Born in Aichi, Japan, Yosuke Hayano is a first-class registered architect in Japan. He oversees all design works at MAD, directing each project team to seamlessly materialize MAD’s philosophy, from concept sketch to technical drawing to final architectural form. Yosuke also oversees MAD’s design language from the human scale to the architectural and urban scale, thus implementing MAD’s unique, site-specific architectural response for each project.

Yosuke received his Bachelor’s degree in Materials Engineering from Waseda University in Tokyo in 2000. He gained his Associate degree in Architecture from the Waseda Art and Architecture School in 2001, and his Master’s degree in Architecture from the Architectural Association School of London in 2003. Yosukehas been the winner of several high-profile awards in his career to date, including the Architecture League of New York Young Architects Award (2006), the Design for Asia Award (2011), and the Kumamoto Artpolis Award (2011). He served as a visiting lecturer at the Waseda Art and Architecture School from 2008 to 2012, and at Tokyo University from 2010 to 2012. In addition, he acted as an external examiner at the Architectural Association School of London from 2015 to 2019. He has been a visiting lecturer at Waseda Art and Architecture School since 2022.

Beijing Office

Born in Aichi, Japan, Yosuke Hayano is a first-class registered architect in Japan. He oversees all design works at MAD, directing each project team to seamlessly materialize MAD’s philosophy, from concept sketch to technical drawing to final architectural form. 

MAD won a competition to lead the rebuilding of 71 Via Boncompagni in the heart of Rome in early 2010. After four years of design development and hearings, the project was approved by the Rome Planning, Programming and Implementation Department and the Rome City Council in 2014. The project will become MAD’s first realized project in Europe.

Built in the 1970s, the existing building is a commercial courtyard building attached to an early 20th-century chapel located on the street corner. The primary challenge posed by the competition stage was how to transform this incongruous modern building into a deluxe residential complex.

In modern buildings, beams, pillars, and floor slabs have replaced walls as the core elements of architectural structure. While freed from their structural obligations, facades remain canvases for expression and style. Instead of demolishing and reconstructing the entire building, MAD will simply remove the existing facades, retain the structural framework, and insert new living units to transform the building’s function. New balconies and gardens will emerge from the “gaps and voids” between new residential units and the original framework structure. The boundary between the building and the street blurs as the new design peels away bulky facades and replaces them with a more open, transparent scheme.

After realigning the existing structural system, the building will contain a “bookshelf” structure. 145 residential units of various sizes and layouts, ranging from studios to urban villas with facades made of custom metal and glass, will be intricately inserted into this 8-level concrete “bookshelf” system. The full-height curved glass windows shift and protrude in a controlled choreography between the floor slabs. The “voids” between the glass and the framework will be transformed into gardens and balconies, bringing natural elements and sunlight into the living areas.

Residents can see the interior courtyard through a hazy façade made of translucent metallic curtains. The existing modern garden will be transformed into an abstract one with a vast pond at the center that reflects the bordering trees and the sky above. Natural sunlight filters through voids in the pond and the surrounding garden, streaming through to the ramp of the underground garage below.

Contemporary living in a museum-like city like Rome is often hidden behind its historical facades. Through this adaptive rebuild project, this “open” building will be able to return vitality and urban living to the traditional neighborhood.

Rome, Italy

Mixed Use

Zhao Wei, Achille Tortini, Gustavo van Staveren, Giannantonio Bongiorno, Jei Kim, Elin Thorisdottir

Ing. Sergio Schisani

Studio Busnengo 

71 Via Boncompagni

Located on Haikou’s west coast, surrounded by sports stadiums and a National Wetland Park, the museum draws from the site’s dual urban and natural context, one where a “primeval rainforest and technology of the future meet.” Set against the backdrop of a rich tropical rainforest, the museum’s main pavilion is shaped like a cloud in dialogue with nature.

Encompassing a total area of 46,528 square meters, the museum will feature 27,782 square meters of above-ground facilities including permanent exhibition space, a planetarium, a giant-screen theater, and a flying theater. The museum’s interior structure consists of three floor-to-ceiling cores, curved trusses, spiral ramps, and a roof, all exposed to achieve harmony between the architectural forms and structural system. A skylight in the museum’s dome bathes the spacious atrium in natural light, creating a bright and transparent environment. A spiraling, sloping exhibition space ascends from the central hall over five floors, connecting visitors across the museum.

The exhibition experience begins on the fifth floor, where the elevator opens to a 360-degree viewing platform with the sea and cityscape visible in the distance. Visitors on this uppermost floor will begin by exploring the technology and space galleries before proceeding down the ramp to the ocean and life science galleries on the fourth floor, the math and science galleries on the third floor, and the multimedia interactive experience area and children’s playground on the second floor. As visitors travel down the ramp, they can simultaneously enjoy the scenery and the exhibitions, and a gallery running alongside the ramp extends the viewing experience.

