Interviewed by Cathy Sivak
  EnviroEducation.com Contributing Writer
  June 12, 2006

YOU & YOUR CAREER

Tell us about your career in the field of landscape architecture. How did you become interested in the field? How is your career unfolding?

I started learning about landscapes by starting a summertime landscape maintenance business while in grade school and high school. Toward the end of my high school education I became friends with someone who later taught me nearly all I know about art, architecture and how they blend into a career field I had never heard of; landscape architecture. Given my enthusiasm for landscapes, I was encouraged to begin my college career in architecture and later move into landscape architecture.

During undergraduate summers I was given design / build work by a local landscape architect. One spring term I went to Denmark to study and traveled extensively through Europe during the following summer. Traveling remains key to my personal and professional development.

During my graduate study years at Penn, which emphasized an ecological approach to design, I worked with Toby Tobias in Philadelphia, who sparked my interest in stormwater technology. His forte was transforming dry detention basins into extended wetland basins; I enjoyed the ecological and technical aspects to that particular job.

Following completion of my master's degree from the University of Pennsylvania, I went to work for Larry Halprin, who had taught one of my studio courses at Penn. I worked from his San Francisco office for nearly six years. Working with Larry was, of course, the most striking influence on my professional development; it taught me many useful lessons…from design through personal growth to social awareness.

There are two schools of thought about approaching a project, visit the site and get an intuitive hit off the place as Larry would, or start right in with your layer cake analysis of geology, hydrology and so forth as Ian McHarg would. I learned both approaches are useful but beginning with an intuitive response is best. Cycling through both approaches at various points in the project always proves useful. I was hired by Larry Halprin in 1990 work on the Franklin Delano Roosevelt Memorial in Washington D.C., which just came back on the boards. I followed through to completion of construction documents and beginning of construction. Other projects I was involved with through Mr. Halprin include the California Ranch Revision workshop and the Lake Shore Drive relocation project in Chicago, a planning study for Valensin Ranch in the Sacramento Valley and the Laguna Coast Wilderness Park.

It started as the brain child of a local developer who is very sensitive to the importance and legacy of the Halprin designed spaces surrounding one of his properties. The idea is being pursued. The endeavor supports my interest in conserving modern landscapes, keeping the historic intent of sites intact. I have a true interest and respect for the heroes of “modern” landscape architecture: Roberto Burle Marx, James Rose, Dan Kelly, Lawrence Halprin and other pioneers including Thomas Church.

Both awards were based on a single project, in Rowena, Ore., The project combines all of the practical experience that I had early on, including the “environmental” focus of Penn as well as the intuitive approach and the design style of Larry Halprin. These things only happen when the client is trusting and willing.

I try to make something special out of every project. With each project I save at least one opportunity to take a particular feature and develop it into art. One example was a recent courtyard landscape built over a parking garage in downtown Portland, the 10th @ Hoyt Apartments. This project is an intensive roof garden, combined with stormwater runnels that bring all the roof top rain water down into the courtyard and direct the water to artfully designed stormwater displays and light elements. I drew from my fascination with Persian gardens elements, which I learned about in undergraduate school. The design takes even the lowest flow of roof top stormwater and activates in many different ways. This project combines landscape history, design, art, sculpture, stormwater collection, detention and recirculation. Raining or not, the stormwater elements serve a dual purpose as light features.

The first landscape on structure project I completed was the Bridgeport condominiums, which remains a very nice project because the residents take pride in its upkeep. It contains what I call my glass gabion lights – in highway construction a gabion is a wire basket full of rock used to retain roadside cuts and fills I created a gabion in a cube shape with chunks of recycled glass lit internally, so you get a glow. There are six of these marching down the courtyard.

Dealing with contractors is challenging, more so than working with clients; in either case the first challenge is getting the job. Residential and commercial work require different skills and different levels of handholding.

The most rewarding aspect is a happy client. If I can give them what they want, and they're happy, then I'm happy; that's the frosting on the cake.

