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New Design Ideas
Vol.1, No.1, 2017, pp.50-58
50
THE ROLE OF MINIMALIST AESTHETICS IN INFLUENCING CONSUMER
PREFERENCES FOR FURNITURE DESIGN
Stephen T.F. Poon1*
1School of Media, Arts & Design, Asia Pacific University of Technology & Innovation,
Malaysia
Abstract. This paper discusses how minimalist design aesthetics affects consumer furniture preference.
Through a case study analysis of the sociocultural and historical significance of Bauhaus furniture, the
appeal of minimalist forms aims to illuminate the current status of trends and market preferences in
furniture design, based on appearance attributes. To understand the association between sociocultural
factors and consumer preferences, two notable case studies of Bauhaus period furniture, the Barcelona
chair and Brno chair designed by Mies van der Rohe, will be studied. The role of appearance as an
intertextual attribute of quality perception, social distinction and personal taste is explored, including the
tensions between preserving industrial design craftsmanship and mass-manufacturing processes. Research
shows there are many challenges in sustaining product value for mass-market furniture. A credible
argument can be made for the combined strategies of innovation in mass-manufactured furniture
production, cultural aesthetics and better market awareness and acceptance of minimalist design
aesthetics.
Keywords: Bauhaus, aesthetic, interior design, furniture, appearance.
Corresponding Author: Stephen, Poon, Asia Pacific University of Technology & Innovation,
JalanTeknologi 5, Technology Park Malaysia, Bukit Jalil, Kuala Lumpur 57000, Malaysia,
Tel.: +60165291303, e-mail: stephentfpoon@aol.com
Manuscript received: 22 September 2017
1. Introduction
Bauhaus design has flourished since the 1920’s, since the advent of volatile
cultural determinism in post-World War I Europe (Dean, 2008). Today’s living spaces
that encapsulate modernity can be seen as landscapes of “everyday art”, where the
values of modernity are fitted, curated and submitted for diverse interpretations.
Amongst today’s global societies, consumers and audiences, it is that broad context of
cultural exposure and acceptability within which the history of Bauhaus modernism in
art and design has been further reinvented and greater appreciated.
The search for some definitive answers about the core impacts left by the Bauhaus
movement, and the social changes in attitudes towards interior design and lifestyle
trends in this era has produced a tendency to makes valuation of functionality more
crucial in satisfying valuation of modern living pragmatics, with spatial and budgetary
limitations. Consequently, minimalism’s endurance as an appearance-centred design
only insomuch that it eliminates unnecessary ornamentation, saving material costs and
suited for living spaces that bespeak taste, elegance and timelessness. This total
architecture concept defined a movement that rationalised mass artistic designs and
productions (Dean, 2008, p.25).
S. POON: THE ROLE OF MINIMALIST AESTHETICS IN INFLUENCING …
51
Aestheticism and functionalism are correlated dualities, albeit with divergent
goals. Research from multi-disciplinary fields provide further examples from Nordic
architecture and a range of Scandinavian product design: divergent concepts of well-
built, utilitarian, unembellished, energy-efficient, environment-friendly, and poetic
designs, fusing to make life better and more organised, a harmonisation of senses and
the environment (Eyþórsdóttir, 2011; Hansson, 2005). These notions were the premise
of research questions for this paper: What makes Bauhaus a classic choice? How far is
the preference for Bauhaus concept determined by aesthetics? What other factors
motivate furnishing taste and consumption? The next section reviews literature in two
areas: the overall historical development of large-scale manufacturing and production of
furniture in the pre- and post-war period, and the historical antecedents of two classical
Bauhaus chair designs.
2. Review of literature
The earlier decades of the 20th-century started a reactive movement among
American merchandisers against the leader-dominant manufacturing sectors. Dirk Jan
De Pree, son-in-law of the founder of pioneering Michigan-based furniture company
Herman Miller, inspired by serendipitous events to engage cosmopolitan designers,
began shifting greater ownership of ideas to his designers, the “givers of creativity”
(Adams, 2012, p.5).
Against the strident organisational culture of the scientific management era in the
1930s, Gilbert Rohde, ex-political cartoonist, interior draper for upscale New York
retailers and merchandising stores, joined Herman Miller and in his capacity as its
principle designer and advisor, urged the company to mechanise and innovate modernist
furniture through mass-manufacturing techniques, including the much-lauded Charles
Eames molded plywood chair, and other upholstery designs that emphasise elegance
and classical built styles (Adams, 2012).
