[[quoteright:330:[[Film/LogansRun http://static.tvtropes.org/pmwiki/pub/images/LogansRunAsceticAesthetic_640.jpg]]]]
[[caption-width-right:330:[[LightIsNotGood The cleaner the decor]], [[CrapsaccharineWorld the uglier the secret]].]]

->''"It seems that perfection is attained not when there is nothing more to add, but when there is nothing more to remove."''
-->-- '''Antoine de Saint Exupéry'''

[[EnvironmentalSymbolism Locations set the mood]] of a scene just as much as the characters in it, and few locations say so much with so little as those with the '''Ascetic Aesthetic'''. A setting built with an Ascetic Aesthetic is "decorated" in a modern, minimalist and exceedingly clean style. Walls will likely be plain, featureless gray or white, perhaps with a light blue accent. Buildings will have either no curves at all, favouring a blocky and efficient feel, or have oddly sterile "organic" curves. Furniture will likely be plain and industrial, favoring function and comfort over style.

The net feeling these places will evoke is the absence of it. Rooms, buildings, and cities will seem cold and empty even when full of people. Though [[http://en.wikipedia.org/wiki/Minimalism Minimalism]] as a style can have a lot of character and personality, the Ascetic Aesthetic invokes an uneasy emptiness, be it of life (people are alienated), nature (nothing non-human lives there) or oppression ({{Dystopia}} ''loves'' this decorative statement).

The most extreme uses of this trope will be just one moving van away from becoming a WhiteVoidRoom.

One of the main inspirations for this trope was the spotless whiteness of most NASA technology and spacesuits back in the day (which served the practical purpose of making it easier to see if equipment was damaged or contaminated in any way). This was very true in ''Film/TwoThousandOneASpaceOdyssey,'' which in turn helped solidify this aesthetic as "what TheFuture was supposed to look like" for the next decade or so.

This may be justified if it's a hospital, bio-laboratory or high tech factory where everything has to be clean, but usually goes a little farther in making the set dehumanizingly impersonal. Futuristic settings post {{Zeerust}} will usually embrace a form of this trope where {{Everything Is An iPod In The Future}} and there are ShinyLookingSpaceships. Not surprisingly, the polar opposite of this trope is the UsedFuture, where the edges will be dented, the patina scratched, and the once angelic halogen lights will flicker if they still work at all.

Please note that authors don't always cover every inch of their settings with an Ascetic Aesthetic. It can be localized to just one room as easily as a planet. For this reason, stories that feature a place with an Ascetic Aesthetic will often be contrasted at one or more points with at least one homey, hearthy, or all-natural location, where the characters who are closer to Earth dwell. If two factions embrace these opposite aesthetic and philosophical views, expect SlobsVersusSnobs.

Another uses for this design aesthetic is that it doesn't distract viewers as much as homier or "busier" sets like the BazaarOfTheBizarre, turning the focus on characters and any [[RedHerring significant decoration]] or out of place element. Like a flower pot, pet cat, dropped MacGuffin or ''blood covered wall''. Because when something is out of place or has GoneHorriblyWrong in these locations, it's ''very'' easy to tell.

In the shiny end of SlidingScaleOfShinyVersusGritty.

Compare and contrast with DesignStudentsOrgasm. Closely related to WhiteVoidRoom.



[[folder:Anime & Manga]]
* In ''AudioPlay/SaintBeast'', Zeus' shrine and Heaven's Palace are opulent for their sheer size but there's very little filling the space and the dominant colour is white.
* ''Anime/TigerAndBunny'' really strikes home on how empty and lonely Barnaby's life is when his apartment is shown for the first time. The place is a large, modern studio, with hardly any decorations and almost no ''furniture'' save for an ergonomic chair and an elaborate computer/television setup [[spoiler:that he uses to obsessively investigate his parents' murders]]. His superhero partner Kotetsu's bachelor pad, on the other hand, is a sprawling, messy and colorful loft full of bookshelves, [=CD=]s, and photographs of his family. The contrast could hardly be sharper.
* ''Anime/DeathNote'' introduces its AntiHero [[HeroAntagonist Antagonist]] L in a room like this, with nothing but his laptop and four white walls. Of course, it's hard to tell because he's [[LonersAreFreaks sitting alone in near darkness]]. Most likely used to foreshadow the prevalence of IntelligenceEqualsIsolation in the shaping of his character, or, as some theorize, to dip into the series' underlying [[http://mrsjeevas.deviantart.com/journal/Death-Note-All-Humans-Go-to-Mu-Nothingness-234788926 meditations on Zen Buddhism.]]
* Hueco Mundo, part of the afterlife and the world of [[TheHeartless Hollows]], in ''Anime/{{Bleach}}'' is a barren desert with almost no features aside from a petrified tree here and there. The ground is made up of stark white sand and the sky is always pitch black and completely featureless aside from the moon. Aizen's fortress in Hueco Mundo, Las Noches, is a better example architecture-wise. It's the size of a country and, from the outside, mostly just looks like a gargantuan, white box sitting in the desert. The inside is a bit more complex, but the architectural details [[{{Bizarchitecture}} are usually pretty bizarre]].

