MAD二十周年丨MAD建筑事务所

出品人：向玲 / Producer: Xiang Ling

编辑：石安，亓慧、庞任飞，宋林晨，张笑然 / Editor: Shi An, Qi Hui, Pang Renfei, Song Linchen, Zhang Xiaoran

MAD 二十周年

专访马岩松 & 党群 & 早野洋介

Special Interview for

MAD’s Second Decade

▼MAD 合伙人合影马岩松(左)，党群(中)，早野洋介(右)

Founders of MAD Ma Yansong (left), Dang Qun (middle), Yosuke Hayano (right),

▼MAD 的世界观与工作方法，MAD’s worldview and working methods

▼关于形式与“山水城市”，About Form and “Shanshui City”

▼对青年、对未来的寄语，Message to the youth and the future

马岩松 Q & A

Q & A with Ma Yansong

1. 对你来说，建筑的定义是什么，这个定义有变过吗?

What is the definition of architecture for you, and has that definition changed?

对建筑的认识，确实不同时期有不同的感觉。那些“了不起”的建筑，在建筑史中宛如一个个不属于那个时代的发光点，承载了人类偶然间产生的奇思妙想。人性里特别奇妙的东西，比如建筑师的想象力、他的困惑，或者他对世界的看法都反映在这些伟大的建筑上。所以建筑就像人类文明丰富多元的证据，表现出来了一种人的思考与信念。

所以建筑对我来说，尤其是作为一个作者，它就是一种表达我对世界的看法，对别人的看法，对自己的看法的语言。恰好这种语言是以空间，或者实体建筑物的形式呈现出来的。所以建筑可以说是一种“个人”跟“世界”的对话。

My understanding of architecture indeed varies across different periods. Those “remarkable” buildings in architectural history are like shining points that transcend their era, embodying humanity’s occasional flashes of brilliant ideas. The peculiarities of human nature, such as an architect’s imagination, his perplexities, or his views of the world, are reflected in these great buildings. Therefore, architecture serves as evidence of the rich diversity of human civilization, showcasing human thoughts and beliefs.

For me, especially as an author, architecture is a way to express my views of the world, others, and myself. This language happens to be presented in the form of spaces or tangible structures. So, architecture for me can be seen as a dialogue between the “individual” and the “world.”

▼MAD 部分作品一览，part of MAD’s projects

以前我可能没有从旁观者角度看待整个历史的意识，原来的我会更想要表达自己，但现在我更加确认，建筑是不属于某个特定时代的。建筑一直在变，而时代、技术、政治、经济并不是决定性的因素，人的想法、他对世界的认知、他对自己生活的追求，才是改变的驱动力。

当然也有随着时代潮流变化的建筑，但那并不是我所关注的。因为，当你回看建筑史的时候，你会发现那些吸引人的，反而是那些挺偶然的东西，没有这些建筑和建筑师，你会对历史毫无印象，也不会产生激动、兴奋、喜悦的情感共鸣。当时的创作者，就像艺术家一样，把他对生命的情感寄托在作品中，与后人之间产生了跨越了时间的心灵对话。

In the past, I may not have had the awareness to view the entire history from an outsider’s perspective. I used to be more focused on expressing myself, but now I am more certain that architecture does not belong to any specific era. Architecture is constantly evolving, and factors like time, technology, politics, and economics are not the decisive influences. Rather, it is people’s thoughts, the understanding of the world, and the pursuit of life that drive these changes.

Of course, there are buildings that change with the trends of the times, but that is not my focus. Because when you look back at architectural history, you find that what attracts you are those rather incidental elements. Without these buildings and architects, you would have no impression of history and would not experience emotional resonance like excitement, joy, and exhilaration. The creators of the time, much like artists, entrusted their emotions about life in their works, creating a timeless spiritual dialogue with future generations.

▼与不同文化对话 – 巴黎蒙帕纳斯大厦改造方案，Dialogue with different cultures –design proposal for the Renovation of Paris’ Montparnasse Tower©MAD

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建筑其实就是一个关于梦想，关于情感表达的人和人的交流。所以我觉得建筑需要真实地表达人的感受和想法，让人看到不同于时代的东西，让人竭尽所能地挖掘真实的自己，让人们看到这个时代下人类最大的想象力能到什么地步，这才有跟后人或者整个世界交流的意义。所以我觉得得“任性”一点儿，“任性”就是我们对于其他创作者以及历史中那些大艺术家大建筑师的一种期待，他们将他们的精神状态真实地表现出来，借由建筑空间的形式流传到现在，并让后人真实地感受到这种情感，我觉得这也是我们现在应该做的事。

Architecture is essentially a communication between people about dreams and emotional expression. Therefore, I believe architecture needs to authentically express human feelings and thoughts, to reveal something beyond the era, to allow people to explore their true selves to the fullest, and to show how far human imagination can reach in this era. This gives meaning to the communication with future generations and the world.

Hence, I think we need to be a bit “willful.” “Willfulness” represents our expectations of other creators and those great artists and architects in history. They authentically expressed their mental states, and these emotions have been passed down through architectural spaces to the present, allowing future generations to genuinely feel them. I believe this is also what we should be doing now.

▼与不同文化对话 – 日本四叶草之家，Dialogue with different cultures – Clover House in Japan©MAD

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▼胡同泡泡 218 号 – 老北京旧城改造，Hutong Bubble 218 – MAD’s Second Hutong Bubble Emerges Out of One of Beijing’s Historic Neighborhoods©田方方

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2. 你希望大众对建筑师有怎样的认识？现时的认知深度和广度足够吗？

How do you think the public should perceive architects? Is the current understanding sufficient in depth and breadth?

处在这个工作环境中，你是会有一定的期待，希望大家对你认为的建筑本质是更关心的，比如说你希望建筑成为对话的工具，期待大众看你的建筑的时候，能产生一种对话的可能性；期待大家对建筑、艺术、音乐、写作等所有创作方式保有一种尊重与包容的态度。

但我觉得不同的人有不同的看法，好恶甚至无感，都是一种表达，大家无需在你的语言体系中去跟你的对话，多元本身就是大众的基础，也是文化健康的表现。

▼每个人 × 朝阳公园广场，everyone × Chaoyang Park Plaza

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In current work environment, you naturally have certain expectations. You hope people care more about what you see as the essence of architecture. For example, you wish for architecture to be a tool for dialogue, that when people view your buildings, they perceive the possibility of conversation. You hope people maintain a respectful and inclusive attitude towards all forms of creation, whether it be architecture, art, music, or writing.

However, I believe everyone has different perspectives; liking, disliking, or feeling indifferent are all valid expressions. People don’t need to engage with your specific language system to communicate with you. Diversity itself is the foundation of the public and a sign of cultural health.

