The first step was to reorganise the space. The bar was moved to centre stage, where it divides the elongated room into three clearly differentiated zones that can now be used individually. Each of these zones can be further subdivided by means of string curtains. The main area can therefore be rescaled and redesigned at will according to the type and size of event, without ever losing its intimate feel. The rear walls of the niches and the front side of the bar are covered with shell limestone flagging, creating a homogenous surface when viewed from the front. The shell limestone is subtly illuminated by halogen lighting. This brings its porous structure and depth into effect, while generating a warm, golden quality of light and setting off the bar stock to great advantage. The effect is enhanced by 2500 individually suspended plastic batons that capture and play with the light in a beguiling manner. The individual areas are connected by means of a continuous mauve-coloured floor, which provides a striking contrast to the industrial architecture of the listed space.

An identity-shaping key visual has been added in the form of a suspended decorated ceiling of printed tiles. This serves to collate the space once more and forms a superimposed layer on the existing architecture. The tiles themselves evoke the atmosphere of the kitchen and the character of the former brewery. Their white colour reflects light, serving as an additional indirect light source. A gigantic surrealist collage designed by Stuttgart artist Monica Trenkler was printed on the tiles in a 4C process at a specialist printers. The whole effect directs the visitor’s attention towards the ceiling. The fragmented design conceals elements of the curious, esoteric and erotic, thereby supplying the guests with food for the eyes as well as something to talk about. The ceiling collage becomes a source of identity for the newly refurbished Mash, and can also be found in its redesigned corporate design and the club’s print publications.