Groundswell:
Earth and plants serve as critical materials in helping a building integrate
itself into the landscape.
At a time when
green roofs have become a cliché and landscape a term used to describe almost anything,
how do you design a building for a botanic garden without looking like a
wannabe? Marion Weiss and Michael Manfredi—architects who have been fusing
structure and site since they built the Women’s Memorial and Education Center
at Arlington National Cemetery in 1997—might not need to worry about jumping
late on the green bandwagon, but in taking on the job of building a visitor
center at the Brooklyn Botanic Garden (BBG), they faced the challenge of not
repeating themselves. Ironically, the answer for the husband-and-wife team began with
an emphasis on the new building’s urban character. In their first interview for
the job, the architects told the client they wanted to move the proposed site
from a leafy spot near the center of the 52-acre garden to one on the northeast
side, facing a busy street. The original location placed the visitor center on
axis with the garden’s Cherry Walk, but Weiss and Manfredi argued that a
building there might dominate the cherished esplanade of trees. It also would
require visitors to walk along the edge of a large parking lot behind the
Brooklyn Museum, BBG’s Beaux-Arts neighbor to the north. Bringing the new
building to the street would give it an urban presence, provide the chance for
a graceful transition from city to nature, and protect the character of the
garden itself. The argument immediately convinced the client’s building
committee, recalls Scot Medbury, president of BBG.
“The tension between being in
an oasis and being in the city is what makes this project so wonderful,” says
Weiss. So she and Manfredi chose to introduce the building to the street with a
generous entry plaza and a copper sawtooth roof that will age to the same color
as BBG's 1917 McKim, Mead & White administration building down the block.
The jagged roof covers a garden shop that sells plants and books and can
operate even when the garden is closed. What at first appears to be a single
building addressing the street turns out to be a pair of structures separated
by a fritted-glass-covered breezeway. Walk through that breezeway and you can
continue along a path to the Cherry Esplanade or duck inside to the second
building, this one topped by a 10,000-square-foot green roof planted with
40,000 grasses, spring bulbs, and wildflowers. The building uses earth and
plants, along with glass and steel, as essential materials.
Pushed up against an existing
berm, the visitor center houses a ticket booth, exhibits, a café, and
restrooms, while connecting an allée of ginkgo trees on the ridge of the berm
to the rest of the garden below. At the far end of the structure, a leaf-shaped
atrium provides a double-height space for talks or social events. If you climb
an outdoor stair that winds around this space, you come to a covered passage
that offers a view down into the atrium and then continues to a terraced
hillside at the base of the ginkgo allée.
The visitor center rambles
along for 385 feet, nearly two city blocks. But because it unfolds as a set of
buildings, it seems much shorter. “We wanted it to feel like a series of
episodic events,” says Manfredi. By slicing views and passages through the
buildings—creating a nuanced progression of outdoor, indoor, and covered
spaces—the architects neatly threaded the visitor center into the landscape.
As they have done in almost all
their projects, Weiss and Manfredi applied a number of sustainable design
strategies to the visitor center. In addition to using the existing berm and
the green roof to reduce solar loads, they employed a geo-exchange system of 28
thermal wells to heat and cool interior spaces, specified concrete and steel
containing recycled building materials, and fabricated wood paneling in the
event space from ginkgo trees cut down to make way for the building. According
to the architects, the project is on track to earn LEED Gold certification.
Weiss and Manfredi also worked
with landscape architect Henry M. White III to use the green roof and areas
around the building to create a series of bioswales that filter stormwater and
store it in a pair of rain gardens—one in the entry plaza and the other in the
plaza outside the event atrium. “We wanted to show plants as an ecological
system and get beyond just their beauty,” says White.
What makes the visitor center
work so well as a piece of architecture is the way it expresses in glass,
steel, and earth the natural and man-made forces shaping the site. Its
slithering form and sinuous breezeway respond to the paths, trees, and berm
that had long been there. “We tried to bring into view things that had been invisible
in the site,” explains Weiss. So the circulation through the building offers
views back to the city, out to Cherry Walk, and up to the ginkgo allée on the
top of the berm—all of which were always there but probably weren't previously
noticed by visitors as they walked through this part of the garden.
By alternating spaces that feel
compressed—such as the curving gallery with exhibits by Thinc Design and the
narrow passage cutting through the building at the upper level—with others that
seem to expand, such as the event atrium, Weiss/Manfredi created a rhythmic
progression that animates the architecture.
A few elements seem weaker than
the whole. The outdoor stair curving around the glass facade of the atrium
could have been more elegantly detailed to make it more ethereal. And a stucco
wall with a small window facing the ginkgos on the upper level looks cheap. But
these are quibbles. The visitor center stands as a remarkable addition to a
102-year-old institution's beloved campus, one that serves as a gracious
threshold between the urban context and the gardens within, as well as between
one era and another.
Completion
Date: May
2012
Size: 22,000 square feet
Cost: $28 million
Architect and Site Design:WEISS/MANFREDI
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