From Beijing’s labyrinthine alleys to the world’s architectural stage, Ma Yansong is redefining what it means to build—not just structures, but stories.
A New Voice in Global Architecture
Born in 1975 in Beijing, Ma Yansong has emerged as one of the most distinctive and internationally recognized voices in contemporary architecture. Trained at the Beijing University of Architecture and later at Yale under the mentorship of Zaha Hadid, Ma developed a design philosophy that combines technical innovation with emotive, nature-inspired forms.
In 2004, he founded MAD Architects in New York, relocating the practice to Beijing a year later. From early on, Ma challenged conventional norms. His breakthrough project—the Absolute Towers in Toronto, completed in 2006—earned the nickname “Marilyn Monroe Towers” for their sinuous curves, which broke from the angular orthodoxy of high-rise design. This marked not only his global debut but also a new trajectory for Chinese architects on the world stage.
Beyond Function: Architecture as Emotion
Ma’s central belief is simple but radical: buildings should be more than utilitarian objects—they should stir the soul.
“Architecture should not just shelter us,” he explains, “it should move us.”
This conviction often put him at odds with academic orthodoxy. While at Yale, his flowing, illogical forms were frequently questioned. In one critique, a professor asked whether a particularly dramatic model could even be built. Ma’s response was characteristically bold:
“If we only build what’s already possible, then architecture will never advance.”
Technology as a Brush, Not a Barrier
While Ma’s early work relied on hand sketches and physical models, the complexity of his designs soon necessitated cutting-edge technologies. His firm now collaborates closely with engineers and digital fabricators to push the boundaries of construction.
Projects such as the Harbin Opera House used BIM and 3D modeling to realize its sculptural curves, while the Chaoyang Park Plaza in Beijing evokes the silhouette of a mountain range through an innovative façade system.
For Ma, technology is never the end goal.
“Technology is a tool, like a brush to a painter. What matters is what you express with it.”
The Shanshui City: A Return to Harmony
In 2010, Ma formally introduced the concept of the Shanshui City, drawing inspiration from traditional Chinese landscape painting. His vision was clear: modern cities could be dynamic and sustainable without losing their spiritual connection to nature.
This philosophy came to life in Jiaxing Railway Station, where rolling green terraces and a translucent roof immerse travelers in a space that feels more like a forest clearing than a transit hub.
“Urban spaces shouldn’t be monuments to ego,” Ma says, “they should make people feel at home.”
The FENIX Museum: A Story of Migration and Belonging
One of Ma’s most emotionally charged projects to date is the FENIX Museum of Migration in Rotterdam. Commissioned in 2018, the project involved the transformation of a former industrial warehouse into a space that honours Europe’s migration history.
The original Fenix warehouse once served as a major departure point for emigrants bound for the Americas. Ma saw in it not just bricks and mortar, but a vessel for memory.
“Migration is a shared human story,” he notes. “This museum had to speak not only to Dutch history, but to global themes of movement, loss, and hope.”
A Design Rooted in Symbolism
- Industrial Past Meets Future Vision: Ma preserved the rough concrete skeleton of the building, inserting modern steel and glass forms that float within it—honouring the past while projecting forward.
- The Spiral Walkway: A ramp rises from the ground to the rooftop, offering sweeping views of the river and port—a metaphor for departure and the long journey ahead.
- Floating Roof: The museum’s crowning feature is a cantilevered glass canopy, evoking the image of a ship poised to set sail. It’s a subtle but powerful symbol of migration’s uncertainty and potential.
- Light as Memory: Inside, natural light changes throughout the day, creating an ephemeral quality that mirrors the emotional texture of the migrant experience.
Critical and Public Response
While some Dutch critics initially worried that Ma’s design was “too poetic,” it ultimately won widespread acclaim. The Architectural Review praised it as “a redefinition of narrative in museum architecture.” Local descendants of migrants have expressed deep emotional resonance with the space:
“It doesn’t just show history—it feels like history,” one visitor remarked.
Of course, not all feedback has been positive. Some conservative voices have argued that the symbolic forms overshadow the exhibits themselves. Yet even the critics agree: the building is unlike anything else in Europe—and that’s precisely its power.
A Maturing Vision: From Landmark-Maker to Humanist
The FENIX project marks a shift in Ma’s career. Whereas his earlier work dazzled with form, his recent designs prioritize narrative, memory, and human connection.
Projects like Jiaxing Station and FENIX reflect a deeper mission:
“Architects shouldn’t just give the client what they want,” Ma says. “We must ask: how will this building shape the way people feel, remember, and live?”
In this way, Ma is emerging not just as a maker of landmarks, but as a cultural storyteller—a rare voice weaving history, humanity, and imagination into every line he draws.
Epilogue: Memory in Concrete and Glass
Ma Yansong’s journey—from the hutongs of Beijing to the quays of Rotterdam—is a testament to architecture’s power to cross boundaries, literal and emotional. His work suggests that in a globalized world, the most impactful buildings are not the tallest or most expensive—but those that speak to our deepest questions of identity, memory, and belonging.
“Architecture cannot rewrite history,” Ma says, “but it can help us remember who we are.”
