Home LifestyleGlobal Design BODW 2024 Q&A Session with Ma Yansong: Connecting Design and Nature

BODW 2024 Q&A Session with Ma Yansong: Connecting Design and Nature

by creativehomex

At the BODW 2024 Summit, one of the most anticipated keynote speakers is Ma Yansong, a visionary architect renowned for his groundbreaking approach to design. As the founder and principal partner of MAD Architects, Ma has become a global leader in creating innovative, forward-thinking spaces that are deeply rooted in the Eastern tradition of connecting architecture with nature. With acclaimed projects like the Harbin Opera House and the Lucas Museum of Narrative Art, his work not only challenges conventional architectural boundaries but also celebrates cultural heritage and sustainability.

In his talk, “Nature with Emotion”, Ma invites us to explore how architecture can transcend its functional purpose to become an experience that nurtures both the spirit and the environment. He discusses his belief in a harmonious relationship between technology, nature, and the human experience—one where design fosters a sense of connection and emotional resonance. Let’s take a closer look at his philosophy and discover how Ma’s vision for the future of architecture integrates Chinese cultural elements, technological advancements, and a profound respect for the natural world.

Many architects aim to share their cultural heritage globally. For example, some focus on the philosophy of “less is more” or minimalist architectural theories. As a Chinese architect working on projects in very different countries, how do you incorporate Chinese culture into your architectural designs?
Ma: I’m not sure if I can truly describe my designs as directly inspired by Chinese culture. I grew up in China and certainly learned a great deal from its history. However, modern architecture predominantly evolved from Western traditions—emerging from the Industrial Revolution with new materials and technologies.

We do see elements of traditional Eastern culture and architecture, but there hasn’t been as much development stemming from those traditions. When I was growing up, I experienced urban planning in places like Beijing. For example, the image I showed in my talk—a curated natural space in the city centre—is distinct from the wild nature often seen elsewhere. This curated relationship with nature is particularly inspiring to me.

As a result, I think my architectural designs often create a natural experience that feels somewhat different from Western modern buildings. While I use new technologies and materials, the underlying concept connects to traditional Eastern architecture.

“San Shui City” is one your key design philosophies. Could you elaborate on how this concept shapes your vision for future urban development?
Ma: The primary difference between the Western and Eastern perspectives on nature lies in their emotional connections. In the West, discussions about nature often focus on sustainability, metrics, and what can be gained from it—treating nature as separate from humanity.

In contrast, in Eastern traditions, nature is considered an integral part of human life. It serves as a symbol and material for expanding the spiritual and emotional world. San Shui, which embodies these ideas, is a philosophy that I find essential for modern architecture and urban development. Today, nature is often reduced to a green metric, but it doesn’t compare to the cultural heritage of classic Chinese and Japanese gardens. These gardens achieved an extraordinary level of design and cultural significance, which modern approaches have yet to replicate.

How does material innovation play a role in design, particularly regarding nature as a material?
Ma: Architecture involves more than just physical materials; it also engages light and space, which are the first things people experience. My work has been described as “dematerialised” because I use materials to foster an atmosphere rather than to directly express concepts. There’s a translation from material to atmosphere and then to human emotions.

Unlike some architects who emphasise the visibility of structural elements and techniques, I aim to conceal them. When too much visual information is presented, people rely less on their instincts and emotional responses. By allowing technology and materials to recede, I create space for individuals to explore and discover.

Many Western audiences view your work as a futuristic interpretation of Chinese philosophy. How do you see technology contributing to this vision and fostering emotional engagement?
Ma: Technology is pervasive in both our lives and architecture. It should enhance freedom, enabling people to do what they wish without constraints. That’s why I don’t focus on showcasing technology itself.

Architecture inherently involves materials and sustainability, like solar panels. However, technology evolves quickly—what if energy collection methods drastically change in the next two decades? Buildings covered in obsolete solar panels would become waste. Timeless architecture inspires beyond the technology it uses. I aim to leverage all available materials and technologies to achieve greater freedom and inspiration rather than being bound by fleeting trends.


Interview: Iko In
Article: Lily Wong
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