details
To me, setting natural stone has always seemed something like assembling a very large jigsaw puzzle: All the pieces have to fit together, and there's definitely a right way and a wrong way to make it happen. I start the process systematically by laying stones out in an adequately large area and then just looking at them. As I go, I visualize how each will work as part of the overall composition and identify stones with either convex or concave contours that might fit together in some visual way. I'm constantly asking myself, "If I put this stone here and this other one right next to it, how will it work? Should I pick another stone and use a different combination?" Nature helps me in coming up with the answers, because
After a long, mostly weather-related break, it's finally time to return to the rolling hills near Hanover, Pa., and the huge, multi-phase watershaping project I began discussing in the fall of 2003. When we last visited the project in February 2004 (page 22), the primary gunite structures were in place; we are now proceeding with the meticulous work that will give the project its visual appeal. Even in unfinished condition, the pool complex is pretty impressive: a big, free-form vessel with a variety of features including an island spa, an enormous associated waterfeature, bridges and a range of bells and whistles I'll discuss in upcoming columns as the project draws to a close. As previously discussed, one of the defining design elements on this project is the extensive use of natural boulders and large expanses of stone decking. Even without the weather delays, these project phases alone have turned into
Over and over again, I've said and written that the water should not be seen as the most important element in a well-designed space. In fact, I've said it so often that it's almost become a cliché, and that's a shame, because it tends to trivialize the valid point that all elements in a given space - plants, rocks, hardscape, lighting, artwork and water - need to co-exist in visual balance to create an overall experience. This concept of visual balance should indeed be the heart and soul of all our exterior designs, but it's apparent
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
Recently, I've been involved in the early stages of a project that has lent new meaning to the phrase, "seeing is believing." It came up as a result of a call from an agent for a well-heeled client who was interested in having me design and build a residential swimming pool in the Dallas/Fort Worth area. When I arrived in Texas, I was met by the owner's agent, David, and by Marcus Bowen, a landscape architect who was part of the large project team, which, I would learn, included architects, a landscape architect, an interior designer, a lighting designer, various engineers, numerous
I operate under the hopeful assumption that all professional watershapers know that detailed, quality construction plans are crucial to the success of any project. Too often, however, I get the unsettling feeling that some contractors in the watershaping trades see plan documents mainly as a means of securing a construction permit. Such a bare-minimum approach can lead to an endless array of problems that can be summed up simply: Plans lacking in detail leave way too many issues to chance and inevitably lead to mistakes. And because we all work in a field where things are quite literally
As much I enjoy seeing my own projects come to fruition, there's something wonderful in seeing watershapers I know achieve great results in their work. I admire and encourage the effort, especially when the outstanding outcomes are the result of a professional's concentrated efforts to improve his or her own skills. This is one of the reasons I teach: I take great satisfaction in sharing my techniques, sensibilities and the conviction that what I do is special, a true form of art.Sometimes I speak with former
On several occasions during the past few years, I've had the privilege of working with talented professionals who have made it possible for me to operate comfortably far from my home base on what have often been extremely ambitious projects. In fact, I've found some of my most exciting and rewarding recent jobs have been the result of these collaborations with other watershapers. Although working with them is different from
To my way of thinking, professional design work requires a professional workspace in which all of the necessary professional tools are available. In fact, for the designer creating custom watershapes, I see the space in which the work actually unfolds as being critical and cutting to the very heart of what it really means to be a "designer." I know that term is a loaded one, which is why I put it in quotation marks. After all, anyone can say that he or she is a designer, even if all they do is sit at a coffee table
It's unusual to think of such a wonderfully decorative watershape in this way, but the one featured in this edition of "Details" was the result of a client's desire for a measure of safety for the front of his home. The house is located on an intersection in a hilly part of Manhattan Beach, Calif., where the steep, downhill orientation of the streets occasionally lead cars to make turns at unwisely high speeds. Given the orientation of his front door, my client was concerned that, with a bit of very bad luck, he might someday find an out-of-control-driver's car in his foyer. As is the case with many
