Contribution of Hotel Pools to Tourism - Serapool

60 Therefore, Verde Guatemala's own internal textures in this sense gave us this opportunity. We cut, changed and dimensioned a lot of materials, sometimes we used a single piece. We did mix things, we produced a mix, we used materials from di erent bands. Again, we got rid of that monotonous state and achieved variability. But this time we did it by using elements of larger sizes, we changed this in the intertwined pools. Sometimes we used small parts, sometimes we used thin parts, and while doing them, we tried not to waste. As an architect, we should also think about them, together with Serapool, we made special productions only for turns without almost any waste. We made small parts rotatable and sometimes we found easier solutions, but we actually achieved very clean finishes. The finishes were very good in the project. We did a lot of mosaic work at one time, we did a lot of pools with di erent aggregates, but it all depends on human error. The di erence between the work done during the lunch break and when you come back in the afternoon, including the cracking of the material, created a lot of problems for us in large pools. At least visually. We were not able to achieve the results we wanted. Therefore, in this sense, pool porcelains and the ability of Serapool, one of the expert brands of this field, to produce solutions contributed to our projects. "In the past, we received a lot of support from Serapool in terms of details. In a sense, Serapool's contribution to water engineering is very important." How do you find the pool designs in Türkiye? As a designer, are we at the point you desire in this regard? The pool is actually a beautiful playground. It is a good opportunity where you can establish interesting negative and positive relationships, where the ground, the subsoil and the sky come together with the depths, or where everything where the human eye meets shares continuity or deepens a reflection. For example, in the Bayou Villas project, I can say that the landscape doubled with the reflection produced by those pools in a narrow area, which is a great e ect. Pools are also very important and valuable in terms of microclimate. In other words, they are factors that provide cooling in these fiery countries. I also like the reflections of nature. For example, the relationship between moonlight and the pool. I mean, it turns into something very strange. A piece of nature comes alive again in an artificial environment. Therefore, the situations and emotions produced by the pool, along with all these transitions that change from shallow to deep or horizonally, is a very e ective subject. But there is only one problem, we are still a concrete society. If we can get rid of the thickness of concrete, we can talk about di erent pools. We actually have dreams of zero finish in pools. There are a lot of things we have memorized, such as finishing with a thin element, but we really want to get rid of them. There are details in which the sector feels safe, they are comfortable when they see them, manufacturers, operators, etc. We want to get out of this subject a little bit. My biggest dream is pools that are now higher than nature and more liberated. Another dream of mine is to build a pool in the sea, but with the sea. With such waves and the explosion of those waves, people will swim. I don't call the pools we make now free, they are more confined pools. I want to make free and unlimited pools, just the thought of it is amazing. Do you think both operators and producers are ready to build the pools of your dreams? Water is an absolute horizontal plane. Therefore, we are trying to limit it horizontally, but it may be possible to change and transform these planes, that is, to discuss another movement. That is, to get other surfaces where water seeps. Of course, it is not an easy engineering to keep the water in the same balance. I would like to talk about capturing that limitlessness not only horizontally but also in other geometries, maybe a pool that moves with nature. In this vision, especially designers and producers can establish another bond and talk about what can be done to take existing products further, they can cooperate. We can have new topics such as talking about their own textures within the texture. It is also necessary to do light and sun experiments together, to examine the relationship between the reflection in nature and the color that will emerge. No one knows what the product color will be. There is no lack of norms in production, but there is a lack of norms in perception. I think Serapool has a very good R&D on this issue.