FU Changrui, graduated from School of Urban Design, Shanxi University, joined MAD in 2006. He has extensive experience in project management and has been in charge of some of MAD’s landmark buildings. He led and participated in the development of the Harbin Opera House, Chaoyang Park Plaza, ZGC Forum Conference Center, the Cloudscape of Haikou, Nanjing Zendai Himalayas Center, Jiaxing Civic Center, Quzhou Sports Park, YueCheng Courtyard Kindergarten and the Conrad Hotel in Beijing. He has also participated in several of the firm’s major art projects including, “Beijing 2050”, “Super Star” and “Feelings are Facts”.

Beijing Office

FU Changrui, graduated from School of Urban Design, Shanxi University, joined MAD in 2006. He has extensive experience in project management and has been in charge of some of MAD’s landmark buildings. He led and participated in the development of the Harbin Opera House, Chaoyang Park Plaza, ZGC Forum Conference Center, the Cloudscape of Haikou, Nanjing Zendai Himalayas Center, Jiaxing Civic Center, Quzhou Sports Park, YueCheng Courtyard Kindergarten and the Conrad Hotel in Beijing. He has also participated in several of the firm’s major art projects including, “Beijing 2050”, “Super Star” and “Feelings are Facts”. 

Tencent’s Shenzhen headquarters, Lot 04 East, is designed as a forward-thinking, low-carbon technology campus that prioritizes sustainability, accessibility, and human-centered design. The project introduces a series of biomorphic office towers and interconnected structures that seamlessly integrate with the surrounding landscape, fostering a dynamic and collaborative environment.

The design creates a fluid connection between architecture and nature, with elevated ground floors that enhance openness and transparency. Expansive glass facades blur the boundary between indoor and outdoor spaces, encouraging natural light, social interaction, and engagement with the surrounding environment. The site is further enriched by green spaces, pedestrian-friendly zones, and multi-level public areas that enhance connectivity and well-being.

With a focus on ecological responsibility, the project balances innovation with environmental consciousness, setting a new standard for sustainable urban development. Positioned at the intersection of technology and design, Tencent’s headquarters reimagines the modern workplace as a vibrant, interconnected hub for collaboration and creativity.


Shenzhen, China

Mixed Use

Antoine Muller, Wang Shuobin, Ma Yiran, Yin Jianfeng, Claudia Hertrich, Jose Maria Urbiola, Reinier Simons, Fu Xiaoyi, Zhu Yuhao, Alan Rodríguez Carrillo, Zhou Haimeng, Li Hui

Liu Hailun, Fu Xiaoyi, Zeng Hantao, Sun Yingna, Liu Zifan, Song Minzhe, Zhao Guijia, Jose Maria Urbiola, Tan Miao, Rozita Kashirtseva, Li Jiaqi, Antoine Muller, Alan Rodríguez Carrillo, Yu Lin, Feng Xuhui, Zhang Kai, Wu Qiaoling, Yang Wenzhi, Chen Hongbin, Hou Jinghui, Sun Feifei, Wang Ruipeng, Yoshio Fukumori, Li Lingfeng, Yin Jianfeng, Zhou Qinyuan, Cheng Xiangju, Du Jie, Na Kyung Eun

Tencent Technology (Shenzhen) Co., Ltd.

Shenzhen General Institute of Architectural Design And Research Co., Ltd.

China Construction 4th Engineering Bureau 6th Corp., Limited

Arcadis Shanghai Limited

Meinhardt (Shenzhen) Ltd.

SuP Ingenieure GmbH, Shenzhen Fangda Building Technology Group Co., Ltd., China Construction Buer Curtain Wall & Decoration Co., Ltd.

MAD, Woods Bagot Architectural Design Consultants (Beijing) Co Ltd., Shenzhen Jiang & Associates Creative Design, China Academy of Building Research

Lighting Planners Associates Inc. & Lighting Planners Associates (S) Pte. Ltd., China Academy of Urban Planning and Design (CAUPD)

SWA Group, Shenzhen Hope Design Co., Ltd.

