Minimalist interior design came about as a direct result of the
Minimalist art movement which first surfaced in the 1950s in New York
and dominated the art world through the 1950s and 1960s. The art
movement came from the overarching movement of the time, Modernism. This
is why the terms Modernism and Minimalism are often used almost
interchangeably when discussing design. While it is accurate to say that
a minimal approach is a modern one, the reverse is not always true.
Minimalist art is self-contained art; external references and emotion
are avoided. Interior designers who work with minimalism tend to broadly
follow this ideal. The approach to minimalism in interior design is
less rigorous than it is in the art world. This is to be expected as a
building's interior has to serve a function beyond the aesthetic--it has
to be conducive to the act and to the art of living.
There are several distinct objectives within minimalist interior design
and the task of the designer is to make these rationales come together
as seamlessly as possible. This is no easy task and involves a lot more
than knocking down a couple of non-supporting walls and painting
everything white.
The first objective is the
spiritual. Minimalist interiors are designed to facilitate a sense of
calm and peace. People's surroundings have a huge impact on the way that
they feel and consequently act. To this end colors tend to be extremely
pale or white so as not to induce an emotional response. The use of
whites and pastels on walls also maximizes the reflection of light
giving a soft, diffuse illumination that is not harsh or uncomfortable.
The minimalist interior designer uses light to define the forms and the
spaces where other designers would use materials and finishes.
Open
plan designs are favored as this type of architecture promotes a
calm, detached feeling. Patterns and textures are generally not used
unless they are essential to an object's function. An unfinished brick
wall could easily be incorporated into minimalist design as the texture
is directly related to its function, but wallpaper with an image of
bricks would be about as anti-minimalist as it is possible to be.
The second objective is the practical.
Multi-purpose objects are important in this regard. The floor that is
also a radiator, windows arranged for the gathering of heat as well as
light, and even the sofa that converts to a bed all follow the
minimalist ideal. This multi-purposing ethos also extends to the use of
spaces within the home. A committed minimalist will not be happy until
every space serves at least two distinct functions.
Thirty years ago this third
objective would have been a subset of the practical. The importance of
energy conservation in the light of recent discoveries regarding climate
change and potential fuel scarcities means that energy efficiency is
now an essential part of minimalist design. In fact it could be argued
that it is impossible for a home to be considered an example of
minimalist design without a serious attempt at energy conservation. At
the very least the house should be insulated and all windows double- or
triple-glazed. A purist would argue that the minimalist needs to go
beyond these standard measures and look at non-fossil fuel options such
as geothermal heating or solar panels.
If a designer meets these three objectives, the design produced would undoubtedly be a minimalist one.
Of course many will slap a
coat of white paint on the walls, rip some carpets up, and put a few
openings in walls and call it a minimalist design, but for a design to
be truly minimalist a bottom-up approach is needed. The functioning of
the home, spiritually, practically, and energy-efficiently, will to a
very large extent dictate its appearance. This is true minimalism and it
comes from below the surface.
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