The Design Parti – A Communication Tool

A concept that I have been intending to write about for some time is “parti”.   A parti is usually a sketch, diagram, drawing, doodle, or some other graphic that represents the direction, concept, or theme of a design.  The concept of parti is common in architecture.  It is also used in other design disciplines.  It is seldom mentioned in conjunction with landscape design however.  That is part of the reason why I have not written about this concept until now.  The other reason is that a parti is a vague concept.

A parti diagram does not necessarily represent what the design will look like when it is done.  It is usually not a polished diagram.   It can be very rough; the proverbial back of a napkin sketch.  Parti has been defined as “the big idea”, “the central concept”, “the essence of the design”, “the design approach”, “the core element” and numerous other ways.  In almost every case a parti is described as conveying the meaning, form, direction, essence, scheme, approach, or some other aspect of a design.  If you are confused about what a parti actual is, I was too initially.

The first thing that was unclear is when in the design process a parti is actually created.  The answer is that you create a parti after you have some analysis completed.  You have to know where you have opportunities and where you have limitations.  You have to know the client’s requirements.  You should understand what functionality you need to provide.  You should have created at least some bubble diagrams and prepared an adjacency analysis.  In most cases a parti is going to come after some level of form composition analysis also.  You may create several form compositions that you evaluate as potential starting points for your design.  That being said, creating a parti comes after having a thorough understanding of the site, the client, and the functional and spatial aspects of your design.

The second confusing aspect of a parti was how it fit into the creative or generative portion of the design process.  A parti is described as a vision and/or an inspiration.  A parti is also shown as being a result or an output of one or more design concepts.  Creating the parti comes after developing conceptual designs.  Your source or inspiration for your conceptual designs may come from the site, the surrounding area, the client, the environment, or some other source.  Your client may have a love of camping that leads you to develop a concept based on nature.  The client residence may be of a Spanish style architecture that leads you do develop a Mediterranean theme concept.  There a numerous possibilities.

So what exactly does a parti do?  Why should you create one?  I think a parti is a communication tool.  It communicates the intent of your design concept.  In A Visual Dictionary of Architecture (1995), Frank Ching defines a parti as “the basic scheme or concept for an architectural design represented by a diagram.”  The parti should communicate something about the form as well as the concept.  Ideally, your parti will communicate the experience you intend to create.  It should depict something about the functional, sensory, and/or emotional aspects of your design concept.

I am not convinced a parti has to be a diagram or sketch.  A picture, an object, maybe even a simple storyboard may serve the purpose of a parti.  Which leads to the second question; why create a parti?

Anything that we can create that will make conveying our design intent to the client easier and more effective is a good thing.  We all live in a world of headlines.  We are flooded with information.  We scan e-mails for important subjects.  We skim newspapers for headlines.  The 30 second sound byte is the norm.  Imagine the power of a diagram or simple graphic that you can show the client and they will immediate see what you want to do.  Maybe your plan view does that.  Or maybe you created a perspective illustration that conveys everything the client needs to know.  You may not need a parti in every design.  However, if you can create one, it would certainly add value to your client presentation.

There is one very important difference in how and why a parti is used in architecture versus landscape design.  In architecture the designer is working in a third dimension in creating a building or structure.  That is not to say landscape design does not involve height or structural elements.  The mass of a structure just does not impose upon our designs the way it does in building architecture.  This is why I think our use or interpretation of a parti can be different.

As I said earlier, a small storyboard may be what you need to convey your parti.  Maybe there was an object or something that you saw that inspired your design concept.  A picture of that object may be your parti or a part of it.  Maybe one of your form compositions can be modified to express more fully the design concept.  Again, what we are looking for is a communication tool.  The format or media does not really matter.

One last point about the value of a parti.  I have read in several places that a parti should “anchor the design”.  In other words, when a design issue or question arises, you should be able to go back to the parti for answers.  In other posts I have mentioned the value of graphic tools such as a client profile, journey boards, inspiration boards, etc. to facilitate the design process.  A parti can serve the same purpose.  It communicates the intent of your design concept to your client.  Having your parti in front of you while you are designing will serve as a constant visual reminder of your design intent.

