waterfeature design
The Getty Center is a true multi-media experience: imposing architecture, lots of people, incredible materials of construction, amazing views, diverse spaces, rich and varied sounds - and it's mostly all a bonus, because none of this has much to do with the Los Angeles center's core functions as museum and research institution. Designed by architect Richard Meier, the 750-acre campus is dominated by outsized structures wrapped in travertine, glass and enameled aluminum. It's all a bit cold (maybe time will soften the sharper edges and
Looking for inspiration in an urban environment can leave a designer with precious few useful references. Take downtown Chicago, for example, where our indigenous waterfeature is Lake Michigan and our public art is too often plopped in the middle of concrete plazas. Be that as it may, I do my part by trying to introduce both water and art into my projects. So I was thrilled to be retained by Mary O'Shaughnessy, owner of the Wood Street Gallery in Chicago, to design a sculpture garden. I knew it would give me the chance to create a balanced, beautiful space - even though I also knew the job wouldn't be easy. What she wanted was a garden environment in which she could display and sell contemporary American sculpture - a place that would help clients visualize the way the art might look in their own gardens. As we dug deeper, we uncovered additional goals: It needed to be a space that would accommodate a changing variety and number of pieces; it had to be functional for large parties; and it had to incorporate and acknowledge the garden's urban neighborhood while still providing a sense of enclosure for gallery visitors (and, of course,
In October 1999, I wrote an Aqua Culture column titled "Value by Design" in which I explained my belief that watershape designers should be paid for their designs in the same way interior designers and landscape designers are paid for theirs. Since then, I've been contacted by lots of people who are interested in knowing more about how this works; I've also had the privilege of traveling throughout the United States and abroad to talk about watershape design and construction and have met hundreds of people with the same need for information. On the one hand, it's exciting to see the notion of a watershape-design specialty catching on: It isn't a foreign idea to people the way it used to be, and
Is one person's trash really another person's treasure? That's a concept we tested on a recent Surprise Gardener episode, where we ran into a strange backyard "centerpiece" and, as the designer with final say, I had to decide whether to cover the thing up or make it stand out. The challenging objet d'art was an old truck chassis, abandoned and sunk into the yard many years before. Because of its location, it was something of a focal point. The homeowner had tried sticking an old whiskey barrel in the middle of the truck as a planter in hopes of
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
Watershapes come in lots of configurations and sizes, but when you get right down to it, they mostly share two basic materials of construction - concrete and steel - that in combination have the potential to withstand generations of use. Fashioning these structures is at the heart of what watershapers do: Every-thing else, from the plumbing or the plaster to the tile or the decking, is really secondary. Sure, the pool won't function without plumbing or look pretty without tile, but it wouldn't even exist without its skeleton of steel and its concrete flesh. For all that importance, however, most people tend to give the steel in particular little thought or care. It's invisible once the gunite is in place, so there's a tendency even among those who know better to blow it off and save a few bucks by using too little steel or by doing quick, sloppy work. And why should you care? No one will ever see what you've done, right? Actually, given the role that steel plays in the durability and viability of the concrete structure, this should be the last place to
It's an art form that connects modern craftspeople to those of the distant past. In fact, the roots of mosaic tiling can be traced to Mesopotamia in the third millennium B.C., where temple walls were decorated with simple earthenware fragments. Centuries later, the ancient Greeks decorated their courtyards with large and small pebble mosaics, and sophisticated examples of mosaic work are found later in everything from Turkish mosques to Italian basilicas. The Romans, however, probably pushed mosaics about as far as any culture could in the first few centuries A.D. They adorned baths, pools, spas, floors and walls of important buildings as well as humbler residences with intricate mosaics made up of ceramic, stone, glass and marble. Recent years may have seen a revival of this ancient artistic technique, but as can be seen in the accompanying photographs, what many of today's designers are doing with classic forms is a real step forward - a departure from tradition that has made today's mosaics a thoroughly modern form of
Back in 1987 and particularly in California and Florida, the surfacing industry found itself in the middle of an unfortunate wave of plaster failures. Some people blamed the material, others blamed application techniques - and traces of the debate continue to this day. The situation was truly desperate in some areas, so much so that it drove many plasterers to seek new materials and techniques - anything to escape the cycle of negativity. Our firm in San Diego, for example, moved early and became the first in our county to apply exposed-aggregate finishes. Today, more than 80% of
Not every upscale pool contractor has to be working with his or her own designs to be successful in building beautiful pools. Our company, for instance, has established its reputation by excelling at making the ideas of others come to life. Examples of this can be found in the work we did at One Ford Road, a development where we were asked to follow through on designs prepared by three of Southern California's best-known landscape architects. We've found here and elsewhere that when you work with highly creative people (including those who designed the pools, spas and waterfeatures pictured on these pages), the process can be truly rewarding, exciting and even
Good pool design isn't something that happens by chance. It's the product of a mental discipline applied to the entire setting, from one end of the yard to the other. It's the result of an over-arching vision that incorporates the watershape as a desirable component in a whole tapestry of textures, traditions, shapes, surfaces, highlights, spaces, contours and lines that please the eye, gratify the soul and bring a smile to the face of the observer. Perceiving this integration is often intuitive, but you can tell when it's been done right. You also can tell when the mark has been missed and can spend minutes or hours (or days) unraveling and considering everything from severe challenges and missed opportunities to lapses in focus or simple errors in taste and judgment. If your head's in the right place, you'll probably learn more from the problem pool than you will from the gem. Putting pool-industry heads in that right place is part of the thoughtful, reflective approach to pool design offered in the Genesis 3 Design School, which has convened three times and has now touched the sensibilities of more than 75 designers and builders. While school is in session, participants are immersed in an ocean of information on design principles, technical issues, presentation techniques and, perhaps most forcefully of all, on attitude and mindset. The basic message: Every pool can be special, appropriate and expressive of the
