AESTHETICS AND FUNCTIONALITY
In the formative years of human civilisation, prior to the conceptualisation of furniture, various objects found in nature were utilised to satisfy basic needs and enhance convenience. Examples include the utilisation of a fallen tree trunk or a rock as a seat, a flat stone as a rudimentary table for daily activities, and natural materials such as grass or animal fur for resting. As human ingenuity advanced, individuals began to craft more sophisticated creations, gradually superseding the use of natural formations. This evolutionary process culminated in the conception of modern-day furniture.
As society progresses, there has been a steady progression in design innovation thinking, coinciding with the rapid advancements in science and technology. However, there are also gradual shifts in trends observable. The field of interior design is undergoing a reversion to naturalism. This is evidenced by the mounting environmental consciousness amongst the populace, which has resulted in an aspiration to inhabit natural, green, and salubrious environments.
Design has become overly focused on aesthetics thus necessitating an expansion of the concept of good design to encompass the sustainable and functional aspects of products. The proliferation of distinct living spaces, characterised by varied designs, has resulted in a diverse range of house types, consequently necessitating the consideration of factors such as location, sun exposure, and floor height by designers. The furniture must possess adequate functional partitions to satisfy the requirements of daily life and enhance the spatial efficiency of the dwelling.
Undeniably a comparison of the relationship between functionality and aesthetics in design creativity reveals a stronger correlation with the latter, particularly in the context of classical products characterised by relatively stable functionality, such as chairs. This suggests that designs characterised by superior aesthetic qualities are perceived as more creative. This phenomenon is further substantiated by the interplay between functionality, aesthetics, and the fundamental components of creativity. Aesthetics is more likely to have a significant relation with novelty and surprise, while functionality and usefulness are perceived as the same factor. This suggests that, for a classical product (e.g. chairs), improving its aesthetic rather than functional attributes could lead to an increase in creativity.
