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    Cake Architecture draws on Bauhaus principles for Hoxton bar

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    Cake Architecture has renovated A Bar with Shapes for a Name, an east London cocktail bar featuring “utilitarian” interiors.

    A Bar with Shapes for a Name owes its title to the yellow triangle, red square and blue circle that are emblazoned on its facade in a nod to the primary colours and understated geometry commonly associated with the Bauhaus.
    Tall tubular chairs feature on the ground floorWhen creating the bar’s minimalist interiors, Dalston-based Cake Architecture took cues from the influential German art and design school that was established in 1919 and advocated for an emphasis on functionality, among other similar principles.
    Located at 232 Kingsland Road in Hoxton, the cocktail bar was renovated by the studio to serve as a multipurpose venue.
    Cake Architecture created a smooth ground-floor bar from reddish plywoodCake Architecture doubled the bar’s capacity by adding a basement, which acts as a “kitchen-bar” room, and refurbished the ground floor’s existing seating area as well as a classroom-style space that offers a location for rotating events or workshops.

    “These spaces have specific functional requirements and we selected colours and materials to suit,” studio director Hugh Scott Moncrieff told Dezeen.
    It was positioned opposite a rectilinear light installationUpon entering the bar, visitors are greeted by the main seating area or “showroom”, which was designed to be warm and inviting.
    Tall tubular chairs finished with neutral rattan were positioned around chunky geometric tables made from birch ply stained to a rich, reddish-brown hue.
    The renovation included the addition of a new basementThe team also used the same timber to create the space’s curving bar, which is illuminated by a squat, cordless table lamp by lighting brand Flos.
    Opposite the bar, a glowing rectilinear light installation by photographer Steve Braiden was fitted to the wall underneath bench-style seating reminiscent of early Bauhaus furniture designs.
    A steel, glass-topped table sets an industrial tone”We looked in particular at projects by the Bauhaus founder Walter Gropius,” reflected Scott Moncrieff.
    “Gropius is a master of this elegant zoning through the application of colour and form,” he added.
    The “classroom” includes steel-framed tablesDownstairs, the low-lit basement was created to house additional seating as well as “all of the crazy machinery they use to prepare the drinks,” the designer said.
    The basement is characterised by a bespoke central table by Cake Architecture and furniture designer Eddie Olin.
    Red, yellow and blue accents define a sculptural lampConsisting of a steel frame that “floats” over a central leg, the table was topped with a glass surface and its base was clad in phenolic-coated plywood to match the floor and walls.
    “This new basement is predominantly a production space – so the palette reflects this with hardwearing, utilitarian and industrial materials,” said Scott Moncrieff.

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    A thick, felt curtain in ultramarine adds a pop of colour to the otherwise pared-back space.
    With its pale blue walls and Valchromat-topped, steel-framed tables, the ground-floor “classroom” pays homage to the Bauhaus as an educational institution.
    A tall blackboard provides space to learn in the classroomBrighter blue vinyl covers the floors while a sculptural lamp featuring red, yellow and blue circles echoes the bar’s logo.
    A tall blackboard and overhead strip lighting add to the classroom feel of the space, which is used for various group events.
    Thin vertical lights frame the bathroom sinkCake Architecture worked closely with the bar’s founders Remy Savage and Paul Lougrat when creating the interiors, which were primarily informed by the duo’s way of working.
    “The team has a conceptually driven ethos drawn from the theory and practice of Bauhaus embedded in everything they are doing. We found that incredibly exciting,” explained Scott Moncrieff.
    A Bar with Shapes for a Name is located on London’s Kingsland Road”The Bauhaus phrase ‘party, work, play’ was pertinent to some early ideas and this carried through all our design discussions,” noted the designer.
    “The space enables these three things. Separately as individual functions and simultaneously as a representation of the overall atmosphere of a bar!”
    Cake Architecture previously worked with interior designer Max Radford to create a curtain-wrapped speakeasy in London’s Soho. The studio also designed a workspace for London agency Ask Us For Ideas in the same part of the city.
    The photography is by Felix Speller. 

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      Ten interiors that draw on the principles of the Bauhaus

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      A hotel that pays tribute to early German modernism and an apartment within a ski resort designed by architect Marcel Breuer are among the projects collected in our latest lookbook, which explores interiors informed by the Bauhaus.

      The most influential art and design school in history, the Bauhaus’ was established in Germany in 1919 and although it closed just over a decade later continues to influence interior designers today.
      Work produced by students and teachers during the school’s 14-year history, centred on founder Walter Gropius’ ethos that art and craft should marry to create a new architecture.
      The below projects feature distinctly Bauhaus elements including chrome tubular chairs, geometric shapes, primary colours and abstract textiles.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring living rooms that use warm neutrals to create a cosy ambience, bedrooms with wardrobes that are disguised as walls and contemporary living rooms in Georgian and Victorian homes.

