education
When I started my career more than 20 years ago, habit and standards dictated that swimming pool plaster should be white. By that time, happily, a handful of suppliers had begun offering colored aggregates, and then products including PebbleTec began expanding the palette to a point where about a dozen colors were available, give or take a few. These were shades of blue, mostly, ranging through to grays and darker grays. Then, about ten years ago,
Through the past several weeks, I’ve been caught up in a whirlwind of conversations about ART – Artistic Resources & Training. It’s the new educational forum being built by Mark Holden and a collection of like-minded professionals (including David Tisherman, Kevin Fleming, Judith Corona and Larry Drasin, among many others) who want to kick the level of instruction and information now available to watershapers and environmental artists up to
Before I get to the meat of this series on using stone in landscapes and as part of aquatic environments, I must address an important concept having to do with how people have built with stone, both historically and in the here and now. The vast majority of stone walls and fences you see today – whether they were built 700 years ago or 70 – were
Oil Company Joins USA SwimmingFoundation for Water Safety Program
I’ve spent 50 of my years living in Southern California – an exhilarating half-century in which I’ve spent a lot of time, man and boy, in the presence of watershapes of various forms and sizes. The experiences I’ve had have filled me with opinions about the nature of these bodies of water and their accoutrements, so
Almost every advertisement for watershapes I’ve ever seen in a newspaper or the Yellow Pages says something about “custom” this or “custom” that. It always leads me to wonder how to differentiate between the “custom,” “high-end” and “luxury” pools others devise and the “architectural pools” or, better yet, the “aquatic art” I strive to create. I prefer the last two terms because
When people talk about pools these days and have something ambitious in mind, many of the conversations focus on vanishing edges, perimeter overflows, infinity edges, knife edges, wet decks, disappearing edges and whatever other terms one might use in describing water-in-transit effects. In lots of these cases, if not most, these discussions are misdirected: Just because
It’s All About ART