NOTHING DESIGN built their Beijing studio in Xidian Memory Park. The 150-square-meter space uses white micro-cement on floors, walls, and ceilings. Main manager Liu Chang conceived the interior as a neutral ground where furniture and objects define the space rather than architectural elements.

The studio collects chairs from different decades: Verner Panton's 1959 stacking chair, Arne Jacobsen's 1958 Swan chair, Pierre Paulin's 1973 Groovy chair, and a 1980 Cassina piece by Charles Rennie Mackintosh. These sit alongside contemporary furniture and objects. The conference room places multiple periods in direct proximity.

Materials include cotton and linen textiles, stainless steel, and natural wood. The micro-cement surface provides texture while maintaining visual consistency. Natural light enters through translucent curtains that shift the space's appearance throughout the day. Evening lighting comes from positioned fixtures including an Isamu Noguchi Akari chandelier.

The studio functions as both workspace and material testing ground. Visitors select chairs to use, making the collection functional rather than displayed. The white surfaces allow each object's form, color, and material to register clearly against the backdrop.