Chair shaped like the tail of a peacock by UUfie

Design Miami 2013: this chair shaped like the fanned fail of a peacock by Toronto design studio UUfie was one of the most talked-about pieces at the Design Miami collectors’ fair last month.

Peacock chair by UUfie

The symmetrical shape of UUfie‘s Peacock chair is made from a latticed sheet of Corian, a solid surface material that’s often used for kitchen work surfaces and bathrooms, which curls round at the bottom and spreads out at the top to create the back of the chair.

Peacock chair by UUfie_dezeen_5

The sheet was slit to create the lattice then stretched apart and folded round in a thermoforming process that uses heat to soften the material.

Peacock chair by UUfie_dezeen_5

“Like children playing with paper by cutting, bending and folding it, we have created a single sheet of acrylic composite material into a peacock,” said the designers. “Resembling a peacock tail in courtship or a blossom opening, it makes a visual statement in any space, indoors or outdoors.”

The chair comes in two sizes and can be made in any colour. It was presented at Design Miami 2013 last month by Galleria Rosanna Orlandi and is now on show in Milan at Spazio Rossana Orlandi.

Peacock chair by UUfie_dezeen_5

Photography is by Marco Covi.

Peacock chair by UUfie_dezeen_5

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by UUfie
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Residential Extension by Alison Brooks Architects

Alison Brooks Architects has extended a nineteenth century house in north London by adding two tapered volumes that project into the garden (+ slideshow).

Extension by Alison Brook Architects

The first volume wraps around the brick walls at the side and rear of the house to create a small office, while the second volume extends out at the back to increase the size of the first floor living room.

Extension by Alison Brook Architects

“The extensions were designed to draw in light from the sky, embrace the garden, and capture a precise view of the massive walnut tree near the house,” explained architect Alison Brooks.

Extension by Alison Brook Architects

The ends of each block are entirely glazed, while the sides are clad in dark grey Corian panels.

Extension by Alison Brook Architects

“Each trapezoidal plane of the scheme is either fully glazed or fully solid, there are no punched windows,” said Brooks. “Both roof and wall planes are one material. This approach creates an architecture without mass and weight. It is more like the folded surfaces of origami.”

Extension by Alison Brook Architects

Beneath the first floor block, a new wall of glass slides open to link the dining room with a small patio outside.

Extension by Alison Brook Architects

From here, a concealed door creates a second entrance to the office, which also has a terrace on its roof.

Extension by Alison Brook Architects

Rainwater downpipes are concealed behind the ventilated facade.

Extension by Alison Brook Architects

Update: more photographs and plans to follow soon.

Extension by Alison Brook Architects

Other London house extensions on Dezeen include a glazed addition in Hackney and a barrel-vaulted conservatory.

Extension by Alison Brook Architects

See more residential extensions »
See more projects by Alison Brooks »

Photography is by Jake Fitzjones.

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Alison Brooks Architects
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Alphabet Library by Stephane Hof

For those readers who asked to see more interiors from Zaha Hadid’s Pierres Vives government building in Montpellier, here’s a reading room lined with glowing bookcases by architect Stephane Hof (+ slideshow).

Hof previously worked for Zaha Hadid Architects and was the project architect for Pierres Vives, the regional government building of Herault, before forming his own practice last year.

The Alphabet Library is located within the building’s public archive department and houses books between a series of curved Corian panels.

Tables and information desks curve out from the bookcases, forming continuous surfaces.

Above: photograph is by Laurence Ravoux

“If you look at all the old reading rooms in libraries in France, the tables are always detached from the bookshelves,” architect Stephane Hof told Dezeen. “We wanted to create something that combined these two functions into one.”

Above: photograph is by the architects

Hof also explained how “the abstract forms of letters” inspired the shapes of the shelves and tables. “Not literally the alphabet, but L-shapes, H-shapes, T-Shapes, etc.” he said.

Above: photograph is by the architects

Strips of lighting are positioned beneath the Corian surfaces, illuminating the bookcases and framing the outlines of tables.

See more images of the Pierres Vives building in our earlier story.

Above: photograph is by the architects

Photography is by MC Lucat, apart from where otherwise stated.

