ARTICLES Archives - Page 257 of 314

Surface Value

Value is measured and determined in a variety of ways. When it comes to pools and spas, for example, I'd say that the straight-dollar value is only one of several yardsticks and that, for many clients, it's no longer the one that tops their lists. Instead, beauty, health benefits, artistic merit, pride of ownership and emotional appeal are more important than price tag for many of them - a wonderful trend, to my way of thinking. These measures of value, of course, are highly subjective. Every client is a little bit different, and the relative value of non-monetary factors can be

Badwater Blooms

As natural anomalies go, this year's rainfall in California has given us one for the record books. By far, one of the most interesting outcomes of the deluges of 2005 is the explosion of life the storms engendered in the harshest desert environment in the United States - so bountiful, in fact, that a lake actually formed at the hottest, lowest and nastiest place

Residential garden and watershape design should be an intensely personal process, says landscape architect and watershaper Rhadiante Van De Voorde – one keyed to the needs and desires of the client but balanced by the designer’s singular passion for composing exterior spaces. To demonstrate how this balance takes shape in her own work, she leads us through the thought processes that distinguish her clients’ evocative backyards. (Photo by Gregory Case, San Jose, Calif.)

The Graceful Dance

Successful residential exterior design is akin to a precisely choreographed dance. One sequence of steps defines the relationships among hardscape, water and plants. Other sequences distinguish light and shadow, color and texture, open views and intimate spaces. If the choreographer has done a good job, we don't see the individual steps so much as we enjoy the overall experience of motion. The key to making these multifarious steps work together? It's all about balance. Transferring these principles to backyard design, there's a similar need for

Classical Influences

It's a point I'll probably make to the end of my days: There is no substitute for travel and exploration of the historic world to learn about design. In my "Details" column in the June 2005 issue of WaterShapes, for example, I discussed my recent trip to Turkey and made the point that the ruins and intact structures we examined while there were full of specific details that I and other watershapers use in our work - whether or not we recognize that what we're doing actually derives from ancient original works. Showing what I mean in the clearest possible terms is what this pictorial article is all about. As you will see, I've included

Chemical Solutions

When it comes to watershapes designed for human interaction - including pools, spas and fountains - the chemical treatment of the water is a key safety issue that can be handled in a variety of ways. Indeed, says water-chemistry expert Jeff Freeman, so many products and so many approaches are available that the average designer or builder could probably use a bit of guidance to help them keep everything straight, both for themselves and their clients.

As commercial and institutional aquatic facilities become increasingly multi-dimensional, says architect/watershaper Treadwell Jones, they also need to move beyond being simply functional to make strong aesthetic statements as well. Here, he defines the opportunities designers have to move beyond the boxy rectangular designs of years gone by, using his own recent work to illustrate some of the compelling and creative possibilities.

Public Statements

When it comes to the old buildings that people most want to preserve, the good-looking ones always top the list. These structures are cherished because they make strong aesthetic statements and are often associated with a given period of history, a particular architect or a specific design movement. As an architect working to create public and institutional aquatic complexes, I try to think of my designs in those enduring terms. In other words, I want to develop watershapes that make strong aesthetic statements and therefore have a chance to be cherished and therefore stand a better chance of being preserved, well used and enjoyed for generations to come. I do so because a facility that is both functional and beautiful will, I think, inevitably be of greater value to its community than one that is simply functional. Ugly buildings do the exact same job as beautiful ones in sheltering human activities, but which are more likely to generate excitement, enjoyment and value for the long haul? The answer, I think, is obvious. As a result, I see aquatic facilities as places that should be

Picture Perfect

It's unfortunate, but all too often watershapers and landscape professionals go to extraordinary lengths in designing and building beautiful spaces - then don't take care of business when it comes to capturing those spaces with quality photographs. This is despite the fact that photography is hugely important to so many of us, if only to give us a worthy photographic record of our work to use in marketing and selling future projects. These images make up our portfolios, dress up our offices and showrooms and serve as

On the Beam

Let me make an important point: As interesting as some of the details I discuss in these columns may be, many of the more significant ones wouldn't have any substance or value to my clients without the contributions of one very important person: my friend Mark Smith of Tarzana, Calif., whose firm takes care of my structural engineering. I'd go so far to say that he and his staff are critically important external members of my design team - professionals who know more than I will ever know about steel, concrete, tension and compression. Every single project I design and build is fully, individually engineered, and I refuse to make any assumptions on my own about what might be

All About Bark

As an artist, I tend to look at the world with an eye to "distinction" - that is, what makes certain objects stand out, what makes them appear round, what makes them catch my eye, what makes me notice them. By contrast, most "civilians" notice overall appearances. If they're in a garden, for example, they will enjoy the sea of shapes and colors and will generally respond to a particular plant or design element only if it really stands out in some way. Knowing this, I like to play in my garden designs with elements of visual control and on finding ways to direct what the viewer will look at first, then second and so on. In lots of my gardens, I use trees to capture this sort of attention. Even uninspired observers will take note of

Too Busy to Care?

Almost everyone I've talked to recently is busier than ever these days. And it's across the boards, from landscape architects and designers to pool and spa builders and subcontractors of every type: Everyone is swamped, and this year in particular they all seem to be having trouble just keeping up. The odd thing is that nobody I've spoken with has an entirely clear idea why this year is so busy. At best, the economy is mixed: oil and gas prices are through the roof, the stock market has been extremely inconsistent and consumer confidence has been shaky. Yet watershaping projects just seem to keep on rolling, no matter the news. One undeniable factor seems to be driving this demand - that is, the