My obsession with Moss Tents began when I first visited Maine 20 years ago. More than a few houses in town had sails mounted to them to shade sunny decks and patios. The geometry was striking. The portability and lightness offered a novel solution to summer sun.
In 1975, Bill Moss and his wife Marilyn co-founded Moss Tent Works in Camden, Maine to design and produce innovative, high-performance recreational tents and architectural canopies. Marilyn Moss has chronicled the company's designs in her book, Bill Moss. Fabric Artist and Designer.
Sadly, Moss Tents are no longer in production. The company was sold in 2000. A few can still be found on Ebay and other manufacturers sell similar looking shade sails. Very cool indeed!
The following article from Maine Home and Design's AIA Design Theory illustrates beautifully the value of sustainability.
Sarah Holland and David Foley Discuss What it means to design sustainably
Architect William Wurster once said, “When I am given a hillside, I embrace it and do not long for a meadow.” He believed design should serve genuine needs: “Architecture is not a goal—architecture is for life and pleasure and work and for people. The picture frame, not the picture.” Sarah Holland and David Foley of Holland and Foley Architecture in Northport embrace this philosophy in their practice. They believe sustainable design is about exquisite adaptation and that the alternative is brute force: uncreative, uninteresting, and unsustainable. MH+D asked them to explain.
Q: WHY HAS Sustainability MOVED SO FAR FORWARD IN THE architectural vernacular LATELY?
A: Isn’t it strange that there’s a niche specialty called “Sustainable Design?” It’s as if we’re all tacitly admitting that standard practice is unsustainable. We didn’t collectively decide to make an unsustainable built environment—yet few people focus on sustainability when they design, engineer, build, or renovate. Perhaps that’s because, until recently, the world was large and humanity’s impact small. But we’re now depleting nature 50 percent faster than it can regenerate—our “ecological footprint” requires 1.5 Earths. We’ve financed a planetary “asset bubble” by liquidating natural capital. We can’t do that forever, or even much longer. During the recent housing bubble, unsustainable debt sometimes encouraged thoughtless shopping sprees over thoughtful investments in enduring quality. But booms bust, and then we realize that debt and bubbles—financial or ecological—erode our security and prosperity. There’s a better way.
Q: What does sustainable design look like to you? What is it—and what is it not?
A: Sustainability sustains us. Sustainable design is elegant sufficiency, neither privation nor excess. It’s embrace, not denial: choosing comfort, health, utility, durability, and beauty over inefficiency, waste, clutter, and thoughtlessness. Sustainable design applies creativity and craft to develop the potential, and respect the limits, of places, so people—and the planet—can thrive. Every place has potential, and limits. Good designers learn to see and respect both. Who needs excess? It just gets in the way. “Style” is ephemeral, beauty timeless. One is the latest “pretty face”; the other is the smile on anyone’s face. There’s no ostentation in nature, and no excess. Yet nature is profoundly beautiful, developing and thriving for billions of years, cycling the same matter ceaselessly, powered by current solar income. That’s amazing. We who design, engineer, and build can learn from that, and help bring vitality, beauty, and enduring prosperity to our clients, communities, and planet.
Q: How does this translate into your practice and design?
A: We’ve taken this to heart. Given a hillside, we design for peaceful coexistence with its slope, saving money and resources. Given a region, we design for its climate, fostering people’s comfort without draining wallets—or drowning polar bears. In New England’s cold climate, we site in sheltered spots, orient for winter sunshine, insulate heavily, build tight, and ventilate right. For a Florida project, we’re adapting vernacular design, using natural ventilation, shading, and careful detailing to minimize air-conditioning. We continually research building science, using experience and energy-modeling software to achieve designs needing only 20 percent to 50 percent the energy of similar conventional buildings.
Q: Are clients becoming more open to sustainability?
A: Here’s what often surprises and delights our clients: efficiency helps them thrive. They’re more comfortable, not exposed to molds, radon, and other contaminants, not facing high fuel bills or endless upkeep and maintenance. Their buildings cost less to own, and often cost the same to build, as conventional buildings of similar quality. Even when first costs are higher, returns are attractive, with minimal risk. Move toward sustainability and you improve your quality of life. We ask clients their stories: who they are, how they live. This helps us all discover what nurtures them and avoid what will merely burden them. When people build or renovate, they encounter pressures, subtle and overt, to follow fads and strike poses, to both conform and display. When our clients realize they can relax and focus on their genuine lives and well-being, we sense their relief. Building and renovating are major investments of money and resources. We want to ensure that every square foot has deep purpose, will be well used and well loved.
The eighth grade yearbook predicted that I would spend the rest of my life looking for the perfect song on the radio. How true! Today the radio is all but obsolete and my search for "the perfect song" has manifested itself into a career that piques my curiosity, evokes my creativity, and brings me joy. I sincerely hope to bring joy to you as well.
So I have plunked myself up here in Maine for the summer, a place rich in cool breezes, sunshine, and breathtaking views. Work and play are not mutually exclusive. My days include scouring antiques shops, galleries, and road side stands. Maine is flooded with artists who capture beauty in things great and small, elevating simple things to new glory. The antiques shops here have pieces that I sometimes don’t recognize. Today I found a basket of antique spools from a woolen mill but mistook them for telescopes. They will make a dramatic statement in grouping. One of my best scores was a walnut mortar and pestle from 1868 that now graces the shelf of a modern farmhouse kitchen. Its humble origin brings patina to a gleaming wall of stone.
Back at home, I found Susan Walter! Susan has a great eye for finding unique and interesting objects that are so integral to achieving a collected and layered room. We have placed a few pieces from her private collection of Bernard Kohn’s work, as well as others sourced here and in Europe. Stay tuned for news of a grand opening…
I picked up this beauty from Doreen Dufour's first art show at the Keag River Gallery in South Thomaston, Maine, possibly to replace the last watercolor that I purchased here. By the time that it was delivered to my client I was too emotionally attached to part with it. I suspect that it will happen again. Congratulations Doreen and much continued success! I look forward to showing more of your work.
Another new team member is Beth Lilly-Cione. Beth brings over 10 years of experience in the tile industry working primarily on kitchens and bathrooms. She is very excited to start working with art, fabrics and furniture! Beth has amazing instincts, and is very detail driven. I am so lucky to have her with me. Stay tuned of some of our tile projects...
A friend recently reminded me that when you find inspiration you must share it. That is my purpose. Please follow me on @ www.instagram.com/walshhilldesign. And leave a comment! A glorious summer to all!
Motivated by a strong passion for art and design, I established Walsh Hill Design in 2008. Embracing the principles of classic design, I continually hone my talents to create environments that strive to exceed my clients' expectations. My expression of design thoughtfully balances form and function, integrates with its environment, and reinterprets personal collections and heirlooms with comfortable, customized furnishings.