[[folder: Comic Books]]
* The starship Entreprise-2061 from ''ComicBook/{{Pouvoirpoint}}'' is one big gray floating block, no frills. Interiors are bare and functionnal, when not inspired by Verner Panton's design. And the only robot is tangram-shaped, made of black geometric shapes.

[[folder:Films -- Animation]]
* Duloc in ''WesternAnimation/{{Shrek}}''. In an otherwise medieval setting, this city's buildings are all white, clean and precisely proportioned, decorated only with royal banners, glossy photobooths and puppet shows chirping about how perfect it all is. Makes one wonder if Duloc's builders are a hivemind.
* The monster-holding facility in ''WesternAnimation/MonstersVsAliens'', coupled with UnnecessarilyLargeInterior. And no, that little bitty "Hang in There" poster [[FauxtivationalPoster doesn't perk things up any.]]
* ''WesternAnimation/DespicableMe'' shows Gru as a down-to-earth, but homey-in-a-kind-of-way villain, whereas Vector is shown as being a villain that looks like he purchased all his furniture from Steve Jobs. He also plays a UsefulNotes/NintendoWii, which features the same aesthetic.
* The ''Axiom'' in ''WesternAnimation/WallE'' is completely full of the Aesthetic. No surprise though, as EVE is based on an Apple Mac.

