Austerity is often mistaken for integrity. Creative institutions often adopt a language of reduction to assert seriousness. Polished concrete, open spaces, and bare materials become signals of focus and discipline, suggesting that creative labor thrives best under constraint. The absence of softness is presented as a virtue. The space does not comfort. It corrects. This world critiques how minimalism becomes institutional aesthetic. What begins as cost-saving becomes an ethos. The unfinished becomes intentional. The brutal becomes refined. Hardness is reframed as rigor. Discomfort is cast as clarity. Architecture begins to model the pressures within it. The environment teaches restraint. Students learn not only through practice, but through posture. The light is cold. The floors are unforgiving. The furniture is stable, stackable, heavy. The desk lamp is precise, fixed in direction. Everything suggests utility, nothing implies support. But there is no neutrality in these choices. What appears clean is embedded with ideology. The system praises adaptation while stripping back care. It produces artists while rehearsing scarcity. Precarity is rebranded as a rite of passage. Struggle is aestheticized, then internalized. This is a world where the absence of excess becomes the proof of seriousness. Where the less one asks for, the more one is said to deserve. Where beauty is found not in abundance, but in the refusal of it. To create under pressure is not the same as being supported to create. - Based on Mark Fisher Capitalist Realism