Professional Watershaping
'The notion that we should do all we can to exceed client expectations,' wrote Brian Van Bower to open his August 2009 Aqua Culture column, 'is one we hear trumpeted in almost every inspirational business seminar and in nearly every keynote speech during trade shows. 'There are very good reasons for
Of all the promotional tools Dave Garton has deployed to support his watershaping business through the years, nothing has been more effective than his business cards. Why so? As as he reports here, it's because there's more to them than the usual bits of contact information.
'To my way of thinking,' wrote David Tisherman to open his Details column in August 2004, 'professional design work requires a professional workspace in which all of the necessary professional tools are available. 'In fact, for the designer creating custom watershapes, I see the space in which the work actually unfolds as being critical and cutting to the very heart of what it really means to be a "designer." I know that
Most successful designers have a bit of show business in them. Whether you play the sophisticated artiste or radiate a quiet competence, it's all about making a connection with a client who is asking you to participate in a significant project, whatever your personality or approach. I've always wondered how those at the extremes of the personal-style spectrum find work, but the fact of the matter is that all of us, designers and clients alike, are individuals who respond in different ways to different triggers - and I know for a fact that the way I work isn't for everyone simply based on the fact that we don't win every contract we pursue. For all that, however, we at Lorax Design Group (Overland Park, Kans.) have developed our own pattern and have found that it works for us often enough to
'When it comes to just about anything that matters in life,' wrote Brian Van Bower to open his June 1999 Aqua Culture column, 'the difference between success and failure is often your mindset and the attitude you bring to each situation, event or occasion. 'That's a huge generalization,' he added, 'but it's something I consider each and every time I prepare myself for
As a pool designer, my preference is to sit down with prospective clients, listen to what they have to say about a pending project and, working with their ideas, the site and the budget, come up with a program that makes all of us happy and proud. For the most part, that's the way things go for me these days. But I also know that, on certain occasions, it's necessary to go with the flow. In the project covered here, for example, a super-affluent property owner had called on a respected architect to
'As winter draws to a close here in the northeast,' wrote Bruce Zaretsky to start his May 2009 On the Level column, 'we begin preparing in earnest to deal with the inevitable springtime rush. There are contracts to sign, materials to order, plants to grow, schedules to set and hires (if any) to be made. And we do all of this knowing that, once the weather breaks, we want to burst out of the gate like an odds-on favorite at the Kentucky Derby. 'To make this happen,' he continued, 'we
'Here in America, our idea of history goes back only so far,' wrote Stephanie Rose to open her May 2004 Natural Companions column. 'We don't have the "ancient" structures that still set the tone and architectural vocabulary the way they do in Europe, Asia and other places. 'For those who prefer modern or contemporary styles, this lack of history may
Each custom design project is, of course, different from any other. The client may be a known quantity, but the site and the budget won't be and, as professionals, we always end up responding to unique sets of variables with eyes wide open. In the first part of this series, we looked at the disembodied details and components that made up one of these unique design packages. Starting with this part and continuing into the next, we'll examine at what was involved in assembling that particular set of features and, in this article, look specifically at how my collaboration with the client proceeded from initial contact to acceptance of a preliminary design. Obviously, what I'll describe here is
'Over and over at seminars and trade shows, watershapers ask me three distinct but interrelated questions: "How do you get into the high-end market?" and "How do you deal with wealthy customers?" and "How do you handle those kinds of jobs?" 'The short answer to all of them,' began Brian Van Bower in his Aqua Culture column in the April 2004 issue of WaterShapes, ' is that I've set myself up for it and am prepared to