[[folder:Films -- Live-Action]]
%%* Jacques Tati's ''Playtime''.
* In ''Film/Cube2Hypercube'', the death-trap maze of interconnected cube-shaped rooms has a user-friendly look, with sleek white surfaces and touch-to-open panels.
* This was the standard design aesthetic for science fiction until ''Franchise/StarWars'' hit the scene. Chronologically, it is likely the first aversion in film with ''Star Wars: Film/ANewHope'', which debuted in 1977. Two years later, ''Film/{{Alien}}'' averted the trope yet further, as the starships were gritty and grimy, just as you should expect a giant long-haul vehicle that is its own repair garage would be ''in space''. Less "sports car," more "Australian outback 4WD".
** Interestingly, the ''Nostromo'' still shows signs of this trope in its living areas and especially the sickbay, which are all decorated in various shades of white and cream. But the effect is downplayed heavily by the set dressing; pictures from skin-mags cut out and stuck on the walls of people's bunks, tacky knick-knacks like that nodding-bird thing that were probably bought specifically to add a bit of colour, and the general clutter that accumulates when a place is lived in by anyone who's not a NeatFreak.
** ''Franchise/StarWars'' actually uses it to good effect to contrast the clean, dark and minimalist [[TheEmpire Imperial]] [[TheBattlestar Star Destroyers]] with the dirty and homey Millennium Falcon, and the shiny and regal Naboo royal cruiser. Also subverted via AllThereInTheManual in Episode 2 with the Kaminoan homeworld: the Kaminoan buildings look like they have a white minimalistic appearance, but [[AllThereInTheManual the Kaminoans' vision is mostly in a spectrum that humans can't see, so all their artwork and painting is in ultraviolet]].
** Cloud City follows this trope to a 'T' with its interior decoration dominated by the use of white, though underneath the shiny veneer of the public spaces most of the place is actually dark and industrial. Further, the clean and neat appearance of the place neatly foreshadows that [[spoiler: it is not a safe haven for Han, Leia, Chewie, and C-3PO, but has been secretly seized by Darth Vader and The Empire.]]
** Another example is given in the X-Wing series of Expanded Universe novels. When we are introduced to Ysanne Isard, director of Imperial Intelligence (basically running the Empire at this point), we are shown her huge office with nothing in it but a non-descript (though large) desk. The viewpoint character even comments over how luxurious it is to waste that much space on a crowded planet like Coruscant.
** This trope isn't limited to bad guys by any stretch in the Original Trilogy. Princess Leia's starship in ''Film/ANewHope'', the ''Tantine IV'', has mostly white and chrome interiors, befitting a diplomatic starship belonging to the Imperial senator from the very wealthy world of Alderaan, although we see a few darker interior spaces when Leia is trying to hide from the Imperial Stormtroopers. Meanwhile, the Rebel flagship, ''Home One'', is shown in ''Film/TheEmpireStrikesBack'' and ''Film/ReturnOfTheJedi'' to share the clean regal asthetics of the ''Tantine IV''.
* The ''Film/{{Tron}}'' franchise has this as a ZigZaggingTrope. Depending on what part of the franchise is being used and what is being depicted, it can ricochet between this and DesignStudentsOrgasm. The films tend to go for this (particularly ''Film/TronLegacy'') as they're systems under the control of brutal tyrants who have zero tolerance for anything they'd consider out of place (and in the latter, the tyrant's been in charge for the Grid equivalent of a thousand years!), but a DeletedScene in the original film and ''WesternAnimation/TronUprising'' state that isn't always the case, particularly when it comes to the Programs' personal spaces.
* San Angeles gives off this vibe in ''Film/DemolitionMan''.
* The Heart of Gold in ''Film/TheHitchhikersGuideToTheGalaxy'' Film.
* The entire aesthetic of the 2016 dystopian sci-fi romance flick ''Film/{{Equals}}''.
* Miranda in ''Film/{{Serenity}}'', with the colony's sterile neatness contrasted with [[spoiler:the long-deceased bodies of the colonists]]. Also shown with the scenes from the Academy at the beginning of the movie, and on the Alliance ships in the series proper, which were designed to look sterile and colorless with both architecture and uniform.
* Patrick Bateman's apartment in ''Film/AmericanPsycho'' looks stunningly elegant and organized. He's also got dozens of corpses piled up in the back rooms.
* In ''Film/LogansRun'', the dome city is decorated on these lines. In reality, much of it was filmed at the [[http://farm1.static.flickr.com/106/299790376_d5d21b9957.jpg?v=0 Dallas Market Center]]
* In Richard Lester's 1965 youth comedy ''TheKnack'', Tom, who is a bit mad, moves into the townhouse advertising for a tenant (without notifying the landlord first) and immediately empties out all the furniture and paints it completely white - floors, windowpanes and all.
* The Sarang moon base in ''Film/{{Moon}}'' has a white, geometrical atmosphere that emphasizes the loneliness felt by the protagonist. It ''is'' a bit dirtier than the typical example, though.
* ''Film/{{Equilibrium}}'' uses this to show the difference between the clean, calm, boring, and unemotional society and the dirty, downtrodden and emotional heretics.
* Aside from the "Dawn of Man" segment, ''Film/TwoThousandOneASpaceOdyssey'' practically ''defines'' this trope.
* In ''Film/InvasionOfAstroMonster'', aka ''Godzilla vs. Monster Zero'', the underground complex on Planet X is composed primarily of plain white tunnels with curved walls.
* The Arboria Institute in ''Film/BeyondTheBlackRainbow''.
* How the Tet and anything related to it (the Towers, the drones, the firearms) is represented in ''Film/{{Oblivion 2013}}''. Borders EverythingIsAnIPodInTheFuture in some places (like the Towers' communication consoles).
* The [[MegaCorp Transworld]] building's Floor Zero in ''Film/UpsideDown'' comes off like this, at least in the part of the floor where all the cubicles are.
* Genesis House in ''Film/SaveMe'' has shades of this -- a little unusually, since its aesthetic is a sort of Pueblo desert retreat type of thing. But the orderliness, the amount of time spent doing chores, and the insane number of (often apparently pointless, and often ignored) rules about what the men there can and can't do, all point to this trope.
* [=LexCorp=] in ''Film/BatmanVSupermanDawnOfJustice'' seems very informal and open-plan, with stark white walls and most space taken up by a basketball court. At one point, Luthor invites someone to "step into my office"...then sits down at a snack bar and starts talking shop.
* Subverted in ''Film/{{Alien}}''. The ''Nostromo'''s galley, messroom and bunks clearly started out as a CassetteFuturism version of this look when the ship was new, with lots of minimalist furniture and everything being painted white or beige. But after a few years of living and working in there the crew have added a few personal touches like sticking some pin-ups to the wall of their bunk or decorating the table in the centre of the room with a cheap nodding woodpecker desk toy, and magazines, discarded coffee cups and other detritus have started to accumulate. Averted totally in the cargo holds and engineering spaces, which are UsedFuture all the way.

* The [=SubUrbs=] in Creator/JohnRingo's Aldenatta-verse start out this way, but very quickly become UsedFuture.
* Discussed in Tom Wolfe's ''From Bauhaus to Our House'' (see Real Life examples). Wolfe is not fond of it.
* In the first ''Literature/ChroniclesOfThomasCovenant'', the interior of [[EvilTowerOfOminousness Ridjeck Thome]], and specifically [[BigBad Lord Foul's]] private quarters, is like this; everything is elaborately and beautifully worked, but it is completely sterile and colorless, devoid even of Foul's minions (who are housed elsewhere in the fortress). The result gives the chambers, an empty, frigid, lifeless and oppressive air that beats down on anyone who enters, described as a perfection that exists only to express contempt for all things that don't measure up to its standards.

