artificial rock
RicoRock (Orlando, FL) is now manufacturing pre-cast, artificial-rock copings for use with new vinyl-liner pools…
When a backyard has a swimming pool, homeowners generally want their watershape to be a key visual component in the overall composition. Too often, however - and this is particularly true of many of the older ones I see - the pool is unexciting both on its own and as part of the landscape. That's definitely not the style these days. Homeowners either want to make a statement by having a pool that is a visual knockout complete with big rocks and grottos and waterfalls; or they want it to play a more understated role but be a major part of a
It’s frequently tough to figure out how a person ever finds his or her way into a specific line of work. In my case, for example, I more or less fell into the faux-rock trade, never imagining that what seemed like a blind stumble would ultimately unlock my imagination in a whole range of unexpected ways. It all started when I was working in the oil industry in Alaska in the 1980s. When petroleum prices dropped, I was out of work and moved back to my home town of Tucson, Ariz., where I was hired as a laborer by the Larson Company, which was among the trailblazing firms starting to work in faux rock. I began by mixing concrete and did my fair share of grunt work. As luck would have it, I began showing some artistic promise and in a relatively short time found myself working on major projects and learning the process literally from the ground up. After a couple of hard years, I became a superintendent, a promotion that led to my involvement in major overseas projects, including aquariums in Tokyo and Osaka, Japan, as well as an extended stay in Italy. These were wonderful, formative experiences, but eventually I struck out on my own and
{Multithumb} Artificial rockwork is hardly new. In fact, its roots stretch back more than 100 years to Germany, where it was used for the first time to enliven zoological exhibits. Those early examples of artificial rockwork were decidedly crude – nothing more, really, than solid mounds of dumped concrete – but they met a need that couldn’t be accommodated by natural stone and made it possible to display hoofed stock (including antelopes and gazelles) on raised, natural-seeming terrains. Those early efforts were far from beautiful, and it’s no stretch to say that things have come a long way in the century since those first attempts took shape. Indeed, those of us who’ve worked in artificial rock for any length of time are proud to have witnessed the product’s evolution to a point where materials and techniques are now applied that are capable of transforming otherwise mundane settings into scenes of striking, naturalistic beauty. Certainly, deploying natural rockwork is another means of achieving the same end, but success often involves
To the casual observer, it might seem that what we do is all about artificial rock. But if you look closer, I think a better description is that we work in the business of "themed construction." While much of our work centers on the creative use of artificial rock, we do much more than shape that raw material in fashioning the archaeological replicas, exotic watershapes, zoological exhibits and grand-scale sculptures of which the rockwork is a part. As we see it, what we do is develop whatever sort of tableau a client might want in whatever media might help us capture it. As a consequence, our work at The Lakeland Co. (Rathdrum, Idaho) has brought us into contact with an incredibly broad spectrum of projects in a wide range of settings, from
To the casual observer, it might seem that what we do is all about artificial rock. But if you look closer, I think a better description is that we work in the business of "themed construction." While much of our work centers on the creative use of artificial rock, we do much more than shape that raw material in fashioning the archaeological replicas, exotic watershapes, zoological exhibits and grand-scale sculptures of which the rockwork is a part. As we see it, what we do is develop whatever sort of tableau a client might want in whatever media might help us capture it. As a consequence, our work at The Lakeland Co. (Rathdrum, Idaho) has brought us into contact with an incredibly broad spectrum of projects in a wide range of settings, from
In designing and constructing naturalistic projects for residential clients, I keep two thoughts uppermost in mind: First, the only way to create a successful, natural-seeming illusion is to base my work on the observation and study of nature; second, the only way to build fun into such an environment is to fill it a child-like sense of wonder that draws old and young alike to the natural beauty. For the project pictured in these pages, those two thoughts were always front and center. The homeowner first contacted us about his desire to place a dramatic waterfall in front of some striking, 120-foot-tall eucalyptus trees. That vision soon expanded to include additional watershapes now woven through the majority of the steep, terraced, heavily wooded site. Some work had already started on a set of streams and a hillside pool by the time we became involved, but when the client became acquainted with our work and saw the sort of realistic, highly detailed projects we execute, he wanted us to pick up and take the entire project to completion. Built during the unusually wet winter southern California experienced this past year, the project was challenging in logistics, scope, variety and detail. Some of the practical challenges included hand-carrying 400-pound rock panels down 100 yards of steep, switch-back paths - and occasionally dodging rogue golf balls shanked over from the adjacent Bel Air Country Club. Despite such annoyances,
Finishing up a project of any size is all about the details. From the final touches on the artificial rockwork and the placing and adjusting of lights to the fine tuning of the circulation system and signing off on the equipment room, the art of fine watershaping ultimately boils down to applying the same stringent standards for excellence that you bring to the beginning and middle of the project straight through to the end. Of course, it's virtually impossible to complete a project of this magnitude without
To those who see art as frivolous and ultimately unnecessary and expendable, we offer as a counterweight the following from Austrian poet, Ernst Fisher: "Art is a driving force in bringing humankind to greater quality of life, and it is therefore an absolute cultural necessity." For the artist, tremendous responsibility comes with that necessity. Indeed, those who expose others to art bear a burden in shaping entire cultures as people around them come to accept their artistic output as essential threads in the social fabric. Think of Brunelleschi in Renaissance Florence, for example, or Gaudi in modern Barcelona. When we as watershape or landscape designers seek to expose others to our works of art, we accept a profound moral responsibility whether we work in the public or the private domain. At its core, our responsibility is to seek and communicate truth. As we see it, one and all who fall under the broad umbrella of the watershaping arts should be