Sparke, Martin and Keeble (2006) in their essay anthology that spans the
evolution of classical period rooms from late-19th-century to mid-20th-century, devote
ample discussion space to a range of perspectives from art principles to architectural
reflection of social histories, and the issues surrounding interior design curatorship. As
a scholarly treatise, the essay critically examines modern home and decor objects as
representational devices of social history. The conclusive view of the authors is that
Bauhaus is a product of the conflicting sociocultural contexts, in the tensions between
the artistic emblems of physical materiality such as furniture, carpet or lighting, the
artist strives to project within its precise style, a snapshot of the purer, more authentic
taste signification of the device as works of art:
[We aim to] … demonstrate, with regards the modern period room [that] ‘the
individual’ could be construed in many and various ways: as architect,
homemaker, artist, connoisseur, family, curator or visitor. […] By considering
the dynamic role of the individual within space, we [may] understand how the
modern period room acts as a historical document today (p.5).
Design commercialisation arose in the last century since Rohde’s tentative
applications of modern manufacturing technologies in furniture production. From the
foregoing argument, clearly modern industrial craftsmanship originated from the
“anxieties about the soullessness” of large-scale manufacturing that have gradually
NEW DESIGN IDEAS, V.1, N.1, 2017
52
pervaded modernity, whereby such skills have always been perceived as lower in the
hierarchy of cultural importance compared to fine arts, sculpture and painting (Art Story
Foundation, n.d.). The need for functional construction is tied to considerations of what
was most useful, but it was during circa 1940s when the disquiet was felt among leading
European art critics and culture philosophers such as Sir Herbert Read:
We have produced a chair which is strong and comfortable, but is it a work of
art? (Hansson, 2005).
Nevertheless, as Ross (2004) finds, the foundation of modern furniture design and
marketing was further laid through Gilbert Rohde’s innovative modes of consumer
engagement, wherein sales catalogues, bulletins, show-rooming and publicity materials
became the promotional tactics to create conscious consumption decisions (Figure 1).
Figure 1.Herman Miller Advertisement (1949) for Interiors Magazine
Since the aesthetics of art concepts like Bauhaus is its adaptability, suites of
variated designs shape minimalist innovations without losing its basic essence. In
today’s urban lifestyles, Bauhaus minimalism, with innate focus on space efficiency and
pragmatism, has become the leading preference among urban consumers with living
quarters like apartments that do not allow for lavish, ornate furnishings. Current
research on factors influencing furnishing purchase motives identify appearance
attributes such as product form and shape as a critical decision-making attribute (Luchs,
Swan and Griffin, 2016, p.308). While literature and studies examining the role of
aesthetics find that appearance affects and creates the greatest impression in consumer
decision making (Creusen and Schoormans, 2005), the implications for quality product
design is just as important from the manufacturing perspective. Durability and care
maintenance are crucial to appeal to increasingly discerning and educated consumer
markets. It can be summed that the conjunction of product and consumer engagement
strategies through media, marketing literature, campaigns as well as information
through the Web, has grown to be as complex as the different periods of human
S. POON: THE ROLE OF MINIMALIST AESTHETICS IN INFLUENCING …
53
civilisation that produced these lifestyle goods. The prestige derived from consuming
cultural products such as minimalist interior furnishings seem as adaptable in domestic
settings as they are publicly, in exhibit halls, or produced for export markets.
3. Methodology approach
Case study research, through reports of past studies, engenders the descriptive,
exploratory and explanatory dimensions in understanding complex issues. It is
considered a robust research method particularly when a holistic, in-depth investigation
is required. Recognised as a tool in social science studies, the effective application of
case study method in research is evaluated when investigations are centred on design.
One factor enabling the recognition of case study as a prominent research method is the
deregulation of qualitative methods in providing holistic and in-depth explanations of
specific social and behavioural issues in the context of inquiry. Going beyond
providing results to understand the cultural and behavioural conditions through
developing perspective and insight, case studies, when carefully chosen and executed,
evaluates the processes and confirms the validity of relative outcomes of phenomena
through critical design, observation, reconstruction, and analysis of the cases under
investigation (Tellis, 1997).
The following section summarises the analyses of Bauhaus furniture styles, and
further explores some attributive criteria which determine preferences for furniture.
4. Analysis of findings
Bauhaus developed a distinctive, modern style of furniture design that remains
influential even today. Bauhaus is conceived to present immaculate evidence of its key
principle, simplicity, in its sleek, light, and ultra-chic form. Ornamentation found in
other pre-21st-century styles of furniture design, such as scrollwork, inlays, or carved
forms, was absent in Bauhaus. This aesthetic honour was augmented when consumers
were introduced to its stunning beauty at a time when the furniture industry was
undergoing rapid industrial and economic revolution to make it easier to produce pieces
efficiently. Newly-introduced materials facilitated mass production of Bauhaus furniture,
but at the time, these were perceived as non-traditional methods of furniture making, and
were criticised, perhaps rather unjustly, by the older segment of cultural craft leaders.