[[folder:Live-Action TV]]
* In ''Series/{{Battlestar Galactica|2003}}'', the colonials and Cylons have very different design aesthetics, with the former being in a run-down warship, with even the newer ships (ala Pegasus) are distinctly utilitarian; the latter in ultra-modern organic/technological starships.
* In ''Series/StarTrekTheNextGeneration'', the Starship Enterprise looks like it was designed by Future Ikea, because it's always clean and sterile.
** This actually works to exalt the small touches that characters add to their personal spaces. Picard has an exotic fish in his office, and Data has Spot the cat.
** One interesting detail though that the set designers added was the curved wooden oval with the tactical station on the bridge. It is probably the only time in ''Franchise/StarTrek'' we see a Federation ship with natural materials featuring prominently in the design. In interviews, they mention it was to add a "homey" touch that also reinforced the "cruise ship in space" feel. Some of the concept sketches for the Next Gen ''Enterprise'' included ''hanging plants'' on the bridge.
*** And indeed, in the show itself, a captain of another (smaller, older) Starfleet vessel refers to the Enterprise as a "Flying Hotel".
** Played with in ''Series/StarTrekDeepSpaceNine''. Depending on the episode, Sisko's office is rather minimalistic, which can be jarring compared to the rest of the Ops set, which is quite busy. This serves to highlight that there's a lot more to running what is essentially a city in space than the episode may indicate. The variation on Sisko's office depends on which character is the focus of the episode. If it's not Sisko, we typically see it from the point of view of the character (i.e. the employee talking to the boss in his office). The only personal effect will be his prized baseball, which sits on a stand on the desk. If it's Sisko, it will be shot from his point of view, which will highlight a collection of models and oddities that will typically be behind the camera (as well as a couch he will be more relaxed while sitting on) and he will typically be playing with the baseball.
* The TARDIS interior from ''Series/DoctorWho'', especially in its [[http://photos1.blogger.com/blogger/830/464/1600/Hartnell%20console.jpg original 1960s incarnation]]. Attempts by some designers to update the look of the TARDIS to make it look consciously futuristic (most infamously [[http://upload.wikimedia.org/wikipedia/en/0/0d/TARDIS_console_1983.jpg in the 1980s]]) look, by today's standard, more dated. From 1996 onwards, the TARDIS set design has moved away from asceticism to embrace [[http://www.bbc.co.uk/doctorwho/classic/gallery/tvmovie/images/1024/dw50.html steampunk]] and [[http://www.bbc.co.uk/doctorwho/medialibrary/s1/images/1024/s1_01_wal_17.jpg?size=1024&promo=/doctorwho/medialibrary/s1/images/main-promo/s1_01_wal_17.jpg&purpose=Computer%20wallpaper&summary=At%20the%20controls%20of%20his%20TARDIS.&info=&tag_file_id=s1_01_wal_17 clapped-out organo-gothic]].
** Also presented in many of the Dalek designs, in particular during the serial which introduced them.
** And the Kindness Centers in "The Girl Who Waited" from the modern series.
* In ''Series/{{OrphanBlack}}, any scene where [[CorruptCorporateExecutive Rachel Duncan]] is in is likely to be in a room like this, particularly in the earlier three seasons, in which the Dyad Institute featured more prominently. This is even reflected in Rachel's style, almost always wearing some form of white, and mostly dressed in minimalistic outfits.
** [[MotherlyScientist Susan Duncan's]] hideout is a variant, where the designs are mostly minimalistic but the walls are a faded brown as opposed to white. As with Rachel, the clothes she and her companion Ira wear reflect this, being pristine white.
** P.T. Westmorland's mansion at Camp Revival averts the trope, being quite old-fashioned in a way that recalls the late nineteenth century and the early Edwardian Era. [[spoiler: This is done entirely on purpose to help sell the ruse that it is actually P.T. Westmorland who lives there, and not a fraud named John]].
* [[MegaCorp Massive Dynamic]] from ''Series/{{Fringe}}'' is in love with this style, combined with SinisterGeometry.
* ''Series/{{Farscape}}'' in the inside of the Scarran ship are unusually white and clean, compared to the outside of the ship which has SpikesOfVillainy.
* Justified in ''Series/{{Flashpoint}}'', in the apartment of a man who's been coping poorly with EideticMemory. Overwhelmed by the sheer mass of past images in his head, he'd simplified his living quarters as much as possible, with white furnishings and minimal necessities in all-white rooms, so seeing them wouldn't add still ''more'' imagery to his accumulated memories.
* In ''Series/{{Helix}}'', parts of ResearchInc Arctic Biosystems are sleek, modernist and spare to the point of creepiness, which makes it a perfect backdrop for an outbreak of TheVirus. Some promos {{Exaggerate|d Trope}} the contrast, showing BadBlackBarf dripping on stark white modernist furniture and walls.
%%* Series/{{Space 1999}}: Moonbase Alpha has this in spades
* This was [[InvokedTrope invoked]] in the Series/{{Community}} episode "App Development and Condiments" as part of "futurization" of the campus. The episode itself was an homage to films such as Film/LogansRun and Film/{{Zardoz}} and presented a "dystopian" society (though being "Community" the society was confined to the college, in the present day and was all just the result of them using an app to rate each other).
* The time travel chamber in ''Series/GuestFromTheFuture'' is a white room with a control stand in the center, and the Time Institute is made of polished metal panels.