Design Process Model – Tools for Each Phase

The last several posts have dealt with high-level view of my design process model.  The series covered each major phase and how they build on and overlap one another.  Subsequent posts discussed how the phases overlap with the two major project inputs, the client and the site.  This post deals with the details of how specific tasks and activities fit into the phases and how they support subsequent tasks in later phases of the design process.

A few points need to be clarified first.  In the diagrams below, I have laid out the representation of tasks and activities in a timeline format.  That does not necessarily imply there is a rigorous schedule that must be adhered to.  In an iterative design model, you cycle back and forth between and within phases.  It may make sense in one project to start a task early, and in the next project that same task may get postponed.  So interpret the timeline depiction loosely.  The starting points for tasks are determined based on what would typically make sense and based on the completion of any prerequisite tasks.  The length of the blocks is again based on what would typically make sense.  Some tasks may take more or less time depending on the project.  Additionally, the timeline blocks are grouped by phase for ease of identifying tasks in a particular phase.  They are not necessarily aligned horizontally with precursor tasks in earlier phases.

Second, some tasks overlap more than one phase.  The diagrams below have a legend that reflects the phase of tasks by color.  Tasks that span two phases are shown in the color of the phase they start in to the left and the color of the phase they end in to the right.

Lastly, this is not a comprehensive list of every activity or tools available.  It encompasses more detail than the high-level model but it is not an exhaustive checklist.  Very specific tasks such as soil analysis or surveys are rolled up into high-level task descriptions such as site analysis.

The first diagram depicts the Client Interaction tasks.  These tasks and activities are color-coded blue.

Client Interaction Tasks

Client Interaction tasks start at the inception of the project.  The task, Client interview / Follow-up / Meetings, spans the entire project to stress the need for regular interaction with the client.  Several tasks span into the Data Gathering phase so they are color-coded blue at the start end and violet at the end.  The remaining Data Gathering tasks are next.

Data Gathering Tasks

These tasks are color-coded violet.  They tasks also begin with the inception of the project.  Some may occur during the initial client meeting.  Others may follow days later.  The actual scheduling will vary by project.  The next set of activities and tasks is Analysis / Synthesis:

Analysis / Synthesis Tasks

These are the follow-on activities and tasks that you will complete to analyze the data you have gathered.  This is where dependencies begin to arise.  You have to have the data before you can analyze it.  The tasks in Analysis / Synthesis build on one another.  You have to do some before you can work on others.  What you find may lead you back to re-analyze what to found earlier.  This is the iterative process.  When Analysis / Synthesis is far enough along you can begin Creative Development:

Creative Development Tasks

A substantial number of Creative Development tasks lead to the creation of Client Deliverables.  You will also note that they start while Analysis / Synthesis is still underway.  You may begin exploring design concepts while you are doing analysis.

The key document you produce during Creative Development is the design program, which cannot be completed until Analysis / Synthesis is complete.  You have to analyze all of the data and synthesize it into a meaningful set of client and design requirements in order to preduce the design program.  Much of what is done in the Creative Development phase is reused, as you will see when we add the Client Deliverable tasks:

Client Deliverable Tasks

The Client Deliverables are what you present to the client when you are finished with the project.  You will typically walk through these with the client during the final design presentation.  Not every project will require every item listed.  Some projects may require other deliverables.  Whatever the items are, these are the result of everything you have done to this point.  They are the basis for the client proceeding with the project and beginning construction.

These diagrams fill in the gaps with specific tools and techniques to support the phases in the high-level model.  Treating these tools flexibly and remembering that it is an iterative process is key.  You will most likely not use every tool in every project.  You have to choose which to use based on the scope of the project and what you have to work with.  The objective is to build confidence that you have discovered all of the client’s requirements and that your process and results support the logical thinking that evolved into your design concept.  The target is to create Client Deliverables that meet the client’s needs and satisfy the requirements of the site.  Following a logical process and working iteratively, you will be able to meet your objective and have a satisfied client.

Design Process Model – Client Contact, Interaction, and Management

In describing my high-level design model, I overlapped every phase of design development with the client.  Throughout this blog, I have made the case for constant client input, feedback, and dialog.  The process of client interact starts at the first meeting.  In this particular post, I am focusing on the interaction that goes on after that first meeting.

Initially, your objective for having more interaction with the client is likely to be getting a better handle on the client.  What are their interests?  What are their preferences?  Do they favor a particular style?  What are their real motives for this project?  Do they really understand what they are asking for?  Are their priorities accurate and realistic?  These types of questions help you narrow down the client’s requirements and prioritize them.  They also help you make appropriate design decisions later.