      Photo is by Arthur FechozCassiopeia Apartment, France, by Volta
      Tasked with reviving the “Bauhaus spirit” of this apartment set within a Breuer-designed ski resort, architecture studio Volta added soft furnishings in mustard yellows and royal blues, referencing the colour palette of movement.
      Armchairs with steel frames that resemble Breuer’s Wassily Chair have also been used to decorate the living room.
      “The Bauhaus movement was predominant in the design of the project,” said the studio. “It has influenced its history, its choice of materials and its furniture. The challenge was to revive its influences in a contemporary context.”
      Find out more about Cassiopeia apartment ›
      Photo is by Nicole FranzenDe Maria, US, by The MP Shift
      Design studio The MP Shift wanted De Maria, a contemporary American restaurant in Manhattan’s Nolita neighbourhood to look like an artist’s studio, complete with white brickwork and pink-tinted plaster.
      The studio paid tribute to Bauhaus and 1970s Soho style by adding sofas upholstered in tan-coloured leather, orb-shaped pendant lamps and simple pieces of art with triangular shapes.
      Find out more about De Maria ›
      Photo courtesy of Agnieszka Owsiany StudioNadzieja, Poland, by Agnieszka Owsiany Studio
      Design influences from the Bauhaus collide with Israeli flavours at Nadzieja, a restaurant in Poznań, Poland designed by local studio Agnieszka Owsiany Studio.
      Filled with brown-leather chairs with tubular steel frames, high granite ivory counters and spherical pendant lights, the eatery has a bright and warm interior that draws parallels with the large number of Bauhaus buildings found in Tel Aviv.
      Find out more about Nadzieja ›
      Photo is by Edmund DabneySchwan Locke Hotel, Germany, by Fettle
      Influenced by the work of proto-Bauhaus association Deutsche Werkbund, design studio Fettle wanted the interiors of aparthotel Locke to be at once nostalgic and distinctly contemporary.
      Its 151 apartment rooms feature a combination of light timber, raw plaster, chrome, steel and mohair materials set against a colourful yet muted pink and green backdrop.
      Find out more about Schwan Locke hotel ›
      Photo courtesy of KasthallQuilt by Ellinor Eliasson
      In this living room, Swedish designer Ellinor Eliasson’s tufted rug acts as a centrepiece and gives the space a warm and richly textured look.
      The graphic, modernist rug recalls the work of renowned Bauhaus weaving workshop teacher Anni Albers, who is best known for her textiles and recognisable lines, colours and forms.
      Find out more about Quilt ›
      Photo is by Andrew Joseph WoomerSoho House Nashville, US, by Soho House
      At the Soho House in Nashville, guests can enjoy a taste of the city’s musical heritage while uncovering the building’s industrial past as a knitting mill.
      Designed to feel warm and rich, much like the rock and roll, jazz and blues music that Nashville is known for, the accommodation features bespoke lamps, brassy industrial finishes and plenty of tubular decor to create an industrial interior that still feels modern.
      Find out more about Soho House Nashville ›
      Photo is by Stephen Kent Johnson53 West Apartment, US, by André Fu and AFSO
      Architect André Fu and his Hong Kong studio AFSO referenced the geometric designs of the Bauhaus school for 53 West Apartment, a model unit set within architect Jean Nouvel’s New York tower block.
      The two-bedroom apartment is peppered with sculptural pieces of furniture such as a room divider comprised of dark wood and rods, which compliments the existing walnut doors and oak floors and cabinets.
      Find out more about 53 West Apartment ›
      Photo is by Fran ParenteRP House, Brazil, by Estúdio BG
      Inside this stripped-back two-storey residence called RP House, black steelwork, bare walls and simple white volumes stacked on top of each other come together to create a sparse yet light-filled Brazilian home.
      São Paulo studio Estúdio BG said that the design referenced the principles of repeatability and standardisation advocated by designers of the Bauhaus.
      “This 1920s movement was characterised by the replication of design in an industrial format,” the studio said. “The simple geometric volume, the elimination of decorative elements and the use of the roof as terraces reinforce the principles adopted in the project.”
      Find out more about RP House ›
      Photo is by Krista JahnkePalm Springs Dome House, US, by Pavlina Williams
      Los Angeles-based architect Pavlina Williams added multiple windows and knocked down several walls in her renovation of this Californian house, transforming it from a gloomy residence into a desert sun trap.
      In the open-plan living area, a caramel leather Wassily Chair by the Hungarian architect and designer Breuer sits alongside a spiral stainless-steel staircase that leads up to a loft.
      Find out more about Palm Springs Dome House ›
      Photo is by Derek HudsonKaDeWe, Germany, by India Mahdavi
      French architect India Mahdavi borrowed from the Bauhaus’ preoccupation with strong graphic lines and shapes in her renovation of department store KaDeWe by adding sweeping black, white and grey stripes of Santa Margherita to the floor of the womenswear section.
      Elsewhere in the 2,000-square-metre shopping space, pink carpeting is set off against triple-tiered, brass clothes rails and olive green and dusty pink velvet curtains.
      Find out more about KaDeWe ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring bathrooms where the sink takes centre stage, homes with arched openings that add architectural interest and bookshops designed to enhance the browsing experience.