* Many of the halls and rooms in ''Webcomic/TowerOfGod'', specifically in Evankell's Hell and other testing areas are big, spacious, blank and white, with little detail. Makes it slightly unnerving, but also easy to draw.

* The video for Music/{{Bjork}}'s ''All Is Full Of Love'' features spotless white rooms and robots.
* ''See'' MinimalisticCoverArt for this trope in record sleeve art. Main culprit: PeterSaville.
* David Byrne's stage design for Music/TalkingHeads' 1983 tour, as seen in ''Film/StopMakingSense''. The instruments and microphones were painted matte-black to get rid of "distracting" elements. Byrne wouldn't even allow cups of water onstage, to the irritation of bassist Tina Weymouth.

[[folder:Tabletop Games]]
* ''TabletopGame/MagicTheGathering'' offers various examples of this. The perfect metallic plane of Phyrexia and, later, in Alara there are the Sphinxes and the neatly polished Etherium.
* In ''TabletopGame/{{Warhammer 40000}}'', the Tau prefer their constructions to be ergonomic and functional, with every component designed to fit perfectly with every other component, such that it forms one common whole. Living spaces do occasionally have frescoes on the walls and floors, with abstract labyrinth-like patterns, though the colors are so subtle as to be almost unnoticeable unless one focuses directly on it, the intention being that it serves as a meditation aid. To Imperials, who have skulls, statuary, exposed wiring and centuries of battle damage on most of their buildings and equipment, the effect is of AlienGeometries.