Haikou, China

Culture

Building Area

Above Ground

Underground

Hainan Science and Technology Museum

The overall site has a footprint of 177.6-hectare, and a total building area of nearly 270,000 square meters. The terminal building was designed to add a human-scaled space with a calming presence to the Airport, both from a distance and from within. As visitors approach from the high-speed rail “Longjia” Station or the parking structure, they will be greeted by the terminal’s unique fan-shaped profile that resembles a floating feather — a nod to the airplanes that will be ascending and descending from its terminals throughout the day.

By adopting a three-fingered corridor structure surrounded by arcs, the terminal will maintain an overall harmonious layout in its connections to the T1 and T2 terminal areas while increasing the number of passenger seats near the aircrafts. Upon entrance, passengers will encounter a large, uninterrupted ground floor that provides direct access to the subway, automobile road and other methods of transportation connecting the terminal to the larger site.

The terminal also reflects the charm of Changchun as a "Garden City'' through the creation of what the design team has referred to as a "garden airport." The exterior space area is characterized by forests, lakes, meadows, and undulating terrain, while the indoor garden system combines trees, ground covers, and water features to create a "cold zone garden" that reflects the local climate.

Natural light is brought into the departure hall through the feather-shaped roof to create a bright and warm interior space that provides much-needed sunlight to the garden spaces within. The structural system continues the rhythm of the building's skin to express the logic of force transmission, which converges toward the center together with the skylight, guiding the direction of passengers naturally. The unique wooden ceiling also combines with the structure, skylight and sunlight to create a dynamic interior space.

The terminal’s approach to green design at an intimate scale is a response to the timeless human need for connection to human and plant-life alike; all within a shape as light and airy as a feather floating in the breeze.


Changchun, China

Infrastructure

Changchun Airport T3

Light is an installation for the 2021 Art at the FULIANG festival in Hanxi Village, Jingdezhen. Set among rolling tea fields in the Shiziyuan area, the work responds to the region’s natural and cultural landscape known for its black tea production and porcelain heritage.

The installation draws from the curves of the surrounding tea fields, translating them into a floating structure enveloped by a white membrane. Positioned at the highest point of the hill, it transforms a previously overlooked area into a visible and symbolic destination.

During the day, the structure appears as a floating white form above the fields. Depending on light and weather conditions, it shifts from opaque to translucent acting as a frame for the sky, fog, trees, and mountains. At night, internal lighting slowly transitions through four colors, echoing the village lights and creating a beacon-like presence in the landscape.

The installation includes a public platform beneath it, offering a space for rest, gatherings, and community use. By inviting visitors to climb the hill and engage with the scenery, Light reframes the relationship between people and nature.



Jingdezhen, China

Installation 

Yang Xuebing, Cai Yixuan, Wang Ruipeng, Zhu Qingyu

RFR Building Design Consulting (Shanghai) Co., Ltd.

Shanghai Eagibang Construction Co., Ltd

Beijing Ning Field Lighting Design Corp., Ltd.

Tian FangFang

ART at FULIANG 2021

FULIANG DEVELOPMENT Co.,Ltd.

FULIANG CULTURE TOURISM GROUP

Beijing Hubart Culture Communication Co.,Ltd.

The Light

The Ark is a renovation of the former Wanmicang warehouse at the Zhangjiang Cement Factory in Shanghai. The design preserves the industrial legacy of the site while transforming it into a public, multifunctional waterfront hub for culture, creativity, and commerce.

Built-in 1971, the factory played a key role in Shanghai’s urban development for decades. MAD’s approach retains the original concrete structure and inserts a lightweight, ark-like metal volume above, creating a dialogue between the past and the future. The rough textures of the old warehouse contrast with the smooth, reflective metal form above, reactivating the building as a contemporary public “living room.”

A full-height glass curtain wall separates the old and new elements, allowing natural light to flood the space. Interior tiered gardens and open commercial programs animate the preserved industrial shell. A central corridor connects the urban plaza to the riverfront, and a new bridge extends public access across the river.

The rooftop doubles as an open terrace overlooking the Chuanyang River. Structural reinforcements and modern interventions ensure both visual lightness and historical integrity.


Shanghai, China

Adaptive Reuse

The Ark

Jiaxing Train Station is a transportation infrastructure project located in the center of Jiaxing, a historic city southwest of Shanghai. The station rethinks conventional transit models by combining infrastructure with public space, culture, and nature.

At the heart of the site is a reconstructed version of the original 1907 station house, recreated using historical archives and local materials. This historic building is paired with a floating metal canopy and a sunken transportation hub, where platforms, waiting areas, and circulation are placed underground to free the surface for public use.

Above ground, the design extends an existing park, adding over 1,500 trees and a central lawn surrounded by low-rise buildings that house commercial and cultural programs. These spaces appear as sculpted green hills, offering open areas for public events. The entry plaza and gardens blend civic life with nature, turning the train station into a destination beyond transit.