The spirit of innovation, combined with manufacturing practicality, was at the core of
the Bauhaus approach. Bauhaus furniture was also meant to be versatile so that
consumers would find the pieces to be useful for modern living.
Case Study I: The Barcelona Chair
Bauhaus is personified in the Barcelona Chair (Figure 2) designed by Ludwig Mies
van der Rohe in 1929, with its sleek, dignified and distinctive “rhythmic grace” ensuring
its place as an interior furnishing icon of the modern era, whereby the marriage of
classical regal forms, durable industrial materials and superior craftsmanship in
proportional and planning are tangible (Knoll: Barcelona Chair, n.d.). While some
believe the influence of K.F. Schinkel can be traced in the cantilevered seat, slender
transverse legs and the Roman curule (scissor-shaped) form, it represented the neo-
classicist’s notion of high art.
NEW DESIGN IDEAS, V.1, N.1, 2017
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Figure 2.The design of Barcelona chair
With its intent of exclusive symbolic function, being designed for the King and
Queen of Spain, and exhibited at the Barcelona Pavilion, it gained international
eminence, in spite of demure criticism of its unreasonably low height (Schulze and
Windhorst, 2012, p.125). Since 1953, designer Florence Knoll’s company has held the
production rights of the Barcelona chair, embodying her philosophy of holistic interior
design (Knoll, 2015). The chair’s dimension is 29.5”(W) x 30”(D) x 30.25”(H), with a
seat height of 17” (Knoll, 2014). The upholstery comprises quality tanned leather, its
tubular steel legs buffed with a mirror finish. Handcrafting involves cutting 40
individual panels from a single cowhide, which are welded and hand-tufted with leather
buttons. The cushion is made from premium polyester filling, supported by 17 straps.
The straps are attached with aluminium rivets, emblazoned with the Knoll Corporation
logo and with Mies’ signature running down one side of its leg (Figure 3). The
sustainable design has earned the Barcelona a reputable environmental certification.
Figure 3.The elevation of Barcelona chair
Case Study II: The Brno Chair
Another Mies design is the Brno Chair (Figure 4), launched in 1930 after the
Barcelona. The dimension of this chair is 22.75”(W) x 22.5”(D) x 31.5”(H) with the
seat height 31.5” and arm height 25.75”. This chair exemplifies lounging comfort with
its simplicity of structure, lean profile, clean lines and a unique leg design (Figure 5).
Tubular steel frames are wrapped under nickel and silicone coatings to protect from
rusting and improve durability. Mirror finishing provides gloss, and its joints and drill
are hidden. Similar with the Barcelona chair, the Brno has earned recognised sustainable
design certification.
S. POON: THE ROLE OF MINIMALIST AESTHETICS IN INFLUENCING …
55
Figure 4.The design of Brno Chair
Juxtaposed, both chairs are reliant on masterful creativity as expressed in their
elegant timelessness, both provide fitting aesthetic enhancement which expresses
personal taste in décor, but bearing very different price tags. Knoll’s range of Barcelona
chairs, made with Sabrina leather, costs USD$5592 (Knoll Barcelona Chair, 2016),
while the Brno chair with the same type of leather, is sold at USD$1771 (Knoll Brno
Chair, 2016).
Figure 5.The elevation of Brno Chair
Pricing strategies of the Barcelona and Brno derive from fair appreciation of their
socio-historical traditions, and technical manufacturing processes involved. Regal
identification positions the former as a unique hand-tooled proposition, enhancing its
intrinsic valuation, while machine-made Brno is a feat of factory manufacturing
precision, a tangible proof for the man-machine leverage in the advancement of
civilisation, where out of challenges come endless possibilities (Schulze and Windhorst,
2012, pp.127-133).
Modern Furniture Design Appeals
Many factors influence consumer preferences. Consumer behavioural studies seek
to understand why, how and what people buy, through understanding a range of
psychological factors (motivation, perception, learning, beliefs, attitudes), demographic
and socioeconomic circumstances of lifestyle and personality, as well as the influences
of social role, status and culture. The preference of consumers aligns to personal tastes,
which derives from the socioeconomic demographics of individuals in society
(Bourdieu, 1984).
NEW DESIGN IDEAS, V.1, N.1, 2017
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Arguments that individual taste determines preference are nearly always used in
developing appeals and strategies for the Italian furniture market (Troian, 2011).
Ingeniously simple, sparsely-built appearances make distinctive products such as the
Barcelona chair a natural target for commercial copy art. In discussions about
authenticity, consumer evaluations of product appearance attributes are widely
discussed. However, it is no less important to consider the effects of channels of
marketing, promotion, as well as pricing, in influencing purchasing behaviour of quality
goods perceived as long-term investment. Criteria such as comfort, functionality for
possible multipurpose use, spatial fit, durability and easy-care, on the other hand, are
functional attributes.
