plaster
In the first entry in this series of articles, we opened a discussion of the hurdles watershapers encounter when attempting to integrate pools or spas with architectural styles that historically never had swimming pools
I grew up in the Phoenix area and have known about Frank Lloyd Wright’s Taliesin West all my life. It was kind of unavoidable: One of the major streets here is named after Wright; the area is marked by examples of architecture that directly reflect his influence; and pretty much everyone in town knows that it was the place Wright used as a summer home while teaching his numerous protégés about his approaches to project design and execution. For my part, however, my closest association with the facility had to do with the fact that my dad routinely delivered produce to the 600-acre facility and often shared stories about the unusual buildings and the occasionally eccentric people he met there. Several decades passed in which I became a watershaper who specializes in contemporary designs, but until quite recently I had never been to Taliesin West. That seems crazy given its vast influence on design in this region, but I made up for my information deficit in a big way last November, after I received a call from a representative of the facility who wanted to speak with me about restoring the facility’s famous
For decades, controversy has surrounded the initial interactions of water and cementitious finishes in pools and spas – controversy that has led to heated debate, bad blood, litigation and very little by way of resolution. But that hasn’t stopped numerous organizations and individuals from working toward an answer, says Randy Dukes, who discusses here an
Last month, I entered into a discussion of the emergence of a whole range of beautiful finish materials that have helped (in my humble opinion) turn watershaping into an art form. My focus there was on glass and ceramic tile; this time, I want to turn the same sort of attention to plaster and exposed aggregates – huge additional factors in the industry’s ongoing creative momentum. Before I begin, let me draw an important distinction: The artistry in watershaping is not so much based on the types of materials we choose or how special or costly they might be; instead, it has everything to do with
Even though color is literally everywhere, most people know surprisingly little about it. That's a knowledge gap designers in particular should overcome, says artist, colorist and teacher Judith Corona, who adds that understanding the nature of color, how it influences moods and emotions and how a color wheel works are all useful when it comes to making valuable recommendations to clients about their watershapes and landscapes.
My last two "Details" should make it pretty clear that I'm more enthusiastic about tile than I am about any other surface material for watershapes. In October, we covered the use of color while focusing on tile, and in November there was a discussion of my favorite suppliers and their distinctions. This time, I'll bring the sequence to a conclusion by looking at the process of selecting tile and at the ways I blend tile mosaics. My enthusiasm extends from the fact that tile in watershapes is incredibly dynamic - so visually flexible, so durable and, if done well, so elegant. It can be used either as a
Water and cement-based materials interact in so many ways and on so many levels that it's tough to sort everything out. From initial issues of hydration and curing to a range of longer-term, maintenance-related concerns, says chemistry expert Jeff Freeman, cementitious products in submerged environments react so distinctly to water's presence that it is indeed essential for watershapers to consider what's up when putting them together.
In renovation projects, preparation of the pool's interior surface for a new finish is truly where the rubber meets the road - a key step in which what you've planned and what you actually do must come together. With this installment of "Details," we're doubling back to the Los Angeles project we left behind in October as we waited for tile to arrive from Italy. If you'll recall, the pool had been built in the 1920s and graces a property with a magnificent Gatsby-era home. As I mentioned at the outset of this interrupted sequence of columns, the homeowners have been extremely involved, always wanting to know as much as they possibly can about what's going on in their backyard. As I mentioned as well, the challenge
If you can't see potential in every backyard you walk into, then you're in the wrong business. Yes, some projects are more inspiring than others, and some spaces seem to offer you more to work with than others. Without exception, however, our clients' yards present us with opportunities to develop programs that take advantage of what's there in ways that bring balance and harmony and interest to any setting. Speaking for myself, I'm no more energized in a project than when I get the opportunity to right a wrong and replace a past mistake with a fresh, interesting design - and that was certainly the case in the project discussed in this article and in my past several "Details" columns in this magazine. The setting was special, the clients were great and I was given free rein to work with color, shape and line in vivid, interesting and even startling ways - all in keeping with their wants and desires. SETTING THE SCENE To recap information from recent "Details," this pool/spa combination with its associated decking, walls, planters, outdoor cooking facilities and private garden area are located in a narrow yard at the base of a slope in Pacific Palisades, Calif. It's a spectacular
20 Years After