▼朝阳公园广场成为城市的新地标，引发人们思考

Chaoyang Park Plaza becomes a new landmark of the city, encouraging people to think further.

我对观众没有要求。但在整个所谓的自由多元的环境中，让创作者觉得创新是值得被鼓励的，让他们感知到有这么一个自由的环境，而不是被某种舆论控制，进而影响到他对创作的判断，这对设计师来说很重要。所以，我觉得如果说对观众有所期待，那就是希望大家能够更加尊重、理解，包容。

▼每个人 × 义乌大剧院中标事件，everyone × Yiwu Grand Theater Design Competition

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I have no demands on the audience. However, in a truly free and diverse environment, it’s crucial for creators to feel that innovation is encouraged, that they sense an atmosphere of freedom rather than being influenced by prevailing opinions, which could affect their creative judgment. For designers, this is very important. So, if I have any expectations of the audience, it is that they show more respect, understanding, and tolerance.

▼义乌大剧院设计方案，Design of Yiwu Grand Theater©MAD

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3. 通常，您的设计如何开始（平面/剖面/故事/意向/外观）？灵感通常从何而来？

How do your designs typically start (plan/section/story/intent/appearance)? Where does your inspiration usually come from?

我的作品没有固定的模式，有些想法甚至是在项目开始之前就产生了。比如我对某些问题一直有一些很强的批判态度，当有了这样一个验证的机会，我想做什么就会很明确，比如我设计的公租房和火车站就属于这一类。还有一种就是当场地、建筑跟环境给了我一个很大的暗示，让我强烈地感受到某种氛围，进而迸发出灵感。

My design doesn’t follow a fixed pattern; some ideas even arise before a project begins. For instance, I have strong critical views on certain issues, and when an opportunity to address them comes up, my direction becomes clear. This was the case with the Baiziwan public rental housing community and the Jiaxing Train Station. Another approach is when the site, building, and environment strongly suggest a particular atmosphere, sparking inspiration.

▼百子湾公租房（燕保·百湾家园），Baiziwan Social Housing (later referred to as Baiziwan) © 夏至 / 田方方

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▼“森林中的火车站”——嘉兴火车站，”Railway Station in the Forest” – Jiaxing Train Station © CreatAR Images

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建筑是一个综合判断，它其实是建立在建筑师的情感、经验、观察，以及价值观等等因素上的，是长期建立起来的一个小世界，这个小世界跟具体的世界碰撞以后，所产生的反应有时候需要很长时间，有时候可能也就一分钟。

当你已经建立起自己长期的价值观、看世界的方法，以及对未来世界的期待的时候，建筑就只是一个表达的问题，所有的项目都围绕着你已经建立好的世界去表达，你不会去动摇，也不会因为哪个具体项目有改变。

Architecture involves comprehensive judgment, built upon the architect’s emotions, experiences, observations, and values. It’s a small universe developed over time that interacts with the real world. The reactions from this interaction can take a long time to form, or sometimes just a moment.

When you have established your long-term values, your way of viewing the world, and your expectations for the future, architecture becomes a matter of expression. All projects revolve around expressing the world you’ve already built. You won’t waver or change based on any specific project.

▼四合院幼儿园，北京，Le Cheng Kindergarten, Beijing © 存在建筑。点击这里查看更多，Click HERE for details。

4. 你现在被形式困扰吗? 你如何看待形式?

Are you troubled by form now? What do you think about form?

所有跟物质有关的东西都有“形式”。建筑跟物质材料有关，是一个实体，那肯定有“形式”的问题。哪怕无形的东西也有“形式”。“形式”是“表达”的平台。

建立形式体系有很多的方面，新体系的建立需要时间，不然的话你就得用别人的，但是用别人的不一定就是原罪，我觉得你可以用，其实大部分人都在用别人的，比如现代建筑那时候建立起来的“现代主义风格”，其实到现在百分之八九十的人都还是在这个体系里，所以不同的形式就会被特别关注。特别关注就说明不同的形式其实是对约定俗成的形式有冲击的，甚至很长时间之后冲击依然还在。在这个情况下，建立新的形式、语言其实是需要时间、实践，以及也对很多东西的理解的。

Everything related to material has a “form.” Architecture, being connected to material substances as a physical entity, inevitably raises questions of “form.” Even intangible concepts possess “form.” “Form” serves as the platform for expression. Establishing a formal system of “form” involves many facets. Developing a new system takes time; otherwise, you might end up adopting someone else’s. However, using another’s system isn’t necessarily a flaw. I believe it’s permissible to do so. In fact, the vast majority still adheres to the “modernist style” established during the era of modern architecture. Therefore, different forms attract particular attention. This heightened scrutiny indicates that alternative forms challenge agreed-upon norms, sometimes persisting as challenges over time. In such cases, creating new forms and languages requires time, practical application, and a thorough understanding of various aspects.

▼衢州体育场，Quzhou Stadium © Aogvision / CreatAR Images / Arch Exist

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▼海口云洞图书馆，Cloudscape of Haikou © CreatAR Images / 存在建筑

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我觉得形式重要，但并谈不上是困扰，因为我的表达是自由的，我这人比较感性，没什么套路，不太相信风格这个事儿。也可能是因为我们还年轻，还没有那么固定的表达方式，也有可能是个性上不愿意重复，就想改变，我一直在试不同的东西。

I consider form important, yet not Troubling, because my expression is unrestricted. I lean towards sensitivity and avoid rigid patterns; I’m skeptical of adhering to a particular style. Perhaps this reluctance stems from our youth and the absence of a fixed mode of expression. It could also be my personal aversion to repetition; I continuously experiment with different approaches.

▼南海艺术中心，佛山，Nanhai Art Center © MAD

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5. 经过二十年实践，您的理念发生了哪些变化?“山水城市”现在依然是 MAD 的核心理念吗?

After 20 years of practice, how has your philosophy changed? Is “Shanshui City” still MAD’s core concept?

“山水城市”不是 20 年前开始的，而是后来作品积累多了由感而发的。我喜欢那种自然生长的东西，不喜欢现代建筑的秩序规则，以及各种限制。所以“山水城市”一开始是一种“打破”，后来大约 10 年前提“山水城市”则是一种传承。“山水城市”那个时期的作品是在表达一种在既现代又传统的语境中对于自然的内在追求，我当时觉得中国需要讨论这样的问题。当时我想要探索一种既古典又未来、既东方又普世的形式。虽然我想摆脱传统的形式符号，但“山水”这两个字本身也带着这种古典与传统的意义。

“Shanshui City” didn’t originate twenty years ago; it emerged gradually from accumulated experiences. I favor natural growth over the ordered rules and constraints of modern architecture. Initially, “Shanshui City” was a departure—a break from conventions. About a decade ago, it evolved into a form of legacy.

