When we enter Kino, we feel at home. The space feels like a living room, because of the dim lights, comfy sofa's and big houseplants. But we started wondering, would everyone feel at home in Kino, and why is the idea of a cosy living room something that excused a level of exclusivity. Kino feels like a living room, but whose?

There are a lot of big plants in Kino, you see them everywhere you look. For some reason, big plants are linked to the aesthetics of gentrification. Are the plants there to make the space cosier, or are they unconsciously part of exceeding exclusivity?

To study the origins of the 'classy' aesthetic, Honey conducted some research on where these ideas can be traced back to. First, on three google searches for 'classy interior' in three different languages, a pattern could be discerned. Neutral colors, wooden floors and furniture, warm tones, high ceilings, chandeliers, large houseplants, tall shelves, big windows, etc.

To narrow down the more historic uses of this aesthetic, Honey looked at the colonial buildings in her own home country Indonesia, where European style buildings with both European style architecture and interior were erected by colonial authorities to distinguish their buildings as places for people of a higher class (themselves).

Though Kino is located in Europe, its interior still replicates those of historical buildings of the continent that were built for people of higher classes. Places like operas and town halls