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      Pyton Place exhibition shows how the Bauhaus influenced Norwegian design

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      Oslo-based collective Pyton showcased more than 50 examples of Norwegian art, design and craft at the Pyton Place exhibition during London Craft Week.

      Pyton Place set out to tell the story of how modernism impacted traditional craft practices created in Norway, and the objects that were produced as a result.
      The exhibition was organised like a homePresented in Cromwell Place from 11-15 May, the exhibition paired the distinctive pine furniture of mid-century Norwegian designer Edvin Helseth with objects and artworks by the likes of Sigve Knutson and Tron Meyer.
      According to Richard Øiestad and Are Blytt, the two Pyton members behind Pyton Place, the aim was to show that the modernist movement was not just a generic style, but also resulted in a range of diverse, highly crafted works.
      A “faux-Norwegian-cabin-style” wall system divides the space into zones”For us, this show is about artists and object makers working primarily with unique pieces,” they told Dezeen.

      “It is the relationship between their chosen materials and their intellectual concepts, and the connections all these have to the world around us.”
      Sculptural stools by Sigve Knutson, Julia K Persson and Sverre Gullesen were featuredThe exhibition references its setting – a Georgian apartment – by organising the objects in relation to the rooms they occupy. There are five zones: sleep, eat, lounge, work and arrive.
      This arrangement references the manifesto of Hannes Meyer, the second director of the Bauhaus school, which set out 12 motivations for how living spaces should be organised.
      Pine furniture by mid-century designer Edvin Helseth features throughoutThe Bauhaus played an important role in Norway’s adoption of modernism, Øiestad and Blytt explained.
      In the early 20th century, when the country had a strong social-democratic political stance, young Norwegian designers were attracted to the innovative spirit of the Bauhaus.

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      Many of those that left to study returned to become professors for a post-war generation of students. Among those students was Helseth, who combined his modernist learnings with carpentry skills taught by his family.
      “Helseth is a designer that all the members of Pyton have been fascinated with for a long time,” said Øiestad and Blytt, “due to his very modern and unique way of making modernist furniture in pinewood.”
      Artworks include a tapestry by textile artist Elisabeth Haarr”His furniture designs have a brutalist appearance, continued Øiestad and Blytt. “At the same time, they have a hint of refined Japanese wood craftsmanship; assembled with no glue or screws, they are held together with only wooden plugs or joints.”
      Helseth’s designs were featured throughout Pyton Place. They included a folding dining table, a modular shelving system, an elaborate desk and a simple tea trolley.
      Lina Viste Grønli’s All The Pens flanks a desk by Edvin HelsethTo complement these works, Øiestad and Blytt designed a “faux-Norwegian-cabin-style” wall system that helps to clearly divide the five different zones.
      They then added a range of sculptural and functional objects and artworks, both historic and contemporary, revealing the scope of creativity that Norway has produced over the past 100 years.
      Works by Henrik Ødegaard and Nebil Zaman dominate the entrance zoneHistoric pieces included a range of pewter objects by Gunnar Havstad, including a bottle described as “perfect in its shape and proportions”, and a tapestry by textile artist Elisabeth Haarr.
      “Elisabeth Haarr’s tapestry from 1973 is something that really bonds with us intellectually; a sharp work of art in itself, but at the same time a historical timepiece of feminist history within the Norwegian art scene,” said the curators.
      Oda Iselin Sønderland presents a watercolour painting, HespetreContemporary works on show included some pieces by Pyton members, including an aluminium television stand with an eye detail by Øiestad, a pair of graphical stools by Blytt and bird-inspired furniture pieces by Henrik Ødegaard.
      Other highlights include a mouth-shaped stool by ceramist Julia K Persson, a pen-covered curtain by artist Lina Viste Grønli and Oda Iselin Sønderland’s watercolour painting, Hespetre.
      “Oda Iselin Sønderland’s mystic motives blend elements of dreams with crafting,” said the curators. “Her works connect with growing up, youth culture, and the life circles through drawing.”
      A trolley by Edvin Helseth displays a tea set by John SkognesThe exhibition was supported by Norwegian Crafts and was one of the headline events during London Craft Week. Øiestad and Blytt hope that visitors left with “a lust for a less-generic-living”.
      “We hope this show could help people to remember that culture should be included in our daily lives,” they added.
      Pyton Place was staged as part of London Craft Week, which took place from 9-15 May 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Henley Halebrown creates Bauhaus-informed offices in converted London warehouse