You don’t want to be a pest and drive the client crazy with a lot of questions every day.  Some of the things that I think work well during the Data Gathering phase include field trips, brainstorming sessions, and follow-up site visits.

Field trips to look at other properties, hardscape materials, and softscape materials are an excellent way to discover the client’s preferences and help them come to terms with the choices that are available.  A field trip also gives you a chance to ask questions and learn more about the client.  In addition, if you have any particular ideas, you can show these to the client to get their reaction.

Brainstorming sessions work really well with knowledgeable clients.  They are readily able to discuss ideas and have an understanding of plants, materials, etc.  Brainstorming with less knowledgeable clients requires you to find ways to stimulate the discussion.  This can include your portfolio, pictures, samples, etc.  Brainstorming works best if you can do it in the space you are working in.  You just have to be able to take notes and deal with any materials you have with you for the session.  Again, this is a good way to find out more about the client as well as develop the client’s personal involvement in the project.

Going back to the client site for a follow-up visit or two isn’t a bad idea either.  You may have the opportunity to talk to the client in a different context and in a more relaxed manner.  Even if you don’t need any particular information from the site, dropping by for a second look gives you time with the client and an opportunity to learn more about them.

When you are in the Analysis / Synthesis phase you may need additional client input.  For example, after you start looking at space allocation, adjacency, priorities, etc. you may need to review your conclusions with the client.  For these types of meetings where you need input and have questions, I find it best to be well prepared.  Make sure the issues or questions are clear.  You should be able to explain the issue or question to the client so that they really understand it.  Second, I always try to come prepared with a solution to offer.  Obviously if it is a major issue, you want to help the client work through it.  For more general issues or questions, you should have a recommendation but try to get the client to make the decision.  Be sure to have any supporting materials including pictures, drawings, diagrams, etc. to support your presentation.  These not only help the client understand the topic they also demonstrate the work you have done for them so far.

At the end of Analysis / Synthesis, you should meet with the client to review the design program and obtain their concurrence.  Your presentation of the design program represents the culmination of everything you have learned and concluded about the client and site to this point.  The client’s acceptance or agreement to the design program represents their approval of your interpretation of their needs and requirements.  You should also be well prepared for this presentation.  You should have all support evidence available that you used in creating the design program.  It can be extremely useful to be able to refer back to previous meetings, discussions, field trips, and other interactions with the client while making your presentation.

Questions and issues are less likely to come up during the Creative Development phase but they can on occasion.  The same process and recommendations suggested above apply here also; be clear and be prepared.  The major client interaction in Creative Development is the presentation of the preliminary design.  Most of my comments above about presenting the design program apply here also.  Your design should be easy to justify based on the design program and other supporting materials you have gathered or prepared.  Referring to things the client has said during previous sessions makes this presentation that much easier.

There are numerous advantages to spending more time with the client.  Granted it does take up more of your time.  I believe the result is a design that is better targeted to the client’s needs because you have spent the time to fully and completely understand what those needs are.  You also have a client that has seen you work for them and with them throughout the project.  You aren’t just presenting a design; you are presenting the result of a collaborative effort.

Design Process Model – The Analysis / Synthesis Key Validation Point

The second key validation point is at the end of Analysis Synthesis.  Like the first key validation point at the end of Data Gathering, this is a threshold point to help you decide if you have completely and thoroughly analyzed the data you have gathered and used it to focus your design development.  The overlap with the Creative Development phase is again built in to allow you the opportunity to explore some design options and if necessary return for further analysis.

Key Validation Points

In the Analysis / Synthesis phase you are going to be massaging the data you gathered to start making design decisions.  Which tools and techniques you apply will vary from project to project.  Your objective is to take the raw data you have gathered and apply various analytical techniques to synthesize that data to start making design decisions.  Those decisions will relate to form, space allocation, space relationships, and other layout issues.  Client needs will be prioritized.  Cost tradeoffs may need to be made.  Analysis will produce information that helps you refine design decisions.  Each method, tool, or technique you use may generate information that suggests the need for revising the decisions you have already made.  This is the synthesis process; weaving and blending analytical results with the data you have gathered to develop the best overall design decisions.

