engineering
At our firm, we treat every project and every customer as if they're one of a kind - which in truth they are. And we've been lucky in developing a high-end clientele that, on the whole, is looking for something special: They enable us to treat each project as an individual work of art; at the same time, they challenge us to stretch our own abilities and increase the variety of design solutions we bring to the drafting table. In many cases, this requires something of balancing act between what clients think they're after and the practicalities of the site itself, the architecture of adjoining structures and the views of surrounding areas. For that reason, each of our
For me, the simplicity and elegance of the International Style was just about the best thing going in 20th-century design. The followers of Walter Gropius in the Bauhaus movement held this simplicity - expressed as a cleanness of line, a uniformity of materials and the establishment of clear relationships among architectural planes - in absolutely the highest regard. I always try to integrate these design principles into my own work - and one of the ways I do so is through the ledger detail we'll examine this time around. It's an expensive
As a designer and artist, I believe that water and glass walk hand in hand: Both are transparent and translucent. They distort and reflect surrounding colors and forms. And depending upon whom you ask, water and glass are both liquids. The visual and physical resonance between these two fascinating materials is important to me: I know that their interplay adds an entirely different dimension to my work that enhances the effects I can achieve using glass, metal and ceramics, so I'm always eager to explore artistic solutions when my customers want the project to include water. In this article, I'll examine three of my projects that use water to accentuate and reflect the sculpture while providing the soothing sounds that create an overall feeling of peacefulness in the surrounding space. But first, a bit more about what I do - and how I do it. AHEAD OF THE GLASS As with many forms of sculpture, working with glass requires technical know-how and, like many modern artists, I have acquired a background in construction and fabrication techniques. Back in school my
Whether you build fountains, streams or Olympic-size swimming pools, you need to install a pump of some kind to make these watershapes work. As fundamental and essential as pumps really are, however, it's amazing to think how casual many of us in the trade are when it comes to knowing about how they work and how their performance characteristics differ. We've all heard and used terms like "energy efficient," "high head" and "self-priming," but for the most part, the real meanings of those words get lost in the competitive marketing blizzard that surrounds these products. Without a clear understanding of how pumps are designed and how they do their job, these distinctions are no more than words on a label - and that's not the way it should be. As watershapes become ever more complex and hydraulically challenging, cutting through the hype to find out what truly makes pumps work becomes even more important: No matter how beautiful a design may be, without a properly selected and installed pump working at the heart of the system, the best work will fall short in
Montecito is home some of the grandest estates on the West Coast, but relatively few people know about it or where it is. A sleepy little town, it lies several miles east of Santa Barbara and some 80 miles or so northwest of Los Angeles. From the beautiful hilltop estates that dot the landscape, you can see Santa Barbara's wharf and downtown in the foreground, with sweeping vistas of the Pacific Ocean dominating the horizon. The big ranches of Montecito are dotted with hundreds of watershapes inspired by the Spanish-Colonial and Moorish architecture that surround them. Most were installed as part of the Spanish Revival movement that took hold among architects and landscape designers all over California through the first half of the 20th Century. The revivalists' octagonal and quatrefoil fountains and courtyards provide a visual link to the state's Spanish heritage. Fueled by the explosion of Hollywood's movie industry during this time, the combination of money, lots of open land and a popular architectural style resulted in creation of some of the most beautiful estates anywhere in the world - none more so than a property named Cima del Mundo, Spanish for
Edge treatments are important to me. They can lead the eye into the water, set up a barrier, break down a barrier. They're simply too critical to the overall impression made by a watershape to be left to chance. For the past ten years, I've found myself using one edge treatment more and more: a poured-in-place coping that uses colored concrete. I've now done it dozens of times, and my clients have always been thrilled by the results. In effect, I use the concrete to create soft and subtly colored rectangular
This is a story about a job that didn't happen - not yet, at any rate. It all started when I was brought in to bid on a hillside swimming pool project and ended months later, with the dust still settling and the project scuttled for the moment. And nobody could have been happier with that outcome than I was. That fact that my client and I decided to pull back and wait is not so unusual, but given the fact that the decision was driven by advanced military navigation technology makes this one of the most unusual situations I've ever encountered. The upshot
Through all the centuries of watershape design, the laws of physics have imposed restrictions on the watershaper's ability to extend a laminar flow of sheeting water beyond a drop of five or six feet. Go much beyond that limit and the sheet breaks up, thus impairing the aesthetic effect, causing an annoying degree of splashing and generating an abundance of undesirable, monotonous noise. Those physical laws have been seriously bent in public spaces in recent times. Indeed, special weirs and nozzles have made it possible to achieve laminar flows of 12 feet or more. Up until now, the solutions employed to achieve these effects have usually been beyond the budget of smaller commercial projects or residential clients - but that's changing. At my firm, Crystal Fountains, we've long been studying the phenomenon of falling water with an eye toward maximizing the surface tension of water and thereby extending the "laminar" effect without breaking the bank. We've had the luxury of working on some high-end projects that enabled us to perform the research and development necessary to do that stretching. By adapting some of the design ideas we
Helena Arahuete joined the staff of John Lautner's architectural firm in the early 1960s, at a point where he was turning out some of his most spectacular work. Indeed, Lautner can indisputably be said to have designed some of the most beautiful and unusual homes built in the second half of the 20th Century. An apprentice of Frank Lloyd Wright's who studied with the master at Taliesen, Lautner was an exponent of the philosophy and discipline known as "Organic Architecture," an approach Arahuete, now an eminent architect in her own right, has continued to use and refine while running the firm that still bears Lautner's name. She is now one of the world's leading practitioners of Wright's and Lautner's approach to creating unique structures that are intricately and intimately tied to their surroundings. She is also so firm a proponent of the integration of watershapes into those architectural forms that in April 2000, she carried her message to the first Genesis 3 Level II Design School, held in Islamorada, Fla. - and welcomed an opportunity to present some of Lautner's work here by way of defining the place watershapers have at the design table with
Some may disagree with me, but I don't see faux rockwork as a "sculptor's art form." For more than 25 years, I've made sure that Mother Nature is the one who does the detail work; what I do is take copies of her artwork to job sites and install them in creative and interesting ways. A long time ago, I developed a method of making castings of real rocks using my own formulation of fiberglass and epoxy. These are exact replicas of the real thing: Once mounted on steel structures in swimming pools or other hardscape applications, the panels are