Brand U Creative Studio Shanghai Co.

T. Y. Lin International Engineering Consulting (China) Co. Ltd.

GRANDY Engineering Consultants (Shanghai) Ltd.

Shenzhen Champion Retail Operation Management Co., Ltd.

WSP Engineering Technology (Beijing) Co., Ltd.

AtkinsRéalis

Shenzhen Institute of Building Research Co., Ltd.

Shenzhen Jiarui Construction Information Technology Co., Ltd.

Tencent Shenzhen Headquarters

In Feelings are facts (2010), Olafur Eliasson and Ma Yansong challenge our everyday patterns of spatial orientation. Vision functions as our primary, default sense for navigation, but this expansive installation induces initial insecurity in its visitors by radically reducing visibility, thereby suggesting the need to invent new models for perception. Basing this project on a series of previous experiments with atmospheric density, Eliasson introduces condensed banks of artificially produced fog into the gallery, whose dimensions have been further altered by substantially lowering the ceiling and constructing an inclined wooden floor. Hundreds of fluorescent lights are installed in the ceiling as a grid of red, green, and blue zones. By permeating the fog, these lights create coloured walk-through spaces that, in Eliasson's words, function to "make the volume of the space explicit." The coloured zones introduce a scale of measurement in the gallery, their varying size and organization referencing urban planning grids. At each colour boundary, two hues blend to create transitional slivers of cyan, magenta, and yellow. Walking through the dense, illuminated atmosphere, visitors can navigate by using this intuitive colour atlas. Another means of navigation is the floor construction. Whereas movement on a plane sur face can be effortlessly accomplished, the sloping floor challenges visitors to readjust their balance, constantly having to shift their weight and body posture to counterbalance the inclination. This fact emphasizes the crucial role of the moving body in our perception of our surroundings. The further visitors venture into the space, the steeper the floor gets, until the point where it becomes a wave-like curved wall. Since the ceiling imitates this construction, a seemingly boundless space is discerned above.

Olafur Eliasson


Space and light bring life into existence. There is no space, unless given light and boundary. Space has never existed, but rather exists only in the specific feelings it induces. Space in reality, exists only in sensuality. With expanding desire, everything is managed with utmost efficiency. Our feelings and sensibilities are seeing facts in the context of habituated life. Not until shutting our eyes, can we feel the world from within, space and light will touch your soul.

Ma Yansong

Beijing, China

Installation 

Jérôme Sans, Guo Xiaoyan

Olafur Eliasson & Ma Yansong—Feelings are facts

Fish Tank in the City is a conceptual exploration of urban space reimagined from the perspective of fish, inverting the traditional human-centric view. The project challenges rigid, box-like architecture seen as relics of the machine age and instead proposes a fluid, layered spatial system where the boundaries between inner and outer dissolve.

Here, fish are not passive elements but central figures. Water becomes dominant, and the built environment adapts to their movement, needs, and freedom. Surfaces melt, boxes collapse, and space becomes increasingly saturated and complex, reflecting a more organic and inclusive form of urbanism.

Fish Tank in the City imagines a future where spatial systems are defined not by control but by adaptability, openness, and coexistence.

Product

Fish Tank

Partaking in a 2011 international competition for a new national museum in Beijing, MAD's proposal is a city-sized museum where the public space is the greatest good.

Situated on the central axis of the 2008 Olympic site, and part of a six mega volume masterplan, the main question became, how to design something iconic on an unrealistic and inhuman city scale. The proposal by MAD for the new museum is a hybrid between an elevated public square and a floating mega building above.

Organized as an open city in three layers, the result is a sequence of outdoor and indoor spaces. In these spaces, nature and function are not separated but intertwined. This creates an architecture that achieves an understanding about one’s bodily presence among the objects that surround him, instead to a functional agglomeration of pre-defined uses.