Design critics argue that in cases where motives of consumption are based on
externalities (appearance), functional attributes like durability and costs are not as
important in influencing perceptions (Blijlevens, Creusen and Schoormans, 2009).
Creusen and Schoormans (2005), studying the role of aestheticism and symbolism
among consumers, found that products with preferred attributes such as ergonomics,
shapes, colours and materials that catches immediate attention influences choice and
purchase considerations, although other researchers believe design acumen among those
with more experienced taste judgement determines the cultural and social appraisal of
product appearances (Bloch et al, 2003).
This implies that the design of mass consumer goods and products, when imbued
with perceived value attributes, lends itself to commercialisation potential. Quality is
contentious in considering the price which investment valuation would put on authentic
furnishings. By extension implication, although consumers seek meaningful attributes in
factors such as crafting precision and solidity of materials, it is in the symbolism of
sensorial attributes and details such as proportion, shape, colour, feel and textures, that
furniture appearances tend to communicate quality and a certain taste judgment and
social class. Additionally, cultural factors greatly impact consumer attitudes in that
cultural viewpoints determine perspective of individuals towards aesthetics and styles.
When planning for mass-production of interior furnishings, argues Knoll (2015),
the international interior design styles this century dictates a more inclusive approach, a
conjunction of upper and lower taste cultures, a mix that “can happen in the landscape
and should and can happen in your own living room with furniture” (Knoll, 2015, p.57).
This could be translated into business models that put designers into management roles
as key business partners, to tap their instinctual, observational skills which helps identify
cutting-edge designs. In the final analysis, this paper provides ample evidence that the
continued present appeal of minimalist furniture reveals a union of consumers’
intellectual and aesthetic depths.
5. Conclusion
As an emblem of modernism, Bauhaus connotes a fluid transition of industrial
design, product design and graphic design (Sparke, Martin and Keeble, 2006, p.13), and
herein, the use of technology in designing superior interior furnishings would seem
disputable, since consumers could always rationalise their preferences based on
externalities like appearance.
Aesthetics and style attributes are unmistakably the most crucial factors in
justifying choices, followed closely by material quality, durability, maintenance, and
pricing. As Mies noted in 1930, “It’s almost easier to build a skyscraper than a chair”
S. POON: THE ROLE OF MINIMALIST AESTHETICS IN INFLUENCING …
57
(Social Design Magazine, 2012), taking all factors into consideration, the appeal of
Bauhaus furniture as a mature lifestyle concept for modern living has yet to reach its
potential in the international design arena, giving competitive furniture makers and
marketers opportunities to streamline operational efficiencies, and to find solutions
enabling the design to reach consumers as an affordable furnishing trend. Stripped of
ornate embellishments, inspired by non-conformist values, Bauhaus expresses the
essence of postmodernist culture, an updated traditionalism that portrays timeless stories
of graceful chic and contemporary sophistication, taken to new heights of taste. It is
under the shadows of social class markers that minimalist Bauhaus appears to leave its
greatest legacy.
References
1. Art Story Foundation (n.d.) Retrieved from: http://www.theartstory.org/movement-
bauhaus.htm
2. Adams, S.B. (2012). Making A Virtue of Necessity: Herman Miller’s Model for Innovation.
Business and Economic History Online, 10. Retrieved from: https://goo.gl/HWF2zf
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product appearance: The identification of three product appearance attributes. International
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and Aesthetics. Smashing Magazine. Retrieved from:
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function-and-aesthetics/
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Essentials from the PDMA. Hoboken, New Jersey: John Wiley & Sons.
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http://www.knoll.com/knollnewsdetail/design-deconstructed-barcelona-chair
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Designer Interviews from Knoll Archives. January/February. Retrieved from:
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knoll-archives
14. Ross, P. (2004). Merchandising the Modern: Gilbert Rohde at Herman Miller. Journal of
Design History, 17, 359-376.
15. Schulze, F., Windhorst, E. (2012).Mies van der Rohe: A Critical Biography. Revised ed.
Chicago, IL: University of Chicago Press.
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17. Sparke, P., Martin, B., Keeble, T., eds. (2006).The Modern Period Room: The construction
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Images Credit
Figure 1: Herman Miller (1949) Irving Harper: The Mediums Beyond the Message. Retrieved
from:
http://www.hermanmiller.com/content/dam/hermanmiller/page_assets/why_digital/articles/irvin
g_harper_ads/WHY_IrvingAds_05.jpg
Figures 2 and 3: Knoll, (2014) The design of Barcelona Chair. Retrieved from:
http://www.knoll.com/product/barcelona-chair
Figures 4 and 5: Knoll (2014) Brno Chair. Retrieved from: http://www.knoll.com/product/brno-
chair-tubular
