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Not to diminish the painted ponies of The Wizard of Oz, but Steve Mann’s hydraulophones are horses of a different color. These watershapes come in all sorts of shapes and sizes, from landmark centerpieces that have the sculptural grandeur of pipe organs all the way down to water-flutes that resemble brightly colored tadpoles. What’s most remarkable about these devices isn’t just their structural and artistic variety or the ways they look as visual art: It’s the sounds they make. At first, the natural comparison is to a pipe organ, but as you listen, a variety of shadings and other sonic reverberations emerge, slip and slide around you. What’s more, hydraulophones invite people to insert their fingers into the jetting water to shape the sound and squeeze out the shape of each note, and a variety of sonic textures are possible depending upon
The idea that someone can enter a man-made body of water and go surfing is both exciting and a bit mind-boggling. Perhaps that's why, as is the case with many a good idea, there's more than one claimant to the distinction of having built the first-ever wave pool. Most people in the know trace the origins of these vessels to the early 1970s, and I know for certain that we at Whitewater West jumped into the game early on: The company became involved in its first wave pool a year after opening its doors in 1982, and to date we've been involved in installing many of the hundreds of systems that now grace aquatic facilities across North America. As waterparks work to distinguish themselves, wave pools have become more elaborate when it comes to both themes and aesthetics. In fact, in the 17 years I've been working on wave or surf pools for the company, I've seen these vessels grow dramatically both in popularity and in the level of the technologies and design details that make them
The idea that someone can enter a man-made body of water and go surfing is both exciting and a bit mind-boggling. Perhaps that's why, as is the case with many a good idea, there's more than one claimant to the distinction of having built the first-ever wave pool. Most people in the know trace the origins of these vessels to the early 1970s, and I know for certain that we at Whitewater West jumped into the game early on: The company became involved in its first wave pool a year after opening its doors in 1982, and to date we've been involved in installing many of the hundreds of systems that now grace aquatic facilities across North America. As waterparks work to distinguish themselves, wave pools have become more elaborate when it comes to both themes and aesthetics. In fact, in the 17 years I've been working on wave or surf pools for the company, I've seen these vessels grow dramatically both in popularity and in the level of the technologies and design details that make them
Integrated pest management - or IPM, as it has become widely known -- is a concept that emerged about 20 years ago when landscape professionals and others involved in the management of plants and the land began incorporating its techniques into their landscape installation and management projects. Unfortunately, however, the concept of pest management is all too often seen as the exclusive province of those engaged in landscape maintenance: As a rule, designers and design/build contractors rarely pay more than lip service to pests in general and give even less attention to considering them as part of an integrated approach. At the risk of being labeled a "tree hugger," I believe it's time for everyone involved in the various landscape professions to embrace IPM. The simple truth is that, as landshapers, we need to pick up on the lessons of our collective experience. As the saying goes, those who fail to learn from history are doomed to repeat it - as we have, over and
Sometimes you just know that a client is going to want something special - something nobody else has. I can think of no other entity that better fills that bill than the Walt Disney Co. Justly famed for its remarkable creativity, spirit of innovation and ultra-high standards for design and execution, I knew going in that working with this amazing organization would mean coming to the table with strong ideas, supreme self-confidence and a demonstrated willingness to test boundaries and perform beyond expectations. Our firm, Captured Sea of Sunset Beach, Calif., was founded with those exact qualities in mind and a mission to create fountain systems throughout southern California that are distinctive, unique in concept, superbly engineered and built to last. Through the past eight years, we've been fortunate to tackle several projects for Disney in southern California. In each case, they were looking for watershapes that would delight visitors while enduring the rigors of heavy-duty use and near-constant operation. The call about the fountain featured in this article came in late summer 1999 from Glendale, Calif.-based Walt Disney Imagineering (WDI), the remarkable division of the company responsible for designing its theme parks and attractions. They told us that they were
Sometimes you just know that a client is going to want something special - something nobody else has. I can think of no other entity that better fills that bill than the Walt Disney Co. Justly famed for its remarkable creativity, spirit of innovation and ultra-high standards for design and execution, I knew going in that working with this amazing organization would mean coming to the table with strong ideas, supreme self-confidence and a demonstrated willingness to test boundaries and perform beyond expectations. Our firm, Captured Sea of Sunset Beach, Calif., was founded with those exact qualities in mind and a mission to create fountain systems throughout southern California that are distinctive, unique in concept, superbly engineered and built to last. Through the past eight years, we've been fortunate to tackle several projects for Disney in southern California. In each case, they were looking for watershapes that would delight visitors while enduring the rigors of heavy-duty use and near-constant operation. The call about the fountain featured in this article came in late summer 1999 from Glendale, Calif.-based Walt Disney Imagineering (WDI), the remarkable division of the company responsible for designing its theme parks and attractions. They told us that they were
It often happens that the way people enter a space has everything to do with the way they experience it and come to regard its overall design. This was much on my mind as we concluded our work on the Long Beach Island project I've discussed in my last few "Details." By orchestrating access and movement toward the backyard/pool area, we developed a string of transitions that lend a sense of surprise and delight to those entering a beautifully designed and constructed space that literally seems like a world apart. As discussed in previous columns, the backyard features a
A rainstorm is a good thing: It gives us water, fills our lakes and streams, feeds our crops and landscapes and arguably makes our way of life possible. But if there's too much of that good thing, it can also irreparably damage homes, roadways, curb and gutter, crops, landscapes and other elements of the environment, particularly when we've altered the topography to suit our own purposes. The importance of erosion control and the need for including it in any land-altering project has been underscored through the years by numerous disasters, including landslides that have resulted in property destruction and even
It's a fact: A great many of the ponds and lakes in the western United States are simply not part of nature's scheme. Whether used for water retention, landscape beautification, fishing or swimming, these artificial, man-made bodies of water are inclined (and in some cases doomed) to be troubled, usually because of fertilizer- and pesticide-laced runoff from surrounding developed areas. Indeed, some of these problem watershapes are filled with just about the worst water the environment has to offer. As our business has developed, a large portion of what we do has focused on setting things right in these troubled watershapes and
The Crown Fountain in Chicago's Millennium Park is an ingenious fusion of artistic vision and high-tech water effects in which sculptor Juame Plensa' s creative concepts were brought to life by an interdisciplinary team that included the waterfeature designers at Crystal Fountains. Here, Larry O'Hearn describes how the firm met the challenge and helped give Chicago's residents a defining landmark in glass, light, water and bright faces. In July last year, the city of Chicago unveiled its newest civic landmark: Millennium Park, a world-class artistic and architectural extravaganza in the heart of downtown. At a cost of more than $475 million and in a process that took more than six years to complete, the park transformed a lakefront space once marked by unsightly railroad tracks and ugly parking