I will be going into more detail about specific methods for this phase in upcoming posts.  The validation issues and questions at the end of this phase are related to making sure that you have addressed the all the data you gathered and used it to make justifiable design decisions.  The analytical methods you use should provide ample evidence that your decisions to allocate space in a particular manner or relate one or more spaces in a specific way are justified.  They should justify any prioritization or tradeoffs you made.  You should be able to point to specific issues that were raised in Data Gathering and see how they were resolved in Analysis / Synthesis.  Likewise, you should be able to trace your analysis of opportunities and see how they were evaluated and addressed.  You may also find that Analysis / Synthesis raised questions that required you to go back to Data Gathering.  That is a natural part of validation.

As I stated earlier, I will address specific methods, tools, and techniques.  However, two particular tools deserve mention.  First, during Analysis / Synthesis you should document you site analysis.  Formally, summarizing all of your results is useful for a couple of reasons.  First, it gives you a chance to review everything and make sure nothing was overlooked.  Second, formally summarizing it into a presentable document can add value to your services if you present the results to the client when the project is complete.  Not only do they have a record of the state of the site as you found it, they also can receive your recommendations for things that can be done in the future.  Lastly, the documented site analysis can serve as a validation tool by checking the results of your design against it to make sure you have addressed all of the issues and opportunities.

The second tool is the client profile.  I have mentioned in other posts that having a high-level graphic profile of your client in front of you can be valuable while working on the project.  It helps you keep the client in the forefront of your mind while developing the design.  A major part of that profile should be the client’s usage scenarios; the activities they plan for their space.  Including these also keeps these in the forefront of your design.

The result of Analysis / Synthesis should be your design program.  The design program should specify exactly what you intend to do for the client.  This is more than a list of bullet points or an outline.  It should include a description of what the outcome will be and how it will be achieved.  What will be changed, created, removed, remodeled, etc. to create the design.  It should paint a picture of the future state but in the process describe how that change will occur.  Your final validation should be to trace through your design program to make sure that the client’s needs are addressed and that all of the site issues and opportunities are addressed.

The last key validation point is Creative Development.  I will address that in my next post.

The Case for Gathering More Information

In my January 3^rd post, “Gathering Data:  Challenges, Irony, and Value”, I discussed issues surrounding the volume of information you collect when using a more analytical approach to the design process.  In this post, I am going to go into more detail about the issue of how much information you need to gather or should gather.

At one point in my career, I worked in an insurance claims office.  One of the things every claims examiner learns is that additional information can help you settle the claim for less, but getting that information costs time and money.  Sometimes it is better to settle the claim with a few open questions.  An example of this is settling a claim for bodily injuries.  You can settle the claim for some amount or send the injured party for more medical tests in hopes of finding out the injuries aren’t as serious or extensive as originally determined.  The question is will you save enough in the reduced settlement to cover the cost of the tests.

We have to ask ourselves similar questions.  Will more information gathering improve your results enough to justify the time and cost to you of gathering that information?  Will knowing more about the client, site, neighborhood, etc. improve the quality of what you produce, make the client happier, increase your profits over the long term, etc.?  I think the answer to these questions lies in two areas.  First, what does additional information provide you in terms of content or input into your design that adds value?  Second, what can you do with that additional information in the long term to increase client satisfaction and your business?

I don’t think the value of any particular piece of data or information is necessarily important.  There may be important facts such as a client preferences or information about their lifestyle.  I think the real value lies in the connections between the pieces of data.  Given that any piece of information can be connected to another, there is an exponential increase in the number of connections each time you gather a new piece of information.  Given that, I think the increase in value justifies gathering more data rather than less.

Those unexpected connections can be the stimulus to a truly inspiring design.  They may also uncover some part of the client’s needs that were not expressed directly.  One example of this was a patio project I was working on.  The client’s had reviewed the preliminary design and were extremely happy.  All of the design elements they wanted were included.  We had dealt with shade issues by including some large ornamental trees to the west side of the design.  However, very late in the wrap up of the design review meeting the client mentioned how much they loved pergolas.  A pergola was a perfect addition to the space.  It added tremendously to the final design.  The client’s preference just wasn’t discovered early enough.  Adding the pergola was not a major issue.  We were able to modify the design to include it.  However, that missing piece of the client’s preferences could have been an expensive change or add-on.