I think my greatest success is having the wisdom to listen to mentors and the strength to take risks, the insatiable desire to keep learning and to keep educating myself. That seems to be the thread that holds everything together, learning: if you're learning, then you're taking risks and developing your mind and soul and then you're being creative.

Design models, three-dimensional, tactile scale models that help refine the design of projects. Presentation models don't help you in the design process. Actually developing your design by first hand construction of a model is invaluable.

It is very important to be able to collaborate, to be open to other peoples' points of view, especially your clients. I see client interaction as collaboration. As we go through that collaboration process, you educate them and distill their desires.

Just to be the most knowledgeable in the area of field that I work, and to share with and support those who assist me in that endeavor.

Yes, it's an absolute prerequisite. That goes back to the design scenario, passion and intuitive approach vs. technique and science. If you don't like what you're doing, then don't do it. Find a job you like; if you don't like what you are doing in school, find something else. A job is just another phase of your personal education and development.

EDUCATION INFORMATION & ADVICE

Tell us about your landscape architecture education experiences at the University of Pennsylvania (Master of Landscape Architecture, May 1990) and the University of Oregon (Bachelor of Landscape Architecture, June 1987).

At Penn, there was a lot of exposure to big names in the field, interaction with accomplished practitioners. The University of Oregon taught me the basics, while Penn focused on areas of interest. As you go through school, you should be becoming an expert in your field.

Besides wanting to keep the potential of teaching open, there were professors who promoted the idea. I was told by a professor mentor and friend to pursue either Harvard or Penn. I chose Penn because at the time, Harvard was a little bit too esoteric and focused on paper design. I chose Penn because it had more realistic environmental and pragmatic angle to its program.

Talk to a professor you admire about the best route to take. Going on for your masters might not be the right thing for you. It is difficult to go back to school once you're out in the workforce; going on to your masters right out of undergrad school is a good idea. But somehow always make time to travel during summers or at any other opportune time.

They never talk about psychology, which is something I gleaned from Larry Halprin. He teaches an understanding of people and humans through his workshop process. A person should have a grip on what makes people tick, and in business it's helpful to understand what people are saying between the lines either through how they say it, body language, or other modes. Sometimes it is good to offer alternate ways for people to communicating; through drawing, dance, workshop tasks, or simply responding to objective/non-biased questions.

Education and personal development is all about feedback, whether it is positive or negative feedback in the form of grades, academic evaluation, or feedback and support from professors, or mentors, or family and friends. There's also your feedback to yourself: Are you feeling challenged? Are you feeling like you have the passion and desire to continue? Are you able to give yourself and/or receive feedback that supports your interests?

Every prospective student has a particular thing or event that strikes them as a reason to consider the field; it gets back to psychology in a way. When Larry Halprin runs a workshop, as a primer, he has you think back to your favorite childhood landscape: the coast, the tree house, the forest; the ocean. Those are really archetypical experiences that profoundly influence your relationship to the landscape.

Students should do some soul-searching on how the landscape effects them personally; if you grew up in New York City in a high rise, you'll have a different set of inspiring moments in contrast to someone who grew up in the country and goes horseback riding in that environment. Those experiences will influence your point of view about urban design, planning, and conservation. Once you get into school, your horizons broaden and you can expand your area of interest or focus.

Of course my alma mater, Penn, and really, who wouldn't say Harvard or Penn? On the West Coast, where I've had contact with graduates, the University of Washington; University of Oregon and Washington State University seem to prepare students well. Louisiana State University also has a good program. It is a good idea not to pursue a master degree at the same university you obtain an undergrad degree. This forces travel, new experience and release from personal baggage that can accumulate.

It does. That old adage, “It's not what you know, it's who you know,” is partially true. The bigger, more renowned universities have more exposure to noted or highly regarded guest lecturers; those folks inspire and motivate. There is the ‘dollars' angle too, and school can prove expensive. But you should go to the school that best suits your interests regardless of notoriety or cost, and do well; then you will reap the benefits. If you show the motivation to have the highest degree of expertise, then you will be more likely to get the jobs you pursue and the compensation required to fulfill you debt. It may look like a lot of money now, but in the long run and with low student loan interest rates you can't beat it.