[[folder:Video Games]]
* Many technological environments in ''VideoGame/{{Xenogears}}'' feature variations of this theme, with it being most common to [[EvilEmpire Solarian]] facilities and equipment.
* The Nano Age buildings in ''VideoGame/EmpireEarth'' are all stylish and predominantly white.
* The Citadel in ''Franchise/MassEffect''.
** [[VideoGame/MassEffect2 ME2]] worked a lot to subvert this trope. The Wards (parts of the Citadel where normal people live) are much more crowded and dirty than the pristine Embassy section. Omega takes it UpToEleven, practically passing for a Film/BladeRunner set, all to make the sequel DarkerAndEdgier.
*** Zig-zagged with the new ''Normandy'': apparently the intent of the brightly lit steel-and-white colour scheme of the [=SR2=] was to invoke a cold [[PlayingWithSyringes sterile, medical atmosphere]] compared to the old ''Normandy''. Unfortunately a lot of players had found the [=SR1=] to be under-lit and eye-straining, and actually preferred Cerberus' choice of décor. Then in VideoGame/MassEffect3 the Normandy 2 is in the middle of a retrofit when Earth comes under attack leaving exposed wires, tools and incomplete sections of the ship exposed to the crew to give the sensation that even with everything that happened in the previous games we just weren't ready.
* The test chambers in ''VideoGame/{{Portal}}'', to some extent. The offices backstage also use this style.
* Most of the public spaces in ''[[VideoGame/MirrorsEdge Mirror's Edge]]'' are this way, albeit with bright colours to offset the white, everything's so ''clinical'' in its cleanliness that it quite effectively drives home how oppressive the regime truly is.
** It's notable that of the colors used, one is absent - green.
* ''VideoGame/{{Fallout}}'':
** ''VideoGame/Fallout4'''s Institute plays this up, with a RaygunGothic-inspired aesthetic dominated by gleaming white and orange plastic, chrome, and glass structures. On the surface, it appears to be a technological utopia, being the only group in all of the Wasteland to have significantly advanced technology since the Great War. However, this belies the fact that the Institute is single-handedly responsible for destabilizing the Commonwealth, regularly kidnaps wastelanders for unethical experiments, and utilizes synthetically-created humans as slaves. Their aesthetic nicely contrasts the DieselPunk aesthetic of the Brotherhood of Steel, the SteamPunk aesthetic of the Railroad, and the CattlePunk/American Revolutionary War aesthetic of the Minutemen.
** Cleaninness of the (operational) Vaults in the classical games is in stark contrast with the grit of the outside world, as noted by a few characters. Their inhabitants are effectively prisoners there, subjects to Overseer's authority who has secret, immoral orders from the government regarding them. After a Vault opens and the populations leaves (few are so lucky), its empty halls become even more reclusive. The background music for Vault 13 contributes to the atmosphere of nothingness and isolation.
* ''VideoGame/{{Oni}}'' did this, in keeping with its {{Animesque}} style. In an inversion of ArtistsAreNotArchitects, the level design done by actual architects was commonly slagged by players as excessively bland.
* ''Franchise/{{Kingdom Hearts}}'' locations The Castle That Never Was as well as Castle Oblivion utilize this aesthetic, as does Naminé's room in the Twilight Town mansion, accordingly. These are all associated with the "empty" / "incomplete" Nobodies.
* In ''Videogame/FinalFantasyXIII'', [[spoiler:the final part of [[TheVeryDefinitelyFinalDungeon Orphan's Cradle]], immediately prior to the FinalBoss, is a stylish, clean white room that looks eerily like a lobby or waiting room.]] Unsettling, especially considering the surreal alternate dimension previously traversed to get to that point.
* The entirety of the world in the indie game [[http://www.againstthewallgame.com/ Against The Wall]], which is "set on the side of an infinite brick wall". [[AbsurdAltitude Don't look down.]]
* The [[LostSuperweapon Yi-Lono-Mordel]] Control Room of the InteractiveFiction game ''Videogame/TheWeapon'' is described as this.
* Around the TurnOfTheMillennium several annual contests known as "Geocomps" ("Geometry Competitions") were held for ''VideoGame/QuakeIIIArena'' masters for who could build the best map with only ten textures. This led to a very extreme form of this trope with structurally complex but extremely sterile and abstractly textured maps. Some of them were [[http://lvlworld.com/levels/trajectory_final/trajectory_finallg.jpg very]] [[http://pnmedia.gamespy.com/planetquake.gamespy.com/fms/images/potd/2814/1146024205_fullres.jpg striking]] [[http://lvlworld.com/levels/cmp1-dm6/cmp1-dm6lg.jpg to]] [[http://lvlworld.com/levels/lae3dm3/lae3dm3lg.jpg behold.]]
* Later, in ''[[VideoGame/DeusExHumanRevolution Deus Ex: Human Revolution]]'', the player comes across a single, all white room. It is unique to the game's setting (where every other room is a mess of papers and litter), and strangely uncanny.
* In ''VideoGame/{{Borderlands 2}}'', most areas controlled by [[MegaCorp Hyperion]] fit this design philosophy. All of the Hyperion areas have a very modern, clean, white/yellow paint job and look neat and orderly, especially the interior of Hyperion buildings and the yet-to-be-occupied city of Opportunity. [[BigBad Handsome Jack]] actually deliberately enforces this, as he has essentially declared the act of littering to be [[DisproportionateRetribution punishable by death]].
* ''VideoGame/{{Antichamber}}'': Walls are plain, featureless white and areas have no curves at all, favouring a blocky and efficient feel, which invokes an uneasy emptiness of life. This helps build the game's dream-like atmosphere.
* The Abstergo Entertainment Headquarters in ''Franchise/AssassinsCreed'' along with the normal Abstergo Headquarters have this aesthetic, even the Animus does, to the point that one of the employees of Abstergo Entertainment complained that the building was ''Kinda Sterile''.
* ''VideoGame/TheTuringTest'': The test chambers follow a minimalist and exceedingly clean style, with a blocky feel and no curves at all, and present plain, monochromatic walls, with no features except for the elements required to solve the puzzles. Justified in that they're composed of pre-fabricated modules, arranged to suit the crew's needs for storage, and [[spoiler:later rearranged to create puzzles destined to prevent TOM's access.]]
* ''DevilMayCry:'' At the end of the first game, you plunge into the Underworld itself. It has much of the tropes you might expect, such as FireAndBrimstoneHell and EvilIsVisceral, complete with a giant beating heart and the implication the whole place is a living organism. You then pass through the final door to confront [[BigBad Mundus]]. You are greeted with a bright, clean, stark hallway, lined with pillars and looking like a copy of some ancient Greek temple, leading up to a stunningly crafted statue that is, in fact, Mundus. The sheer beauty and deliberate, skilled architecture of the area may surprise players after trudging through blood and lava. But it also hints that this place is more eldritch than what came before.
* ''VideoGame/PokemonSunAndMoon:'' The Aether Foundation's specialty. Each of their bases of operation is decorated the same way. Their headquarters, Aether Paradise, is an entire artificial island made of Ascetic Aesthetic.