The second part of the value of additional information is how you can use it to increase your business.  I have a couple of thoughts on this topic.  First, if you spend a lot of time really understanding the client, you are making an investment in the future.  If you do work for the client in the future you don’t need to go through the full research and analysis process with them again.  You obviously have to acquaint yourself with any changes in their situation or note if things have changed.  Hopefully, you will have stayed in touch with the client at some level since you did the first job with them.  Repeat business with a client leverages the value of the information you have already gathered.

Second, noting everything about the client’s site gives you an opportunity to suggest additional work in conjunction with the current project or in the future.  While reviewing a backyard for a makeover you may note the side yard is in need of work also.  You could suggest adding on a walkway and additional bedding to dress up this access to the new backyard.  Another example would be taking some additional pictures of the client’s site and when the project is over give them a digitally enhanced photo suggesting some other improvements they might want to make next year.

I think there is a strong case to be made for gathering more information rather than less.  Investing time to gather more information will give you more to work with in the current project and secondly, information you can use to either expand the scope of the project or create new business opportunities in the future.

Borrow Ruthlessly

There are a wealth of ideas we can use to help us gather, analyze, and validate our client’s landscape design requirements.  We need to look at other design disciplines and evaluate how the tools and techniques they use might apply in our field.  We may need to modify their ideas or apply them differently.  Designers in other fields face the same challenges we do.  They also face different ones.  We all have the same goal, create a design that functions as it suppose to.

When you look at the tools and techniques other types of designers use, you may think that they would not benefit you.  However, if you look closely at how and why the tool or technique is being used you may find there is more in common than you first imagined.  Tools and techniques are used in a context relative to a discipline.  That context varies by design discipline.

Just one example is the client context.  As landscape designers, we usually work for a specific client who we meet and have a relationship with.  Many other designers are designing for a generic “target” client.  A graphic or fashion designer works for a client but designs for a target client such as males between the ages of eighteen and thirty.  Within this context, they have to imagine client needs, responses, emotions, etc.  The tools and techniques the use to create a visual and mental image of a client may help us more clearly understand our known client.  We may apply the tool or technique differently, but it may still benefit us.

Sometimes a concept or approach may be used in another field that we should be thinking about also.  The one that has most influenced my thoughts about design is the concept of “user experience” or “client experience”.  These concepts have come from the systems design field for the most part.  They are used extensively in the design of user interfaces to web pages and computer programs.  They also apply to devices such as mp3 players or bank teller machines.  The concept is showing up in many other fields now.  The client experience with a service for example.  A restaurant may provide food and beverages as their primary offering but the ambiance and experience will add to the appeal to customers as well as the perceived value.  I think we should very carefully study how user or client experience applies to us as designers not only from the standpoint of what we deliver to the client in terms of the design result but also the process of interacting with us as designers.

Transferring ideas, approaches, concepts, techniques, etc. from one industry or field to another isn’t new.  There are countless success stories where this approach has been applied.  I just don’t think it has fully been applied in the field of landscape design.  Our approaches, service models, design process, business practices, and other aspects of our field can be improved.  Borrowing ruthlessly from our fellow design professionals is a good first step.

Post Project Reviews – Validation and Verification

The obvious benefits of doing work for a client are the income and building your client list.  You can add to your portfolio too.  There is the added benefit of potential ongoing work such as maintenance and for update or makeover work in the future.  A more subtle benefit is the opportunity to learn and develop skills, techniques, and approaches that you can use in the future with other clients.  An even more subtle benefit is improving your design and business processes.

To capitalize on these benefits you have to conduct a post project review after every project.  I have discussed these types of reviews in previous posts, but from the perspective of the client’s feedback.  Now it is time for your internal review.  If you are working as a individual, this process is one of reflection and self-critique.  If you have other staff working on the project, they should participate in the process.

I tend to approach these project reviews systematically by reviewing the project in steps.  The review should be done very soon after the project is complete.  However, the client review should be completed before your internal review so you have that feedback available.

The first step is to compile all of the project artifacts.  This includes notes, drawings, analysis, plans, etc.  These are reviewed for possible inclusion in your portfolio.  Since everything is gathered, it is a good time to write up a project overview to use for future marketing or reference needs.  Were any new skills, techniques, or approaches used in the project?  Is there anything new that can be added to your list of services or expertise?  All pertinent business and marketed materials should be updated as necessary.  Add the client to your client list.  Will the client make a good reference?  If so, add them to the reference list or flag their contact record to indicate this.

