education
It’s an unfortunate fact that landscape architects receive little or no formal education in watershaping while they’re in school. As a result, where the typical landscape architect’s irrigation plan will show every pipe, fitting, wire and component for a given project, that same project’s pool plan will carry almost no detail at all. This phenomenon begs the question: Why don’t our colleges and universities do more to educate landscape architects about watershaping? The answer to this question causes me double pain, because I know full well that
If you’ll recall, I used this space last month to say farewell to David Tisherman’s “Details” column. His departure left us with a significant role to fill – especially given how provocative his column had been through the years. As often happens when a key person departs an organization, we weighed the available options and, not to flatter David overmuch, decided that replacing a voice so singular would best be accomplished by
There’s truth to the notion that the only thing that’s permanent in human endeavors is change. For the past seven years, I’ve had the privilege of sharing with you scores of details, insights, opinions and descriptions of the watershaping process, always hoping that, through words and images, I might influence the way some of you approach your work. It’s been a pleasure throughout, but the time has come for me to change things up, step aside and let other
It seems strange to write these words: In this issue, please find the last of David Tisherman’s “Details” columns. After seven years, he has decided that these monthly discussions have run their course and that it’s time to step aside. During those seven years, David has
It’s unlikely that anyone back in 1992 would have imagined that the daughter of fashion designer Calvin Klein would change the way we think of swimming pools. That might be a slight exaggeration, but to me there’s no question that Pools by Kelly Klein, first published by Rizzoli 15 years ago and re-released late in 2007, was unique at that time in treating pool design as a legitimate art form. In many ways, in fact, I think her book may well have ignited the design revolution that has unfolded in the years since it was first published. I didn’t run across this oversized volume until 1999, when I attended
In my November 2007 column, I discussed the power of friendship and how it can enhance our professional and personal lives. Along the way, I used examples from my own career and kept the focus on a personal level. This time around, however, I’ll be broadening the focus and expanding the concept to cover cultural and even global relationships. One of my key points in November was that by surrounding yourself with a circle of diverse, passionate, knowledgeable and thoughtful friends, you
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
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
My love of nature started with a rock collection I had as a child: My fascination with the simple beauty of those small pieces of stone hit me early in life and never left. Several years later, my outlook was dramatically expanded when a wealthy uncle of mine paid to have a formal Japanese garden built for his home in Boulder, Colo. Ever since, I've had a profound appreciation of archetypal Japanese gardens and the way they celebrate nature through landforms, rocks, plants and water. By the time I was in high school, I had already decided that my career was going to involve working outdoors, and from that time forward, my prime interest was in bringing the techniques and disciplines of Japanese gardens into the greater American landscape both where I grew up in the Pacific Northwest and elsewhere. For 30 years now, I've worked as a landscape artist in that region - for 15 years in Portland and for the last 15 in Eugene, Ore. Although many of my designs are not what you could describe as "Japanese gardens" per se, everything I do is informed and influenced by those traditions. I bear no grudge of any sort against the beauty of gardens in the Western European tradition, but to my mind, there's nothing in landscape design that harmonizes more seamlessly with nature than
Behind the Prize