culture
Ever since March 20, I've been intending to complete the commentary I started on a book about the history of swimming, but other, more time-sensitive topics have gotten in the way. Now, at last, I'm back on track. As you may recall, Strokes of Genius was written by
India's stepwells are truly amazing, but relatively few people know anything about them. Victoria Lautman wants to change all that, reporting on their long history in a book -- and in a series for WaterShapes on three of the country's most wondrous architectural and cultural treasures.
A brief, late-spring visit to San Francisco gave me the opportunity to be just a tourist there for the first time in many years. Judy and I stayed at a place near Golden Gate Park and spent a long, full day in its huge expanse, moving from one great and wonderful attraction to another. The fact that the Park's museums
I've written a couple of my recent blogs about public pools, access to them, their cost, their status and my growing concern that, for a complex of reasons, swimming skills and our basic societal inclination to be water-involved is slowly moving onto the cultural version of the endangered species list. It's in this context that I call your attention to
Compiled and Written by Lenny Giteck Cadillac 'Poolside' Commercial Sparks Controversy, Derision
I've written quite a bit - and, I think, with passion - about the need to preserve and protect our cultural heritage as it relates to watershapes (click here, for one recent example). There are plenty of grand public pools, classic fountains and even some architecturally significant residential watershapes that
As I’ve mentioned before in this space, my education in landscape architecture pulled up lame when it came to instruction in art and art history. That shortfall has bothered me greatly as my career has progressed, but the silver lining is that I’ve been motivated to seek out sources I can use to teach myself what I think I need to know. My latest find in this campaign is a wonderful book designed specifically to prompt personal voyages of exploration: It’s called The Daily Book of Art: 365 Readings That Teach, Inspire and Entertain (Walter Foster Publishing, 2009) and delivers on its title’s promise by
When you execute complex projects for sophisticated clients, your ability to satisfy them and their tastes by bringing something different or interesting or unique to the table can make all the difference. As our firm has evolved, we've increasingly come to focus on identifying these compelling touches, which for us most often center on old-world influences that resonate, sometimes deeply, with our clients. I've always loved to travel and have spent extended periods in Asia, Latin America and Europe. At some point, it occurred to me that by working not only with the principles of classical European and Asian garden design, but also with authentic, imported materials and art objects, the work would take on greater meaning and interest for me - and for my clients as well. To that point, our firm had followed a path of influence that still reflects itself in our replication of ancient stone-setting techniques. While traveling in China and Japan, I began spotting stone pieces and other objects we could use directly in our watershapes and gardens and started acquiring pieces for that purpose. This step beyond evoking not only the style but actually using elements of authentic design quickly turned into a powerful element in our work. As we moved further in this direction, the channels opened wider, the creative possibilities blossomed and we soon began incorporating more and more of the materials and ideas that I'd encountered
When I first picked up Water and Architecture by Charles W. Moore (published by Harry H. Abrams in 1994), I thought I'd found the perfect resource for those of us who design and build contained, controlled bodies of water. As I delved into this book's incredibly well-illustrated 224 pages, however, for a short time I worried that the text was mostly irrelevant to the working lives of watershapers. Ultimately, however, I found the text to be very helpful - even if it wasn't in the manner I had initially thought. I was disheartened initially because the text seemed so broad in its coverage of water and architecture - and so rooted in history and philosophy - as to be of little practical use. Specifically, Moore deals with subjects as grand as rivers, oceans, harbors and architectural history in very broad and almost