If you have decided you want to go to a particular place, research the professors and course offerings, then talk to the people there, arrange a visit with the chairperson of the department and with professors you have interest in, visit the campus; for me it meant flying across the country. Be proactive on all fronts instead of blindly choosing a school just because of its name.

One of my mentors suggested that I get the program curriculum, and then chart out my entire curriculum for the next four to five years. By charting it out you know what you are in for, it serves as a roadmap for your education and it shows those at the university that you visit that you have it together and you are serious. It's always nice to have a mentor, whether it is someone who is in the field or not, at least someone who supports your interests. Try to find someone you can relate to, who has your well being in mind, whether that be a parent or friend.

The biggest oversight for undergraduate schools is denial that the computer has a valid place in the curriculum. Although I am a firm believer that sketch books allow a person to explore designs from an intuitive angle you also need to develop the technical skills that will allow you to easily fold into the professional market. In addition, some social psychology, and personal psychology courses should be pursued to help with a greater understanding of the world.

CAREER INFORMATION & ADVICE

On a basic level, what skills are required to be a landscape architect?

You have to have some interest in art as well as science. If you are going to school to draw pretty pictures, forget it, but if you can integrate art interest and science, everything from math to biology, you'll do well.

Ecology and landscape restoration; now that we've spent a century degrading the environment, we're interested in restoring and renovating it.

Liability is one. When you're working with nature, you work within its laws, whether it is gravity or growth or some other natural system. These natural systems don't fall within the rules of society and are difficult to control. Landscape architects need to protect themselves when natural laws confront societal laws.

Clients often think that what you design and plant is static and will not grow or evolve, but landscape architecture works within dynamics of the natural environment.

Not a huge impact. It does allow you to download information handily, but it's all the same stuff you could get before from books and publications. Ideas and approaches to design are more easily disseminated and retrieved. Trends develop at accelerated rates and decline even faster. The Internet also adds to the predominant understanding that things have to happen quickly, which adds stress to peoples' life.

AutoCad, Microsoft Word & Excel, SketchUp.

Resort and tourism is one of the hot areas, ecotourism is also on the rise and needs to have reasonable controls to keep it in check in sensitive ecological areas People are finding the need to bring nature into their everyday lives, where they live and where they work and where they recreate. Sustainability, in all its various meanings, is becoming the one of the top ten buzz words of the new century.

It's very good, that's what I hear. In fact, I just hired a person.

Internships have always baffled me; it means so many different things to different people, from paying nothing to nominal compensation, to being on salary. Summer working experiences are valuable; it doesn't oblige employers to keep students on, and students get a feel for, and experience, the field. If students are interested in a true internship they should not be asking high hourly rates, after all 80% of your time at a firm will be spent learning through interaction with others. The efficiency of those “others” normally working on billable tasks goes down so it can become a financial burden on firms to educate. Just remember, until you are completely self directing in an office environment you are still in a student role.

If you're following your intuition throughout your academic career, you will achieve your goals. Money is not everything; you receive payment in many forms, and part of your payment is continuing education and learning from a more experienced group of people. That in itself has value that should be considered when looking for a job.

Fresh out of school, you're lucky to get $16 an hour, after that a $1 a year raise is fairly common. It also depends on your qualifications as a direct benefit of your education, the area of country, the economy and the amount of motivation and willingness you show to truly invest in the firm.

It's all around us, where you live, work and play. It impacts every aspect of a person's life in one way or another.

Be passionate. Travel far, travel wide – understand that art and design are not separate from landscape architecture, study great works of art, history and science. And above all know yourself.

EDITOR'S NOTE: If you would like to follow up with Mr. Koch about the field of landscape architecture, click here.

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