details
Every once in a while, being right is not such a great thing! Last month in this column, I described the initial phases of a spectacular project in Malibu, Calif., and one of the things I mentioned was the fact that from the moment I stepped onto the site, I suspected that there might be some serious problems afoot. This impression was based largely on what I saw to be substandard construction of the existing swimming pool and on concerns about the elevation of the deck relative to the structure of the house. Unfortunately, those initial impressions turned out to be
Let me introduce you to an exciting project I've been working on most of this year. Right from the top, I'll say that even in the realm of the unique and rarified, this one is truly amazing. The clients are quite well-to-do, and the moment you walk into their home, you can't help recognizing that they are accomplished art collectors with an eye for modern masters as well as folk art. Their beachfront Malibu, Calif., home - one of
Color is amazing. It provides us with some of greatest opportunities we ever have to create spaces that are emotionally evocative and visually compelling - yet it is also one of the most difficult design details to understand and put to good and effective use. Trouble is, there's no easy way to simplify the challenge: Color is indeed a tough nut to crack, and that's as true for architects, artists, fashion designers and the people who choose colors for new
Throughout recorded history, people have tried to control the elements in every which way they can. We plant trees to block the wind, build levees to hold back rising river water and dikes to hold back the seas. We build skyscrapers that defy gravity, winds and earthquakes. For all of this ingenuity, however, we sometimes don't do a very good job. When our efforts to control the elements fail on a large scale, we witness catastrophes that
In one way or another, visual acceptance is what makes our world go around. Think about the clothes we wear, the cars we admire, the foods we eat - not to mention interior design, home and office furnishings, landscapes and watershapes. So much of our response to these and other features of our environment is based on the visual. It may sometimes be a shallow response, but human beings tend to like things that look good, even if they don't completely understand why some things are visually appealing and others are not. Design education teaches us that
Of all the things I've learned in my work as a watershape designer and builder, one particular point stands out: When it comes to ensuring quality results and a project's success, there's absolutely no substitute for good supervision! I say this knowing that most job sites run by people in the pool industry are inadequately supervised if they're supervised at all. Yet experience shows, time and time again, that while complete, professional plans are part of success and that great subcontractors are essential, constant oversight is the absolute
Last time, I mentioned initial meetings and discussions having to do with a retrofit project in Pacific Palisades, Calif. I call it a "retrofit" because we're using a portion of an existing pool shell as part of the new one, but in truth this is really a ground-up reworking of the entire environment. This project displays the influence that architects Ricardo Legoretta and Luis Barragan have had on my thinking about shapes, colors and spatial relationships. As soon as I saw this place, in fact, the work of both came to mind because of the strong colors and materials and the expressive
For many people in the watershaping trades, client relationships begin with selling and never really advance beyond that stage. For me, however, it's not about selling per se; instead, it's about creating a sense of collaboration and building a foundation of mutual trust and understanding. In fact, the work I do in establishing these creative relationships with my clients may well be the most important "detail" of all. In a sense, watershaping isn't a job to me. It's my passion, which explains why I'm so obsessed with
If you're a watershaper of any kind, odds are that you build concrete slabs. You build them to create decks, set up equipment pads, establish sub-bases for finish materials - and for a variety of other essential construction purposes. No matter the application, it's important to build these slabs to last, which invariably means building them correctly. This isn't something that's important just for mega-buck projects: No matter whether you're working on $20,000 cookie-cutter pools or on custom projects at the very highest level, knowing how to
One of the skills of a good designer is the ability to recognize those situations in which less is more. The detail pictured in these pages, for example, shows how the choice to go with a small volume of moving water (as opposed to a torrent) can add immeasurably to a composition's visual strength. Using this understated approach helps the designer or builder avoid what has become one of the biggest clichés of modern pool design - that is, the outsized waterfall spilling over a single weir from a raised spa into an adjacent swimming pool. My desire to get away from that monotonous