During that period, projects under “Shanshui City” aimed to express an inherent quest for nature within a context that blends modernity and tradition. I felt it was essential for China to engage with these issues. I sought to explore a form that was both classical and futuristic, Eastern yet universal. While aiming to transcend traditional symbols, the term “Shanshui” itself carries classical and traditional connotations.

▼马岩松 2013 年于北京吾号个展“山水城市”，Shanshui City Exhibition in Beijing WUHAO, 2013©MAD

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▼2014 马岩松《山水城市》新书发布会与论坛，2014 Ma Yansong’s Shanshui City Book Launch & Forum©MAD

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所以我觉得我现在走的还是同样的一条路，因为“山水城市”本质上说是一种精神性的概念，探索的是现代建筑跟自然以及景观的关系，强调的是人与世界的融合，而不是针对建筑物本身。我不会去强调建筑语言或行事风格，而是希望找到它跟自然的关系，让建筑变成一个有机的空间，为人带来氛围的体验。

Thus, I believe we continue on the same trajectory. Fundamentally, “Shanshui City” is a spiritual concept exploring the relationship between modern architecture, nature, and landscapes. It emphasizes the integration of humans with the world, rather than focusing solely on the built environment. I do not emphasize architectural language or stylistic approaches; instead, I strive to harmonize with nature, transforming architecture into an organic space that enriches atmospheric experiences for people.

▼雾霾下的朝阳公园广场，一种真实常见的状态，Chaoyang Park Plaza in a hazy day, which reveals a real condition of the city© Iwan Baan

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▼南京证大喜玛拉雅中心，Nanjing Zendai Himalayas Center © CreatAR Images

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我们在深圳湾的最新项目——深圳湾文化广场中提出了“远古的未来感”，展现了建筑与城市环境、人类文明以及远古的大地景观的一种联系。以大海、山川、沙漠、石头这些亿万年的地球景观，作为空间元素，所以我觉得“山水城市”追求的是一种自由，每一个人的自由，是让人可以从自然环境中找到与心灵产生共鸣的空间。我对“山水城市”的理解是关于精神性的，这种精神性是可以在现代的建筑、未来的城市中都应该能追求的。将人们从充满现代符号以及规则限制的城市环境中抽离，将时空给拉开，让人坠入到一种陌生的时空中，从激发出人们的想象力，引导人们向内探求。这种体验不是被环境告知的，无论时代无论规则，将自由度还给了每个人。

Our latest project at Shenzhen Bay Culture Park introduces a concept of “Ancient future,” linking architecture with urban environments, human civilization, and ancient terrestrial landscapes. Using elements like oceans, mountains, deserts, and stones—landscapes shaped over billions of years—as spatial components, “Shanshui City” seeks a freedom where each person can resonate with their surroundings, finding a space that connects with their soul in natural environments.

For me, “Shanshui City” embodies a spirituality that should be pursued in both modern architecture and future cities. It liberates individuals from urban environments filled with modern symbols and regulatory constraints, creating opportunities to immerse people in unfamiliar realms, igniting imagination, and encouraging introspection. This experience transcends environmental influences, norms, or eras, offering freedom to every individual.

▼远古未来 – 深圳湾文化广场，Ancient future: Shenzhen Bay Culture Park©MAD

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6. 在 2023 年《马岩松:流动的大地》展览中，您向公众提出了一系列问题，在得到的回答中，有哪些触动您的内容?

In “Ma Yansong: Landscapes in Motion” exhibition 2023, you posed a series of questions to the public.Which responses touched you the most?

我们提了很多问题，数量很重要，只有达到一定的数量，才能发现它其中的多样性。问题和回答都千奇百怪，没有所谓主流的声音。当把这些声音聚集在一起的时候，这件事本身就已经在帮助我们认识我们所处的真实的社会与时代了。

在回答中，大家每个人都有自己关心的点，有很多独特的声音，也有很多非常理想主义的想法。在历史中，很多建筑理论都是乌托邦式的、空想主义的，但随着时代的发展、城市的变化，这些“务虚”的讨论也许就会引发社会的变革。

现在中国的建筑师是相对保守和现实的，大家的想象力特别强，但可能没有得到精神上的反馈，我们的圆桌好像是激发了大家的表达欲，所以回答千奇百怪的。我觉得没必要挑出所谓的代表性问题，我觉得不同的回答本身就是一种文化景观多元性的展现，这也是做这个项目的初心，大家都能表达出来，让我们认识到这个世界的多元性和个性。

We posed numerous questions, emphasizing their quantity as pivotal to uncovering their inherent diversity. The questions and ensuing responses were remarkably diverse, lacking any singular mainstream voice. By amalgamating these perspectives, the process itself facilitated a deeper understanding of our contemporary society and era.

In the responses, each participant expressed unique concerns and often idealistic notions. Throughout history, many architectural theories have been characterized by utopian and idealistic ideals. Yet, as societies evolve and cities transform, these abstract discussions can catalyze significant societal shifts.

Presently, Chinese architects exhibit a pragmatic conservatism, yet possess strong imaginations often under-appreciated in spiritual contexts. Our roundtable discussions seem to have ignited a fervor for expression among participants, resulting in an array of eclectic responses. Rather than singling out representative queries, I view the diversity of responses as an exhibition of cultural pluralism – a fundamental goal of this project – to celebrate individual expression and acknowledge the multifaceted nature of our world.

▼《马岩松：流动的大地》大展围绕铺满问题的巨大圆桌展开，“Ma Yansong: Landscapes in Motion” exhibition around a huge round table covered with questions © TAL+白羽

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▼展览现场，Exhibition photo © TAL+白羽

▼《蓝图北京》：马岩松策展首届北京艺术双年展建筑板块，Blueprint Beijing, curated by Ma Yansong, opens as part of the first Beijing Biennial© 朱雨蒙

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7. 在这二十年中，你认为 MAD 经历的最大挑战是什么?

What has been MAD’s biggest challenge over the past two decades?

每天都有挑战，这反而成为我们的常态了。乐观的心态很重要，因为你的工作就决定了你要一直逼近临界点，将你想改造的那些东西，你对现实的不满，以及你想去尝试的东西不停地推进，达到极限。如果你早就将这些挑战当成一种日常，认识到失败和挫折都是有意义的，你可能反而会有勇气去不停地表达你的理想。

Every day presents challenges, which have become our routine. Maintaining an optimistic mindset is crucial because our work pushes us to approach the threshold, transforming what we find unsatisfactory about reality, and continuously experimenting to push boundaries. Embracing these challenges as part of daily life, recognizing that failures and setbacks are meaningful, may give us the courage to persistently pursue our ideals.

