SUCCESS

LUXUO explores buildings that reflect a maturing architectural culture in China, one that balances global design talent with local context, civic engagement and environmental responsibility. From cultural landmarks to soaring skyscrapers, China’s architecture continues to produce work that is visually compelling, technically ambitious and socially relevant. Yet it also prompts a question: why does China frequently commission the world’s leading architects to shape these cities? The answer lies in a deliberate strategy to combine international expertise with local identity, creating projects that impress both local residents and the international design community alike.

Ningbo Centre – SOM’s Supertall Beacon in Zhejiang

Ningbo Centre — a new icon on China’s east coast — stands 409 metres above the city of Ningbo. Skidmore, Owings & Merrill (SOM) designed this supertall tower, which is the city’s highest building and has a remarkable combination of office space and luxury accommodation. While many skyscrapers blend into the skyline, Ningbo Centre stands out with exquisite proportions and a finely designed façade. The skyscraper houses Grade-A workplaces on the lower levels and a Ritz-Carlton hotel on the top, combining commercial ambition with urban living. Its completion is a statement of confidence in China’s urban centres, despite larger economic challenges in the real estate sector.

Greater Bay Area Culture and Sports Centre – Zaha Hadid’s Stadium Complex

Completed in 2025, Zaha Hadid Architects’ Greater Bay Area Culture and Sports Centre occupies a 120,000-square-metre site in Guangzhou’s Nansha District. The multi-venue complex features a 60,000-seat stadium, a 20,000-seat indoor arena and a 5,000-square-metre aquatics centre — all situated beneath ZHA’s signature layered, fluid roof. The sculptural forms guide circulation, link public plazas and integrate landscaped terraces, while materials like glass and steel maximise daylight and structural efficiency. Beyond sports, the centre hosts concerts and community events, turning the architecture into a civic hub that blends functional innovation with commanding design.

Sun Tower, Yantai – Striking Monolith

Sun Tower — designed by OPEN Architecture — was completed in late 2024 on a 6,500-square-metre oceanfront site in Yantai. It has 4,200 square metres of cultural space. The tapered concrete form holds a library, exhibition rooms, a café and an outdoor theatre. The building’s geometry is perfectly aligned with solar events, indicating solstices and equinoxes using natural light. Sun Tower also promotes public experience over spectacle with manicured terraces, sheltered outdoor spaces and discreet acoustic treatments. Sun Tower combines environmental awareness with cultural programming, creating a peaceful and social core in a rapidly growing metropolitan region.

Top San Hsiang Complex – A Sculptural Mixed-Use in Changsha

The Top San Hsiang Complex — designed by PEI Architects and Didi Pei — is located on a 7,500-square-metre riverside property along the Xiang River in Changsha. The mixed-use complex comprises five 120-metre buildings and over 50,000 square metres of internal space for offices, residential units and retail. Its sculptural geometry and stepped terraces link the waterfront and public plazas create visual rhythm and pedestrian flow. The complex strikes at the juxtaposition between density and open space, combining commercial ambition with civic presence and its completion signifies resurgent architectural confidence in China’s second-tier cities.

Chongqing International Trade and Commerce Centre – KPF’s Giant Urban Engine

The Chongqing International Trade and Commerce Centre — designed by Kohn Pedersen Fox (KPF) — will stand 458 metres tall with 88 storeys and anchor the congested Yuzhong Peninsula skyline. It is set to be completed in early 2026. The mixed-use tower — located on a 20,000-square-metre plot near the Yangtze and Jialing rivers — offers approximately 150,000 square metres of space for offices, upscale homes and shops. The building’s slim, curving contour reflects the city’s mountainous topography. A high-performance glass curtain wall enhances views and lighting. Integrated sky gardens and public terraces drive vertical circulation, transforming this structure into a business hub and visual landmark in one of China’s most vibrant megacities.

Suzhou Museum of Contemporary Art – BIG’s Garden of Pavilions

The Suzhou Museum of Contemporary Art, designed by Bjarke Ingels Group (BIG) in conjunction with ARTS Group and Front Inc., is set to open soon (in 2026). Still, photographs show that its architectural presence is now complete. Explore the images of the Suzhou Museum of Contemporary Art. The 60,000-square-metre structure resembles a cluster of pavilions under a continuous roof, reinterpreting Suzhou’s classical garden traditions in a dramatic, contemporary way. The museum — located on Jinji Lake, blurs the lines between inside and outside — with glazed hallways and courtyards that guide visitors through art, water and landscape.

