Liu Huiying, Class 1 Registered Architect(PRC) and Senior Engineer, joined MAD in June, 2010. He has accumulated rich experience in architectural design and implementation. His working experience involves all phrases of architectural practices from conceptual design to construction. He has been responsible for various projects during their construction phases, namely Baiziwan Social Housing, Chaoyang Park Plaza, Roma 71 Via Boncompagni, Garden house, Paris UNIC, Chongqing Cuntan International Cruise Center, Harbin Opera House, and Quzhou Sports Park. Especially in the field of residential projects, ranging from luxury apartments to hotels, general residential communities and government social housing construction supervision, he is able to continuously pursue the realisation of high quality, high degree of completion of architectural works in architectural design and practice, and ensure that all parties work together to realise the project based on the maximum respect for the design and the idea of ultra-high standard.

Beijing Office

LIU Huiying, Class 1 Registered Architect(PRC) and Senior Engineer, joined MAD in June, 2010. He has accumulated rich experience in architectural design and implementation. His working experience involves all phrases of architectural practices from conceptual design to construction. 

Perched in the snow-covered mountains of Northeastern China, the Yabuli Entrepreneurs’ Congress Center is our vision of a dynamic space for innovation and exchange. Designed for the Yabuli China Entrepreneurs Forum (CEF), one of China’s most influential business organizations, this center is a permanent home for their annual summits.

Inspired by the natural landscape, we envisioned a structure that feels like a tent at the foot of a mountain, blending seamlessly with its surroundings. Its soft, silver-white rooftop mirrors the snow-capped peaks. At the same time, a central skylight floods the interiors with natural light during the day and glows warmly at night, evoking a campfire where entrepreneurs gather to share ideas. Inside, wood-paneled walls and panoramic views create a warm, immersive experience.

Beyond hosting large-scale conferences, the center is designed as a versatile hub featuring an exhibition hall, meeting rooms, and a television hall to foster business dialogue, corporate training, and public engagement. More than just a building, the Yabuli Entrepreneurs’ Congress Center embodies the boldness and vision of China’s top entrepreneurs, marking a new chapter for global business exchange.

Yabuli, China

Culture

Site Area

Building Area 

Building Height

Li Guangchong, Sun Shouquan, Deng Wei, Song Chi, Zhang Xiaomei, Huai Wei, Zhao Meng, Wang Shuobin, Zhang Yanru, Yuki Ishigami, Xiao Ying, Tian Jin

China Entrepreneur Forum

China Architecture Design & Research Group

RFR Shanghai, Kighton Façade Consultant

BJF International Design

Shanghai Xian Dai Architectural Decoration & Landscape Design Research Institute Co., Ltd.

Brandston Partnership Inc.

Dongdao Creative Branding Group

Beijing Tsinghua Tongheng Urban Planning & Design Institute

AECOM Beijing

Yabuli Entrepreneurs Congress Center

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 

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

Referencing the gentle slopes of China’s vast Northern plains, and the region’s immense snow and ice, MAD has conceived a terminal building that echoes the characteristics of Harbin’s geography and climate. Like a snowflake that has gently fallen onto the earth, it creates an architectural poetry that settles into its locale, while simultaneously expressing itself as a surreal, interstellar space of future air travel.

While the massiveness of the terminal is inevitable, MAD’s design manages to establish an architectural program that is human-scale, and provides a multi-sensory experience that is also efficient and energy saving. The scheme’s snowflake-shaped, five-finger departure corridors greatly shorten the time it takes for passengers to arrive at their gate, while also minimizing congestion and improving the overall efficiency of the airport apron.

The interior has been landscaped with a number of indoor gardens that demarcate major zones of the terminal. They form lush areas of greenery that connect the building’s different levels, and offer an escape for passengers to pause and take a moment within nature, away from the hustle and bustle of airport life.
Ridges on the roof that mimic snowdrifts function as skylights, flooding the internal spaces with the warmth of the sun, reducing the need for artificial light. At the same time, their rhythmic direction naturally guides travelers through the space.

By 2030, Terminal 3 of Harbin Taiping International Airport is expected to reach an annual throughput of 43 million passengers, with approximately 320,000 outgoing flights per year. In its completion, the passenger and cargo carrying capacity will be improved significantly, transforming it into a world-class transportation hub. MAD’s concept strives to break-the-mould of the typical modern mega-airport, bringing humanity, nature, and the local environment together into a highly-functional architectural programme – a new vision for 21st century travel.