▼北京中关村国际创新中心（原称“中关村论坛永久会址”），ZGC International Innovation Center in Beijing © CreatAR Images / 朱雨蒙

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▼亚布力企业家论坛永久会址，哈尔滨，Yabuli Entrepreneurs’ Congress Center, Harbin © Blackstation 黑像素 / 存在建筑

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8.在你看来 MAD 现在的定位是怎样的?

In your view, what is MAD’s current positioning?

我们的定位挺独特的，既做海外项目，也做中国项目，既有大项目，也有很多很小的项目。这让我们可以接触不同的人，了解到不同的文化，尤其是在海外，比如我们在美国做的卢卡斯叙事艺术博物馆，日本的大地艺术节，以及明年要建成的荷兰鹿特丹 FENIX 移民美术馆。作为建筑师肯定要跟当地的文化进行对话，我就是纯粹对不同的文化好奇，对人好奇。

Our positioning is quite unique; we engage in both overseas and Chinese projects, ranging from large-scale endeavors to numerous smaller ones. This diversity allows us to connect with different people and understand various cultures, especially abroad. For instance, projects like the Lucas Museum in USA, the restoration of the Kiyotsu Gorge Tunnel in Japan’s Niigata prefecture, and the upcoming completion of the FENIX Immigration Museum in Rotterdam, Netherlands, highlight our commitment to cultural dialogue as architects. Personally, I’m driven by curiosity about different cultures and people.

▼芝加哥卢卡斯叙事艺术博物馆原有方案，The original proposal for Lucas Museum of Narrative Art in Chicago©MAD

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▼旧金山卢卡斯叙事艺术博物馆，LucasMuseumofNarrativeArt inSan Fransisco©MAD

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▼ 洛杉矶卢卡斯叙事艺术博物馆，LucasMuseumofNarrativeArt in Los Angeles©MAD

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▼建造中的卢卡斯叙事艺术博物馆，2022 年 9 月 6 日，The Lucas Museum of Narrative Art under Construction, Sept. 6, 2022©Eric Furie/Sand Hill Media

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▼荷兰 FENIX 移民美术馆，FENIX Museum of Migration © MAD

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▼施工中的荷兰 FENIX 移民美术馆，FENIX Museum of Migration under construction© MAD

每个人都有很多对历史、现在、未来的看法，在做建筑的时候，他就会跟整个社会发生关系。我们会参与到每一个话题里，每介入一个新项目就是一段新的旅程，几年以后它又会变成历史的一部分，塑造大家对于未来的看法，这些都会在建筑中表达出来，这让我对建筑充满着了热情。

所以我特别相信建筑就是一部关于人的历史，讲述了人的梦想、困惑、挫折、抗争、沮丧、绝望，最终是面对未来的重生。如今，能自由地表达就已经很可贵了，能去关心世界的问题，表达自己看法，幸运的话还能去参与一些改变，这就是最有意思的事儿，我不介意一直重复这样的状态。

Everyone holds diverse views on history, the present, and the future, and architecture inherently engages with society. Each new project is a journey that intersects with ongoing conversations, shaping perspectives on the future through its contribution to history. This passion drives my enthusiasm for architecture.

Therefore, I strongly believe that architecture is a narrative of human history, capturing dreams, confusion, setbacks, struggles, despair, and ultimately, rebirth in the face of the future. Today, the ability to freely express ourselves is precious; being able to address global issues, voice opinions, and perhaps participate in transformative efforts is the most intriguing aspect. I don’t mind continuously embracing this state of being.

▼2018 越后妻有大地艺术祭作品：光之隧道，日本，Works for 2018 Echigo-Tsumari Triennale：Tunnel of Light, Japan©MAD

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▼MAD 米兰设计周作品，MAD‘s work for Milan Design Week ©Moreno Maggi

▼MAD 2024 米兰设计周作品 – “漫步”，MAD’s work for 2024 Milan Design Week – “Amazing Walk” © Moreno Maggi

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▼作者与装置合影，The author with theinstallation©Moreno Maggi

9. 未来有哪些想挑战的目标?

What will you challenge in the future?

继续走入世界，进入到大家的生活中。

很多时候，人不能理解别人的生活，因为人的出发点不同，所处的世界和阶段也不一样。每个人都有他的烦恼与困扰，尤其那些在文化上属于弱势的人，被别人塑造生活的人，他们更加需要有去想象自己生活的自由，在城市乡村我们视线所不及的地区，这些问题依然大量存在。建筑师不仅作为见证者，还有能力去帮助人们解决问题。每次有机会进入这状态，开启一段新的旅程，我都会觉得特别有意思。

Continuing to step into the world, into people’s lives. Often, people struggle to understand each other’s lives due to differing starting points and environments. Everyone has their problems, especially those who are culturally marginalized, whose lives are shaped by others, and who need the freedom to imagine their own lives, and these problems still exist in areas of the city and countryside that are out of our reach. Architects serve not only as witnesses but also have the ability to contribute solutions. Each opportunity to engage in this capacity, to embark on new journeys, is particularly fascinating to me.

▼上海“方舟”改造设计方案，Renovation of Shanghai Zhangjiang Cement Factory © MAD

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▼重庆寸滩国际邮轮中心竞赛 – “龙门吊”，Competition for Chongqing Cuntan International Cruise Center – “Gantry Crane”© MAD

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10. MAD 未来的发展方向是怎样的?

What is the future direction of MAD?

我没有特别长期的计划，发展方向源于我对未来的好奇心。“好奇心”来自于对很多事儿的一知半解，包括对世界、对自己、对未来，这是一个发现的过程，这点对我来说是很有吸引力的。这种不固定的状态，需要不停地接收到新的刺激、新的信息，对比说对社会、对历史、对技术的好奇，所带来的一些新的改变。我本质上不太相信固定的东西，也不喜欢重复，所以 MAD 整体的发展方向是动态的、不确定的、无法预知的状态。

I have no concrete long-term plans. My direction is driven by my curiosity about the future. “Curiosity” stems from my partial understanding of many things, including the world, myself, and what lies ahead, making it a compelling journey of discovery for me. This fluid state necessitates continual exposure to new stimuli and information, prompting shifts in how I perceive society, history, and technology. Fundamentally, I resist fixed ideas and repetition. Thus, MAD’s overall development path remains dynamic, uncertain, and unpredictable.

▼“山中飞鸟” – 浙江丽水机场设计，A bird perched in the mountain – design for Zhejiang Lishui Airport©MAD

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▼长春机场新航站楼中标方案，New terminal of Changchun Airport©MAD

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▼哈尔滨新机场设计 – “北国冰花”，‘Harbin Airport T3’ Design©MAD

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▼深圳北站 – 超核绿芯，Shenzhen North Railway Station©MAD

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▼Hyperloop 的可持续通行隧道及车站系统，Sustainable Transportation Infrastructure©MAD

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11.作为二十年前一举成名的青年建筑师，二十年后，你对现时的青年建筑师，有什么寄语?