[[folder:Web Animation]]
* ''WebAnimation/LuckyDayForever'' has the Whites' Society, which is used to contrast against the Proles's dirty, colorful society.

[[folder:Web Comics]]
* ''Webcomic/LastRes0rt'' is pretty clean and sterile to begin with, but Gabriel's ship, the ''White Diamond Crisis'', is especially so even by the comic's standards. It goes for shades of mint/teal and lavender rather than pure white, though.
* In ''Webcomic/CommanderKitty'', [[http://www.commanderkitty.com/2010/10/17/not-for-internal-use/ the interior of Zenith Central evokes this look.]]

[[folder:Web Original]]
* In ''Podcast/WithinTheWires'', TheNarrator of a set of Relaxation Cassettes distributed to a patient at the Institute drops her calm façade to opinionate that the Institute is "white and sterile."

[[folder:Western Animation]]
* In that ''WesternAnimation/{{SpongeBob SquarePants}}'' episode where Squidward goes to the future, he discovers that everything in the future is chrome: literally. A flower pops out of the ground and a truck shows up to spray it with chrome. The overall effect gets creepy after a while.
* Providence from ''WesternAnimation/GeneratorRex'' loves this trope and wishes to marry it. It provides a good visual contrast with their freakish biological enemies, the [=EVOs=].
* Detroit Deluxe in ''{{WesternAnimation/MotorCity}}'' is all white and glass and rounded corners, but the sleek environment belies the {{BigBad}}'s iron grip on the people.
* On ''WesternAnimation/DextersLaboratory'', Mandark's laboratory was this before it was turned into an EvilIsVisceral design.

