Industrial revolution had its operational effects between the periods of 18th to the 19th century during which developments were seen in many mainstream sectors. The period had an impending effect on the manner in which humans expressed themselves due to effects from technological changes and emancipation. Ordinarily, product design fundamentals aim at representing the evolution human mind and its developmental aspects. The effects of industrial revolution on the western society had far-reaching effects its vast population dynamics.

This had profound effects especially on the middle economic class of people. There was an observable effect on the consumer patterns of the then reliable products. Middle class people generally triumphed as industrialists and business moguls joining the affluent society in the process (Fuller, 2001). This was attributed to the resultant effect on the choice of products due to changing tastes as the neo-classical period set in. There was a noticeable change in terms of elemental design aspects hence every designer then sought to simulate the consumer change in consumption patterns in order to sustain sales. The setting in of the element of progression to affluence symbolised by the change in production systems was also fundamental.

This era symbolised the transformation of the design through production of streamlined designs, which was especially evident in the mechanization of the home environment and intoduction of the ideology of interior design elements. For instance, in the kitchen environment this led to the production of new forms of steel ware, which became critical in regard to cooking elements. There was the introduction of new forms of baking implements, for instance, the infamous cake beater that was common in the 18th-19th century transition (Fuller, 2001). There was also the production of the sensational chandelier, which became a symbol of affluence, style, and modernity in these medieval times. It became a common scene in the then middle class society. Fashion also became progressively dissimilar as new stylists reinvented new cloth designs for the middle class society who increasingly became associated with the then industrial revolution emancipations.

The subsequent invention of the Eli Whitney’s cotton gin transformed the traditional ginnery concept leading to the setup of commercial entities (Fuller, 2001).Aims Bauhaus Ideology in early 20th century The Bauhaus was epitomised as the official Nazi suppression formula in which art was used as a form of expressing fundamentals of oppression in the human society. This subsequently led to the emancipation of the Bauhaus as the epitome of modernity in those times (Volkman, 2006). After its initial closure, there was an increasing interest in the development of new forms of art and design leading to the evolution of traditional design fundamentals critical inn the early 20th century (Volkmann, 2006).

This therefore signified the transformation of the initial Bauhaus idea into a current and modern concept as artists sought to make it into a usable format. Breuer Wassily’s chair represented the transformation of the cabinet making furniture concept. This chair was essentially brought into picture in the Bauhaus faculty in those times. It was essentially a foldable chair with unique design measurements and fixtures in comparison to the contemporary versions (Balkeret, 2001). The chair used folded and seamless tubing material encased in canvas like material.The Barcelona chair was another revolutionary element in this elemental design era.

It was designed by Mies Van Rohe and Lilly Reich who did this for the German pavilion reception during the exposition event held at Barcelona (Balkeret, 2001). The aim was to promote Germany’s progression and emancipation of modernity in its society. The fact that it came to be known as the Barcelona chair is an ironic twist as it came to be associated with the event. The original design of Isamu Noguchi’s coffee table was essentially a glass top design resting on a couple of interlaced rosewood supports. This was initially destined for MoMA president’s residence in the early 1930s period (Balkeret, 2001). The design emulated sculptural designs in its essence and gave a 3-dimensional aspect from all its views.