As a young architect who rose to fame twenty years ago, what advice do you have for today’s young architects?

每个人都有他的生活，无论成功还是失败都应该去享受这个过程。在放松的状态里边，不停地想自己认为有意义的那件事儿，做你最想做的、最有兴趣的事儿，享受你能接受的所有委屈和挫折，然后长时间地坚持下去。如果你最想挣钱也没问题，人的意义是多元的，不停地往自己的内心去找答案，让自己处于一种轻松自由的状态中，我觉得特别重要。

Everyone has their own life, and regardless of success or failure, should cherish the journey. In moments of relaxation, pursue what you find meaningful, engage in activities that ignite your passion and interest, and embrace all challenges and setbacks with resilience. Persistence in these pursuits is key. Whether your goals involve financial success or personal fulfillment, the quest for meaning is diverse. Continually exploring within yourself and maintaining a state of relaxed freedom are vital, I believe.

▼MAD 在火星，MAD Martian Collection©MAD

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▼候鸟沙城：马岩松“阿那亚戏剧节”作品，A city of time，Ma Yansong‘s work for “Anaya Theatre Festival”©MAD

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▼2021 北京设计周 MAD“不是月亮”艺术装置，Art Installation “Not Moon” for 2021 Beijing Design Week©MAD

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12. 你希望 MAD 和马岩松怎样被世人和历史记住?

How would you like MAD and Ma Yansong to be remembered by the world and history?

我们还是希望以一种“以学术、批判，以及知识生产为核心”的“建筑师组织”的身份进行实践。以一种偏向于空想主义的状态，引导大家去想象一些不那么现实的问题，创造一种自由的氛围。

实践是建筑师的一部分工作，当下的大环境可能让大家感到挫败，但我觉得这件事儿可能能改变，就是大家不要太重视现实的问题，让思考成为成长的重要部分，工作是顺带的，工作是你必须建立起自己的世界观才能去表达的。所以我们想提供这么一个可能性，让愿意思考的人能聚在一起，得到一种鼓励，有勇气向世界发声，这确实是中国建筑实现很欠缺的。

历史中确实留下很多的思想，它跟作品是同步存在的。如何将这些思想整理出来，通过一个组织形成一种探讨，互相的激发，然后向世界发声，让大家听到多样的声音，关注到我们的年轻人在讨论什么、关心什么。以前实验建筑的提法其实是非常先锋的，它们带来了一种自由多元并且有批判性的一种观点。虽然组织方式不一样，但我们的想法是趋同的。我觉得当下中国缺少这种多元性，这种对世界的关注，以及对未来的独特理解。我们做任何事都没有从结果上考虑，我们只是觉得这件事儿是应该做的。

We still aspire to practice as an “architectural organization” centered around academic rigor, critique, and knowledge production. Embracing a somewhat idealistic stance, we aim to encourage imaginative exploration of less realistic issues and cultivate an atmosphere of freedom.

Practice constitutes a fundamental aspect of an architect’s work. Despite the current challenging environment that may evoke frustration, I believe change is achievable if we shift focus away from immediate practical concerns. Making contemplation integral to personal growth, with work playing a secondary role, requires establishing a robust worldview to effectively express ideas. Hence, our aim is to provide a platform where individuals inclined towards deep thought can convene, receive encouragement, and gather the courage to speak to the world—a facet often lacking in contemporary Chinese architecture industry.

History has bestowed us with a wealth of ideas that coexist with artistic endeavors. Organizing these thoughts through an institution promotes discussion, mutual inspiration, and global dialogue, amplifying diverse voices and shedding light on the topics our youth engage with and prioritize. Experimental approaches in architecture historically embody pioneering, free-spirited, and critical viewpoints. While organizational methods may vary, our vision remains aligned. I perceive a current deficit in China regarding this diversity, global engagement, and unique foresight into the future. Our initiatives are driven not by immediate outcomes but by a sense of inherent purpose.

▼珠海银坑艺术中心方案“穹顶下的村庄”，A Village under the Dome – design of Zhuhai Cultural Arts Center©MAD

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▼时间的灯塔：马岩松“广东南海大地艺术节”作品，Timeless Beacon by Ma Yansong © 田方方

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党群 Q&A

Q&A with DANG Qun

1. 你认为 MAD 是怎样的一个群体？MAD 的企业文化是什么？MAD 的意义/价值是什么？

What kind of group do you think MAD is? What is MAD’s corporate culture? What meaning/values does MAD value?

我跟马工、Yosuke，我们三个人本身就是一个国际化的组合，从学习到实践也有很多在国际上锻炼的机会。在 MAD 建立之前，我们三个人就已经开始一起在做竞赛了。在刚开始的磨合当中，大家对建筑的热爱和对待挑战与问题的思路是一致的，所以我们才会一直走到现在。建筑师合伙人实际上是挺复杂的，从刚开始互相认同，互相磨合，到走过 20 年当中的风风雨雨，各种挑战我们还能在一起，我认为是幸运的。

在二十年的磨合当中，我们自己的强项与定位也越来越清晰，虽然好像各自的角色不一样，但我们并没有所谓的分工，我们三个人对于设计的热爱与坚持将我们绑在了一起，并落实在每个项目当中。我们的价值观以及设计的大方向是一致的，20 年当中不停地互相学习，互相进步，这种进步和学习到现在还在进行。

Ma Yansong, Yosuke, and I, as an international team, have been honed through both academic learning and practical experience on the global stage. Even before MAD was founded, we collaborated on competitions. Our shared passion for architecture and unified approach to challenges laid the foundation for our journey to today. Architectural partnerships are inherently intricate—from initial mutual recognition and adjustment to weathering the highs and lows of two decades together, facing diverse challenges has been a stroke of luck.Throughout these 20 years, our individual strengths and roles have grown clearer. Despite what may seem like distinct roles, we haven’t adhered strictly to divisions of responsibility. Our shared passion and dedication to design have bound us together, evident in every project. Our values and overarching design direction have always been aligned. Over these two decades, we’ve continually learned from each other and evolved together. This journey of learning and growth remains ongoing.

