Greek
‘Not long ago, I was asked by a reporter from The New York Times to define the main difference between swimming pools now compared to what they were 20 years ago. As we talked,’ wrote David Tisherman in his Details column for the December 2007 edition of WaterShapes, ‘it became clear that she was mostly thinking about technological breakthroughs in pumps and chemical treatments and the like. ‘I confirmed for her that, yes, those products had come a long way. But I wouldn’t let her stop there, suggesting that there was much more than
As I see it, watershaping is ultimately about its emotional effects: As designers and builders, it’s our job to bring a variety of technical and aesthetic elements together to create spaces and structures that leave our clients with enduring feelings of vitality, relaxation, comfort and luxury. In my case, the quest to realize this emotional component actually drives the process. As I strive to generate spaces that have real meaning for my clients, I’m always putting my heart into the work and am fully aware that what I do is an extension of who I am. Indeed, I’ve never been shy about letting my designs reflect my passion for art, architecture, history, color, form and even poetry. By working on this level, I find that I’m able to carry my clients along and make them as excited, inspired and engrossed by the process as I am. It’s an unabashedly romantic approach, but it can be infectious – and clearly satisfies everyone who gets involved. Of course, there is plenty of perspiration that goes along with the inspiration. For all of my enthusiasm, I spend a tremendous amount of time designing these spaces and selecting elements that will populate them, from the largest waterfeature to the smallest plant. I also closely manage the construction process, never relinquishing control because with each and every project, I’m expressing
It's a point I'll probably make to the end of my days: There is no substitute for travel and exploration of the historic world to learn about design. In my "Details" column in the June 2005 issue of WaterShapes, for example, I discussed my recent trip to Turkey and made the point that the ruins and intact structures we examined while there were full of specific details that I and other watershapers use in our work - whether or not we recognize that what we're doing actually derives from ancient original works. Showing what I mean in the clearest possible terms is what this pictorial article is all about. As you will see, I've included
Some people seem to believe that designing is all about reinventing the wheel every time they go to work on a new project or need to create a new detail of some kind. Truth is, however, that most great design ideas and details are derivative of things that have been done before. This is why I'm such a strong advocate for education - especially the sort that involves venturing out into the world and seeing things with your own eyes. You can see pictures of things in books and watch slide shows in classrooms, and that's extremely valuable for the way it opens your eyes to
I spent ten days this last December traveling in Turkey - my second visit to the country in the past several years and a trip that reinforced vivid memories of just how mind-expanding a place it is. The Greek, Roman, Byzantine and Ottoman empires all held sway over this patch of land at times during the past 2,500 years, and throughout that long history, these and other great civilizations of both East and West have made their marks on the place. Situated at the crossroads of land- and sea-trade routes between Europe and Asia, Turkey has vast, rich reserves to drawn upon when it comes to
As designers and builders, we might feel with every new project that we have created the most profoundly original setting in the world. In most cases, however, our most likely achievement has to do with adapting an architectural concept developed long ago, putting a modern twist on it and calling it our own. For me, in fact, the more I learn about the history of watershaping, the more I feel connected to ancient watershapers and recognize that we haven't created anything really "new" in a long time. We all know clients, for instance, who want their backyards or public spaces to look like Spanish or Italian villas, French or English formal gardens, or maybe peaceful