The one-story ground floor holds all ancillary functions that have the ability to operate independently from the opening hours of the museum. Atop this is a 20,000 square meter urban plaza that houses a permanent art collection on show. This space is connected to the Olympic park by a bridge, extending an otherwise ignored side of the urban plan. The organization of the exhibition space allows visitors to choose their own way around the collection, all the while, being surrounded with an open view towards the city. As a finale, a domed exhibition hall at the top integrates nature with human and art space. Defined as indefinite, it gives space to the largest works of our time. This 'floating' art city hovers over visitors like a cloud of possibilities.

MAD's proposal shows how a building can bring the city and art together, creating an urban public space where people can consider their relationship between time, point of view and each other.


Culture

Zhao Wei, Sohith Perera, Yu Kui, Jei Kim, Geraldine Lo, Mao Beihong

ARUP Group Ltd

National Art Museum

FENIX Museum of Migration transforms Rotterdam’s historic Fenix warehouse into a cultural landmark that explores the universal story of human migration. Located on the Katendrecht Peninsula, the 1923 warehouse was once the largest transshipment hub in the world, serving as a departure point for millions of migrants.

The design preserves the building’s industrial character, retaining its original concrete structure and green steel windows while introducing contemporary interventions. A glass curtain wall replaces sections of the facade and roof, creating an open, light-filled interior.

At the heart of the transformation is the Tornado a double-helix staircase that rises from the ground floor and extends onto a rooftop observation deck. This sculptural element breaks down the scale of the warehouse into human-centered spaces while offering panoramic views of Rotterdam and the River Maas. Its flowing form, crafted from stainless steel and wood, symbolizes movement and transition, echoing the journeys taken by generations of migrants.

Inside, the space spans two floors, housing a growing collection of art, photography, and historical artifacts. Commissions from emerging international artists further enrich the museum’s narrative, presenting migration through diverse perspectives.

Opening in 2025, FENIX serves as a bridge between past and future, inviting visitors to engage with the complexities of migration through architecture, history, and contemporary storytelling.


Rotterdam, Netherlands

Fenix Museum of Migration 

Cloud 9 Sports Center is a public sports and recreation facility located within Shijiazhuang’s newly redeveloped Central Business District. Positioned inside the city’s central park, the project is designed to serve as an extension of the park itself merging architecture, landscape, and public life into a cohesive whole.

The building is wrapped in a translucent, reflective skin that gives it a cloud-like appearance, allowing it to blend into its green surroundings. Rather than functioning solely as a gym or sports venue, the center introduces open and accessible spaces such as sloped lawns, outdoor courts, and viewing terraces that invite broader public use beyond athletic activity.

MAD reimagines the relationship between the building and the environment, using elevated platforms and layered circulation to create a porous structure that encourages movement and engagement. Interior programs are surrounded by natural light and framed views, with rooftop spaces offering immersive experiences of the surrounding cityscape.

By dissolving the boundary between the park and the building, Cloud Sports Center becomes both a recreational anchor and a public gathering space connecting people with nature, activity, and one another in the heart of the city.



Shijiazhuang, China

Sports Infrastructure

Cloud 9 Sports Center

Urban Forest is a high-rise tower for Chongqing, China’s youngest megacity. The project challenges conventional ideas of sustainability by reintroducing nature into dense urban environments, aiming to restore a sense of emotional connection to the natural world.
Inspired by Chongqing’s mountainous terrain and traditional Chinese philosophy, the tower mimics layered hillsides. Its staggered floors host sky gardens, open terraces, and green patios, creating multidimensional spaces for gathering, rest, and reflection. Instead of focusing on vertical power or high-tech systems, the design emphasizes harmony between people, architecture, and nature.

The building appears to dissolve into its environment, shaped by wind, light, and air. Its form breaks from the rigid verticality of traditional towers, offering a softer, more organic presence within the city.