Xiamen International Centre – Gensler’s Skyscraper Masterpiece

Gensler’s Xiamen International Centre stands 343 metres tall and offers 68 storeys on a 12,000-square-metre site in Xiamen’s developing financial sector. The mixed-use tower spans 120,000 square metres and features premium offices, a luxury hotel and retail spaces. Its glass-and-steel façade accentuates verticality and reflects the city’s waterfront surroundings. Landscaped plazas, pedestrian pathways and public terraces are integrated into the podium, creating linkages to the surrounding urban fabric. Designed for efficiency and presence, the tower anchors the skyline and illustrates that ambitious, high-quality design can thrive even in volatile market situations.

Beijing Philharmonic Concert Hall – MAD Architects’ Cultural Jewel

MAD Architects’ China Philharmonic Concert Hall — located near Beijing’s Workers’ Stadium — was completed in 2024. The building has a total floor area of 26,000 square metres across three storeys. The curved façade, made of glass-reinforced concrete and translucent glazing, filters sunlight while framing views of nearby gardens, lotus ponds and water features. The main auditorium is built for excellent acoustics, with terraced seating and sculptural proportions that create an intimate setting amid an expansive environment. The idea combines cultural presence, urban integration and environmental care to provide a peaceful, contemplative alternative to the bustling capital.

Conclusion

These designs demonstrate that, despite economic volatility and altering market conditions, these famous architects continue to push boundaries by combining technical innovation with cultural sensitivity. They are transforming skylines, reimagining public spaces and designing structures that are both functional and visually appealing. From elegantly sized civic centres to soaring skyscrapers, China’s contemporary architecture demonstrates that ambition and inventiveness are still alive, providing residents and visitors with a glimpse of cities intended for the future while maintaining local identity and environmental responsibility.

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At 60, Jiang Lin could have spent the year-end festive season with her feet up. Instead, she won one of the world’s toughest yacht races, the 630nm Rolex Sydney Hobart, with only one crew, becoming the first female to do so in the 80-year history of the event, and amid a record Chinese entry list.

When her relatively tiny 10m JPK 1030 yacht Min River, named for her ancestral homeland in Fujian Province, was confirmed winner of the premier IRC handicap prize, the Tattersall Cup, and of a Rolex Seamaster, it became the crowning glory in a rough race that saw all Asian entries finish, no mean feat in a heavy beating race that saw 35 of the 128 starters retire.

“I did not have hopes of winning,” she said in Hobart. “You think about all the 100-something boats, all the big boats and superb sailors out there. Not in my wildest dreams did I think this would come true for me. So no, I didn’t think about it. The best would be winning our division”.

Which, with the propitious sail number AUS888, she and co-crew, the French professional sailor Alexis Loisin, did as well as collecting overall honours.

Lee Seng Huang’s SHK Scallywag 100, formerly Syd Fischer’s Ragamuffin 100, kicked off the Asian challenge this year among the superyachts. Sponsor SHK is his leading investment and property firm Sun Hung Kai, although Lee also has Malaysian interests through Mulpha Australia with Sanctuary Cove, Hayman Island and other substantial holdings.

Team WhiteWave, aboard a Malaysian-built DK 46, Sail #8338, came about due to a partnership between Mark Griffith and Steve McConaghy of the eponymous boat builder in a Davidson 60 in Phuket. William Wu Liang joined them for a King’s Cup Regatta, and for this Rolex Sydney Hobart he supplied the crew from his WhiteWave Sailing Centre in Shenzhen.

An all Chinese crew was aboard the Beneteau 47.7 Marguerite, now owned by a Malaysian Chinese couple and run for the Rolex Sydney Hobart by RYA Yachtmaster and Australian Sailing Keelboat Instructor Aaron Zhou and his wife Joanne Wu.

Because yachting mostly evolved on the China Coast in Hong Kong, various Asian-Australian expats also took part, including investment banker Geoff Hill and his daughter Tash aboard the Santa Cruz 72 flyer Antipodes, and equally well-known Drew Taylor remarkably completed his 30^th Rolex Sydney Hobart with dad Bruce on modest Chutzpah.

The race was first won by a Royal Hong Kong Yacht Club entry in 1973, when solicitor Bill Turnbull quietly triumphed in Ceil 111, and Karl Kwok was the first Chinese male to win in 1997 on Beau Geste. His sail number was HKG 1997.

rolexsydneyhobart.com

Words: Bruce Maxwell; Photos: Rolex & Salty Dingo Media

This article was first seen on YACHT STYLE

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Analysts at Morgan Stanley see China’s housing slump continuing this year, with experts from the US investment bank predicting that new home prices could drop another 2 to 3 percent as the government continues to take a reactive approach to policy fixes and consumers remain timid.

With official data showing average home prices in China having declined 2.4 percent in November from the same month a year earlier, the forecast puts 2026 roughly in line with the past year’s experience. With home prices having now declined 12.1 percent from their peak in 2021, the country has now experienced four straight years of market decline, according to a Morgan Stanley research note released before the holidays. 

