096 CLIENT FILE
Now happy to call London home, Moss grew up in South Africa – he has dual nationality – and moved to America to take degrees in architecture and civil engineering at Brown University. Fresh from his studies, he plucked up the courage to approach architect and engineer Calatrava for work, and ended up heading his New York City studio’s building workshop at a time when Calatrava was busy on the World Trade Centre site transportation hub, and other US projects. Tese years turned out to be very formative experiences for Moss. ‘Santiago was always a hero of mine, very much because he could transcend disciplines – he was as much an engineer as he was an architect and he had a great mind and was a great artist. He has a really skilled hand and a tremendous architectural vision for what he wants to do with his projects.’
He moved to London to do a master’s in advanced structural engineering in London’s Imperial College, and subsequently worked for engineering designers Expedition Engineering, where projects included the aforementioned Shweeb Monorail, a fantastic but ultimately unfulfilled concept for Google’s Mountain View campus in California. Despite such fascinating projects, the job wasn’t a great fit for Moss and he left to set up Rogue. ‘I always knew I wanted to be in a space and place where I could work from a blank canvas and really consider independent projects just as much as consider consultancy projects,’ he says, preferring to work with a small team and collaborate with outside specialist design and technical expertise as required.
Te first of these self-initiated projects was the tennis ball wireless speaker, hearO, inspired by Joseph Beuys’s well-known Capri Battery lemon light. As a serious tennis player who was close to turning pro in his student days, tennis balls were something Ross was deeply familiar with. His initial motivation was rethinking the potential that existed in the material after the championship tennis balls had reached the end of their initial life, and would otherwise be destined for landfill. ‘I looked at the tennis ball as an object of intrigue – very ergonomic and very tactile, with the potential to become something else.’ Rogue came up with the hearO Bluetooth speaker concept, making the most of the ball’s inherent protective case and vibration- controlling properties. After developing it for manufacture, Rogue has adapted the appealing novelty speaker over the years in association with different tournaments and brands. He’s also created art pieces using balls and off-cuts, including the Back the Brits installation for Vodafone’s Wimbledon space. Moss clearly enjoys coming up with engaging concepts for brands – whether a retail interior or installation, and working closely with clients to develop and extend their briefs. It’s important, he says, that clients are not only clear about their own narratives but are also willing ‘to go on a journey’ with Rogue.
‘We offer something very unique and very novel. We also come up with works that are extremely imaginative and inventive. It does take a particular type of client to buy into me and buy into our studio and the work that we do.’
Richard Moss founded Rogue Projects in 2014. Before Rogue, Richard worked in New York, London and California
Given his architectural background, it’s no surprise that he’s also drawn to creating spatial brand environments. In South Africa’s Cape Town, he worked with Boutique Haute Horlogerie on a flagship store for luxury watch brands, creating the branding and architectural experience. Tis included the use of curved terrazzo fins to delineate the areas of the different fins and a custom-made milled and polished solid brass BHH monogram.
‘I looked at the tennis ball as an object of intrigue – very egonomic and very tactile, with the potential to become
something else’
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117
