Long before the Bobcats show up, most watershape designers will have used some sort of two-dimensional artwork to excavate their customers' imaginations. Perhaps it starts with old photographs in a portfolio, but it almost always ends up with new drawings that encourage precise, detailed communication between designer and client in a way that can never be fully achieved with verbal descriptions or written proposals. If done with appropriate detail and skill, a drawing gives designer and client the opportunity to explore the
Not long ago, my friend and Genesis 3 co-founder David Tisherman was in Miami. We took the opportunity to drive around and look at some of my jobs. As we moved through the Coral Gables area, really enjoying that beautiful waterfront community, he said, "This is nice. I'd really love to work around here." Now, in case you don't know, Mr. Tisherman is one of the finest pool designers and builders anywhere. My first reaction to his remark was, "Jeez, what would
It has been said by the experts that all art and craft is derivative, that any form of creative expression is actually a synthesis of both the designer's vision and the application of pre-existing influences and
Good pool design isn't something that happens by chance. It's the product of a mental discipline applied to the entire setting, from one end of the yard to the other. It's the result of an over-arching vision that incorporates the watershape as a desirable component in a whole tapestry of textures, traditions, shapes, surfaces, highlights, spaces, contours and lines that please the eye, gratify the soul and bring a smile to the face of the observer. Perceiving this integration is often intuitive, but you can tell when it's been done right. You also can tell when the mark has been missed and can spend minutes or hours (or days) unraveling and considering everything from severe challenges and missed opportunities to lapses in focus or simple errors in taste and judgment. If your head's in the right place, you'll probably learn more from the problem pool than you will from the gem. Putting pool-industry heads in that right place is part of the thoughtful, reflective approach to pool design offered in the Genesis 3 Design School, which has convened three times and has now touched the sensibilities of more than 75 designers and builders. While school is in session, participants are immersed in an ocean of information on design principles, technical issues, presentation techniques and, perhaps most forcefully of all, on attitude and mindset. The basic message: Every pool can be special, appropriate and expressive of the
The first thing I tell myself when looking at a prospective job site is that the pool is unimportant. That may sound strange coming from one who has spent years of his life in designing and building the finest pools money can buy, but in a very real sense, I think it's absolutely true: The pool itself means nothing. What's important is the site, its prevailing geological conditions, the visual strength and influence of the house or other structures and the natural elements of landscape and physical setting. All of these directly influence the design of the pool - its shape, size, elevations, materials and position on the property. When all of these elements of the pool's physical structure come into balance with the surroundings, then the experience of someone entering the area can be utterly transforming: They will draw impressions of beauty, elegance, relaxation, tranquillity and even a distinct connection with nature. You're off to a good start simply by recognizing this potential. To maximize it, however, you need to
Construction can be a tough business: Even minor conflicts or disputes often lead to courtroom battles, and you can hardly blame people in the trades for thinking 'potential lawsuit' every time they sign a contract. One way to avoid these lose/lose scenarios, says aquatic consultant Curt Straub, is to implement a simple, up-front agreement designed to foster cooperation among designers, engineers, contractors and clients.
It was one of those projects where aesthetics, technology, function and history all came together. Installed on a pier on the waterfront in Hoboken, N.J., right across the river from the Manhattan skyline, the dry-deck fountain pictured on these pages was part of a civic development movement aimed at creating new public areas on both the New York and New Jersey shores. Our company, Roman Fountains of Albuquerque, N.M., first became involved in the project in 1996, when we
As designers and builders, we might feel with every new project that we have created the most profoundly original setting in the world. In most cases, however, our most likely achievement has to do with adapting an architectural concept developed long ago, putting a modern twist on it and calling it our own. For me, in fact, the more I learn about the history of watershaping, the more I feel connected to ancient watershapers and recognize that we haven't created anything really "new" in a long time. We all know clients, for instance, who want their backyards or public spaces to look like Spanish or Italian villas, French or English formal gardens, or maybe peaceful
During our last session, we explored the water-flow/electric-current-flow analogy and summed it up in a few sentences that are worth repeating: • Water: The pressure created by the pump forces water to flow through the pipes and valves, overcoming the friction losses of the system. Higher pressure provides for more gallons per minute. • Electricity: The voltage created by the battery forces electrons to flow through the wires and switches, overcoming the ohmic resistance of the circuit. Higher voltage provides for more amperes. (The short version of that is, "Volts push amps through ohms.") To be truly useful to us, we must know something about the way these three basic units relate to
Designing a New Paradigm