construction
I like to tell people that I have the greatest job in the world. It's true, and whenever I start working with a new client, I feel like a kid in a candy store. Look at it this way: As a watershaper, I get paid to use my ideas, experience, imagination and creativity to make my clients' dreams come true. Essentially, we're big kids playing with very big toys, and clients respond to our enthusiasm in a big way. And the best thing about it is that exterior designs are like fingerprints: Each one is different; every client has his or her own set of priorities; and every property calls for a
I like to tell people that I have the greatest job in the world. It's true, and whenever I start working with a new client, I feel like a kid in a candy store. Look at it this way: As a watershaper, I get paid to use my ideas, experience, imagination and creativity to make my clients' dreams come true. Essentially, we're big kids playing with very big toys, and clients respond to our enthusiasm in a big way. And the best thing about it is that exterior designs are like fingerprints: Each one is different; every client has his or her own set of priorities; and every property calls for a
When people ask me what I do for a living, I like to tell them I'm a Texas-style maverick in the world of watershaping. That's a lighthearted way of characterizing what I do, but it speaks the truth when it comes to describing what I think this industry is really all about. Indeed, I see the best watershaping as being defined by a pioneer spirit and an appetite for innovation - a drive and hunger that convincingly overcome the all-too-common fear of trying new ideas, technologies and approaches. In my 37 years in the business, in fact, I've seen the process of shaping water change radically from what I witnessed when I started out in the 1970s. All those years of change and experience have helped me look at the art of watershaping in new ways: As have many other opened-minded artists in this business, I've
In my last two columns, I've gone to unusually length in describing my views of the design-preparation and presentation processes. This time, the subjects are more compact but, in practical terms, no less significant and vital: permits and contracts. We left the discussion last time at the point where I've shown my clients the design package and it's time for them to decide what to do. In most cases, they choose to build - the usual outcome for me because of the way I pre-qualified my clients and communicate clearly with them at every step of the way. In general, if you've done the right things to this point and the project reflects an informed knowledge of what is involved in
In my last two columns, I've gone to unusually length in describing my views of the design-preparation and presentation processes. This time, the subjects are more compact but, in practical terms, no less significant and vital: permits and contracts. We left the discussion last time at the point where I've shown my clients the design package and it's time for them to decide what to do. In most cases, they choose to build - the usual outcome for me because of the way I pre-qualified my clients and communicate clearly with them at every step of the way. In general, if you've done the right things to this point and the project reflects an informed knowledge of what is involved in
It may be a cliché, but I think there's something to be said for the notion that you need to know where you've been to see where you're going: The present and the future are always both a result of (and a response to) the past. For years, voices in this magazine have described, defined and advocated changes in the way the watershaping industry works. I, for one, have written volumes on what the pool and spa industry was once like and how the benefits of elevating our approaches flow to everyone from suppliers, designers and contractors to consumers as well. I've also meditated more than once on how professionals on the
It may be a cliché, but I think there's something to be said for the notion that you need to know where you've been to see where you're going: The present and the future are always both a result of (and a response to) the past. For years, voices in this magazine have described, defined and advocated changes in the way the watershaping industry works. I, for one, have written volumes on what the pool and spa industry was once like and how the benefits of elevating our approaches flow to everyone from suppliers, designers and contractors to consumers as well. I've also meditated more than once on how professionals on the
The design and installation of the circulation, filtration and chemical-treatment systems for the pools at St. Lucia's Jade Mountain was a task of monumental proportions and extreme technical, physical and logistical difficulty. The effort was spearheaded by watershaper/hydraulics expert Chris Barnes, who spent months on site installing precision systems engineered to provide years of nearly maintenance-free service. Installing the circulation systems for the pools at Jade Mountain was a challenge unlike any other. I was first approached about the project by my good friend, Skip Phillips, who explained that he had already been working on the project's design for several years and indicated that it was going to be something truly amazing. He observed that the owner and his design team didn't have anyone in place with any experience with the installation of extremely complex watershapes and suggested that I might be the one to step up to the challenge and keep
Looking for a surface material as unique as the resort itself, the designers of Jade Mountain turned to David Knox of Lightstreams to create completely original tile products for use in the structure's 25 vanishing-edge pools, with each one to have its own unique colors and optical qualities. Here, Knox describes the process of deploying glass tiles throughout one of the world's most unique and extensive watershape environments. For me, Jade Mountain is not simply a resort in St Lucia: It's more of a spiritual and artistic achievement - and one I helped fashion through a period of 15 months. I felt that sense of operating on a higher plane during my first visit to the parent resort, Anse Chastanet, in March 2005. There was something different about the project, just as there was
Pioneer Pride