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NOTHING DESIGN北京工作室丨中国北京

2025/03/26 17:24:51

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NOTHING DESIGN北京新工作室位于北京的西店记忆园区，园区里的很多建筑都出自知名设计师之手，当初选择这里也是被这里的浓厚的艺术气息所吸引。通透的结构、充沛的光线，是一个空间最大的魅力。新工作室的原始建筑格局方正，三面临窗，采光很好。主理人刘畅第一次来到这里就决定把它改造成NOTHING DESIGN 北京新展厅。整个空间150㎡，共分为玄关走廊、办公区、会客区和会议室四个区域。推开工作室的门，首先是玄关走廊区。目之所及都被纯白色包裹着，一气呵成，简洁纯粹。几根白色矩形立柱纵向排列，增加了空间的建筑感和阵列感。

NOTHING DESIGN’s new Beijing studio is located in Beijing’s Xidian Memory Park, where many of the buildings are from well-known designers, and was chosen because of its strong artistic flavor. Transparent structure and abundant light are the greatest charms of a space. The original building of the new studio has a square layout, with three windows facing each other for good lighting. Liu Chang, the main manager, decided to transform it into NOTHING DESIGN Beijing’s new showroom the first time he came here. The whole space of 150 square meters is divided into four areas: entrance corridor, office area, meeting area and conference room. Pushing open the door of the studio, the first area is the entrance corridor. As far as the eye can see, it is wrapped in pure white, simple and pure. Several white rectangular columns are arranged vertically, adding a sense of architecture and array to the space.

▼主要空间概览，Overall view©立明

▼入口玄关，Entrance area©立明

走廊尽头的艺术雕塑在玻璃门外就会被注意到，天然木材的纹路和裂痕与纯白微水泥形成材质反差。（雕塑来自艺术家：沈木）整面的布艺窗帘，透光不透影，瞬间让空间变得轻盈灵动。希望每一位来访者都像走进美术馆一样，心旷神怡。

The art sculpture at the end of the corridor will be noticed outside the glass door, the grain and cracks of the natural wood forming a material contrast with the pure white micro cement. (Sculpture from the artist: Shen Mu) The fabric curtains on the whole side, translucent light and shadow, instantly make the space become light and agile. We hope that every visitor will be as happy as walking into an art museum.

▼走廊尽头的艺术雕塑，Art sculpture at the end of the corridor ©立明

办公区格局十分方正。它是一个半开放的空间，三面都有自然采光照射进来，开阔通透。设计的时候着重强化了整体的轴对称关系，增加空间秩序感。侧面的一排柜子是材料收纳、摆放区。纯白的微水泥基底能够将每种材料的特质释放到最大。

The layout of the office area is very square. It is a semi-open space with natural light coming in from three sides, which is open and transparent. The design emphasizes the strengthening of the overall axial symmetry to increase the sense of spatial order. The row of cabinets on the side is a material storage and arrangement area. The pure white micro-cement substrate can release the characteristics of each material to the maximum.

▼办公区概览，Overall view of office area©立明

▼办公区展架，Office display rack ©立明

▼办公区近景，Close-up of office area ©立明

会议室没有做传统刻板的办公风格，而是延伸了工作室整体的极简主义和艺术格调。纯白空间为底，透光不透影的白色纱帘自然垂坠，整个空间宁静通透，又充满灵动美。

Instead of doing the traditional stereotypical office style, the conference room extends the overall minimalism and artistic tone of the studio. With the pure white space as the base and the light-permeable white curtains naturally draped, the whole space is serene and transparent, yet full of spiritual beauty.