The next step is to consider the project delivery.  There are many questions to ask.  Did you follow a project plan?  Did the plan work?  Were there any issues or problems that come up?  Was the scope of the project what was originally envisioned?  Were the materials estimates correct?  Was the client profile on target?  Was the site analysis correct?  Was the work effort estimate correct?  If any of these apply, how were the problems handled?  In hindsight, was that the best way to handle the problem?  What could you have done differently?  If any problems, issues, estimation errors, or anything else did come up, why did it come up?  What was wrong with the original plan, scope, estimate, etc.?  The objective is to find out what caused any problems or issues and why.  Then you need to decide what you are going to do to prevent the problem from happening again or if it does happen how you might handle it differently.

Next go through all of the things that were right.  If the scope, estimates, schedule, and so forth were right ask yourself why.  Did you follow your regular process?  Did you make any adjustments or allow for any contingencies that influenced the positive outcome.  The objective is to reinforce the things that were done right.  You may want to also consider the possibility of improvements in the process.  Even if everything went according to plan, is there anything that could have been done better.

These steps of analyzing anything that did not go right and all the things that did is a “lessons learned” process.  It helps you avoid repeating mistakes in the future and reinforces the things you are doing right.

The last part of the project review is to review the client feedback.  You should be able to take any positive and negative feedback from the client and compare it to your own internal review.  Things the client may have been unhappy about may be things that you have already determined were an issue.  Again, look at how you are going to change your process to avoid this problem or issue.  Positive client feedback should be acknowledged also.  What was it that created the positive feedback?  Were there one or more specific things?  How can you capitalize on those things to satisfy future clients?

The scope of the post project review will obviously vary from an individual designer to a large design/build firm.  The number of people involved in the review being an obvious difference.  In the case of large firms, lessons learned should be shared across all crews or teams so that the entire company staff benefits.  Any new capabilities or skills should also be shared so that everyone is aware of them.

The purpose of the post project review is to update your marketing and sales materials and improve your project delivery processes.  It is not an exercise in finding or placing blame.  Regardless of how poorly a project might have gone, the review process should be treated as a positive exercise because you will benefit from it.

I have discussed the differences between validation and verification in previous posts.  A portion of the post project review should deal with the validation issue.  Did you meet the clients needs and requirements?  The majority of the focus should be on verification.  Did you do the right thing, the right way?  If not, what are you going to do going forward to correct that issue?

Leveraging What We Do Best – Is That the Right Thing to Do?

One of the early lessons I learned in the consulting business was to leverage the products I created for one client and reuse them with other clients.  Let me give a quick example.  I created an Investor Relations data management system for a major corporation.  I captured their online data about who owned their stock and produced reports about who those major owners were and how the ownership was distributed  The system also monitored trading activity in their stock.  Other functions monitored news, graphed trends, produced alerts, and so forth.  Creating this system was not a huge undertaking.  However, when I was done, the model could be applied to other corporations.  All that really needed to be done was to change the access to capture one corporation’s data instead of another’s.  Hence the leverage.  My work could be reused from one corporation to the next with minimal change.  Assuming I charged the same rate for the second and subsequent customer, my profit increased since there is no real development time.

So what does this have to do with landscape design?  I think several things.  First, as designers do we try to replicate softscape and hardscape materials or design concepts from one client to the next for the same reasons; to leverage something we have already done?  Do we produce similar designs because we can leverage what we already know and understand?  Do we seek out clients with similar problems because we know how to deal with them quickly and efficiently?

It probably makes sense for a designer or design firm of a certain size to pre-screen clients to make sure they are the right fit for what they do.  A firm the does design, build, and maintenance probably doesn’t want to deal with someone who want a few plants replaced.  A designer will probably fend off a call from a homeowner looking for a spring cleanup.  All businesses have target customers or clients.  As landscape designers we should have a target market also.  When a potential client doesn’t fit that profile they should be referred on to another firm or politely told that their need isn’t what we do.