▼比弗利山丘庭院，MAD 首个美国建成项目：“Gardenhouse” ©Nic Lehoux

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▼MAD 首个欧洲项目“UNIC”，“UNIC” MAD’s First Built Project in Europe ©Jared Chulski

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▼Qondesa：MAD 首个南美洲项目，Qondesa, MAD’ s first project in South America © Mir

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MAD 是一个建筑师的团体，我一直认为所有建筑师在实践中，从概念、到设计，再到最后落实完成过程当中遇到的挑战几乎都是一样的，这些挑战并不会因为 MAD 掌握了更多的“话语权”而减少。大家所处的体系和系统是一致的。如何面对挑战，我觉得首先是看自身，面对不同的项目、场地、环境、条件、功能、业主等等，你如何能产出一种“概念先行”的大方向，对于所有的建筑来说都是一样的。

对于 MAD 来说，从梦露大厦、鄂尔多斯博物馆，再到前些年建成的哈尔滨大剧院，以及近几年建成的包括百子湾社会住宅等在内的众多项目，我们都会第一时间向自己提问，第一个它与城市的关系还可以是什么样子的？第二个它是否能够对城市开放，它如何能为人提供不一样的体验？人的情感与体验，以及人与空气、风、水等自然元素的关系在我们的设计中是最关键的。

MAD is an architectural collective, and I’ve always believed that architects face nearly identical challenges in practice- from conceptualization and design to final execution – regardless of how much “authority” MAD may wield. The systems and frameworks we navigate are universal. In tackling these challenges, it begins with self-reflection. Confronting various projects, sites, environments, conditions, functions, clients, and more, the key is to establish a concept-driven approach that resonates universally across all architectural endeavors. For MAD, whether it’s the Absolute Towers, Erdos Museum, the recent completion of the Harbin Cultural Center, or numerous other projects like the Baiziwan Social Housing, our first question is always: what kind of relationship can it establish with the city? Secondly, can it be open to the urban environment, and how can it provide a distinctive experience for people? Human emotions, experiences, and the interplay between people and natural elements such as air, wind, and water are critical elements in our designs.

▼鄂尔多斯博物馆，Ordos Museum © MAD & IWAN BAAN

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▼梦露大厦，加拿大，Absolute Towers, Canada © Iwan Baan

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MAD 在 20 年的时间中，最大的优势就是我们会提出问题，从最开始接到这个项目，到最终完成，这种提问一直都在持续，在这个过程当中我们都会去思考，我们是否回答了自己的问题。

Over 20 years, MAD’s greatest strength has been our ability to ask questions. From initial project engagement to final completion, this process of inquiry remains constant. Throughout this journey, we consistently evaluate whether we’ve effectively addressed our own questions.

▼垂直峡谷，美国第四个作品，One River North, Denver, USA©MAD

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▼米兰“MoLo”移动与物流中心，MAD 第四个欧洲动工项目，MoLo (Mobility and Logistic hub) near Milan, Italy©MAD

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▼MAD 的第七个欧洲项目：鹿特丹“舞蹈之家”方案，MAD’s seventh project in Europe：design for the Dance House in Rotterdam©MAD

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2. 经过二十年实践，您的理念发生了哪些变化?“山水城市”现在依然是 MAD 的核心理念吗?

In twenty years of practice, how have your ideas evolved? Is “Shanshui City” still MAD’s core philosophy today?

将“山水城市”的理念总结成文字的过程大约经历了 5 年的时间。“山水城市”实际上是钱学森先生提出的，不是我们的发明创造。当时中国处于向西方学习的“现代主义”城市化的阶段，钱学森先生回国后就提出了这个与西方不同的现代化城市理论。

城市是人类文明的最大载体，它承载的不仅仅是居住和公共等空间，更多的是承载了当地文明、文化，以及历史的特点和一种次序，所以“山水城市”我们强调的是这之间的交叉以及人的体验。在实践了七八年之后，我们的理念从纸上谈兵到实践，再回归到文字，也是对我们自己思想的一个梳理与总结。当然实践一直没有停过，但是现在我们觉得应该在理论方向进行进一步的深化。

理论还是很重要的，同时 MAD 自身不能固步自封，这就需要我们进行超越出建筑类型范畴之外的学习，去学社会学、学历史，了解本地的文化，了解文明发展的过程以及秩序。

The process of crystallizing the concept of “Shanshui City” into words took approximately five years. This concept was actually proposed by Mr. Qian Xuesen, not something we originated. At that time, China was in a phase of urban modernization influenced by Western “modernism”. Upon Mr. Qian Xuesen’s return to China, he introduced this theory of urban modernization, which diverged from Western approaches.

Cities serve as the paramount vessels of human civilization, encompassing not just living and public spaces but also local culture, historical traits, and a sense of order. Therefore, “Shanshui City” emphasizes the intersection of these elements and the human experience. Over the course of seven to eight years, our ideas evolved from theoretical discourse to practical implementation and back to theoretical refinement—a process of refining and summarizing our thoughts.

While theory remains essential, MAD cannot remain static; we must transcend the confines of architecture and delve into fields like sociology, history, local culture, and the dynamics of civilizational development.

▼《山水城市》出版物，book of Shanshui City©MAD

▼MAD 作品集《MAD Rhapsody》，MAD Maonograph “MAD Rhapsody”©MAD

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比如在我们的深圳湾文化广场项目当中提出的“远古自然”，我们不仅仅要看这 30 年深圳的历程，还要看在人类触及到它之前的状态。当时空拉开距离的时候，空间和形式的张力，以及带给人们未来体验的张力才会呈现。我们并不回避“形式”，当你从高楼林立密度极高的城市当中走来的时候，突然看到了一个不曾熟悉的形式，透过这些形式的远处是汪洋大海，这种自然带来的震撼不是人类创造的。当从人类创造的文明历史和秩序进入到了空地了以后，几个石头状的人造物散落在其中，实际上这就是建筑的功能。建筑下面是最大的展览空间，上面则几个是特殊的展览空间，有高层的，有横向展开的，那么自然会为展览空间提供不同性。建筑内部连环的各种空间，它的空间形式也不是人们熟知的，这种远古的、不曾相识的感觉在内外达到了一致。

For instance, in our Shenzhen Bay Culture Park project, we introduced the concept of “Ancient nature”. Here, we not only consider the city’s last 30 years of development but also reflect on the state of affairs before human intervention. By creating temporal and spatial distance, we evoke tension in spatial forms that promise new experiences for the future. We embrace unconventional forms; amid densely populated urban landscapes dominated by skyscrapers, encountering unfamiliar forms suddenly reveals vast seas beyond, invoking a sense of wonder not crafted by human hands.

Transitioning from human-created civilization and order to open space, interspersed with stone-like artificial structures, exemplifies architecture’s function. Beneath the structure lies a grand exhibition space, while above lie specialized exhibition spaces—some towering, others spreading horizontally—offering diverse exhibition experiences. Internally, interconnected spaces assume forms unfamiliar to viewers, achieving harmony between internal and external realms, ancient and unknown.