▼会议室，Meeting room©立明

▼会议室近景，Meeting room close-up ©立明

▼会议室展架，Conference room display rack ©立明

会议室软装软装以经典黑白色调为主。中古款的皮革沙发，上方是来自意大利的金属墙饰，皮革的野性与金属的精致彼此交织，别具一格。（1.篝火茶几来自设计师刘畅；2.沙发后的雕塑来自艺术家房琪）一张黑色长桌搭配几把来自不同年代、款式各异、形态独特的中古椅，营造出一个艺术氛围浓郁的会议室空间。（1.艺术画来自画家何田colin;长桌区雕塑来自艺术家孙玥;椅子1来自Tianyi Shi Studio 的平行宇宙系列；椅子2来自Mattiazzi-Clerici Chair，由德国设计师Konstantin Grcic于2015年设计；椅子3来自Cassina Mackintosh ，由苏格兰建筑师 Charles Rennie Mackintosh 于1980年设计；椅子4 Vitra Panton Chair，由Verner Panton&Vitra于1959年设计）

The soft furnishings of the meeting room are mainly in classic black and white colors. The antique leather sofa, above the metal wall decorations from Italy, the wildness of the leather and the delicacy of the metal are intertwined with each other, a unique style. (1. Bonfire coffee table from designer Liu Chang; 2. Sculpture behind the sofa from artist Fang Qi) A long black table with several antique chairs of different styles and forms from different eras creates a meeting room space with a rich artistic atmosphere. (1. The art painting is from painter He Tiancolin; the sculpture in the long table area is from artist Sun Yue; Chair 1 is from Tianyi Shi Studio’s Parallel Universe series; Chair 2 is from the Mattiazzi-Clerici Chair, designed by German designer Konstantin Grcic in 2015; Chair 3 is from Cassina Mackintosh, designed by Scottish architect Charles Rennie Mackintosh in 1980; Chair 4 Vitra Panton Chair, designed by Verner Panton & Vitra in 1959)

▼黑色长桌，Black long table©立明

▼座椅，Meeting room seat©立明

▼会议室装饰，Meeting room decoration ©立明

阳光最好的区域留给了会客区，让自然光成为空间最动人的部分。滤掉一切纷杂的色彩，只保留白色的纯粹，让这个空间仿佛置身于时间之外，安静而恒久，不为岁月所动。纯白的艺术漆结合浅木色地板，干净利落的硬装仿佛一张空白画布，等待艺术与生活的填充…特意保留了原始天花结构，希望可以留有一些不加修饰的工业气息。

The sunniest areas are reserved for the parlor area, allowing natural light to be the most dynamic part of the space. Filtering out all the complicated colors and retaining only the purity of white makes this space seem to be outside of time, quiet and constant, unmoved by the years. Pure white art paint combined with light wood flooring, clean and sharp hard furnishings as if a blank canvas, waiting for art and life to fill … deliberately retained the original ceiling structure, hoping to leave some unadorned industrial atmosphere.

▼会客区，The parlor area©立明

▼会客区背景墙，The parlor areabackground wall ©立明

软装大多选择设计大师设计的经典家具和艺术品。每一件都是主理人亲自精选，为空间注入艺术灵魂。沙发区以白色家具为主，局部点缀蓝色，为空间带来宁静深邃的感觉。（1.沙发来自品牌Cassina-Soriana；2.茶几来自品牌ZANORTA-Quaderna）材质上主要选用了柔软的棉麻还有金属不锈钢材质，在简洁的硬装基调下，棉麻布艺让空间显得更加柔和温暖，不锈钢则带来一种年轻感和科技未来感。刚柔并济间，赋予了空间更丰富的情感表达。（壁炉来自设计师刘畅）

Most of the soft furnishings are classic furniture and artworks designed by master designers. Each piece is personally selected by the main manager to inject an artistic soul into the space. The sofa area is dominated by white furniture, with local touches of blue, bringing a sense of serenity and depth to the space. (1. Sofa from brand Cassina-Soriana; 2. Coffee table from brand ZANORTA-Quaderna) The main material used is soft cotton and linen and metal stainless steel, in the simple hard furnishing tone, cotton and linen fabric makes the space look softer and warmer, while stainless steel brings a sense of youth and technological futuristic feeling. Just and soft, giving the space a richer expression of emotion. (Fireplace from designer Liu Chang)

