details
If there's one thought that permeates every page, every word and every photograph in this publication, it is this: The creation of something outstanding, something that stirs an emotional response, something that establishes an ongoing, extraordinary experience for clients and anyone else who sees our work all starts with the passion we have in our hearts for art and its intimate relationship to what we do as watershapers. That's a big concept. Really big. And I believe that unless you appreciate and (on some level) understand the raw power of artistic creation, then what you generate will seldom be
Few things are as important to the aesthetic impression made by swimming pools, spas and other watershapes as the colors you select to use in it and around them. Take tile as an example. Whether it's just a waterline detail, a complete interior finish or some elaborate mosaic pattern, it serves to draw the eye into a design. If the color and material selections work, the scene can become extraordinarily elegant and beautiful. If they don't, you can have a major eyesore on your hands. The amazing thing to me is how few watershapers ever really consider the importance
As watershapers, we occasionally are given the opportunity to interact with modern architecture in ways that enable us to generate genuine works of art. This trail linking some of today’s most expressive architecture to the reflective and auditory potential of water has been blazed by great designers including John Lautner, Ricardo Legorreta and Luis Barragan. They and their followers have thoroughly explored the geometries, materials and spatial relationships that make up the modern architectural dialogue between structures and water – and the results have often been breathtaking. Almost without exception, their success in these designs is a matter of context and the setting, and as one who has studied their projects for many years, I now have a clearer sense of the excitement they must have felt when things came together and everything about a project was just right. For the project pictured in these pages, a hilltop setting, the contemporary architecture of the home and willing clients set the stage for what is probably
Everywhere you turn these days, you see watershapers tackling projects that would have been unthinkable even a few years ago. It wasn't that long ago that simply raising a spa seemed like a big challenge, but these days vanishing edges, perimeter overflows and other ambitious details have become relatively common. And it's not just technology: Watershapers are gravitating toward great materials, colors, hardscape, plants and amenities - signs of real growth and, for the most part, a very good thing. With this broadening list of possibilities, however, have come some growing pains. The industry's like a teenager with
Value is measured and determined in a variety of ways. When it comes to pools and spas, for example, I'd say that the straight-dollar value is only one of several yardsticks and that, for many clients, it's no longer the one that tops their lists. Instead, beauty, health benefits, artistic merit, pride of ownership and emotional appeal are more important than price tag for many of them - a wonderful trend, to my way of thinking. These measures of value, of course, are highly subjective. Every client is a little bit different, and the relative value of non-monetary factors can be
Let me make an important point: As interesting as some of the details I discuss in these columns may be, many of the more significant ones wouldn't have any substance or value to my clients without the contributions of one very important person: my friend Mark Smith of Tarzana, Calif., whose firm takes care of my structural engineering. I'd go so far to say that he and his staff are critically important external members of my design team - professionals who know more than I will ever know about steel, concrete, tension and compression. Every single project I design and build is fully, individually engineered, and I refuse to make any assumptions on my own about what might be
It's a truism that almost all contemporary works of art are derivative: The ideas have already been expressed in one way or another at some point in history, and all we can succeed in doing is to apply those enduring forms as creatively as we can. We can't invent the wheel, but we can redraw it, embellish it, place it in context and, in our own ways, improve upon it through the choices we make in using it. To be effective in that sort of downstream effort as watershapers, it is essential that we understand the nature and origins of the basic building blocks of aquatic design. For years, people have asked me where I get my ideas - pools raised out of the ground, the small spillways, the drain details, the modular deck treatments, the color usage and the use of reflection, to name just a few. "Through my design education" is the short answer, of course, but I can get more specific if we
Where you've come from often has everything to do with where you're going. As a case in point, let me describe a project that had its origins all the way back at the very start of my work as a watershaper. My pool industry career began soon after I graduated from college. At the time, I was living in a garage in a rough part of Los Angeles and really wasn't sure what I wanted to do. I had studied ancient history, three-dimensional design and industrial design and had been accepted as a PhD candidate in pharmacology at the University of the Pacific. I was convinced I wanted to be a designer, but I wasn't sure which field I should enter. Then one day, at a time when I was about as broke as an organ grinder without a monkey, I answered an ad in the newspaper looking for
Sometimes, it's the simple things that trip you up. As a case in point, I was recently called by a homeowner who was wondering why the tile was falling off the outside wall of a raised pool that had just been installed by another builder. Unfortunately, that builder apparently hadn't known how to pull off this standard detail. The pool had been raised eight inches out of the ground in keeping with the design intent. This is a detail I use frequently to create a seating area around pools, but I was a bit mystified by this particular choice of elevation: It was too high to be a step (most building codes call for maximum 7-1/2-inch outdoor risers) and too low to serve very well as a bench. (Actually, it was just about right for
Understanding the client is frequently the most important factor in creating a successful design. In the case of the project highlighted here, for example, it was a given that the clients were highly educated and knowledgeable with respect to design, style and materials: He's a top-flight graphic designer with an amazing grasp of color, line, architectural details, presentation materials and techniques; she's a degreed interior designer with a wonderful artistic flair. They're also two of my best friends: He and I taught together at UCLA and have known each other for more years than I care to admit. They've known about the focus of my business for years and said they hadn't wanted to call me because the project