▼远古未来 – 深圳湾文化广场室内效果，Ancient future: Shenzhen Bay Culture Park interior views©MAD

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我们自身在研究与细节上会花费大量的时间，去探讨这些问题。提出的问题越多，就越能挑战现有的想象，挑战现有的形式包括材料自身所代表的象征性，这就是 MAD 的具体工作。

所以在“山水城市”以后，我们实际上还在不停地总结。未来出书，除了自己探讨总结的理论方向外，还会涉及文化跨界、涉及到历史问题、考古问题等等，建筑本身就不应该有边界。这种总结一个是总结过去我们的思考，第二个最重要的实际上是在展望自己的未来实践的方向。我们正在建立 MAD 自己的理论体系。

We contribute extensive time to research and detail exploration, challenging prevailing notions and forms, including the symbolic representations inherent in materials. This constitutes the detailed mission of MAD. Thus, beyond “Shanshui City,” we persist in introspection. Future publications will not only explore our theoretical directions but also examine cross-cultural issues, history, archaeology, and more. Architecture should transcend boundaries. This reflection encapsulates our past reflections and, crucially, outlines the future trajectory of our practice. MAD is actively forging its unique theoretical framework.

▼北京中国爱乐乐团音乐厅，China Philharmonic Hall, Beijing©MAD

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3. 你对现时的建筑师，或者特指青年建筑师/女性建筑师有什么寄语?

What would you say to young architects/women architects in particular?

“女性建筑师”的话题，我觉得是回避不了的，我们自己也会问到这个问题。

我们三个合伙人的状态是一致的，我们自然而然就将自己的天性和天赋都发挥了出来。熟能生巧这件事对任何人都很有用，无论你是天才还是普通人，只要不停地去思考，不停地去练，你就会变得很好，你就会在这方面打开你自己的能力。

所以回到女性的问题上，我觉得当我们三个人一起工作的时候，我女性的特点也越来越明显，在面对复杂的项目时，我会把握住整体性。我觉得女性在这方面是有优势的，我们具有领导才能，我们会自然而然地考虑很多，然后把它统筹在一起。对于建筑师来说，能否借助事务所这个平台，发现自己不同于别人的性格特点，然后熟能生巧，在实践当中把它变成你独特的特点与优势非常重要。独特性就是你最大的优势。

The topic of “female architects” is inevitable, and we ourselves often contemplate this question.

As partners, the three of us naturally express our innate talents and abilities. The principle of practice benefiting all holds true—whether one is gifted or ordinary, consistent reflection and effort lead to improvement and the development of one’s skills.

Regarding gender, I find that working together as a trio has highlighted my feminine characteristics. I think women have an advantage in this respect, we have leadership skills, we will naturally think a lot and then co-ordinate it together. For architects, it’s crucial to use the firm as a platform to identify unique personality traits, refine them through practice, and turn them into distinctive strengths. Uniqueness is indeed our greatest advantage.

▼云洞图书馆室内设计，Wormhole Library Interior Design ©夏至 / 存在建筑

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4.MAD 未来的发展方向是怎样的?

What is the future direction of MAD?

我们是实践的建筑师，我们会用空间、材料、收放自如的空间次序去回应我们所提出的问题。回应的到底怎么样，我们不知道。对于未来的理论研究和实践，我们还是会秉承同样的方法，不仅要跨学科、跨文化的广度，还要从对历史、文化、理论的研究中提取深度。

We are practical architects who use spatial configurations, materials, and dynamic spatial sequences to address the challenges we pose. The outcomes of these responses remain uncertain. Looking ahead to future theoretical research and practice, we will maintain this approach, exploring interdisciplinary and cross-cultural dimensions, while delving deeper into studies of history, culture, and theory.

▼石家庄云朵体育中心，Cloud 9 Sports Center, Shijiazhuang© MAD

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▼海南科技馆，Hainan Science and Technology Museum © MAD

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早野洋介 Q & A

Q & A with Yosuke HAYANO

1. 作为一位日本建筑师，当初让你决定在中国实践的原因是什么?

As a Japanese architect, what made you decide to practice in China?

当我在欧洲学习建筑时，包括 OMA、库哈斯和扎哈在内的先锋建筑师开始探索新的建筑形式。他们的项目跨越国界，展现了欧洲的文化氛围和建筑风格。我试图去理解这些建筑背后的文化和社会意义。同时，我也开始思考亚洲的建筑将会走向什么样的道路。

我对亚洲未来的建筑发展充满兴趣与好奇，想知道哪些新建筑将代表亚洲的哲学，并创造出当代建筑的新方法。我认为亚洲的建筑师应该向世界展示未来的新亚洲建筑。

尽管亚洲各国存在许多差异，但总体上我们有着许多共通的文化背景，并且我们亚洲建筑师也有很大的潜力去向世界展示出独具特色的 21 世纪新型建筑。我非常期待置身于亚洲，去创造和思考未来的各种可能性。这就是为什么我决定来到中国，从内部思考这个问题。我相信，未来的中国将出现越来越多能够定义“中国当代建筑”的项目。

When I was studying architecture in Europe, there were a few architects starting doing new kind of architecture, including OMA, Koolhaas and Zaha. Their projects go beyond their country, and showing a new kind of culture atmosphere and a new type of architecture in Europe. I try to understand what is the context or the society that produces this kind of architecture? And then I was thinking, what about Asia?

Then I was thinking in a few years there would be a lot of new buildings from China to discuss what is contemporary architecture in China. I am interested to see what will happen in Asia in the future, what kind of new architecture will represent Asian philosophy and create a contemporary approach to architecture? I think there should be architects from Asia to show the world the new Asian architecture of the future.

Although there are many differences, I think in general Asia has a lot of common cultural backgrounds and I believe Asia has a lot of possibilities to showcase new types of architecture of the 21st century. I’m very interested to be inside of Asia and to create, or to think about what kind of possibility of the future. So that’s why I decide to come to China to think about this from inside.

▼嘉兴南湖未来广场，Jiaxing Civic Center © MAD

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▼建设中的嘉兴南湖未来广场，Jiaxing Civic Center on construction © 叶建源

2.在 MAD 这 20 年中，您认为项目深化建造中最具挑战的项目是哪些?为什么?

Which projects at MAD were the most challenging to construct over the past 20 years, and why?