The station design emphasizes human scale, ecological sensitivity, and integration with the city’s existing urban fabric. By combining transport with landscape and community functions, Jiaxing Train Station proposes a new model for future urban infrastructure.



Jiaxing, China

Jiaxing Train Station

Gardenhouse is a mixed-use development that reimagines urban living by merging architecture with nature. The project consists of 18 residential units above ground-floor commercial space, forming a “hillside village” that emerges from one of the largest living green walls in the U.S.

The facade is planted with native, drought-tolerant species that reduce irrigation needs and create a textured, organic presence on Wilshire Boulevard. Above, a cluster of white, pitched-roof volumes with irregular windows evoke the hills of Los Angeles while providing varied housing typologies studios, condominiums, townhouses, and villas.

Each unit has its own entrance and private outdoor space, enhancing individuality and community. A central second-floor courtyard acts as a shared “secret garden,” designed for privacy and interaction.

The ground-floor entry along Stanley Drive is envisioned as a carved “cave” leading residents on a sensory journey of light, shadow, and water before opening up to a landscaped patio.

Gardenhouse challenges the standard apartment block, proposing a nature-infused alternative that prioritizes harmony between people, architecture, and the environment.



Los Angeles, USA

Residential

Gardenhouse

Floating Island is a vision for the World Trade Center site a horizontal, floating structure that challenges the verticality of traditional skyscrapers. Instead of a towering office block, the project proposes a suspended landscape that connects surrounding buildings while opening the ground to public life.

Designed for the digital era, it condenses business functions meeting spaces, media centers, and transport hubs into a compact core. Around it, public programs such as cinemas, parks, restaurants, and a man-made lake create a diverse, accessible urban environment.

By merging architecture with landscape, Floating Island encourages horizontal flow and social interaction, breaking the isolation of high-rise towers. It reimagines the WTC not as a symbol, but as a space for civic renewal where development becomes the memorial.


New York City, USA

Rebuilt World Trade Center

Being the largest island in the Fujian province, Pingtan is also the Chinese island nearest to Taiwan. In 2010, the 'Comprehensive Experimental Zone' project in Pingtan was officially launched; the island is expected to become the primary location for trade and cultural communication between Taiwan and the mainland in the foreseeable future. The island, which is currently home to fisheries and a military base, will quickly be transformed into a large-scale urban development zone.

This new city, which is still under planning, will hold the museum at its center. The museum itself acts as a smaller scale island off the Pingtan Island itself, connected to land only by a slightly undulating pier, which, in turn, bridges artificial and natural, city and culture, as well as history and future. The museum represents a long-lasting earthscape in water and is a symbol of the island in ancient times, with each island containing a mountain beneath it.

The island is firstly a public space that is then turned into a museum. The sea, the beach, the oasis and the slope all interconnect with each other, forming a harmonious capacious space with the mountains in the distance. The building is constructed with concrete that is blended with local sand shells. The indoor space, formed by the rise and fall of the formal movements, looks similar to ancient caves.

Pingtan Art Museum is built in a landscape setting of an urban city. After its completion, it will create a new space for the city and the city's inhabitants and further inspire them to reflect on the impact made by time and nature.



Pingtan, China

Zhao Wei, Huang Wei, Liu Jiansheng, Jei Kim, Li Jian, Li Guangchong, Alexandre Sadeghi

Pingtan Art Museum

Shenzhen Bay Culture Park will see an ambitious urban development project that brings a vibrant cultural complex along the waterfront in Shenzhen, China. Numerous high-rises emerged over the past decade have become a contrasting backdrop for MAD’s design of the culture park: a 9.7-hectare piece of land occupied by a Museum of Craft and Design, and a Museum of Life and Science.

The scheme introduces a surreal, large-scale scene into the cityscape: an earth-sheltered architecture – an expansive green surface with a staggered layout of sculpturesque stones resting above, quietly settling into the landscape. Public exhibition spaces are spread across the ground floor, sunken into the ground.

The galleries speak to the surreal exterior, providing visitors with a unique experience that takes them on a journey through time and space. The stone-shaped buildings are mirrored on the interior, delivering flexible and stunning architectural effects. Reaching a height of 30 meters, it can house an exhibition of 5,000 sqm spread out horizontally. Natural light penetrates the exhibition space through subtle openings along the facade of the semi-concealed stones with stairs inviting visitors to climb up.


Shenzhen, China

Li Cunhao, Zhang Chao, Neeraj Mahajan, Sun Shouquan, Zhang Yaohui, Huang Jinkun, Maria Corella, Kenji Hada, Lin Zi Han, Yu Lin, Yan Ran, Chen Yi-en , Liu Hailun, Pittayapa Suriyapee, Lei Kaiyun, Alessandro Fisalli, Edgar Navarrete S., Haruka Tomoeda, Lu Zihao