ArchDaily | Broadcasting Architecture Worldwide https://www.archdaily.com/ Sun, 19 Apr 2026 00:00:00 +0000 en-US hourly 1 https://assets.adsttc.com/doodles/archdaily-logo-feedly.svg 026CB6 https://www.archdaily.com/1038835/beyond-imported-icons-reading-hong-kong-through-tao-ho Thu, 19 Feb 2026 07:30:00 +0000 Jonathan Yeung https://www.archdaily.com/1038835/beyond-imported-icons-reading-hong-kong-through-tao-ho When Hong Kong's architectural story is told, it is often reduced to a handful of icons. Many people most readily name I.M. Pei—Pritzker Prize laureate and architect of the Bank of China Tower in Central (1990), as well as global works such as the Le Grand Louvre in Paris and the Miho Museum in Shiga. Looking elsewhere, one also encounters a long lineage of British and international architects whose imprints have shaped the city's institutional skyline: from Ron Phillips' civic works—most notably the former Murray Building (1969), now The Murray Hotel, and Hong Kong City Hall (1962)—to Norman Foster's infrastructural and corporate monuments, including the Hongkong and Shanghai Banking Corporation (HSBC) Tower (1986) and Hong Kong International Airport (1998), and, more recently, Zaha Hadid Architects' The Henderson (2024).

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