我觉得很难仅选择一个项目，因为我们所有的项目都充满挑战。我们不会重复设计，而是努力在每个项目中寻找新的挑战。无论是在结构、设计还是功能方面，每个环节都面临着挑战。在 MAD，这种不断尝试、创新、思考如何更进一步的态度尤为关键。

以哈尔滨大剧院为例，这个项目让我们深思：中国新型城市空间应该是什么样子？对于这个项目来说，设计的关键不仅在于实现功能，更在于如何在建筑内外创造出吸引人的城市空间，让那些本来对歌剧不感兴趣的人也愿意来此。它不仅仅是一座建筑，更是一处引人入胜的城市空间。随着时间推移，人们将逐渐了解其内部的精彩，开始对表演艺术本身产生兴趣。我认为，创造这样一种新型城市空间确实堪称是一项重要的挑战，这不仅仅涉及到设计，而是无论在前期、建造中，还是后期维护中都需要与业主和社会进行紧密合作。

如今，如果你去那里，你总会看到广场和屋顶上有许多不同的人在做各种各样的事情。我认为我们的设计非常成功地吸引了不同类型的人，他们来到这里不仅是为了观赏城市景观，更是为了享受这种新型城市空间，亲身感受他们与这座城市的联系。我们的设计理念在于如何使这座建筑成为一个容纳各类人群的场所，让人们从不同的视角来欣赏和体验他们的城市生活，这一点才是项目中最具挑战性和最成功的部分之一。

I think it is difficult for me to choose one project, because all our projects are always challenging. We don’t repeat our designs, instead we try to find new challenges for each project. Whether from the structural wise, the design wise, or the functional wise, it is always quite challenging. But I think that’s a very critical attitude in our office, to try to do something new, to think about how we can make it better.

If we had to choose a few, then the Harbin Opera House is one of the examples of a very challenging project. It made us think about what a new urban space in China is like. Because for this project, the key issue was not to make the function work, but how to create the urban space inside and out of the building at the time to welcome people who were not interested in opera, but who came here because it was an attractive urban space. Then people gradually tried to understand what was going on inside, and then became interested in the performing arts itslef. I think the creation of this new type of urban space is a real challenge because it’s not about our design, it’s about working with the client, but also working with society to keep it, or to cultivate it.

Now if you go there, there are always a lot of people doing different things on the plaza in front of the building, also at the top level of the roof plaza. I think our design has been very successful in inviting so many different types of people to come here from day to night to see their city and also to enjoy this new type of urban space and to understand that they belong to this city.

I think it’s our attitude or approach, how to make this building a place for all kinds of people, for people to come here and enjoy or see their city, their life from a different perspective. I think it’s one of the most challenging and successful projects we’ve ever done.

▼哈尔滨大剧院，Harbin Opera House © Hufton+Crow /Adam Mørk

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3. 请分享未来即将建成的重要项目中，你认为深化与建成过程中有趣/有挑战性的几个故事

Could you share with us some interesting or challenging stories from the construction of MAD’s upcoming major projects?

目前我们的多个文化建筑项目都在进行中，例如安吉“两山”未来科技城文化艺术中心。该项目是多功能的综合体，包括大剧院、会议中心等。我们始终秉持同一理念，吸引不同背景、不同类型的人群。因此，我们在安吉文化艺术中心设计了一系列绿色空间，包括能展示当地文化特色的茶田。同时，宛如“竹叶”的漂浮屋顶，也通过自然通风创造出宜人的休闲空间。这些元素共同打造出了全天候向公众开放的美丽绿色环境。考虑项目位于中国光照强烈的南方，我们特意扩大了屋顶的尺度，以创造出充足遮荫空间，进而营造出舒适的空间环境，吸引了不同背景的人群前来探索。

这个项目展示了我们如何超越建筑本身，创造全新的城市空间，重新定义城市地标和社会象征的新典范。我相信，人们对空间的记忆来源于他们在此享受到的舒适感和美好景观。如何塑造能够在城市中引发活力的新建筑，是一个充满挑战但非常值得探索的议题。我认为刚提到的哈尔滨大剧院以及安吉“两山”未来科技城文化艺术中心，都能够证明 MAD 正在努力使设计更好地融入环境和当地文化之中。

Now we do a lot of cultural buildings in China, including the Anji Culture and Art Center. Because the project now includes not only one building, one function, but several different functions, including grand theater and conference center. I think we have maintained the same attitude on how to invite different types of people, different types of citizens to come here and enjoy themselves. That’s why we built a lot of green parks in the Anji Culture and Art Center, covered with terraces of tea field, which is a very representative cultural product of the region. We put a lot of floating roofs that can create a nice gray space with natural ventilation. This also creates a nice green environment that is open to people, open to the public, 24 hours, 7 days a week. At the same time this project is in southern China, where the environment is very different and the sun is very strong, so we built a huge roof that can cast shadows and create a very comfortable space that invites different people to come here. This project also shows how we can go beyond architecture to create a new kind of urban space, which can be a new way to define their urban landmarks, their social landmarks. I think it’s how people remember space. People only remember this place if they feel very comfortable, and it also has a nice view. How this new type of building can trigger this kind of activity in the city, I think is very challenging. But I also think that both projects are really trying to make the design more into the environment, more into the district culture.

▼安吉“两山”未来科技城文化艺术中心，Anji Culture and Art Center©MAD

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4. 你希望 MAD 怎样被记住?

How would you like MAD to be remembered?

这 20 年对我们来说只是转瞬即逝。因为我们一直如一地追求同一目标，不断挑战自我，不断问自己：这是最佳答案吗？这是最适合项目的设计吗？正如我之前提到的，我希望能够创作出真正代表 21 世纪亚洲建筑的作品，将我们的文化历史融入当下和未来的社会生活中。社会在变，人们的生活在变，建筑必须响应变化。我们始终以未来为考量，寻找最佳解决方案。这种态度推动我们不断前行，保持挑战精神和青春活力。

我希望大家能够理解，我们的设计不只关注建筑的形式和外观，更体现了我们的挑战精神和态度。我们相信设计的力量，也坚信建筑能真正造福社会和人们。这些信念对我们至关重要。这就是我们在过去 20 年来建筑实践中始终保持的理念，也是我们未来不懈追求的动力源泉。

20 years has been just a moment for us. Because we keep doing the same thing, we keep challenging, we keep asking ourselves, is this the best answer? Is this the best design for the project? Like I mentioned before, I wanted to do something really representative of what Asian architecture is in the 21st century and how we can use our cultural history to bring it back to our contemporary society, the contemporary we live in now, and where we live in the future. Society is changing. Everyone’s life is changing. So that’s why architecture has to respond to it. Our approach is always to consider what is best and what is for the future. This attitude keeps us moving forward, it also keeps us challenging and it also keeps us young.

I hope people will understand that our architecture is not about form or shape, but about this attitude or a spirit of challenge. We believe in the power of design, and we also believe that architecture can really help society and help people. These attitudes are very important to us. I think that’s the way we’ve been doing architecture for 20 years. And we want to keep doing it for the future.

▼“漂浮”的腾讯总部，深圳，Tencent Shenzhen Headquarters©MAD

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▼“水的力量” – 2024 巴黎奥运会水上运动中心，“The Power of Water” – 2024 Paris Olympics’ Aquatic Center©MAD

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▼MAD 二十周年合伙人及团队周年合影，photo of MAD team at 20th anniversary