In memory of the bourgeois high season during the Gothic period, the choice fell upon a neo-Gothic design, which allowed to implement an independent architectural accent in contrast to the buildings of the royal family.

The first section of the building in the eastern part of the Marienplatz, on the corner of Dienerstrasse, was the results of an idea competition won by Georg Hauberrisser and carried out between 1867 and 1874.

When it became clear that this new building would not be able to accommodate the entire administration, the city began purchasing all the properties on the Dienerstrasse, Landschaftstrasse and Weinstrasse adjacent to the Town Hall started in 1887.

In 1897, the Magistrate and municipal council decided to extend the buildings on the Marianplatz as well as the Weinstrasse and Landschaftstrasse to create a four-sided complex.

For the architectural design of the Munich Rathausturm, Hauberrisser was clearly inspired by Brussels' Town Hall, whose 96-meter Brabantine Gothic tower was built by Jan van Ruysbroeck in the years 1449 to 1455.

The portion constructed at the Marienplatz received an additional floor, which were hidden behind the neo-Gothic balustrade so that the building's image was preserved.

It shows the Guelph Duke Henry the Lion, and almost the entire line of the Wittelsbach dynasty in Bavaria and is the largest princely cycle in a German town hall.

The central monument in the center of the main facade between the two phases at Marienplatz above the guard house, is an equestrian statue of Prince Regent Luitpold.

It shows Guelph Duke Henry the Lion and almost the entire line of the House of Wittelsbach rule in Bavaria and is the most extensive Princely cycle at a German Town Hall.

As a central monument in the middle of the main façade, between the two building sections on the Marienplatz above the guardhouse, is a statue of the Prince Regent Luitpold.

On the main façade of the Marienplatz and on that of the Weinstrasse are Munich’s founders, neo-gothic water fountains in the form of grimaces and masks, allegorical images, and themes from the life of saints and folk legends.

The 85 m high Rathausturm is crowned by the Münchner Kindl, created by Anton Schmid, with his son Wiggerl (Ludwig Schmid-Wildy) as model.

The 43 bells of the mechanical clock play successively four different melodies, to which a total of 32 figures represent the Schäfflertanz and a knights' tournament at the wedding of the Bavarian Duke William V and Renata of Lorraine in 1568.

In the windows of the seventh tower a Munich night watchman appears blowing on his horn, as well as an angel blessing the Münchner Kindl.

In contrast to the façade conception of the Viennese Town Hall of Hauberrisser's teacher Friedrich von Schmidt, Hauberisser's facades in Munich and St. Johann are flat and are given life by the relief effect of balconies, oriels, columns, statues and decorations.

In the upper portion of the nave, a "tournament" is staged, which was originally held in the Marienplatz in 1568 for the marriage of Duke William V and Renata of Lorraine.

Heroes, jesters, cheering fans, pagans, and standard carrieres lined the tournament field on which Bavarians and Lorraineers challenged their strengths through medieval games.

The bell holder was equipped with a suspension made of stainless steel, and other important parts were replaced including the springs and cables.

[12] The Ratskeller was painted by the Biebrich painter Heinrich Schlitt, and officially opened as a restaurant in the six cross-vaults in the basement of the new town hall on 1 August 1874 by the first Ratskeller-Wirte couple Ernst and Franziska Steidl.

[15] Schlitt also coined the "Bierkeller"[16] with humorous frescoes in co-operation with colleagues starting in the year 1890, in the Ratskeller of the New Town Hall in Wiesbaden, which was also designed by Georg von Hauberrisser.

In the redesigned room there are two stone panels beside a mosaic created by Karl Knappe, which reminisce those that died in the two world wars and those politically persecuted in the time of Nazism.