The China National Convention Center Phase II has officially opened in Beijing, marking a significant milestone in the city's architectural landscape and its capacity to host major international events. Designed by renowned French architect Christian de Portzamparc and his firm 2Portzamparc – Elizabeth de Portzamparc, the massive facility spans 418,680 square meters and represents one of the largest single-building projects ever undertaken by the Pritzker Prize-winning architect.
Located at the northern end of Beijing's Olympic Axis in the Chaoyang district, the convention center serves as both a functional expansion of the existing Phase I facility and a symbolic renewal of the city's ceremonial spine. The building's distinctive design features a sweeping curved shape with multiple facade openings that evoke birds taking flight, creating what Portzamparc describes as a "poetic evocation" that combines traditional Chinese architectural elements with contemporary design language.
For Portzamparc, the project represents a dialogue between two great civilizations and their capitals. "Beijing's axis stretches from the Forbidden City to the CNCC, a distance of nine kilometers, equivalent to the historical axis in Paris that runs from the Louvre through the Arc de Triomphe to La Défense," he explained. The architect emphasized his intention to create "an open gathering place along this ceremonial line—solemn but not heavy, monumental yet never oppressive."
The massive structure houses a three-story conference center in its main building, with overhead bridges connecting it to seven supporting buildings on the west side, including luxury hotels and Grade-A office spaces. The ground floor features a 20,000-square-meter exhibition hall with 12-meter-high ceilings, a 3,000-square-meter photo area with 26-meter-high ceilings, and an 8,000-square-meter main venue capable of accommodating up to 5,000 people.
The building's architectural language draws heavily from traditional Chinese design principles, particularly in its reinterpretation of the flying eave. A concave curve meets a clean, slanted plane to form a continuous eave that sweeps from south to north, with the facade receding in a gentle curve that creates visual tension and makes the structure's ends appear to lift skyward. "In traditional Chinese architecture, straight lines are rare," Portzamparc observed. "The curve of the entrance, like a shading eave, rises toward the sky—a philosophy of space."
The facade design represents perhaps the most striking aspect of the building, featuring what Portzamparc calls a "monument of flying birds." Vast enamel-coated steel panels are pierced with triangular openings on the east side, their pattern evoking flocks taking wing while carefully balancing light and shadow throughout the interior spaces. On the north and south facades, this motif gradually evolves into diamond-shaped windows that bring natural daylight and transparency to the office areas.
A particularly dramatic element is the VIP entrance, which emerges through a fissure in the curved facade and is framed by a diaphanous colonnade. Above this ceremonial entrance, a cantilevered canopy extends 22 meters outward, hovering over 8.5-meter-high automatic sliding doors. The entrance leads into a 26-meter-high lobby featuring a constellation of droplet-shaped LED lights and terminating in a dynamic full-height LED display.
The building's interior spaces are designed to maximize connection with Beijing's Olympic axis and surrounding landscape. All three lobby levels open eastward toward the axis and the dragon-shaped water system that characterizes the area. The ground level features a column-free, 6-meter-high glass wall on the lower portion, while the upper section includes an opaque facade punctuated by bird-shaped windows that allow natural light and shadows to flow into the interior.
One of the most remarkable features is found on the third floor, where two contrasting gardens unfold beneath a vast operable glass roof. The Su Garden represents traditional Chinese design principles, while the Xi Garden reflects contemporary approaches, creating what Portzamparc describes as "miniature world gardens" that embody harmony and diversity. These spaces include pavilions with curving colonnades, a stage recalling traditional Chinese theaters, and a still reflecting pool upon which the Lunch Hall appears to float.
The project involved extensive international collaboration, with landscape design consultation by Florence Mercier Paysagiste, MEP consulting by WSP Norge, facade consulting by TESS and RFR Shanghai, and signage and wayfinding design by the renowned Hara Design Institute. Lighting design was handled by Toryo International Lighting Design Center and Lighting Planners Associates Inc., while the cooperative design institute in China was Beijing Institute of Architectural Design (Group) Co., Ltd (BIAD).
Photographer Yumeng Zhu captured the building's dramatic architectural features and spatial qualities, documenting how natural light interacts with the complex geometric patterns of the facade throughout different times of day. The images reveal the building's ability to transform its appearance through the interplay of light, shadow, and the carefully orchestrated openings in its exterior envelope.
The China National Convention Center Phase II officially inaugurated in 2025, positioning Beijing to host major international conferences and summits of heads of state. The facility represents more than just an expansion of convention space; it embodies what Portzamparc envisions as "a new civic posture—saluting the city, honoring history, and welcoming the world." As both a functional landmark and a vessel for cultural exchange, the building stands as a testament to the possibility of creating contemporary architecture that honors traditional principles while embracing global connectivity and openness.
