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, eventually, 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.
Krabbesholm Højskole (Denmark) is awarded an AIA NY Excellence Award
MOS Architects receive an AIA New York Award of Merit for Element House
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 collect things from this process and store them in a flat file.
Chamber is a design gallery, event space, and store located on New York’s High Line. Its ceiling is comprised of barrel vaults that fit around and between existing mechanical and structural systems to capture as much space for the interior as possible. The existing conditions led to a complex field of vault geometry. The vaults are integrated with existing skylights to softly reflect natural and artificial light into the space. Marble shelving and pedestals feature CNC-milled patterns overlapping materiality with its own representation. Custom cabinetry, desks, and displays were fabricated from perforated aluminum. The store’s architecture is a collection of various elements: 48 barrel vaults; 48 linear light fixtures; 14 Carrara marble shelves; 135 aluminum rods; one glowing triangular niche; 102 linear feet of lighting track; seven perforated-metal wall panels; six unperforated-metal wall panels; 13 square, marble display surfaces; three skylights; two wood doorstops; one custom toilet paper holder; and 46 aluminum bars laid in a concrete floor. Rather than attempting to resolve all of the elements into a singular synthetic system, Chamber is an accumulation.
Project Team: Michael Meredith, Hilary Sample, Ivi Diamantopoulou, Carson Russell, Thomas Heltzel, Cara Liberatore, Yann Gay-Crossier, Phi Van Phan, John Yurchyk
Lighting Design: One Lux Studio
Signage: Studio Lin
General Contractor: Remont
MEP Engineer: Plus Group Consultant Engineers
Photographer: Michael Vahrenwald