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I'm freshly returned from the International Pool|Spa|Patio Expo, loaded with memories and impressions and ready to set my course for the year to come. I had the editorial conversations I needed to have, conferred with old friends and new acquaintances and met with multiple suppliers to
When it happens this way, it's truly special. The clients had seen my work and had been so impressed that they said they didn't want to "sway" me in one direction or another by offering their own design ideas and suggestions. Almost as important, they had the wherewithal to set me loose in pursuit of what I thought should be done throughout the entire space - everything from the watershapes and the outdoor kitchen to the plants and furnishings and small decorative details. As I discovered and they already
Very often these days, we're a pre-selected contractor and get involved in projects early enough that we participate in their development almost from inception. That's great, because it gives us the opportunity to define what needs to happen to make the most of the glass-tile finishes we're frequently asked to install. In this case, however, another contractor had the first shot at the job, which involved extensive work on an unusual vanishing-edge pool as well as an innovative spa and a nice little waterfeature. Long story short, that other company had apparently never
In advancing my career as a watershape designer, I've put major stock in education to give me an edge. I've taken multiple courses in computer-assisted design, for instance, along with all sorts of technical-skills classes to keep me up with what's current in the field. But I've noticed as well that the accumulation of experience is a huge additional asset, mainly because it reflects what I've already tried, survived and learned from - but also because having done some of the things I've tackled through the years gives me
As you see this on November 1, I'm already in the WaterShapes booth at the International Pool|Spa|Patio Expo in Orlando, saying hello to old friends, making new acquaintances and doing all I can to make the most of our participation at the show. It's a celebration for us - our twentieth time
‘Those of us who are designers and builders of full-scale outdoor environments . . . face a distinct challenge: In our work for our clients, we are expected to provide the outline and details for a huge range of project elements, from watershapes and patios to plantings and walkways and more.’ That’s how Bruce Zaretsky began his On the Level column in WaterShapes’ November 2007 edition. ‘That list, at least so far as clients are concerned, also includes appropriate lighting, but that is not always something
For me and my business in around 2008, this project was a real rite of passage. At that point, pool-construction and shotcrete-application companies like ours were well established and had lineages stretching back to the 1950s. Just the same, we were having a hard time gaining recognition from architects, landscape architects and developers who were pursuing quality, prestige construction. The irony is, my own firm had
Ten years ago, Bruce Zaretsky began his “On the Level” column with a question: ‘Have you ever turned down a client who really wanted to work with you and you alone? ‘It’s a hard thing to do,’ he wrote, ‘which is why most of us have found ourselves at one time or another saying “yes” despite the fact that we believe something the clients want simply cannot be done or, more important, that we’ve developed serious doubts about them. Just at that point where we really need to sit them down and tell them to go
The watershape was way off any path I'd ever beaten around New Orleans: It sits north of downtown along the shores of Lake Pontchartrain, and I was genuinely surprised to make its acquaintance.
This was back in November 2016, when my wife and I were heading with my brother and his wife to their home in Mississippi after my work at International Pool|Spa|Patio Expo drew to a close. We rolled up West End Boulevard to where it turned into Lakeshore Drive, figuring we'd move along the waterfront until we could conveniently jump over to Interstate 10 and leave the Crescent City behind.
But soon after we made the right-hand turn along the water, I spotted a fountain and made us stop: We'd essentially tripped over the Mardi Gras Fountain, which I'd never heard of before, and paused briefly to give it a look.
It reminded me immediately of the fountain in the Plaza de España (click here), which I'd seen many times through the years while walking along the Mississippi River toward the convention center. Both installations feature lots of tile plaques, but I found those associated with the Mardi Gras Fountain to be much more interesting because they colorfully memorialize the various carnival krewes that participate in local parades and various other Mardi Gras festivities.
I was a big fan of the HBO series Treme and saw a unique part of New Orleans heritage coming to life before my eyes.
The fountain itself, however, wasn't all I might have hoped. Yes, the water danced with gusto, with clusters of jets sending water to various heights in a varied array of patterns. But if ever a themed fountain called for music, this one is it: While the jets conjured some of the visual magic of a New Orleans parade, without sound (other than the watery kind) it all fell a bit flat for me.
Since returning to California, I've read up on the Mardi Gras Fountain and have come to appreciate its unusual history. First dedicated in 1962, it was designed by Blaine Kern in association with a local architecture firm. Kern was no fountain guy: He was a Mardi Gras float designer who came back from a trip to Europe filled with impressions of great fountains and started a personal crusade to get one built in New Orleans.
The original fountain came in with a modest outlay of $42,000, including 70 tiled plaques set like teeth around the basin. The fountain shot water 30 feet into the air, and on warm summer evenings, all lit up, it drew substantial crowds to water shows. But by the 1990s, the watershape had fallen on hard times and was decommissioned.
In May 2005, the fountain was treated to a $2.5 million restoration, with new electrical and mechanical systems to go along with new paving and landscaping. Hurricane Katrina massively abused both the fountain and its park just a few months later, and it was 2013 before another hefty infusion of cash brought the space back to life with a new set of upgrades and a bunch of new tile plaques.
Knowing what I now know about the fountain and its story, I'm more inclined to be charitable about its musical shortcomings and accept it on its own considerable merits. It has its shortcomings, in other words, but I appreciate it for what it is - a wonderful, personal celebration of New Orleans' Mardi Gras heritage and generations of urban (and urbane) entertainment.
Bottom line: The fountain's fine. As for the plaques, they're cool beyond belief.
For a video of the fountain after dark, click here.
The advent of underwater LED lighting has changed the way we look at and perceive swimming pools and spas once the sun goes down. In contrast to past days, when a single incandescent light blasted the eyes of anyone nearby, lighting is now a far subtler design feature - an intricate, integral part of a pool's aesthetic presence and the key facilitator in creating an ideal backyard ambiance once the sun goes down. But LED technology brings a learning curve with it - one that is even more of a challenge in an era when pool designs are increasingly dynamic and complex. And no matter whether you're a veteran or a
