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, Charles Dorrance-King, Lafina Eptaminitaki, Yam Chumpolphaisal, Jacqueline Love, ...

© MOS Architects PLLC

Web site by Studio Lin 

Programming by Brazen

No. 4
MoMA PS1, Afterparty
Long Island City, NY
Performance Venue
6,000 sf
Temporary Pavilion, 2009

Afterparty is a summer pavilion in the courtyard of MoMA PS1. Poking above the exterior fortified concrete walls are a series of tall, hut-like chimneys with shaggy thatched skin on their outsides and reflective aluminum fabric on their insides. The pavilion is an aggregated system of spaces that performs both visually and functionally to produce microclimates through the shade of its thatched roof and the vertical stack performance of its tall, conical geometry. 

Cool air from the courtyard's shaded concrete walls is drawn up through the shaggy chimneys using the stack effect, and an evaporative mist sprayed from the exterior thatched surface further cools the space. It is a perpetual breeze-making machine, cooling down the visitors. A complex structural arch system defining hyperbolic surfaces is juxtaposed with a rough thatched roof reminiscent of Bernard Rudofsky’s Architecture without Architects. This juxtaposition is part of a search for new promiscuities, new methods of design, after a party of high-formalism that dominated academic discourse at the time. Afterparty looks toward more primitive states of architecture.

One thing about the “Afterparty,” as we’re calling it, is the need to look for new promiscuities, new methods of design after the party of a sort of high-formalism that has dominated academic discourse of late. In this particular case, it’s with the basic structural arch and dome geometries, with rough, base materiality, and with the production of a totalizing “environment,” (literally cooling down the courtyard through the stack effect) looking toward a more primitive state of architecture. From Wikipedia: "An afterparty, after-party, or after party is a gathering that occurs after a party, a music concert, a premiere or the closure of a nightclub." An afterparty may provide additional social opportunities for people who do not want to return to their respective homes. The main purpose of the afterparty is to provide a relaxing environment, as compared to the earlier venue, where the atmosphere is usually more frenetic. During an afterparty people often sit down, relax, and chat freely, meeting new people in a more controlled setting. If the original party continued until late at night, the afterparty will often include a morning snack, which usually counts as breakfast. . . . Possibly in contrast to relaxation, the afterparty can provide a chance to get away from the eyes overseeing the main party. This tends to be more common in events where alcohol consumption is not allowed,such as school balls, and provides a location where partygoers are allowed to drink. In this case, the afterparty may turn out to be more lively than the main party, as the people are freed from the restrictions that were placed on them during the main party.

Project Team: Michael Meredith, Hilary Sample, Matthew Allen, Heather Bizon, Michael Faciejew, Jose Miguel Ahedo Fernandez, Darby Foreman, Steven Gertner, Jerome Haferd, Maciej Kaczynski, Yair Keshet, Jason Kim, Taekyoung Lee, Ryan Ludwig, William Macfarlane, Patrick McGowen, Miriam Peterson, Zachary Snyder
Consulting Engineer: Nathaniel Stanton, Erik Verboon, Buro-Happold
Structural Engineer: Eric Hines, Le Messurier Consultants
Photographer: Florian Holzherr

Related Project:
Software No. 7
Escape (Correspondence) 

External Link:
The Creators Project, Vice Magazine