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      The colours and craft techniques of the Bauhaus movement were the inspiration behind Laszlo, a century-old warehouse building transformed into workspaces by London studio Henley Halebrown.

      Located in north London, the renovated building now contains five floors of flexible offices, ranging from 482 square metres up to 647 square metres.
      Structural elements are left exposed through Laszlo’s interiorsHenley Halebrown approached the project differently to a standard office conversion.
      Instead of a “shell and core” approach, where tenants have no choice but to complete a fit-out, the architects have made spaces that can be occupied simply as they are.
      They did this by exposing the building’s internal structure – its concrete floor slabs and steel I beams – and bringing order to the elements around. Services are neatly organised, while low-tech materials like concrete and timber are used to make adjustments.

      Offices are designed to require minimal additional fit-outStudio founders Simon Henley and Gavin Hale-Brown describe the approach as seeking “to illustrate how elementary the construction of an office might be”.
      The idea is that companies would only need to add their own branding, plus furniture, which would significantly reduce the amount of waste generated when tenants move out.

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      “Working on adaptive reuse buildings like Laszlo is second nature to us as a practice,” said Henley.
      “It builds on our interest in how you create new layers of life within a city while celebrating both its past and future, and of course, the great thing is that the huge environmental benefits that come through reuse are now more widely understood.”
      Geometric graphics signal the building’s change of useOriginally known as Batavia Mills, Laszlo was built in the early 20th century as a facility for manufacturing and printing, although it also served as storage for gas masks during the second world war.
      The Bauhaus become an obvious point of reference for the renovation; not only does it date from the same period, but its core ethos was about being true to materials and finding beauty in craft.
      A steel and timber joisted roof is now exposed on the fourth floorA painting by Bauhaus artist Laszlo Moholy Nagy – who the building is named after – provided the cues for repairs made to the concrete floors.
      There were various gaps created where partition walls had been removed. Instead of infilling these with concrete, Henley Halebrown chose an earth-coloured screed that highlights these marks as traces of history.
      Doors throughout the interior borrow tones from Josef Albers’ colour studiesThe building refers to the colour studies of Bauhaus teacher Josef Albers with a series of doors painted in bold but complementary shades of green, yellow, grey and blue.
      Another Bauhaus reference can be found on the exterior, where the brickwork and glazing have been subtly decorated with the same graphic shapes and lettering that give the building its brand identity.
      The reception features a desk shaped like an I beamLaszlo offers various amenities to its tenants, including a large outdoor seating area, bicycle parking and showers. There are also shared spaces on the ground floor, including a reception and an area known as the living room.
      Furniture in these ground floor spaces is designed to feel like part of the structure, with highlights including a reception desk and bookshelf that both look like giant I beams.
      A living room with kitchen is shared by all tenants”Within the framework of the original structure, we composed a series of unconventional spaces with conventional building materials, mostly blockwork, lintels and paint,” said Jack Hawthorne, an associate at Henley Halebrown.
      “These spaces are occupied with pieces of furniture that are imagined and made as oversized elements of structure, ‘furniture as structure’, placing them in playful dialogue with the building’s newly exposed frame.”
      One of the office floors has already been furnishedPhotos of the project show one of the office floors already fitted out.
      The light-touch approach includes glazed meeting rooms, a wooden kitchen and mobile shelves that function as room dividers. Desks and seats integrate bold flashes of colour that feel at home with the rest of the building.
      Each floor is similar in layout and finish, although the fourth floor features an exposed steel and timber joisted roof and a balcony terrace.
      The space features colourful desks, open shelves and glazed meeting roomsLaszlo is one of several innovative offices designs recently completed in London, as companies adapt to more flexible working policies following the impact of the pandemic.
      Other recent examples include a co-working office that doubles as a “town hall” and an office with more meeting areas than desks.
      The photography is by David Grandorge.

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