Hong Kong-based Morgan Stanley analysts Stephen Cheung and Cara Zhu attributed the duration of the slump in part to caution on the part of policymakers, who have so far taken an incremental approach to fixing in the market and preferred reaction over reform, with those tactics likely to continue this year.   

“We think the narratives on housing policy in 2026 will be similar to those in 2025, with risk mitigation rather than GDP growth remaining the top priority of regulators, Cheung and Zhu said in the note. “Roll-out of any meaningful fiscal-backed stimulus may stay reactive and measured, and is likely to lean towards 2H, to cushion the pace of home price declines.”

Slump Not a Crisis

Prices for new homes in 70 major Chinese cities fell 0.39 percent in November compared to October, according to the most recent data from China’s National Bureau of Statistics. Prices for second-hand homes have been under greater pressure, declining 0.66 percent in November, and are now down 20.8 percent since 2021, according to an analysis by European bank ING. 

With the home price slide dragging on, the value of developer sales of new homes in the January to November period fell 11.2 percent compared to the same period in 2024, according to official data.  

With China’s real estate industry having gone through multiple years of decline, Morgan Stanley pointed out that the significance of the housing market to the country’s macroeconomy has been significantly reduced, making officials less likely to intervene.

“This is consistent with the fact that incremental nationwide policy easing on the property market was muted in 2025 given no new social and financial risk emerged in the year,” Cheung and Zhu said. 

Lower levels of worry among policymakers may also explain the lack of official moves to support struggling developers, with one-time industry standard bearer China Vanke continuing to struggle to win extensions on two tranches of domestic bonds worth a combined $813 million. With both sets of bonds having come due last month, the company was able to win a 30-day grace period from investors, but is still seeking approval for one year extensions of both sets of debentures. 

Consumer Confidence Dims

With home prices continuing to decline and the government showing less interest in supporting the real estate industry, consumers are losing faith in a housing market that many had long seen as unstoppable.  

A survey by Morgan Stanley conducted in October found that 67 percent of respondents from China’s tier 1 cities expect further declines in housing prices, worsening from 50 percent in July and 39 percent in April.

Nationwide, potential sellers showed a sense of urgency, with the majority willing to accept a loss. On the other side of the market, only 2 percent of potential buyers said they plan to make their purchases within the next 12 months.

This weak buying sentiment is preventing developers from shrinking an overhang of unsold housing, with Morgan Stanley pointing to weaker sales in recent months as potential leading to a further expansion of developer inventories. 

“Considering the accelerated sales decline since October, we believe the national inventory may trend up to 31-32 months in December 2025 despite limited new primary launches,” Cheung and Zhu said. 

Sales Expected to Fall Further 

Given the high levels of inventory in both China’s primary and secondary housing markets, and with housing policy likely to remain reactive, Morgan Stanley expects the value of new home sales in China to fall 10.5 percent in 2026 from the preceding year to RMB 7.57 trillion (USD 993 billion).

Based on estimates of the time necessary for the market to absorb the current inventory of unsold housing, Morgan Stanley expects that home prices in tier one, and in major tier two cities could stabilise in the second half of 2027 if the macro environment stays stable and resilient. The market in other locations is predicted to need more time to find a bottom, due to oversupply and challenging demographics.

In a separate analysis last month, Fitch Ratings predicted that home prices in China will fall by 4 percent to 6 percent in 2026, with a further 2 to 4 percent decline likely in 2027.

This article was first seen on the Asia real estate platform mingtiandi.com and was written by Iris Hong 

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Back in January, we titled The Asia Pivot’s first issue of the year, “A Bigger Asia in 2025.” Fast forward to now, and we are proud to say that we have stayed true to that mission, reporting on the full breadth of the world’s largest and most populous continent as it undergoes remarkable changes. Here are our key takeaways from the past 12 months.

A Wider World

We have expanded our coverage to emerging regions, beyond the traditional markets in East Asia, and we expect momentum will continue there in the new year. “The shift in Asia is unmistakable,” industry veteran Adeline Ooi said earlier this year. “Asia is incredibly complex, with diverse contexts and histories, offering myriad ways to craft a constellation of programs. The idea of a singular ‘Asia’ no longer holds.”

The Gulf has been a major focus for us, especially since art fair giants Art Basel and Frieze and auction houses Sotheby’s and Christie’s are expanding in the region. We took a deep dive into the area’s rich cultural offerings and analyzed the interplay among the three Gulf powers, Qatar, the United Arab Emirates, and Saudi Arabia. “It’s an exciting moment that brings opportunity, but also responsibility,” Faisal Al Hassan, the director of 421 Arts Campus in Abu Dhabi, said.