▼会客区座椅，The parlor areaseats ©立明

三把座椅都有自己的个性，“选最喜欢的来坐”是每个人在这个区域都会产生的心理，也是人与家具之间有趣的互动。（椅子1来自品牌 Fritz Hansen-Swan Chair ，由丹麦设计师Arne Jacobsen 1958年设计；椅子2来自品牌Artifort-Groovy Chair，由荷兰设计师Pierre Paulin于1973年设计；椅子3来自品牌THESHAWSTUDIO -消失的古城）

The three chairs all have their own personalities, and “choosing the most favorite one to sit” is the psychology of everyone in this area, as well as the interesting interaction between people and furniture.

(Chair 1 is from the brand Fritz Hansen-Swan Chair, designed by the Danish designer Arne Jacobsen in 1958; Chair 2 is from the brand Artifort-Groovy Chair, designed by the Dutch designer Pierre Paulin in 1973; Chair 3 is from the brand (THESHAWSTUDIO – Disappearing Ancient City).

▼会客区座椅近景，Close-up of seating in the parlor area ©立明

局部融入木质元素、织物还有绿植…… 无论是白日阳光倾洒的静谧，还是夜晚暖灯光下的温馨，都能让人感受到真切的温暖与舒适。（雕塑来自艺术家沈木、吊灯来自野口勇Akari）长桌采用白色微水泥包裹，与空间底色相融合，干净纯粹。它线条凌厉、棱角分明，静静伫立在空间中，仿佛一件浑然天成的艺术雕塑。

Localized integration of wooden elements, fabrics and also greenery …… Whether it is the quietness of the sunshine pouring in the daytime or the warmth under the warm light at night, it can make people feel the real warmth and comfort. (Sculpture by artist Shimu, chandelier by Isamu Noguchi Akari)

▼局部的木质元素，Local wooden elements ©立明

整体以大面积金属不锈钢为背景，冷冽的材质在光影交织下显得更加精致，给人一种前卫先锋感和复古未来感。长桌的四周摆放我们收藏的一些中古椅，形态各异，每一件都凝聚着不同时代的匠心与审美，让整个空间氤氲着历久弥新的艺术气息。（椅子1来自品牌Alias-The Seconda第二椅，由瑞士建筑设计师Mario Botta于1985年设计；椅子2Wiggle Side Chair是加拿大裔美国建筑师Frank Gehry 1972年设计的“Easy Edges”家具系列；椅子3Dialogo Chair ，由Afra&Tobia Scarpa在20世纪70年代设计；椅子4由时装设计师Ann Demeulemeester设计）

The long table is wrapped in white micro-cement, blending cleanly and purely with the underlying color of the space. It has strong lines and sharp edges, standing quietly in the space as if it were a natural artistic sculpture. The overall large metal stainless steel as a background, cold material in the light and shadow interweaving appears more exquisite, giving a sense of avant-garde pioneers and retro-future sense. The long table is surrounded by some of our collection of antique chairs, in various forms, each of which coalesces the craftsmanship and aesthetics of different eras, so that the entire space is dense with time-honored artistic flavor. (Chair 1 from the brand Alias-The Seconda second chair, designed by the Swiss architectural designer Mario Botta in 1985; Chair 2 Wiggle Side Chair is a Canadian-American architect Frank Gehry 1972 design “Easy Edges “Easy Edges” furniture series designed by Canadian-American architect Frank Gehry in 1972; Chair 3D Dialogo Chair, designed by Afra & Tobia Scarpa in the 1970s; Chair 4 designed by fashion designer Ann Demeulemeester).

▼从会客区看向白色长桌，View from the reception area to the long white table ©立明

▼长桌区，Long table area©立明

▼长桌近景，Long table close up ©立明

开放的空间往往对于陈列的要求更高。在这个白色的基底之上，大到家具，小到台灯、摆件，每一件物品都有自己精准的位置和存在的意义。

Open spaces tend to demand more from displays. On top of this white substrate, from large furniture to small table lamps and ornaments, each item has its own precise location and meaning of existence.