Harbin, China

Infrastructure

Harbin Airport T3

The Conrad Hotel in Beijing introduces an alternative approach to high-rise architecture in the city’s dense central business district. Located at a major intersection along East 3rd Ring Road, the hotel challenges the rigidity of the surrounding urban fabric with a form that moves fluidly through the skyline.

The facade features a continuous, sculpted surface that responds to the internal grid and shifts in rhythm as it rises. The curving geometry brings a sense of softness and organic motion to an area defined by efficiency and repetition. Positioned next to Tuanjiehu Park, one of the few green spaces in the district, the building functions as a transition between the natural landscape and the city’s built environment.

Our design envisions the structure as a form of “living architecture,” emerging from the rigid context like a plant growing through pavement. The design introduces movement, variation, and a sense of life into an otherwise uniform setting.

Inside, guest rooms feature curved walls and irregular window openings that shape the interiors into light-filled, protective spaces. These sculpted environments offer views of the city framed by softened geometry, creating a distinct spatial experience that contrasts with the exterior surroundings.


Hospitality

Conrad Hotel

MAD’s design for the Urbanism\Architecture Shenzhen & Hongkong Bi-city Biennale, the Monster’s Footprint debuted in the Citizen Square of Shenzhen. It is a sunken space shade of a giant footprint, paved by pink EPDM material, functioning as the playground for the citizens in the city center.

Shenzhen is a village turned city overnight. Enchanted by the bursting power of economic development, the city center is filled with extensive, and yet indistinctive icons. The coarse scale and preposterous symbolism of these icons have detached themselves from people’s daily experience. The Monster’s Footprint attempts to enter this very surreal reality, and offer a possibility for city dwellers to find their own freedom and joy in the Citizen Square.

Shenzhen, China

Monster’s Footprint in the Citizen Square

Gu is MAD’s contemporary take on the traditional wooden armchair, inspired by the skeletal structure “gu” meaning “bones” in Chinese. The design features flowing, interconnected joints that resemble fibrous connective tissue, allowing each surface to transition seamlessly into the next.

The chair’s organic form blurs the line between structure and body, evoking the sense of a living organism rather than a static object. Its sculptural silhouette is accentuated by the strong directionality of the wood grain, which follows the chair’s smooth curves and enhances its fluid appearance.

Both natural and futuristic, Gu reflects Ma Yansong’s ongoing exploration of form, material, and human connection merging traditional craftsmanship with contemporary design language.


Rome, Italy

Product

Casey Kell, Matthew Pugh

Gu Chair

Fifth Ring is an immersive installation created for Milan Design Week 2018, set within the courtyard of the historic Seminario Arcivescovile. Invited by INTERNI, the project reinterprets the traditional courtyard through a single architectural gesture a suspended illuminated ring that transforms the spatial experience.

The circular form contrasts with the square geometry of the 16th-century courtyard, establishing a new spatial order that challenges classical symmetry. Viewed from above, the ring becomes a fifth façade. From the ground, it frames the sky, redirecting the viewer’s attention upward and creating a moment of reflection and pause within the dense urban fabric.

Reflecting pools on the ground mirror the sky and the ring, forming a visual connection between the earth and the atmosphere. The result is a layered, open environment where light, water, and architecture interact to suggest a space beyond the visible.

Fifth Ring explores the relationship between architecture, perception, and the unknown. By inserting a minimal but impactful intervention into a historical context, the project encourages a renewed dialogue between human presence and the infinite. It serves as a temporary shift in perception, transforming a static space into one that feels expansive, immersive, and connected to a larger, cosmic dimension.


Milan, Italy

Fifth Ring

Mirage is our proposal for the renovation of Montparnasse Tower in Paris. Designed by Ma Yansong, the scheme reimagines the controversial skyscraper often criticized as the “scar of Paris” as a large-scale optical installation that reflects its surroundings poetically and unexpectedly.

Completed in 1973, Montparnasse Tower stands as one of Paris’ tallest structures, but its imposing black form has long been seen as out of place within the city’s classical landscape. Our concept uses angled glass panels to create a concave façade that transforms the tower into a city-scale mirror.

The design reflects Paris’ rooftops and skyline onto the upper portion of the tower, while the sky appears mirrored on the lower section, blurring the boundary between architecture and atmosphere. From certain angles, iconic landmarks like the Eiffel Tower appear upside down in the tower’s reflection, creating a surreal and dreamlike effect.

Rather than erasing history, Mirage offers a new lens to interpret the past. Our approach is not to conceal the building’s presence but to soften its impact through reflection, light, and illusion inviting viewers to reconsider how architecture can engage with memory, scale, and its urban context.