History Main / AsceticAesthetic

* 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.

* ''VideoGame/MyHouse'' has the Brutalist House, a blocky concrete rendition of the titular house with no furniture or decor to speak of, surrounded by walls of similarly ascetic apartments.

* Duloc in ''WesternAnimation/Shrek1''. 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 ''Axiom'' in ''WesternAnimation/WallE'' is completely full of the Aesthetic. No surprise, as EVE is based on an Apple Mac.

* 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.

* ''WesternAnimation/DespicableMe1'' 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 UsefulNotes/{{Wii}} and the Wii Menu, right down to the white-and-cyan scheme.

** 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.

* ''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.

* This is {{invoked|Trope}} in the ''Series/{{Community}}'' episode "[[Recap/CommunityS5E08AppDevelopmentAndCondiments App Development and Condiments]]" as part of "futurization" of the campus. The episode itself is 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 is all just the result of them using an app to rate each other).

* 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]] [[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.

* In ''Podcast/WithinTheWires'', The SecondPersonNarration 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".

* 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!]]

* ''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]].

* 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.

* 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/DespicableMe1'' 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.

%%* Jacques Tati's ''Playtime''.

* ''Franchise/StarWars'' contrasts this trope with a UsedFuture aesthetic.
** TheEmpire uses a clean, dark and minimalist aesthetic, which is why the stormtroopers are stark white in spite of the general aesthetic that DarkIsEvil.
** Cloud City has 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.]]
** 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.
** 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 entire aesthetic of the 2016 dystopian sci-fi romance flick ''Film/{{Equals}}''.

* 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 ''Film/{{The Knack|1965}}'', 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).

* 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.
* ''Film/{{Anon}}'': The movie's urban environments have a very grey, sterile feeling to them, with everything depicted right down to the smallest object as being in near-perfect order and synchronicity. Of course, this is to subtly make the film's dystopian, no-privacy-allowed society even creepier.

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* Creator/IsaacAsimov's "{{Literature/Escape}}": The prototype hyperspace ship has excessively minimalistic design. The only permanent feature is a meter that displays current distance from Earth. Everything else, such as bathrooms and cabinets, are recessed and only opened by the computer in charge.

* 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.
* Creator/NKJemisin's ''Literature/InheritanceTrilogy'': One rare sign that Prince Relad -- who spends most of his time in a hedonistic stupor, expecting to die as soon as his sister claims the throne -- has HiddenDepths is his private quarters, which are austere and functional, with a [[TheBigBoard strategic world map]] inlaid in the floor.
* Creator/JohnRingo's Aldenatta-verse: The [=SubUrbs=] start out this way, but very quickly become UsedFuture.
* In ''Literature/TheLongDarkTeatimeOfTheSoul'' by Creator/DouglasAdams, the eccentric psychologist Mr Standish works in an unadorned white office, with a bare black desk, a bare glass coffee table, and an empty black picture frame. He is so dedicated to this that he keeps his phone in a drawer when he's not using it. Kate asks him why he doesn't have any ornaments, and he says of ''course'' he has ornaments, they're an essential part of a healthy psyche. He then takes one out of another drawer, looks at it for a moment, and then puts it back.

* 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.
* 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 [[http://photos1.blogger.com/blogger/830/464/1600/Hartnell%20console.jpg original 1960s incarnation]] of the TARDIS interior. Attempts by some designers to update the look of the TARDIS to make it look consciously futuristic look, by today's standard, more dated. A prominent case is the redesigned console used from [[Recap/DoctorWho20thASTheFiveDoctors "The Five Doctors"]] to [[Recap/DoctorWhoS26E1Battlefield "Battlefield"]], which featured a more '80s-oriented design, including working BBC Micro computers, that resulted in the prop readily dating itself after the Classic Series' cancellation in 1989. 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]].

** [[Recap/DoctorWhoS32E10TheGirlWhoWaited "The Girl Who Waited"]] has the Kindness Centre that Amy winds up trapped in. Most of it, except for the garden section, is a sterile white.

* ''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.

* The TV adaptation of ''Literature/GoodOmens'' uses this trope in its depiction of Heaven - clean, spacious, lots of light - and manages to make Heaven look like the headquarters of an oppressive impersonal multinational or the nerve centre of a totalitarian dictatorship, purely by [[ExaggeratedTrope exaggerating]] absolutely everything about this aesthetic. Clinically clean and with too much brilliant harsh white light.
* 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.

* 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]].

%%* Series/{{Space 1999}}: Moonbase Alpha has this in spades
* 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".