The point is, that given a target market, leveraging what we have done in the past is good.  You can work from your strengths.  However, you cannot take the one size fits all approach.  Our strengths can be our reputation.  We can be the best designer of outdoor kitchens in the city.  We can leverage our expertise but treat each client as a unique situation.  We can help clients create the perfect outdoor kitchen for their needs.  We cannot, however, just take on clients, and prescribe an outdoor kitchen just because that is what we do best.

Back to my consulting story.  I resold the Investor Relations management system many times.  As new clients acquired it, I got suggestions for new features and improvements.  As those were incorporated, I went back to old clients to offer them the enhancements.  I was learning as I was going and offering my customers the benefit of that new knowledge.  However, as other clients approached me with different needs such as systems for tracking water-quality tests or calculating bulk materials handling requirements I did not turn those clients away.  I learned new business requirements and created solutions for those problems.

As a landscape designer you can do the same thing.  Your strength may be water features or swimming pools or old English gardens but when there is a need for a rock garden or something that is outside of your normal approach you can use that as a learning tool and build your portfolio of skills and experience.  When the opportunity arises for you to create a design that is within your area of expertise, you can still learn and improve upon what you do.  When the project is over you take that enhanced knowledge and experience on to new clients.  Each client has to be treated as unique.  That uniqueness will present opportunities for us to either leverage our strengths and build new skills and expertise.  That is how we grow as professional and expand our reputation.

Solidifying Client Data

Analysis really starts the minute you meet the client.  We want to get to know our client to find out who they are in addition to what they need.  To do this we have to listen to them, observe them in the context of their residence, and we need to ask questions.

We need to the client listen actively.  Active listening is a process.  It involves focusing on the other person.  Look at them when they speak.  Try to gather any clues to what they are saying that are non-verbal.  Watch their facial expression, gestures, and body language.  By focusing completely on the other person, you are showing your interest in them and what they have to say.  Active listening also requires that you confirm what the other person is saying.  This is not parroting their words.  It is clarifying their statements and rephrasing them so that you and the other person both know you are understanding what is being said.  You may need to ask questions to clarify points.  This further demonstrates your interest in what the other person is saying.  Another part of active listening is to avoid preconceptions and to put your own feelings and opinions aside.  If you do have an alternate view, you should only express it after listening to everything the other person has to say.

It seems to conflict with the aspect of active listening where you are suppose to focus on the other person, but you also have to observe the client’s residence, décor, site, and other tangible things.  You may be able to gather a lot of information about the client’s taste and preference by observing their lifestyle as expressed and demonstrated in their home and yard.  Take any chance you have to note furnishings, decorations, styles, and anything else that reflects the client’s tastes.

When walking the property with the client you are obviously trying to balance several tasks.  You are trying to actively listen to the client, observe what the site currently looks like, and make note of specific requests or items of importance.  Focusing on the client is probably the highest priority.  You can always walk the site again later by yourself or ask the client if a second pass around the area.  The second time through is when you should focus on items you find and make appropriate notes or take digital photos.

You are going to run into situations where there is inconsistency between what the client says and what you think based on your observations.  A classic example is the client with a very traditional home and décor that says they like modern, contemporary styles.  When you have these types of conflicts, one of the best approaches is to ask for an example.  You might ask the client to show you their favorite contemporary piece of furniture or art.  Without being presumptuous, you can also ask the client what it is in a design that makes it contemporary or modern.  Hopefully, they will give you words that define their vision that you can reconcile with what you are seeing.

In previous posts on the topic of client needs I have discussed the use of questionnaires, using facilitation skills, taking clients on tours to view other landscapes, and other techniques.  The purpose of all of these approaches is to fully, and completely, capture all client requirements.  Designers want to hit the mark and wow the client with their design.  Designers thrive on that positive feedback from the client who says, “You created exactly what I wanted.”  The questions are:  How do we know that we completely understand the client and what they want?  Are we missing anything?  Is the client being completely open and straightforward with us?  What is the best way to capture the client “picture” or profile that will permeate my design decisions?

Design analysis documents are frequently used to justify design decisions.  If we build two three-foot retaining walls versus one six-foot retaining wall there is usually some analysis or research behind that decision that supports it.  How do you document the soft data about a client in a way that can be used to justify your design decisions?  The answer may lie in simply documenting what you learn, hear, see, and sense.  Data has one very funny characteristic; it is very soft until it is recorded.  Just documenting your findings turns data that is very soft, and sometimes intuitive, into hard data.

