execution
In most of our projects, we do the lion's share of the work related to our clients' backyards. We'll design and build the pool and spa, set up the landscape and take care of all of the components of outdoor living from laying decks to installing outdoor kitchens. We like having that level of control over exterior environments, and our clients seem to appreciate the single-source service we're able to provide. Every once in a while, however, we'll come across a project so outstanding that we're perfectly happy to join a great team, interpret someone else's plans and
As watershape environments become increasingly integrated with homes and overall exterior spaces, increasing numbers of our clients are asking us for associated structures - everything from outdoor kitchens and dining areas to arbors, cabanas and pool houses. In my case, just about every single design I tackle includes one or more of these features. What this means is that we watershapers are effectively being drawn into the world of architecture. While we may not ultimately design or build these structures, at the very least we need to be familiar enough with their ins and outs that we can talk about them intelligently in the context of a given project. I've picked up a lot of basic knowledge through experience and close observation, but I recently decided to seek out a formal reference that would help me give definitive answers to a wide range of these questions, some as simple as inquiries about how much
As watershape environments become increasingly integrated with homes and overall exterior spaces, increasing numbers of our clients are asking us for associated structures - everything from outdoor kitchens and dining areas to arbors, cabanas and pool houses. In my case, just about every single design I tackle includes one or more of these features. What this means is that we watershapers are effectively being drawn into the world of architecture. While we may not ultimately design or build these structures, at the very least we need to be familiar enough with their ins and outs that we can talk about them intelligently in the context of a given project. I've picked up a lot of basic knowledge through experience and close observation, but I recently decided to seek out a formal reference that would help me give definitive answers to a wide range of these questions, some as simple as inquiries about how much
I first came to St. Lucia in 1970 to work for a Canadian architectural firm based on the island. As it has turned out, I never left. The beauty of St. Lucia’s landscapes, the warmth and character of its people and the unlimited potential to create something very special here captured my imagination. It’s a Caribbean paradise one must experience personally to fully appreciate and understand. When I first encountered the property that is now home to Anse Chastanet and Jade Mountain in 1974, there was almost nothing here – a handful of small bungalows nestled in the rainforest across maybe five acres of land. Amenities included four aluminum umbrellas and four plastic lounge chairs on the sand, and there was a lady who sat at the bottom of the stairs leading to the beach. She had a cooler filled with Cokes and a bottle of local rum, enabling you to enjoy the beautiful setting and have a drink. But the occupancy rate was very low and nothing about the place beyond the setting would make
For the typical visitor, the newly-reopened Getty Villa is perhaps the most exquisite of all possible venues for viewing ancient works of art and craft - reason enough to plan a visit. For students of architecture and design, however, there's much more, particularly the opportunity to immerse yourself in the living, breathing environment of a classic Roman villa and its abundant amenities. The Getty Villa site encompasses 64 acres of a rugged canyon rising above the Pacific Ocean in Malibu, Calif., and was once home to oil tycoon J. Paul Getty. A fanatical collector of Greco-Roman antiquities, he dedicated part of his original ranch-style home as a public museum in 1954. By 1974, less than a year before his death, he had completed and opened the original Villa on another part of the estate, realizing his ambition of creating a public monument dedicated to the arts. The Villa's layout was inspired by the Villa dei Papiri, a first-century country house in Pompeii buried by the eruption of Mt. Vesuvius in 79 A.D. It was Getty's vision to display his collection in a setting evocative of its contents' historic origins and he realized it, but there were compromises: The spaces were crowded, and the works on display also included samples of paintings and craftworks of much more recent vintage - Renaissance masters, baroque furnishings and other distinctly non-classical artworks. The Villa closed in 1997 at about the same time the
Watershaping is one of the few art forms possessed of the ability to bridge the gaps between the very old and the very new. From the classic looks of Roman baths and the reflecting pools of ancient Islam to
