education
'Through the years,' wrote Brian Van Bower at the head of his Aqua Culture column in the October 2005 issue of WaterShapes, 'more than a few watershaping professionals have asked me how to break through and start working with high-end clients. 'I respond by giving them the disappointing news that there is no magic key here: Serving the high end takes
A couple weeks ago in this space, I raised a few questions about public swimming pools and their current tendency toward becoming utterly grand, infinitely varied, impressively expensive mega-facilities. I also hearkened back to watershaping on the level of the places in which I'd learned to swim - pools where I gained the strength and skill required to
'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 and around them,' wrote David Tisherman in opening his Details column in the September 2005 issue of WaterShapes. '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
Back in 2001, I took a job working for a high-volume pool-construction firm as one of its 30 salespeople. For the first four years or so, I did all of my design work by hand. Quantity was always king in that operation, so I never even left the office: Someone would hand me a set of plans and I'd start working, despite the fact I'd never walked the site, seen its surroundings or had any
For most of my life, I've been lucky to live within easy driving distance of a bunch of great national parks. Yosemite, Sequoia, Joshua Tree - the names alone flood my mind with memories of towering waterfalls, raging rivers, incredible landscapes, amazing rock formations and campfires that couldn't quite keep the cold at bay. In all my visits through the years, I've seen these "neighborhood" parks as naturalistic-design laboratories, as settings in which careful observation influences the work, fills the spirit and send watershapers back to the drawing board with all sorts of general ideas that might be of use down the line. Conceptual and visual treats, in other words - the stuff of inspiration. Last month, my wife and I ranged a bit farther afield than usual, hopping a plane to visit Yellowstone National Park. I have to say that the experience completely altered my sense of what a "naturalistic-design laboratory" might be. In this one park, I saw more
I can't begin to count the number of times our watershaping writers have explored the topic of travel, either as the source of clearer thinking or for the inspirational value of seeing how others have addressed specific design, engineering or construction challenges - or how Mother Nature
As all professional designers know, prospective clients can be unpredictable. Sometimes they get in sync with what we're doing right away, and it seems every step is a positive one. Other times, however, they can be slower to figure things out, and the process can become more complicated. I started working for a pool-construction company soon after graduating from college with a degree in industrial design. This was before
'For years,' wrote David Tisherman in his Details column in the June 2005 issue of the magazine, '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 take a look at
