Water possesses an infinity of possibilities

Because it has neither defined shape nor colour, water is the ideal material for sculpture and fountain works as it can take on any shape and every colour. It follows curves when it flows, it embraces shapes when it is motionless; it can be calm and restful or explosive and spectacular. Depending on the way you look at water, you can either see through it or only see what it reflects back at you, its surface transforming from window to mirror.

Water Jets and Fountain Works

There are different parameters that influence the nature of the jets:

  •   – the type of nozzle
  •   – the speed of the water
  •   – the direction of the water compared to the gravitational field
  •   – the flow of the water as it approaches the jet (stream-lined or turbulent)
  •   – the mix of air and water

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The Spouts

Falling water can take on multiple forms that depend on several parameters:

  •     – the adhesion of the material it is flowing against
  •     – the speed of the water
  •     – the stability of the water source
  •     – the alternation between a smooth flow of water and a turbulent flow of water 
  •     – the texture of the surfaces the water flows against


Misting and Pulverisation

Various forms of misting are being used more and more frequently in fountain works because of their spectacular aesthetic and refreshing nature.

FINE PULVERISATION: Obtained with the pressure (around 4 bars) generated by the fountain system, pulverisation creates a cloud of fine that fall to the ground (meaning areas adjacent to the fountain and in the range of the cloud will remain wet). This cloud of small drops is light enough to be influenced by the wind and will dampen a person or support material upon contact. The cloud is highly visible when back-lit but less so in full frontal light.

MISTING: Obtained with the use of a 70-bar compressor, misting creates extremely fine drops that float in the air and don’t fall to the ground. The cloud created with misting is more visible and more buoyant, and while it refreshes it does not dampen on contact. The surface beneath the cloud does not become wet. The cloud is even more visible when back-lit and, more importantly, remains largely visible in full frontal light.

It is important to note there isn’t a technical standard to differentiate between misting and pulverisation, but it is generally considered that the limit between the two forms is situated at a median diameter of 100 microns per droplet, that is 50% of droplets below this limit; 50% of droplets above this limit. (1 micron = 1 micrometer or 10−6  of a meter).

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The Colours of Water

Water, like the air, is naturally blue. But the colour only can be perceived when there is a certain thickness of the element. With fountain works, we can modify the colour of water by playing with the tones of the walls and basins, the depths of the fountain, and the angles of perception. The mirror effect, which is obtained on broader planes of waters, is also a consequence of the angle from which the water is viewed and the colour of the basin’s bottom. The final water colour is thus contingent upon a combination of factors.

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