The furniture echoed the fundamentals of a classic café setup.
A long bench followed the curve of the wall, opening like a fan. In front of it were displayed simple chairs. The tables, topped with maple wood, were Bauhaus-inspired in their minimalism.
In contrast, a number of high tables stood out, each designed by one of the group’s members.
Wolfgang Laubersheimer incorporated a massive block of stone into his high Casino table, set atop a steel frame while Ralph Sommer used a bubbled bluish glass slab as a tabletop.

Several technological experiments were also tied to the café experience. For example, a computer encouraged visitors to choose especially pricey dishes by detecting their preferences and dislikes.
A jukebox looped computer-generated electronic sounds. Visitors could even compose and play their own tracks via a simple interface.

The final performance of Kassel’s Documenta was the partial destruction of the space.
Photographs document Gerd Arens smashing his own glass table with a sledgehammer, while Reinhart Müller laughed nearby.

The success was overwhelming. So much so that numerous requests poured in to include Café Casino in other art events.

For Art Frankfurt in 1989, the members of Pentagon Gruppe reinstalled the Café Casino. Most of the seating consisted of benches set across the width of the space, while behind the bar, Patentregal bookshelves (1989) were used to display bottles and glasses.

However, the repetitive cycle of building and destruction no longer appealed to the group.
Instead, they imagined a new, mobile café but this time the goal was to preserve it. Thus was born the idea of a Café Casino in a shipping container.

The Container Casino (1989) could unfold in several ways, revealing a second glazed floor accessible only via large expandable accordion-like structures.
Unfortunately, this project never came to life.