ARTICLES Archives - Page 268 of 314

Big Ideas

When you spend any time talking to designers of public artworks, the concept of "social responsibility" inevitably comes up in the conversation in one way or another. That makes sense, because artists who work in the public arena often

Valves are so common and integral a part of watershape construction that it’s easy to take them for granted and not think about exactly what each specific type is designed to do. In fact, observes hydraulics expert Steve Gutai, the efficiency and serviceability of a great many installations could be improved if system designers and builders took fuller advantage of the range of valve choices and their characteristics – an information gap he addresses here.

Valve Values

Watershape construction is far more sophisticated now than at any time in history. Swimming pools, for instance, are commonly designed to include spas with complex jet manifolds and a wide variety of controllable effects, while vanishing edges, perimeter-overflow details, multiple water levels and various water-in-transit designs are also increasing in popularity. Fountains and waterfalls and the full range of other waterfeatures also are more elaborate, and what all of them require are well-planned systems of valves to control and divert water to all the necessary components, effects and details. These are situations in which valve choice is, in fact, critical to hydraulic-system design. The many types of valves can be separated into three specific categories roughly according to application. There are some that divert water, others that isolate water and still others that

The illumination of watershapes is a true specialty even among the experts, observes lighting designer Janet Lennox Moyer, because it requires not only mastery of available lighting technologies and techniques but also an understanding of the physical properties of light as it interacts with air and water. The key, she says, is supporting a clear set of objectives with careful planning and a persistent desire to make the most of watershapes after dark.

Shining Through

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

Aesthetic thrills and technical perfection: Those are the twin goals watershaper Mario Abaldo always pursues in developing his high-end custom environments – and the project covered here is a case in point with a twist: In this instance, he came in on a complex project that had gone miserably off course in a remote location in western Virginia and introduced a systematic, collaborative approach that set things back up for a grand conclusion.

A Rustic Retreat

The Shenandoah Valley of western Virginia is one of the most beautiful places I've ever been. The site to which we were summoned in January 2004 - a 220-acre estate set amidst its rolling hills - confirmed that opinion in every possible way by offering incredible views of nearby valleys, forests, farmland and mountains. We'd been called to take over a grand-scale swimming-pool project, one as outsized as the property with respect to scope and complexity - and one that required constant, detailed interaction with

Bright Ideas

Janet Lennox Moyer's The Landscape Lighting Book (John Wiley & Sons, 1992) is quite simply one of the finest textbooks I've ever read. Indeed, when it comes to resources on the often-elusive topic of landscape lighting, it's hard to imagine a more comprehensive resource. Moyer is a lighting designer and instructor who has made a career of lighting the night with a flair that has earned her a tremendous reputation in the United Sates and abroad. (Her first contribution to WaterShapes, coincidentally, appears in this issue - click here.) In reading her 282-page, richly illustrated book, it's easy to see why she's become so successful: There is so much detail about design and such a wealth of specific

Rules of Engagement

On several occasions during the past few years, I've had the privilege of working with talented professionals who have made it possible for me to operate comfortably far from my home base on what have often been extremely ambitious projects. In fact, I've found some of my most exciting and rewarding recent jobs have been the result of these collaborations with other watershapers. Although working with them is different from

Friendly Barriers

We're all aware of local codes and other requirements regarding the fences we put surrounding watershapes: Many of the solutions we are forced to adopt can be quite unsightly and often detract significantly from the visual beauty we're trying to create overall with our watershapes and planting plans. Unfortunately, many designers and contractors seem to see all fences as being grossly equivalent, meaning that they're taking the rules that apply around watershapes and translating them into a non-watershape settings, probably because it's the path of least resistance at a time when

Standing Proud

No doubt about it: More and more quality projects are being designed and built by the various segments of the watershaping trades these days. That pleases me for a number of reasons, not the least of which is that it tends to reinforce my observation and belief that great work is done mostly by people who take genuine pride in what they do. Indeed, I see such a consistent correlation between pride and quality that I've come to see the former characteristic as a prerequisite for performance at the highest level. That may seem an obvious point, but when you scratch the surface of the subject as it relates to the watershaping industry, it takes on

Lessons on the Home Front

A number of you have asked me, with varying degrees of urgency but no outright threats of bodily harm, to lighten up on what you see as

San Diego-based landscape designer, watershaper and artist Melanie Jauregui has spent a career taking inspiration and clues from her clients, specific settings and her own explorations of the realm of art and design. As a result, she says, each of her projects is different from the others-and a reflection of a collaborative approach that enables her to bring just about any style to bear in meeting the distinctive needs of any project.

Style Council

I'm steadily reminded of one key point: No matter how talented any one of us might be, the work ultimately is not about us. For intensely creative people equipped with the necessary measures of self-confidence and ego, that point can be tough to accept and absorb, but it's true: For all our skills, we nonetheless work with our clients' visions, and the reality is that creating sympathetic designs for them takes time, patience and lots of effort. As a result, I'm passionate about uncovering what my clients are truly after in their garden and watershape designs. It's an investment of time and energy at the onset of the relationship that always