[[folder:Real Life]]
* Abbeys and monasteries tend to represent the UrExample of this trope
* Hospitals and anything that has to do with biological research, and with good reason.
** Hospital bedrooms and such, anyway. Hallways and such that don't need strict cleanliness can be more decorative, apparently.
*** Children's hospitals tend to be a stark contrast to the normal hospital look. Children's Hospital Seattle has two main buildings, one for surgery and appointments and one for hospital bedrooms. The building for appointments is entirely aquatic-themed (to the point that they have a huge orca whale decorating the middle of the building and fish statues somewhere on most floors) and the building for hospital beds is entirely jungle-themed, with the same attention to detail. It has an overall calming effect, which is useful when your patients are all under the age of 21.
* Many an office or classroom uses this, so much so that employees decorate their cubicles to offset the maddening blandness.
* Most factories are designed like this in the interior, which would keep employees bored enough at the scenery to focus on the manufacturing job.
* The UsefulNotes/{{Wii}} and the Wii Menu, right down to the white-and-cyan scheme.
* The living areas for many a military recruit or cadet, due to TheSpartanWay being adopted to varying degrees. Indeed, "Spartan" is another word used to sometimes describe the minimalist nature of this aesthetic.
** Spartan is vastly different in that the point isn't blank and soulless, it's function over form and comfort. You don't actually need a bed to sleep, a designated corner technically works just as fine; you don't need bay windows, but having holes big enough to see what's going on outside could give you vital information you can use to influence your next action, etc.
* Apple Corporation started using this as its main design aesthetic from the late 1990s and onward.
** It's OlderThanTheyThink. This style was Steve Jobs AuthorAppeal from the very start and was first applied in the [[TheEighties early 80s]],[[note]]Arguably, it could be seen even in the early models of UsefulNotes/{{Apple II}}, their first professional product, but it hadn't yet reached the later levels of obsession.[[/note]] with Jobs' insistence on the clean, uncluttered lines of the Apple's GUI and the adoption of the sleek, geometrical [[http://en.wikipedia.org/wiki/Snow_White_design_language Snow White design language]] first seen in Apple [=IIc=] and then used until the mid-Nineties, though with Jobs being ousted in 1985, new Apple leadership started to scale down these designs, replacing them with jewels like the [[OldShame 20th Anniversary Mac]]. It wasn't until Jobs returned to the company in 1997 that minimalism got restored. Note that Jobs, a lifelong Buddhist, was probably inspired precisely by the Zen approach.
* Japanese Zen practitioners have had this aesthetic mastered for centuries; so much, that it's nearly a cliché to imagine Japanese rooms as mostly geometrically sleek, serene and empty, with possibly a wall scroll or a nude branch of a tree artistically propped up at an angle as the sole decoration.
* Bauhaus architecture; the style's name was coined by one of its most famous proponents, German architect Walter Gropius. Frank Lloyd Wright ''hated'' the aesthetic and accused it of [[TheSoulless lacking a soul]].
** Ironically, both are now regarded as leading figures of the architectural modernism, and Wright actually shared a lot of ground with Gropius.
* German designer Dieter Rams is the TropeCodifier.
* Clean Style/German Style (see a trend here?) of [[PimpedOutCar automobile tuning]]. It focuses on invisible mechanical improvements, lowered suspension, [[http://fc09.deviantart.net/fs70/f/2010/107/2/6/Vw_Polo_German_Style_by_aletuning46.jpg large rims and tyres]] and [[http://cs405429.vk.me/v405429067/529a/acfZfCfKjck.jpg very Spartan]] bodywork [[http://img50.imageshack.us/img50/9610/p10100655pn8jj.jpg exterior,]] inasmuch as even ''factory brand badges'' are sometimes removed.
* The UsefulNotes/WashingtonMetro. Rather than the usual American subways with square stations with low ceilings and tiled walls that veritably scream "1920", or the UsefulNotes/MoscowMetro model of opulent, palatial stations, the Metro goes for vast circular or elliptical stations with high ceilings in concrete with rounded-rectangle coffering, brick-red hexagonal tile floors, clean white-on-black signage (in Helvetica no less) and prolific use of rounded corners (many of which make the structures look like they could've come from [[Series/StarTrekTheNextGeneration Picard's]] ''[[Series/StarTrekTheNextGeneration Enterprise]]'' despite being designed at least ten years ''before'' that ever aired) and escalators. Oh, and it's remarkably efficient, the information displays--themselves simple, square, and unornamented--always tell you ''exactly'' how long you have to wait for your train, and it is seriously, seriously clean.[[note]]Seriously. At one point they arrested a twelve-year-old for eating ''one'' UsefulNotes/McDonalds french fry; this caused such an uproar--including a [[TextbookHumor dry mention]] in a [[UsefulNotes/AmericanCourts Supreme Court opinion]]--they've changed the penalty, but not the rule.[[/note]] Provided that the system is operating (which, since about 2015, has been an issue due to chronic negligence with maintaining the rails), it's one of the most if not the most pleasant subway ride in the Americas.[[note]]Buenos Aires and Santiago have some nice features and cool stations, and Mexico City's logos for each station (designed because until relatively recently, a majority of Mexicans were either illiterate or only semi-literate) are pretty cool, but in purely aesthetic terms, Washington is prettier--at least, for the many lovers of Mid-Century Modern.[[/note]] I mean, [[http://farm7.staticflickr.com/6145/5988918561_08bef0a64f_z.jpg get]] [[http://upload.wikimedia.org/wikipedia/commons/e/ec/USA-Metro_Farragut_West0.jpg a load]] [[http://inphotograph.com/wp-content/uploads/DC-Metro-Train-Photos-30-2.jpg of]] [[http://upload.wikimedia.org/wikipedia/commons/4/42/WMATA_Metro_Center_crossvault_2009.jpg all]] [[http://upload.wikimedia.org/wikipedia/commons/2/2e/Washington_DC_metro_station_bethesda.jpg this!]]
* Swedish home furnishings company IKEA is famous for its "Scandinavian design." What this means, as a practical matter, is products with clean lines and little if any kind of ornament and distinctly un-flashy color schemes (white, gray, black, and shades of brown are most common, along with plain metal for metallic items and plain wood for wooden items). There are exceptions (like their bizarrely-colored "Gubbröra" rubber spatulas--seriously guys, dark blue and lime-green? Hot pink and purple?), but for the most part if you're getting IKEA, you're getting this aesthetic.
* The passenger compartment of [[https://s-media-cache-ak0.pinimg.com/originals/ea/e0/e5/eae0e57e7aba4e60fca5080073435219.jpg most airliners]] from the 1990's onwards tend toward softly curved white with lines of lights. However, the relatively dark carpet and in some cases, the seats, diverge from this.
* Skydiving aircraft are devoid of any upholstery and passenger gear sans the mandatory crash belts, and usually have their doors replaced with roll-up screens. [[JustifiedTrope Justified]], since each extra kilo to the sky is dead weight and fuel consumed.
* The International architectural style and its offshoots, Bauhaus and mid-century modern, codified a lot of this look, and its prevalence in modern buildings in the early-mid 20th century probably helped make it synonymous with "the future" in a lot of period sci-fi. It tended to go a bit easier on the sterile white, though, especially in the furniture that was influenced by it.