Here’s a project description from Hof:


Alphabet Library

Located within the Pierres Vives building in Montpellier to serve as a reading room for the Archive of the Department of Herault.

Above: photograph is by the architects

For a public reading room such as this, we decided to provide visitors with a pleasant and comfortable space to read surrounded by a treasure trove of books that lend the space an overwhelming physical presence.

The new library comprises an entrance desk, an information desk, reading room tables and library shelves.

Above: photograph is by the architects

We combined the different functions of the program into a single object in order to create a new dialogue between the tables and the library and a continuous flow through the entire space. The tables bend around the back wall to form the library with each piece of the puzzle referencing a letter of the alphabet. The field of tables resonates with the lighting of the existing ceiling to form its “shadow”. At night the edge of the Corian material used throughout is back-lit and makes the ceiling, the library and tables appear as one.

Above: photograph is by the architects

The project palette is composed of: 2 functions: reading room tables and library shelving; 2 materials: timber and corian; 2 colours: black and white; 2 geometries: straight and curved. This reflects the duality of author and reader; the one’s intention and the other’s interpretation.

Above: axonometric plan

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by Stephane Hof
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Water Table Object by Heng Zhi

Water Table Object by Heng Zhi

Beijing Design Week 2011: golden plates and cutlery become slowly submerged underwater when this table is set.

Water Table Object by Heng Zhi

The top of the table by Chinese designer Heng Zhi sits on a tank of water that’s concealed inside the Corian frame.

Water Table Object by Heng Zhi

The weight of the metal plates and cutlery forces the floating tabletop to sink below the surface of the water.

Water Table Object by Heng Zhi

Once water has flooded the surface, diners are forced to either let their food get wet or to eat with only their hands.

Water Table Object by Heng Zhi

Chinese designer Heng Zhi produced Water Table Object following a research project that questions whether using knives and forks or chopsticks is more civilised than eating with one’s hands.

Water Table Object by Heng Zhi

The table is on show at the National Museum of China until 17 October for the Beijing International Design Triennial, which coincides with Beijing Design Week.

See more stories from Beijing Design Week here:

Here’s some more information from Zhi:


Water Table Object by Heng Zhi

1st Beijing International Design Triennial: Vienna based Chinese designer Heng Zhi contributed an object installation called “Water Table Object” to the part “What if..” curated by Fiona Raby and Anthony Dunne.

On show is the Water Table Object made of corian with four pairs of golden tableware sunken in water. A video projection shows the process how the table can (or can’t) be “used”.

Heng Zhi’s installation was firstly exhibited at the Jesuit Church Vienna before being shipped to Beijing and can be seen at Beijing International Design Triennial from 27th September to 17th October at China National Museum.

The project was created based on a one-year research on dining culture, specifically chopsticks and cutleries. By doing so, Heng Zhi explores ways to combine theory and practice in tangible objects. The theoretical output is an essay called “Stäbchen oder Besteck? – Entstehung, Formwandlung, und die ‘zivilisierten’ Esser” (Chopsticks or Cutleries? – Origins, Mutations and the Civilised Diners)

“Why do we need a fork? Why is it ‘barbarian’ and ‘uncivilized’ to eat with hands from your own plate? Because it feels embarrassing to be seen with dirty and oily finger in company.” – Norbert Elias

Poetic interpretation of the familiar shape of a dining table brings to mind the formalities of dining that are taken for granted in the everyday life. Poetry happens during the process of serving the table, by force of the fragility of the whole setting. Watching the downfall of the eating implements that we are used to, we start to question why certain patterns of behaviour and certain everyday objects make up the relationships within social groups. Poetry takes place here by turning an everyday object useless.


See also:

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Arctic Collection
by Praet and  Skar
Eclipse Mirror
by Bodo Sperlein
Vertigo trays for bowls
by Naoto Fukasawa

Yud Yud by Davidclovers and C.E.B. Reas

Hong Kong studio Davidclovers and Los Angeles artist C.E.B. Reas have created a shop front in Hong Kong where LED lighting pulses through patterns cut in the surface of two large Corian doors. (more…)