installation
To residents of St. Louis, Forest Park is a civic treasure on the order of New York's Central Park - which, locals are quick to point out, is smaller than their favorite park by 500 acres. Established in 1876 at the heart of the city, Forest Park has a similarly grand and glorious history, including service as the site of the renowned 1904 Louisiana Purchase Exposition & World's Fair, which drew more than 20 million visitors from across the globe. Through the years, the park's 1,370 acres have become "home" to such major attractions as the world-famous Saint Louis Zoo as well as the city's art museum, science center, planetarium, history museum and The Muny, the nation's largest outdoor theatre. Forest Park is also home to the
Creating granite waterfeatures is not unlike the delicacy of deep-water yacht racing: Racing big boats across the open sea requires intuitive sense in harnessing the raw powers of nature, much as do the creative insights needed to take raw monoliths from quarry walls and produce elegant expressions that reflect our primal essence. Both endeavors must gracefully balance the unbridled forces of nature. In yacht racing, wind and waves must be brought into harmony with a yacht's unique rigging and sails by its skipper and crew. With granite waterfeatures, an innate sense of harmonic balance must be struck between granite and/or water, the landscape and the human observer's ability to appreciate solemnity. In my case, these harmonies have consistently been found in asymmetry. Indeed, I've come to feel confident with the premise that people are, knowingly or not, drawn to the asymmetrical balances they see in nature. I also see both art and architecture as skillful reflections and expressions of what we have observed in nature from time immemorial. To that end, I try to create works that draw their form and spirit from the intuitive balance of asymmetry. Whether sculpting a landscape, setting stones in a rock garden or
Built to function and compete in an era when marketing matters for healthcare facilities, the McKay-Dee Hospital Center was designed to create a soothing, supportive, healing environment for patients, visitors and staff - so much so that the center looks more like a resort hotel than a medical institution. The architecture is open and soaring, offering sweeping views from interior spaces set up for comfort and restfulness. Designed by Jeff Stouffler of HKS Architects of Dallas, the structure is organized around a four-story atrium that runs the length of the building, offering clear lines of sight not only to distant mountain and valley views, but also to nearby landscapes graced with winding paths and beautiful watershapes. The opening of the 690,000-square-foot facility on March 25, 2002, was accompanied by great public fanfare. As people in the community have embraced and begun to seek care there, it's been a point of pride for us at Bratt Water Features to know that the beautiful curving lake that wraps around the exterior of the gleaming building is one of the things people see, enjoy and appreciate the most. BROAD SCOPE Our job was to build all of watershapes, including seven small fountains and the big lake system, based on designs prepared by Waterscape Consultants of Houston and by landscape architect James Burnett, also of Houston. As bidders on the installation contract in 1999, we had the advantage of being a local firm - but we also brought extensive experience with large-scale public waterfeatures to the table. And this project was big. As far as anyone on the design team knows, this is the largest waterfeature/fountain complex ever built in the state of Utah. We refer affectionately to the feature as "Bullwinkle" because, when seen from overhead, its oddly symmetrical free-form shape casts a silhouette resembling the cartoon moose's head and antlers. The antlers wrap around the footprint of the west end of the building, with the nose stretching away from hospital to create a broad lake with a towering geyser at the far end. The 175-foot-wide, 500-foot-long watershape features a 170-foot-long waterfall between the antlers and the crown of Bullwinkle's head that faces an outdoor pavilion/eating area served by an indoor café. The water falls four feet into a teardrop-shaped lower pond that serves as a catch basin - and which turned out to be critical to
In 1997, the City of Palm Springs Arts Commission held a national competition for a sculpture to be placed in a prominent public space, the Frances Stevens Park. I was intrigued by the site's high visibility - and by the fact that the California city wanted a sculpture that used water in a desert setting. Working from my studio on the East Coast, I put together an initial proposal that included a number of ideas - provocative to me, but not yet fine-tuned. It wasn't until I actually visited the site in Round Two of the selection process that I knew just how perfect a setting was being offered - a wide-open space in the center of town, ringed by tall palm trees and low-lying buildings with the stunning
Natural stone is certainly beautiful, says watershaper Paolo Benedetti, but sustaining that beauty often means taking steps in the installation process to ensure easy maintenance and enduring protection of the stone's exposed surfaces. Here, in the first of a series on enhancing the appearance and durability of hardscape materials found around watershapes, he takes a look at the family of chemicals designed to seal in the splendor of stone.
Rocks are, in my opinion, among the most versatile of all elements that can be added to landscape designs. As was discussed in my last column, they can be used to add texture or dimension or retain soil; they can also be used to add background or hide eyesores, and there are myriad other uses creative designers can find for them. Of course, different design styles call for different uses of rocks, stones and pebbles. An Asian garden, for example, might use them to simulate or represent water or mountains in a landscape, while the very same stones used in a cottage or natural setting might serve no purpose beyond providing a place to sit or a focal point that
In all my years as a landscape designer, I've always told my clients that nobody can know ahead of time how a plant will adapt to or behave in any given situation. "Each place on this earth has its own microclimate," I tell them. "Trying to foresee how a plant will grow is like trying to predict when the earth will end." Most plants, of course, really are somewhat predictable when you place them in a client's yard. As long as you pay attention and use those that are typically considered to be noninvasive, for example, you're generally safe in planting them and needn't spend time worrying about their futures. By contrast, plants that are considered invasive - whether it's all the time or only some of the time - should, under any and every circumstance, be
At its most basic, public art creates spaces in which people experience art without paying hard-earned dollars to own it or going to a museum or gallery to see it. Public art is also about giving everyone within eyeshot new types of experiences amid their daily routines. Perhaps it's an object they'll pass on the way to the subway or an environment they'll spot out of the corner of an eye as they drive to the grocery store. Maybe it's a place where people gather to eat lunch or a landmark for arranging meetings with friends. Whether it's familiar to the viewer or sneaks up unexpectedly, the work becomes
If I could point to one plant that will consistently stand out in just about any garden, it would have to be the maple. Virtually no Asian-style garden would be complete without one, and they fit beautifully into gardens of many other styles as well. I particularly like pairing maples with watershapes because of their tendency to soften the edges of typical hardscapes and the way they are reflected by the water. When placed well, a specimen or single maple can indeed be a key
It began as the playful vision of Bob and Kat Tudor, husband-and-wife philanthropists and founders of The Smokebrush Theatre in Colorado Springs, Colo., who decided one day to donate a unique fountain to the children of their city. Now that vision, fully realized, belongs to the citizens of this sprawling town at the foot of the Rocky Mountains in the form of a dazzling water display and a folksy character named Uncle Wilber. Multi-talented artists in their own rights, the Tudors developed the aesthetic and creative concepts but knew from the start that they would need to enlist advanced technical expertise to
