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Have you ever turned down a client who really wanted to work with you and you alone? It's a hard thing to do, which is why most of us have found ourselves at one time or another saying "yes" despite the fact that we believe something the clients want simply cannot be done or, more important, that we've developed serious doubts about them. Just at that point where we really need to sit them down and tell them to go away, many times we'll freeze - and here's the usual reason why: "If I tell them 'no,' then they'll just get someone else to do it and I'll lose the job!" Giving in to this fear of losing a project and letting apprehension guide our decisions in place of any faith we might have in our common sense or experience is
Have you ever turned down a client who really wanted to work with you and you alone? It's a hard thing to do, which is why most of us have found ourselves at one time or another saying "yes" despite the fact that we believe something the clients want simply cannot be done or, more important, that we've developed serious doubts about them. Just at that point where we really need to sit them down and tell them to go away, many times we'll freeze - and here's the usual reason why: "If I tell them 'no,' then they'll just get someone else to do it and I'll lose the job!" Giving in to this fear of losing a project and letting apprehension guide our decisions in place of any faith we might have in our common sense or experience is
All of us who started our own businesses decided at some point what our companies would be: We chose a focus, set guiding philosophies, developed credos, defined a company culture, settled into a working style and pursued success. One of the most important calls each of us made along the way had to do with how large or small our organizations would be. In fact, this decision has a lot to say about how any business runs and appears to the outside world: It influences the volume of business that can be accommodated, dictates management style, narrows or broadens the organizational structure and ultimately
All of us who started our own businesses decided at some point what our companies would be: We chose a focus, set guiding philosophies, developed credos, defined a company culture, settled into a working style and pursued success. One of the most important calls each of us made along the way had to do with how large or small our organizations would be. In fact, this decision has a lot to say about how any business runs and appears to the outside world: It influences the volume of business that can be accommodated, dictates management style, narrows or broadens the organizational structure and ultimately
In all great human endeavors from the arts to science and industry, we typically find small numbers of pioneers whose achievements are so astonishing that they inspire
In all great human endeavors from the arts to science and industry, we typically find small numbers of pioneers whose achievements are so astonishing that they inspire
Landscape-lighting design is my obsession: Not only do I make my living at it, but it has also reached a point where it informs the way I look at every landscape and watershape I encounter - whether I'm working on those spaces or not. When I visit almost any site - and particularly when I spot an interesting garden - I almost instantaneously begin formulating ideas about how I'd light it. That's a good thing, because it keeps me professionally sharp, but it's also a bit addictive: Once you start visualizing how dynamic particular places can be when properly lit, you get hooked on the mental exercise and start enjoying the intensity of the experience. In the beginning, of course, those clear visualizations
Landscape-lighting design is my obsession: Not only do I make my living at it, but it has also reached a point where it informs the way I look at every landscape and watershape I encounter - whether I'm working on those spaces or not. When I visit almost any site - and particularly when I spot an interesting garden - I almost instantaneously begin formulating ideas about how I'd light it. That's a good thing, because it keeps me professionally sharp, but it's also a bit addictive: Once you start visualizing how dynamic particular places can be when properly lit, you get hooked on the mental exercise and start enjoying the intensity of the experience. In the beginning, of course, those clear visualizations
When used to classify a design style, the term “modern” can carry many meanings. From the soaring, audacious forms of Frank Gehry and the sweeping organic spaces of John Lautner to the hard rectilinear shapes of Le Corbusier and the gem-like transparency of Mies van der Rohe, modernism is truly a broad conceptual umbrella. That sprawling diversity leaves designers and their clients with lots of wiggle room to get things done, but even so there can be challenges – as in the case depicted here, where the clients' desire for
Who took the water out of watershapes? That may seem a ridiculous question, but it's also an obvious one when you see as many plans as I do - and by that I mean plans intended to indicate and initiate the watershaping parts of a wide variety of projects. Indeed, in my long experience in running an engineering-oriented firm, I've repeatedly been asked by designers to flesh out their watershape "ideas" (although in most cases vague inklings would probably be a more accurate way to describe them) and provide working drawings that reflect their "thinking." In my estimation, more than three-quarters of these plans lack any real indication of what the designers expect the water to do or how they want it to look. Instead, what I get is the typical overhead views with the ubiquitous "blue ghosts" or, in some cases, rudimentary sections of structures designed to contain water. It's left to me to probe and ask questions and determine what expectations they have about how the water is to appear and what it is to do. I've endured these common plan shortcomings for more years than I care to count, always wondering