My point is that you should follow a process that is flexible and yet methodical enough to allow you the best possible opportunity to capture everything possible about your client.  Then find a mechanism to document that data.  My August 31, 2009 post, “Tools for Client Focused Designs” [http://ldvalidate.wordpress.com/2009/08/31/tools-for-client-focused-designs/] noted that I like to create a graphic profile of my client that I can keep in front of me when creating and evaluating design ideas.  This is really just one tool that I get to after gathering all of the client data and reviewing and organizing it.  I may transfer my notes into a mind map format to help me organize the information into categories, groups, or specific areas of concern.  Only after I have completely reviewed all of my notes do I create my client profile.  That profile becomes my “picture” of the client and the tool that I use to keep the client in front of me throughout the design process.

Gathering as much data and information about the client as possible is a good first step.  Looking for inconsistencies and exploring those is also beneficial.  Taking copious notes creates a record of what you learn that you can refer back to as the design progresses.  All of your documentation will make the soft client data that you gather solidify into useful, tangible information to draw on as you explore design concepts.  The best approach is to use that information to create a graphic client profile that keeps the client in the forefront of the design process.

Tools for Client Focused Designs

I am not sure when I first heard it, but I have believed in the adage “if you really know a topic, you can teach it to someone else” for a long time.  I apply that adage to understanding clients.  If I can really describe them and what they do and what they want to do, then I understand them.

In many other disciplines, there is a major focus on the user interface or user experience with the product or system.  In previous posts, I have drawn the analogy of creating an outdoor experience for clients.  I believe the user experience is a part of virtually any product or service we touch or use.  I put a lot of emphasis on the quality of the experience that a design can provide and how closely that experience matches the client’s expectations.

Designing user experiences begins with understanding the users.  Some of the tools that are used include personas and user stories.  These tools describe the users of the product or system.  They are not descriptions of usage.  Usage is what is being done.  Users are who is doing it.  I think this is an important distinction.  Getting money out of an ATM machine is a common usage activity or task.  The users who perform that activity vary greatly as do their motivations for doing it.  Designing how the process of getting cash from the ATM is accomplished requires thinking a great deal about that variety of users and motivations.  I think the same can be said for a landscape design.  Outdoor entertaining is a usage activity.  The clients may accomplish that activity in many different ways and may have a variety of motivations for doing so.  The entertaining space for a couple entering retirement will most likely be very different from the space for a young couple with small children.  Again, I think that client understanding is crucial.

The tools I mentioned previously, personas and user stories, tend to be used when there is a generic user who can be identified via demographics or surveys.  These user descriptions identify who would be using an ATM machine or an MP3 player or who might be searching for a flat screen TV on a web site.  This obviously means multiple personas or user stories.  We generally do not have that type of requirement in a landscape design project.

The first thing I do after completing the client analysis is to prepare a graphic client profile that will help me keep the client in mind while I am going through the design process.  I could use a simple list but I prefer a more graphic format for two reasons.  First, the information stands out and is very visible.  Second, and more important, a graphical format allows me to depict relationships between elements of the description.  A text listing is hierarchical.  The graphic format allows me the flexibility of depicting the importance and interrelationship of each element in the summary of the client.

Compiling a client profile isn’t always easy for a number of reasons.  First, you have to make sure you have all of the information and data you can obtain from the client.  Second, there are frequent situations where a couple have different tastes, preferences, ideas, and expectations.  When this happens, you can often end up with two clients.  A third situation is the commercial job where the client may be several individuals or a committee.  Again, there is often differing opinions as to what should be done.  The situation that comes most closely to a generic user is the common space.  This may occur in an apartment, condominium complex, assisted living center, or similar shared space environment.  In this situation, I may make sense to create personas to identify typical users of the space.

In disciplines where they user personas and user stories a lot, a frequently used techniques is for someone on the design team to play the role of the user in design review meetings.  I find this a useful technique to apply informally.  As I am putting together design ideas, I look back on my client profile and evaluate what I am proposing from their perspective.  It is not as independent as having someone role play the part but it does offer a chance to step back and make sure that the ideas align with the client.

I find that having a client profile in front of you, which is highly visible and focuses on key elements, is an extremely useful tool for developing more client-focused designs.