling of all watershaping “looks.” Whether it’s a vanishing edge or a slot overflow or a trough, runnel or waterfall, these effects all use one common concept – that is, the weir. Simply defined, a weir is a barrier or dam placed in a channel behind which fluid backs up and then falls through a notch and down the face of the weir. In most watershaping applications, water travels over the weir’s edge or brink and into some kind of lower basin, trough or pool. Physically and visually, these systems are driven by

The restoration of the private lake pictured in this article offered watershaper George Forni a set of challenges that ranged from completely recasting the lake’s structure, filtration and circulation system to devising a variety of design features aimed at bringing both fine aesthetics and ample family fun to the setting. The result, he says, is a project that was unusually comprehensive in scope and unfailingly remarkable in execution.

Welcoming Waters

Every so often, a project comes along that evolves as it rolls along, and what starts out as one set of tasks and parameters morphs to become something entirely different before it’s through. That was certainly the case on this residential-lake project: Located in the hills above Napa Valley, Calif., the job put us in touch with affluent, intelligent, fun-loving clients who had initially contacted us about the straightforward restoration of a dying lake located at the base of a ravine beset with unchecked plant growth and rattlesnakes. None of that was new to us: We

For centuries, gardens the world over have been decorated by statuary, fountains and benches, with every such item dedicated to the proposition of enhancing the enjoyment of these outdoor spaces. Here, Maria Lynch Dumoulin discusses the history of these pieces within the design tradition – and speaks of her company’s role in preserving and replicating objects that speak to us across continents, eras and styles with ease.

Classic Figures

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

These days, watershaper and landscape designer Robert Nonemaker is routinely called on by architects and landscape architects who want his firm to take their aquatic concepts and turn them into reality. Through the years, he says, this supportive participation has evolved to a point where there’s lots of creative give-and-take – and a regular seat at the table for him alongside other top-flight design consultants and construction specialists.

Role Playing

With few exceptions, the most satisfying projects we've undertaken through the years have come when our company has gotten involved with talented architects or landscape architects - and sometimes both - as part of larger project teams. We embrace this sort of work and enjoy taking a role as a resource for other professionals. Through the years, in fact, these collaborations have developed to a point where many of those we work with will automatically call us whenever one of their projects includes any sort of

Watershaper David Garton has spent a career mastering the fine points of ponds, waterfalls and streams – skills he now teaches to others in the Denver area. Here, he leads us through a discussion of what he does to make his creations measure up to the real thing right down to the smallest details, giving significant nods along the way to the character of the settings and, as important, to clients and their future pride of ownership.

Natural Transference

Every year, it seems, I'm asked to teach more and more classes on how to build streams, waterfalls and ponds that look natural. I enjoy conducting these sessions for local supply houses, landscape architecture firms, community colleges and other organizations and find it flattering that they value what I know. My motivation for sharing, however, is less about ego gratification than it is about my awareness that there's no way a single company can build all of the naturalistic watershapes consumers want these days. To me, it's a matter of collective as well as personal interest that these watershapes be built to function well and look great. In Colorado in particular, I also see a need for work that appears completely and distinctly natural, simply because most clients here are accustomed to seeing remarkable beauty in the countless alpine settings that grace this beautiful state. Indeed, it's a fact of professional life here that the work must mimic nature closely or it just won't fly. That can be very good for business, of course, but only if more than a few professionals hereabouts are up to the challenge. Available projects range from those that use thousands of

Packaging Your Finest

One of the greatest contrasts I've found between watershapers from the pool and spa industry and watershapers with backgrounds in landscape architecture is the way representatives of the two groups handle their portfolios. Landscape architects are taught that the way they present past work has everything to do with their ability to market their current design services. In the pool/spa industry, by contrast, designs are still rarely paid for and instead are offered as a means to winning a construction contract. In this context, portfolios tend to be far less sophisticated and generally cover examples of the company's work rather than that of an individual designer. That situation is (thank goodness) changing on several fronts, and it seems an opportune time for watershapers in general to step up in sophistication and focus on

Vertical Orientation

When I first entered the watershaping industry in the late 1970s, one of the details to which I took an immediate dislike was the practice of wrapping the tile that covered the walls of raised bond beams around the corner and onto step risers and various other vertical hardscape surfaces found around pools and spas. We've all seen it - Spanish Colonial Revivalist tiles of questionable authenticity, extra-bold in color and used to cover highly visible vertical surfaces. To me, these swaths invariably look out of place and have the effect of drawing attention to features that often don't warrant or benefit from the emphasis. It happens to this day because

Working in Color

When I paint, I constantly play with color on canvas and experiment with various combinations to see what works well and discover what, to my eye, clashes or doesn't seem to mix harmoniously. As a landscape designer, I'm aware of working through the same sort of process when I discuss color with clients - determining their likes and dislikes and narrowing the color palette down to those hues, values and intensities that are most appealing to them. Some aren't even aware until I launch into a discussion with them that they have particular tastes involving the color wheel. In my experience, all these clients lean