South Asia has been making waves globally, at auctions, art fairs, and institutions over the past year. The art scene in India has become more vibrant than ever, with the rise of a new generation of collectors and patrons as well as private initiatives. A recent reduction in its GST (Goods and Services Tax) has given the country’s art trade a boost, according to New Delhi dealer Roshini Vadehra. The growing dialogue among different parts of Asia has also been exciting to see.

Former Soviet republics such as Kazakhstan, Uzbekistan, and Kyrgyzstan are transforming Central Asia into an art destination. This year in Uzbekistan saw the first Bukhara Biennial debut and the soon-to-open Centre for Contemporary Arts Tashkent announce its inaugural programming. In Kazakhstan, the Almaty Museum of Arts opened its doors.

Thailand‘s art scene is flourishing, opening up new market opportunities, amid an array of next-generation patrons and private initiatives, such as the private museum Dib Bangkok, which opens this week. More private museums and foundations, as well as art fairs, will take place in the capital city and across the country in the near future. This Southeast Asian country could very well be Asia’s answer to Miami.

Evolving Major Markets

Covering major markets in the region, such as China (Hong Kong and Shanghai), South Korea, and Japan has been one of our top priorities. This year we have explored these evolving areas in-depth, amid shifting economic winds and geopolitical dynamics. We also examined how Asia’s industry players have adjusted their strategies and worked smart amid the global market contraction.

As one of the world’s biggest art markets, and the largest in Asia, China is naturally a key focus. Early in the year, we looked into the impact of the U.S.-China trade war on the art trade. All eyes were on Hong Kong during Art Basel in March. Amid the ongoing crackdown on dissent, the global market correction, and most recently, the devastating Tai Po fire that claimed at least 160 lives, the city is still home to exceptional array of artists. And Shanghai and Beijing continue to play an instrumental role in driving the development of China’s art scene, boosted by young collectors with fresh ambitions.

With the election of Sanae Takaichi as Japan‘s new prime minister, its first female leader, the country is getting renewed attention globally. Expectations are high for Takaichi, who has a background in the cultural world (as a drummer and as a policy wonk). Meanwhile, despite a market downturn, South Korea maintains its global influence and has shown resilience, as demonstrated at the fourth edition of Frieze Seoul.

A Year of Rebalancing

We took a close look at auction data to assess how Asia’s art markets have evolved over the past year. Against a backdrop of trade tensions, geopolitical instability, and slowing growth, the region delivered a year of sharp contrasts.

While overall sales volumes were down from previous highs, there was a notable shift at the very top of the market in the beginning of the year, with Asian artists and Asia-based sales accounting for a growing share of the year’s most valuable lots—breaking the Western-heavy pattern of recent years. At the same time, other segments showed clear signs of recalibration. Our analysis revealed that the once red-hot ultra-contemporary market, particularly for Asian artists born in the 1990s, has cooled significantly, as collectors grow more selective and price sensitivity returns.

While China remained the biggest market in Asia, its market share in the region shrank slightly. Japan, India, and South Korea’s market shares inched larger. India has emerged as one of the most dynamic growth stories, supported by new collectors, policy changes, and rising international visibility. And even as the global art market has struggled, auctions in Japan and Korea have shown cautious reasons for optimism.

To mark The Asia Pivot’s second anniversary this fall, we also analyzed the 50 living Asian artists with the highest auction totals over the past year, a snapshot that revealed some of the market’s enduring patterns. The rankings were dominated by established blue-chip names, with Chinese and Japanese artists taking the majority of the slots. A pronounced gender imbalance persists: Yayoi Kusama led the list by a wide margin, but the mid-career Indonesian painter Christine Ay Tjoe was the only other woman in the top 10. The list also skewed heavily toward artists born in the 1960s and 1970s.

New Talents Keep Rising

If you missed any of our Talentspotter features — which spotlights key Asian artists, particularly emerging voices in each edition of The Asia Pivot — a comprehensive roundup of the past year follows below.

Across more than 20 editions, we tracked a new generation of artists whose practices reflect some of the most urgent conversations shaping contemporary art today. At a moment when much of the art world is seeking renewed authenticity and emotional depth, many of these figures turned inward, producing work grounded in personal experience, while others looked toward mythology, folklore, and the surreal while expanding the language of figuration.

We also kept a close eye on key moments on the ground, from Gallery Weekend Beijing, where a new generation of artists captured attention, to Art Basel Hong Kong, where locally based practitioners emerged as standouts amid a packed fair week.

This article was first seen on artnet.com and was written by London Correspondent Vivienne Chow & Director of Content China Cathy Fan

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