** On ''Series/StarTrekEnterprise'' the interior of the ship is designed not to look like a space ship but rather a submarine, feeling dark and more cramped that ships of later timelines. When the crew visits a creepy AI space station, it contrasts with their ship in that it is bright, white, clean and minimalist.
* Like Good Omens above, ''Series/{{Supernatural}}'' depicts Heaven as uncannily clean, white, and filled with ethereal light. This only enhances how the angels value obedience rather than actual goodness and in fact are very detached from humanity.
* ''Series/TheHitchHikersGuideToTheGalaxy1981'' uses this trope: of the various spacecraft encountered, the ''Heart of Gold'' manages to combine the clean white aesthetic with a sense of everything being cheap, tacky, plasticky and somewhat scuffed at the edges.
* ''Series/{{Andor}}'' prominently features minimalist white interior design in the Imperial Security Bureau on Coruscant and the Imperial Prison Complex on Narkina 5.

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

* Austra's "[[https://youtu.be/7rzmhbiKUo0 Utopia]]" video depicts the titular utopia (or perhaps dystopia) with stark, sterile, Spartan architecture and decor bordering on {{White Void Room}}s.
* 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.

[[folder: Radio]]
* One episode of Creator/TheBBC Radio comedy anthology ''Alexei Sayle's The Absence of Normal'' is about the wife of an architect who is absolutely obsessed with this trope. She has a secret flat filled with nicknacks and comfortable chairs, which she sneaks off to as if she were having an affair -- and when he learns about it, he's probably more upset than if she ''had'' been.

* 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.

* Many technological environments in ''VideoGame/{{Xenogears}}'' feature variations of this theme, with it being most common to [[EvilEmpire Solarian]] facilities and equipment.

* ''Franchise/MassEffect''.
** The Citadel was presented this way at first. [[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 practically passes 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/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/KingdomHearts'' 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.

* 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.]]

* 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/Borderlands2'', 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.]]
* ''VideoGame/DevilMayCry1'': At the end of the game, you plunge into the Underworld, and it has much of the expected tropes such as FireAndBrimstoneHell and EvilIsVisceral, complete with a giant beating heart and the implication of the whole place being a living organism. You then pass through the final door to confront [[BigBad Mundus]], and you are greeted with a bright, clean, stark hallway, lined with pillars and generally looking like a copy of some ancient Greek temple, leading up to a stunningly crafted statue that is in fact, Mundus himself. 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. In spite of this, they're ultimately good people, even if their leader did go a little far.
* ''VideoGame/Persona5 [[UpdatedRerelease Royal]]'': Up to defeating [[spoiler:Yaldabaoth]], most of the Palaces aren't subtle in displaying how despicable or malicious its ruler is, with the [[spoiler:headquarters of said Yaldabaoth]] being a literal apocalyptic wasteland overlaid into Shibuya filled with carcasses and skeletons of massive creatures. However, once you reach the Third Scenario, the ''true'' final Palace happens to be a replica of the Kabbalistic Tree of Life, its interior being a bright and warmly lit mental health clinic filled with cognitive patients seeking eternal happiness, leading to an enclosed research ward with barely anything but creepy-looking Shadows, and finally leading to a warmly lit conservatory/paradise resembling the GardenOfEden. The problem is that said cognitive patients are brainwashed into shells of their former selves that feel nothing but happiness, enjoying the rest of their lives swirling around the center Tree of Knowledge with creepy smiles plastered on their face. [[spoiler:Unlike most previous targets however,]] the ruler is ultimately [[spoiler:a kind, altruistic and ambitious man having been ascended to being the new God of Control, just heavily misguided in his ideals.]]
* In ''VideoGame/{{Miitopia}}'', the Sterile Plant, unsurprisingly, carries this spotless white look. The heroes don't seem to be bothered by it though, treating it as just another dungeon with an end boss, just with a different theme than normal.

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

* In ''Webcomic/CommanderKitty'', [[http://www.commanderkitty.com/2010/10/17/not-for-internal-use/ the interior of Zenith Central evokes this look.]]
* [[ReligionOfEvil TITAN's Army]] in ''Webcomic/AvasDemon'' seems to have this overall, with their main color scheme [[BrightIsNotGood employing various shades of blue and white]].

* In ''Podcast/WithinTheWires'', The SecondPersonNarration 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."

* 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.
* In the 2018 reboot of ''WesternAnimation/SheRaAndThePrincessesOfPower'', Horde Prime's ship is defined by this aesthetic, with clean, sleek lines and stainless steel.
* Parodied and discussed in the intro to ''WesternAnimation/VeggieTales'' episode [[Recap/VeggieTalesEpisode18TheWonderfulWorldOfAutotainment "The Wonderful World of Auto-Tainment"]], in which the usual intro ThemeTune is replaced by Larry leading Bob into a WhiteVoidRoom.
--> '''Bob:''' W-w-w-where are we?
--> '''Larry:''' ''<{{Beat}}>'' The... ''future!''
--> '''Bob:''' Wow, the future sure is... ''white.''
--> '''Larry:''' Yep, the future's been white since [[TheSeventies the 70s]].
--> '''Bob:''' Wow, I didn't know that.

** 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,

* 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; black was was probably more common, as was bare metal, and whenever natural materials like wood or leather were called for, they generally kept their natural colors (with a bit of varnish or preservative stain).

* 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.

** 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.]]

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.

* 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.