Chongqing, China

Urban Forest Chonqing

UNIC is located in Clichy-Batignolles, a mixed-use eco-district in Paris’ 17th arrondissement, the project integrates nature, light, and community into a high-density urban context.

Facing Martin Luther King Park, UNIC features expansive balconies that extend green space vertically, giving each unit semi-private outdoor areas and unobstructed views including the Eiffel Tower on upper levels. Its sinuous, tapering form contrasts with the city’s traditional Haussmann-style buildings and introduces a new residential typology centered on openness, light, and nature.

The building connects directly to metro infrastructure and with an adjacent public housing project, creating a diverse socio-economic community. At its base, public amenities such as retail, kindergartens, and restaurants strengthen neighborhood ties.

UNIC was the product of years of collaboration with city officials, planners, and residents. Through a participatory process, We helped shape a vision of future Parisian living one that prioritizes social inclusion, sustainable growth, and a redefined relationship between people and nature.


Paris, France

Residential

UNIC

MAD’s scheme is part of a larger tourism masterplan for Huangshan Taiping Lake. While providing the conveniences of modern living, the design affirms the significance of this culturally important mountain range. Composed in deference to the local topography, each of the buildings are diverse in height and appearance, and have been conceived to ensure that the original mountain levels are maintained. Organized in a linked configuration across the southern slope of Taiping Lake, the dynamic relationship that is created among the ten buildings establishes a new type of village landscape: one where architecture becomes nature, and nature dissolves into architecture.

The apartments that comprise “Huangshan Mountain Village” have all been envisioned as quiet retreats. Each one boasts an expansive balcony whose organic lines respond to the topographic contours of the immediate mountainous terrain. With their shape informed by the tea fields nearby, they appear as if they have been sculpted by wind and water, with no two the same. Extending the interior to the exterior, they provide plenty of outdoor space, giving residents the feeling that they are not just observers of the scenery that surrounds them, but actually immersed within it ─ creating a dialogue with the mountains, lake, and sky. Pathways have been determined by the landscape, so that they naturally meander through the trees and between the architecture, offering unique access to the treasured site.

In its completion, “Huangshan Mountain Village” is a true expression of Ma Yansong’s “Shanshui City” philosophy. The intention has not been to create architecture that references forms of nature, such as mountains and water, but instead to establish a space where people can reconnect with nature on a spiritual level ─ to create architecture that evokes emotion and that embodies humanity’s pursuit of inner fulfillment.

Huangshan, China

Philippe Brysse, Tiffany Masako Dahlen, Luke Lu, WANG Deyuan, Jakob Beer, ZHAO Wei, LI Guangchong, Kayla Lee, Geraldine Lo, Alejandra Obregon, Zeng Lingdong, Achille Tortini, Matthew Rosen, Gustavo Maya, ZHENG Fang, Sarita Tejasmit, Augustus Chan, Jeong-Eun Lee

Greenland Hong Kong Holdings Limited

HSarchitects

Suzhou Gold Mantis Construction Decoration

Broadacre Source Landscape

Xi'an Aircraft Industrial Decoration Engineering Co., Ltd

Shanghai Mofo Lighting

Huangshan Mountain Village

The Centre Pompidou in Paris hosts a year-long exhibition of MAD in France. ‘MAD X’ showcases ten of MAD’s most significant projects to date. “While ‘X’ represents the ten projects that are on show, it also has another meaning – ‘X’ also signifies the ‘unknown’,” says Ma Yansong, Founder and Principal Partner of MAD. “With ‘X,’ I hope to express my desire for exploring uncharted territory, which I believe is more important than reiterating the past.” The permanent collection exhibition exemplifies the evolution of MAD’s architectural practice and design philosophy since its establishment in 2004, led by Ma Yansong, Dang Qun, and Yosuke Hayano.

Exhibition

MAD X - Centre Pompidou

Fu Changrui