Centerbrook 4 Introduction, by Chad Floyd
This is more than a monograph of an architecture firm’s projects. In these pages we partners of Centerbrook (Jeff Riley, Mark Simon, Chad Floyd, and Jim Childress) show our work of the last 15 years, but in a departure from the monograph norm, we reveal the formative ideas behind it.
Our first three books presented us more or less as a collective, but here we present material by partner, each of us devoting 96 pages to photographs and drawings of projects accompanied by candid explanations of our inspirations, references, and design goals. The reader can judge how well we realized them.
We believe it’s fitting that this, our 4th book, which comes at the conclusion of our 4th decade, should bring our 4 ways of working into the light. The organizational format we followed these many decades has allowed the luxury of four unique approaches to cohabit within a single office. That’s a little different from what’s found at most places, where specialized partner roles such as manager, marketer, or designer, are the order of the day, and office output reflects a more singular point of view. At Centerbrook each of us finds and performs his own projects. We use communal office resources and are blessed with a spectacularly talented staff, but other than that, we’re pretty much on our own, and our work reflects it.
We do share a lot, however. We support each other, heart and soul; we influence each other; we watch over each other; and we’re generally of like minds. We respect rather than eschew tradition and are not afraid to make buildings that resemble something that came before. We are devoted to sustainability, including the enhancement of disappearing land and cityscapes that people hold dear. On campuses and in cities we try to stitch together torn and frayed seams, bringing focus, harmony, and completeness to places where architectural entropy had been setting in. We think buildings and the spaces between them should invite people to sit comfortably in shady spots, provide intriguing vistas, create special landmarks, convey special meaning, inspire small ceremonies, nurture big festivals, kindle memories, and delight the eye.
In our approaches there are differences to these ends and thus differences, too, in our buildings—some of them subtle, some less so, many revealed in these pages. We have long sensed a gentle and positive competition between us, but that competitive spirit is tempered by the mutual friendship, admiration, encouragement, and wisdom that comes from many years working together.
Our format has remained unchanged from our earliest days in 1975, when the oldest three of the current four partners—that’s Jeff, Mark, and Chad—along with emeritus partner Bill Grover and partners Bob Harper and Glenn Arbonies, both deceased—inherited our 19th-century factory in Centerbrook, Connecticut, from Charles Moore, our mentor. Charles had been Dean of the Yale School of Architecture, so as Yalies we three of the current four partners went pretty far back with him.
Bill, too, attended Yale Architecture. He operated ably as the closest thing we had to a managing partner, guiding us with Yankee acumen. Bob and Glenn had pedigrees from other fine schools and contributed strong fluency in construction technologies. A RISD graduate, Jim Childress was never a student of Charles’s, but he had numerous opportunities to work with him in the 1980s, so the four of us now remaining and featured in these pages were influenced at a youthful age by the verve and free-thinking of Charles Moore’s remarkable design talent.
In 1975 Charles headed off to Southern California, lured by UCLA which offered among other blandishments first class seating on airplanes. That left the original three of us, and later the four, to carry on, which we have been happily doing since, immensely grateful to Charles for making our firm’s launch easy. Charles died nearly 25 years ago, but his memory remains strong with us.
Eventually we came to call our office Centerbrook, thinking highway signs to the Village of Centerbrook where our building is located might give us some free publicity. Knowing more than that would be needed for success, we vowed then and there to evolve our operation into a top-notch professional outfit that would let us four shine independently while operating at the highest level of quality.
The uniqueness among architecture firms of our “independence” format is brought into sharper focus when you consider the dynamics of other creative groups—for instance, bands. How many rock-and-roll quartets have four musicians who write, play, and sing equally? Not many. Bands assign different roles to members according to their strengths. Not to compare us to the Beatles, but in that legendary band John and Paul did most of the writing and lead singing, but it was George who did the guitar heavy-lifting. In the Eagles it was Glen Frey and Don Henley who did much of the writing and lead singing, but it was Joe Walsh who did those amazing guitar riffs. Unlike rock bands, our goal has been to allow each of us four to operate across the full architectural spectrum exactly as we would be doing were we sole proprietors. Also, we’ve managed to stay together for four decades. How many bands besides the Rolling Stones can say that?
Our format has yielded a firm whose work is prolific, whose clients enjoy the ministrations of partner-designers, and where the staff’s artistic, managerial, technical, and support expertise is boundless. You might ask how critical the specific mix of the four of us partners is to our success? As with rock bands, each partner contributes a special something, so if you took one or two of us away from the place it would change, but only gradually, because Centerbrook’s staff and future leaders are strong. Many have been with us for nearly 30 years. They provide stability and a storehouse of experience that yields many dividends in mastering the diverse ways we design buildings.
In fact, design diversity is a Centerbrook trademark. That’s also a difference from most other firms, which inhabit narrow bandwidths of curvy planes, or glass and timber, or spikey towers—all striking to look at but limited in scope of materials and details. By contrast, our buildings are so aimed at each of their situations that they end up looking very different from one another. This means our staff must maintain a commanding knowledge of many materials and styles—a tall order.
This search for the particular , though, is Centerbrook’s greatest strength. It makes our work emblematic, but emblematic of our clients, not of us. To get there, we exercise a kind of ego-loss in which we unclog our personal design receptors of our own baggage in order to make out signals coming to us from our clients.
There’s another theme that runs through Centerbrook’s work: craft. We are fortunate to have a well-equipped shop where we make things by hand. It’s manned by industrial designer Patrick McCauley, assisted by the very able Ron Campbell, a former professional contractor. In addition to such things as architecture models, furniture, mock-ups, and specialty objects, our two maker gurus run a unique Centerbrook tradition called a “Chairshop.” Groups of employees take craft classes over several months and then work out the design and construction of their very own chairs, which then are juried by the partners. Our Chairshop is described in detail at the end of the book. Staff craftsman Bill Rutan, now retired, was a key ingredient in getting it up and running.
Even bathrooms at Centerbrook do not escape our penchant for the particular. Each partner took on the task of designing a bathroom for the use of staff and guests, and it turned out the four rooms and their arrangements could not be more different from one another.
So, in these pages the partners of Centerbrook open up in different ways—Jeff Riley about his affirmation of humanism, Mark Simon about his art background, Chad Floyd about his use of metaphor, and Jim Childress about his thought process. You can be sure the ideas contained here have been spread pretty thoroughly around our office, so consider this book a window into our place’s inner workings.