Current Work
Office Statement

If given the choice between staring blankly into space or reading architects’ office statements on their website, we choose the first. They all say the same thing: we’re sustainable, responsible with budgets, experienced, award-winning, etc. . . . The game seems to be how to say nothing in particular and comfort any worries of someone contemplating hiring you. After a few clicks, it’s hard not to think that all this quote-unquote professionalism is very cold at its core. We can’t tell you exactly when MOS started. We like to say it was 2003, but we didn’t have an office space then and our name was !@#?, which we quickly found was too difficult to use because 1. you couldn’t pronounce it and 2. you couldn’t get a web address. So, we drifted towards MOS—an acronym of our names and reflection of a shared desire to be horizontal and fuzzy, as opposed to tall and shiny. We began around an oversized table, a surface for collecting and working through a range of design experiments—a make-believe of architectural fantasies, problems, and thoughts. As we’ve grown, we remain around a large table, working together on each project through playful experimentation and serious research. This website indexes that work: housing; schools; houses; cultural institutions; retail; exhibition design; installations; furniture; objects; books; writing; software experiments; and videos.

 

- Michael Meredith, Hilary Sample

Project Index
General Information
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Selected Awards
2014

Krabbesholm Højskole (Denmark) is awarded an AIA NY Excellence Award
    
MOS Architects receive an AIA New York Award of Merit for Element House

Flat File

We draw, talk, email, doodle, diagram, render, print, print, draw, model, receive, distribute, call, approve, confirm, reject, plead, deny, laugh, export, import, present, listen, order, zoom, script, post, pan, copy, paste, scale, collate, staple, eat, list, drink, walk, draw, chat, meet, photograph, crop, calculate, draw, adjust, tweak, sip, solve, stack, note, organize, scan, edit, review, print, question, comment, make, sketch . . . and occasionally we store them in a flat file.

MOS: Michael Meredith, Hilary Sample, Michael Abel, Paul Ruppert, Lafina Eptaminitaki,

Yam Chumpolphaisal, Claire Logoz, Yujun Mao, . . . 

© MOS Architects PLLC

Web site by Studio Lin 

Programming by Brazen

Exhibition Design
No. 6
44 Low-resolution Houses
Location:
North Gallery, Princeton University School of Architecture, Princeton, New Jersey
Program:
Exhibition Design
Status:
Built, 2018
Material:
Paper, Fabric, Stools, Totes, Samples

This exhibition consists of 44 houses by 44 architecture offices. 

The house has an exhaustive history within architecture. As a protagonist of formalism throughout modernism and postmodernism, it has been a recurring problem for urbanism. And, simultaneously, it has been considered a solution for urbanism and a problem for formalism (Levittown). The house has been at the center of phenomenological questions (dwelling), a frequent site of the everyday vernacular, and the primary subject of the digital/virtual. In this particular exhibition, houses were chosen simply because there are a lot of them circulating around the Internet, available to gather. And because nowadays the house has seemingly become more and more of a desirable design object, an image, a stage set, a thing, a product both in how it is made and culturally understood. The house is a receptacle for identity and technology, similar to our phones.  

The term Low-resolution precedes Houses in order to make the exhibition-goer think about houses through this double, technological and representational-aesthetic lens. All 44 houses exhibited fall into one or more of the following categories of Low-resolution: first, houses that vaguely resemble houses, using familiar house elements like pitched roofs, etc.; second, houses that appear to be constructed, in that one can see the construction, joints, and materials (there is a sort of cheap, unfinished quality to the work); and third, houses that are composed of basic geometric primitives—squares, circles, triangles—arranged in a non-compositional or abstract manner. By these terms Low-resolution is against high-resolution architectural sophistication, gestural complex curvature, and models of architecture focused on seamlessness. 

It should be noted that we made some obvious curatorial decisions. Each house is removed from its context, which is arguably a source of debate. (I would agree with critics who claim that to fully understand the specificity of each house, one should know the site, client, contractors, material, economics, ecology, etc.) For better or worse, each house is treated like an untethered object or image, which is how we experience most architecture anyway. All 44 projects have been re-represented in the same manner, at the same scale, and with the same orientation—north within the exhibition space is also north for each project presented. This was done so that we could compare the houses without comparing representations. Additionally, each architecture office has been asked to select a material sample, product, or building element to represent each house at full scale.

The exhibition is staged as if everything is floating, on display. 
 

Exhibition Design: MOS
Curator: Michael Meredith, Associate Professor, Princeton University School of Architecture
Graphic Design: Studio Lin
Fashion Design: Slow and Steady Wins the Race
Photography: Michael Vahrenwald
Exhibition Coordinator: Kira McDonald
Exhibition Team: Anna Renken, Alex Still, Steve Martinez, Adam Ainslie, Ryan Hughes, Yujun Mao, Mark Acciari, Andrea Ng, Ece Yetim, Domenica Mssamby, Mariah Smith, Ryan Gagnebin

Special Thanks: Dean Mónica Ponce de León and Princeton School of Architecture Staff