In the conversation with the landscape architecture professor, artist and writer Denise Hoffman Brandt, we speak about the morality issues attached to “doing good” while debunking Ian McHarg’s problematic position in Design with Nature.
In the conversation, Brandt points out how our assumptions about nature shape our actions, why stewardship is problematic and what landscape architects could do. Denise Hoffman explores our relationship with nature through the bark beetles killing the spruce trees, misusing Darwinian concepts of evolution and explains how to design for all living creatures. Design “with” holds many answers to our questions.
Brandt is currently finishing a book, on Trees and Beasts, excerpts from which you can read here.
Through the long-haul research, she was searching for an answer to what nature is, as the distinction to the landscape is blurry and as Brandt points out
“I told my students not to use the word “nature” because I found they were always confusing a kind of moral judgement with the physical realm”. […]
Thinking about where the landscape architecture fits in with the idea of nature, I realised landscape is a piece of it and the way landscape architecture has situated itself as a practice has actually confined its territory within what I think of as nature. That by denying or dancing around political issues, by being not straightforward about how emotional intelligence is part of a way to understand the landscape beyond a kind of aesthetic, by denying a lot of the things that are wrapped up in these confusing ideas of nature, because nature is an idea, it’s a bunch of moral judgements we attach to physical phenomena – physical phenomena are not nature.”
Drawing is a way to learn, not just a means of communication. Making paintings and drawings, like this one of the spruce forest on the Markagunt Plateau, compelled consideration of subjective realities outside my own.
Ideas of nature have shaped our environments since Aristotle’s Scala Naturae where he puts
“humans at the top because they have reason and possibly souls and everything else is below because they are not rational. I would argue that that attitude, that ontological positioning of humans in nature is what underlies not just our environmental travesties but also our social injustices”.
In response to a question regarding how to design for all living creatures, Brandt suggests respect and parity. Driving through the western USA forests, Brandt discovered 95 per cent of the spruce trees in the area were killed by the bark beetles, questioning how to acknowledge other species’ cycles and our intersections.
Beetle-kill on the Markagunt Plateau in May 2005 and July 2019. (photos: Denise Hoffman Brandt)
“When we look at how we build the city, we surface everything for people who wear shoes and cars and vehicles. Everything else is barefoot. Why don’t we have more spaces that accommodate that type of motion and ground contact? No, we say we have to have more stormwater management. Let’s change the terms of the argument”.
Courtney Behrens “creaturely commons” was launched with a thought experiment to imagine prehistoric beasts in New York City as a means of connecting with how species experience urban terrain. (“Snakes on the Train” studio—CCNY 2023-4 instructed by Denise Hoffman Brandt and Anna McKeigue.)
Nevertheless, Brandt sees relations and our actions beyond “good, bad and ugly”:
“We [humans] are allowed to understand ourselves as having habitat that is meaningful to us. Humans are allowed to have what humans want and need, just like the bark beetles. Parity means everything matters. All of our ideas, all of our wants and desires as humans making our habitats, have value at some level – even the bad ones. And very often the bad ones as in McHarg are stemming from really good impulses, from things we would consider morally just. […]
The idea of thinking for other species is not thinking for them – I think McHarg had a good word there – it’s with.”
David Smucker framed a speculation on “animate material,” and then developed tactics for design of a Midtown public space constructed entirely with untreated wood. (“Snakes on the Train” studio—CCNY 2023-4 instructed by Denise Hoffman Brandt and Anna McKeigue.)
Exploring the uranium landscape led me to develop this map of global investment in nuclear weaponry (c. 2015). I was stunned to find that corporations ranging from health care to food systems were either directly or indirectly investing in potential global annihilation—and through them we are all complicit. Ruth Nervig and Theo Brandt contributed to the research and mapping.
Denise Hoffman Brandt earned her educational credentials at the University of Pennsylvania in art history, continuing painting at Pratt Institute and concluding with studying landscape architecture at the University of Pennsylvania. Prior to holding a professorship at the City College of New York, she was an adjunct and visiting professor at Columbia University and Pratt Institute. She was also a project manager at Michael Van Valkenburgh Associates and a senior landscape architect at Mathews Nielsen Landscape Architects, before establishing her own practice Hoffman Brandt Projects, where among other topics, she engages in activist design for crisis situations and critical mapping, say uranium activities across the US or gun cartridge distribution found after the 2015 Baltimore protests.