Professional Watershaping
'One of the most common themes repeated in [WaterShapes] is that selecting materials for projects can make the difference between truly artistic designs and those that are either inappropriate or just plain boring,' wrote Bruce Zaretsky to open his On the Level column in the December 2010 issue. 'Materials truly matter, and the importance of knowing your options and
'For years,' wrote Brian Van Bower to kick off his Aqua Culture column in the December 2005 edition of WaterShapes, 'conventional wisdom has held that many of the advances in watershape design incubate in the commercial realm and then slowly percolate over to the residential market as our clients ask for features they've seen on vacation and elsewhere.' 'That paradigm holds up to this day in many ways, but what's less acknowledged
Working on a large-scale project is a challenge when it happens even ten miles from your home base: Big jobs are just plain tough. But building that same project 150 miles away? That takes the difficulty to another level - and when you mix in an extremely difficult, environmentally sensitive site, it can feel as though you're operating on another planet. A case in point can be found in our participation in a design/build project on a remote cottage estate in the stunning
'Not long ago,' wrote Brian Van Bower at the start of his Aqua Culture column for the November 2010 edition of WaterShapes, 'I was reminded in a big way of the importance of understanding the international nature of our industry.' 'It was July, and my Genesis 3 partners . . . and I were on the Gold Coast near Brisbane, Australia, presenting a program at the Splash! Conference - an experience that, once again, underscored the fact that
'The creation of something outstanding, something that stirs an emotional response, something that establishes an ongoing, extraordinary experience for clients and anyone else who sees our work all starts with the passion we have in our hearts for art and its intimate relationship to what we do as watershapers.' That's how David Tisherman opened his Details column in the October 2005 edition of WaterShapes. He continued: 'I believe that unless you appreciate and
'Through the years,' wrote Brian Van Bower at the head of his Aqua Culture column in the October 2005 issue of WaterShapes, 'more than a few watershaping professionals have asked me how to break through and start working with high-end clients. 'I respond by giving them the disappointing news that there is no magic key here: Serving the high end takes
'Few things are as important to the aesthetic impression made by swimming pools, spas and other watershapes as the colors you select to use in and around them,' wrote David Tisherman in opening his Details column in the September 2005 issue of WaterShapes. 'Take tile as an example. Whether it's just a waterline detail, a complete interior finish or some elaborate mosaic pattern, it serves to draw the eye into a design. If the color and material selections work, the scene can become
For many years, Bruce Zaretsky faced the annual need to generate enough income to keep his business and his staff going through New York's long, cold winters. Here's a look at few of the most successful sidelines he found in his quest to keep the seasonal wolves at bay. As you read this, some of us in upstate New York are already thinking about
'The way I see it,' wrote Brian Van Bower to start his Aqua Culture column in August 2000, 'we watershapers can look at ourselves in one of two ways: as diggers of holes in the ground that hold water, or as artists working with one of the most exciting mediums on the planet. For a lot of reasons, I like the second of those options, because the first is passive - the sole goal being to contain the water - while the second gets me more
Back in 2001, I took a job working for a high-volume pool-construction firm as one of its 30 salespeople. For the first four years or so, I did all of my design work by hand. Quantity was always king in that operation, so I never even left the office: Someone would hand me a set of plans and I'd start working, despite the fact I'd never walked the site, seen its surroundings or had any
