inspiration
Good design isn't the sole province of any one country: It's something that happens around the world in response to local flavors and textures and the needs and desires of people who live there. Most of these watershape markets are absolutely minuscule by comparison to the U.S. market - but in each location you'll find clients who are just as interested as their American counterparts in commissioning watershapes that reflect high aspirations, suitable affluence and
Ever since the hydraulic principles of ancient Persia were 'rediscovered' by Europeans during the Renaissance, the sky has literally been the limit for watershape designers. At the 17th-century Dutch Palace of Het Loo, for example, fountain jets that trace their developmental history at least as far back as 8th-century Persia make an emphatic statement about the power of those who commissioned them. We all marvel, and rightly so, at the waterfeatures of Renaissance Italy, the pools of Versailles in France, the fountains of the
It's a basic and important idea: Quality and beauty can and should be provided across a wide range of pricing levels. In my work, I design and build many residential and commercial watershapes with budgets well into six figures; I also tackle many projects firmly planted in the five-figure range. No matter the budget, I believe strongly that I owe it to my clients to deliver a watershape of lasting beauty each and every time. Fact is, quality and artistry often can be achieved with a distinctly uncomplicated program. By bringing a watershape's design into harmony with the architecture of the home and/or other adjoining structures, it's often possible to enhance aesthetics and value without dramatically increasing the price tag. Take the project seen here as an example: Through careful placement and shaping of the vessel, artistic edge treatments and minor elevation changes - none of which added appreciably to the cost - I left my clients with a watershape they love at a price they could
Building a stream that looks as though it was actually completed by Mother Nature is no small challenge. To make the illusion work, the watershaper quite literally "shapes" the basic elements of the stream - its path, width, depth, outcroppings, falls, transitions and plantings - all with an eye toward mimicking natural designs. To a large degree, the process is different from that of designing and building a pond, pool or fountain. In those cases, the watershape generally goes in the ground almost exactly where and how it's been drawn. With streams, however, the differences between
As adults, we too often forget one of the great joys of childhood - the sense of wonder and discovery we experienced when we first saw the ocean or flew in an airplane and the world opened and unfolded before our very eyes. As designers, I believe we similarly forget about the excitement that comes with discovery. Too often, we lay out beautiful lines and incorporate interesting and unusual plant and hardscape material for everyone to see all at once. The work may be beautiful, but it leaves little or nothing to the imagination and offers no surprises. I can't help thinking how much more our landscapes, public and private, would be savored if they were to be explored and discovered bit by bit. This is especially true for spaces containing watershapes, which by themselves lend interest and drama to almost any space: The magic of water can (and I believe should) be exploited by concealing it at first and then revealing it in a way that gives the viewer a brief moment of visual revelation. To see what I mean with respect to watershapes and waterscapes, let's explore an approach that makes seeing everything immediately an impossibility. Instead, this approach offers glimpses that tantalize and intrigue - and can be seen in the work of thoughtful garden designers who've manipulated sights and sounds around the
Last year at about this time, my wife and I were driving through Big Sur on the California coast when, on impulse, we decided to stop at
What is good lake construction? What makes some pristine and beautiful while others seem fetid and slimy? To discover the answer to these and other questions, we need to start by defining what we mean by "lake." It may seem arbitrary, but the distinction can be an important one, especially to people who own them. You don't want to insult anyone by calling their lake a pond or lagoon, for example. By the same token, you don't want to seem ill-informed or unprofessional in referring to their waterfeature as a lake. Given the different
The most important use of faux rock is to make a geological statement - to provide an important accent or focal point in a landscape where none exists. My goal is to create rock formations that complement and enhance the natural setting and fit in harmoniously with their surroundings. That's a point builders who use artificial rock sometimes fail to grasp. They'll execute an ambitious scheme with lots of interesting, well-crafted rockwork, but it ultimately looks unnatural because the rocks they've created have no logical relationship to any indigenous formations or anything else in the surrounding space. I approach things in a different way - one that embraces the site and all of its features. I select, form and install faux rocks that, together, create interesting and beautiful statements in the overall landscape design. As I work, I make my installations to stand up to the question, "Is this rock formation
Not long ago, a gentleman who had attended one of the Genesis 3 schools was discussing an encounter he'd had with some other pool builders. Much to his surprise, one of the people he was talking to told him he'd been crazy for taking the time and spending the money to attend the school. To me, this is indicative of the sort of mentality that holds our industry back. What the Critic was saying was that his colleague was foolish to have attended the equivalent of a college-level course in aquatic design - a course designed to help him advance in his own line of work. It boggles the mind, like that whole "dead architect" question and the difficulty some people have in valuing what we can learn from designers who have gone before us. When I'm asked what we, as exalted pool builders at the turn of the millennium, have to learn from
Wanted: Water Artists