Current Work
Selected Publications and Exhibitions
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, sometimes we say 2005, but we were drifting from place to place, 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. In 2008, we were licensed and became a legal entity, but we had already had an office and made some buildings. At some point, 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, gathering, and working through a range of design experiments—a make-believe of architectural fantasies, problems, and thoughts. We are now located in New York, we have grown a little, but remain around a large table, working together on each project through playful experimentation and serious research. We have won some awards. We have written some books. We have built some buildings. We are currently making more. 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
226 W 135th St. NY, NY 10030
866 431 3928
Selected Awards

MOS receives an AIA New York State Honor Award for School No. 3 (Petite École)


Krabbesholm Højskole (Denmark) is awarded an AIA NY Excellence Award
MOS receives 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, Paul Ruppert, Robert Crabtree, Charles Dorrance-King, Lafina Eptaminitaki, Yam Chumpolphaisal, Julia Muntean, Victoria Abel, Zane Mechem, ...

© MOS Architects PLLC

Web site by Studio Lin 

Programming by Brazen

Quick Tiny Show No. 5 (Total Spiritual Boredom)

Location: Sainte Marie de La Tourette, Éveux, France
Date: October 24–25, 2019

“Total Spiritual Boredom” seeks to loosely, and vaguely explore the relationship between religious ideas and architecture in the context of Le Corbusier’s La Tourette convent. We would like to somehow speculate on the notion that post-ideological indifference can lead to the necessary detachment needed to have an authentic experience and can serve as a strategy towards reflection and inwardness by creating a barrier against the chatter, superficiality and collective fantasy prevailing today. Indifference is nothing other than the “wuwei”, the Tao’s no-action, and the basis of how the sage operate in the world. In other words, it is the foundation for a deeply spiritual life. Tolstoi stated that faith constitutes the very purpose of life and the reason why mankind does not self-destruct itself and continues to live. Well, some of us have directed our set of beliefs not to the idea of an infinite God or the divinity of the soul or even the union of our actions with God, but to the petty, terribly compensated field of architecture. The will to believe (in Architecture) as William James argued, is our only way to cope with the incredibly painful realities of the world we inhabit. By having a personal experience with our discipline we can set aside the symbolic approach that seeks to read and interpret indirectly architecture in order to have a mystical connection which, as Schopenhauer noted, can act as a free expression of an immediate metaphysical knowledge that completely disregards the powerful objections of reason. Would it be possible to advocate then for the suppression of architectural pedagogy in favor of a purer alternative to access its non-empirical foundations? Can we unlearn everything we have been taught in order to clear the Way for the necessary passivity to comprehend our discipline? Or perhaps, what we have come to refer as Architecture is nothing but, paraphrasing Agamben, the way in which the anonymous we call architect, in constant relationship with a practice, seeks to constitute his life as a way-of-life: the life of the architect, in which as in any form of life, what is in question is nothing less than his or her happiness.

Curated by Juan García Mosqueda.

Project Team: Michael Meredith, Hilary Sample, Paul Ruppert, Cole Cataneo
Photo: Trinidad Fecchino Galitó