MOS, Michael Meredith, Hilary Sample, ... This website is not an encyclopedia. It is an informal bulletin board to pin up images and text- a way to make the design process both more intimate and social, allowing others to engage our work and give us feedback, while providing a venue to illustrate and reflect upon what we're doing.
We really don't know exactly when MOS started, but it was sometime in 2003. When we began, 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 a shared desire to be horizontal and fuzzy, as opposed to tall and shiny. We began our makeshift office around a large table and began working through a range of design experiments - a make-believe of architectural fantasies, problems, and thoughts about what we would be building if we could only get the work. Today, as we've grown, we continue to operate around one large table as a design office that works closely on each project through playful experimentation and serious research. We engage architecture as an open system of interrelated issues ranging from architectural typology, digital methodologies, building performance, structure, fabrication, materiality, tactility, and use, as well as larger networks of the social, cultural, and environmental. Our inclusive process allows MOS to operate at a multiplicity of scales.
Selected Awards and Citations
2010 Academy Award, American Academy of Arts and Letters
2009 Young Architects Award PS1/MoMA Summer Pavilion Winners
2009 Progressive Architecture Award, Drive-In and Park, Marfa Texas
2008 Architectural Record: Design Vanguard
2008 Surface Magazine, The Avant-Guard Awards: The Scholars
2008 First Prize “Flip a Strip” Competition, Scottsdale Museum of Art, Scottsdale, Arizona, USA
2008 Emerging Voices Series,The Architectural League of New York, New York
2008 Finalist, Iakov Chernikhov International Prize
2007 I.D. magazine, Design Distinction, IVY, 53rd Annual Design Review,
2005 First Prize, Architecture/Design, "AICA," Association Internationale des Critiques d'art <
2005 I.D. Award Best in Category, Puppet Theater, 51rd Annual Design Review
Selected Exhibitions
2010 Majestic, Tobias Putrih & MOS, Wexner Center, Columbus, Ohio
2010 Instant Untitled, Workshopping, Venice Biennale, Venice, Italy
2010 Academy Award, American Academy of Arts and Letters
2009 Without Out, Tobias Putrih & MOS, List Centre for Contemporary Art , M.I.T.
2009 Intervention#10, Tobias Putrih & MOS, Boijmans Museum, Rotterdam, The Netherlands
2009 Overhang, Tobias Putrih & MOS, Baltic Centre for Contemporary Art , NewCastle, England
2008 Artist Space, Matters of Sensation New York, NY, USA
2008 CStem 2008 – Breeding Objects Torino, Italy
2008 Flexibility-Design in a Fast Changing Society Torino World Design Capital, Torino, Italy
2008 Venice Biennale Experimental Architecture Padiglione Italia Pavilion
2008 ‘Flip-a-Strip’ Scottsdale Museum of Art, Scottsdale, Arizona, USA
2008 Buckminster Fuller: Starting with the Universe Whitney Museum of American Art, New York, NY USA
2007 International Conference Urban Health Johns Hopkins/University of Maryland, Baltimore, MD
2007 Scripted by Purpose, FUEL Collection 249 Arch Street, Philadelphia, PA, USA
2007 Work by MOS , Cite de l’architecture et du partimoine, Paris, France
2007 Design Triennale - iVY, Design Life Now, ICA, Boston, MA, USA
2007 Young Architects Program, PS1/MoMa, New York, NY, USA
2006 Beyond the Harvard Box, Harvard Graduate School of Design
2007 Cooper Hewitt Design Triennale Design Life Now, New York
2007 Living Spaces, ICFF, New York
2005 SoftCell, Henry Urbach Architecture, New York
2004 Young Architects Program PS1/MoMa, New York, NY, USA
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To celebrate the 40th anniversary of Le Corbusier's Carpenter Center,
his only North American project, this theater
was constructed within the sunken exterior courtyard for a puppet
performance by the conceptual artist Pierre Huyghe. The
organic form of the theater was built with 500 unique white
polycarbonate panels diamond shaped interlock to become a
rigid structure and are simply bolted together, in order to be easily
assembled and disassembled. Once assembled, forces
dissipate across the monocoque surface enclosing the theater space. The
modulated ceiling panels are turned inside out to accommodate material tolerances, create
skylights and for structural stability, similar to keystones. The
panels are 3" in depth and span over 15' at the center of the
theater. Foam inserts placed into the panels stiffen the plastic
shell. An exterior layer of moss covers the plastic panels. At
night, light permeates through the edges of the diagonal plastic
panels, leaving the moss to appear suspended.
Entering into the theater from Quincy Street through a soft flexible
opening focused around a tree, the space bulges
to form an interior of reflective white glossy plastic walls.
Undulating white foam seating repeats the patterning and dimension
of the plastic panels creating a uniform vessel. The interior
compresses, looking toward the stage opening. When the puppet
performance isn't playing, it provides a rigid view framing the concrete entry cube of the Carpenter Center, while the soft entrance upon leaving frames a single
tree. Photos by Florian Holzherr
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