SEBASTIAN BRAJKOVIC

Себастьян Брайковича
塞巴斯蒂安·布拉伊科维奇

Lathe Chairs

source: carpentersworkshopgallery

Sebastian Brajkovic investigates the notions of perspective and distortion of form through his sculptural furniture pieces. This interest in the rotation and skewing of an object originated from his childhood, when reel-to-reel tape decks and car wheels were such a source of overwhelming intrigue to the young Brajkovic that his parents wondered if he might be autistic (he was not). As he matured his fascination manifested itself in painting and sculpture, eventually resulting in the creation of the Lathe series of tables and chairs, which have been identified as a modern classic of design and reside in the permanent collection of institutions such as the Victoria and Albert Museum (London) and the Museum of Arts and Design (New York).
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source: dezeen

An exhibition of new work by designer Sebastian Brajkovic opens at the Carpenters Workshop Gallery in London today.

Called Lathe, the collection comprises furniture pieces that appear to have been stretched or extruded.

“This extruding idea came from a Photoshop function where you can pick a row of pixels and extend them as long as you want,” explains Brajkovic.

Here’s some more information from Carpenters Workshop Gallery:

Carpenters Workshop Gallery is pleased to present Sebastian Brajkovic’s highly anticipated new body of work, entitled Lathe. Brajkovic’s work strikes a fascinating balance between the old and the new.

His work is both highly contemporary, using computer technology to form composition, yet ingrained in history with its exquisite craftsmanship and traditional techniques.

His artistic process starts by deconstructing historical pieces of furniture, in particular seventeenth-century chairs, then through a combination of wood carving, bronze casting and hand embroidering, he reconstructs an entirely new vision.

His functional artworks are both a tribute to the past and a prelude to the future. In the Lathe works, Brajkovic plays with his ’sitters’ subconscious comfort of the familiar, by taking traditional forms and techniques and subverting them with contemporary attitude.

‘They are called ‘Lathe’ because of the apparent rotating effect of the design. In fact the word Lathe comes from the Latin word used to convey the idea of milk being stirred. My very first thought with making this design was actually a practical one. I wanted to create more space on a singular chair by “extruding” the seat’s surface area. This extruding idea came from a Photoshop function where you can pick a row of pixels and extend them as long as you want. This modern computer method aided me to devise new ways of sketching as a contradictory partner in my design process. In this paradoxical sense, using antique forms was the next logical step.’

Brajkovic uses form and composition like an artist; the spinning composition he uses is comparable to the similarly computer-distortion inspired Vortex Paintings by contemporary artist David Salle, but the form is more likable to seventeenth-century furniture makers, bronze foundry artisans and traditional embroiderers. Thus is the parody of Brajkovic’s work, it tells a story of contemporary society’s need to reference the past, but present it in an idiosyncratically contemporary way. He is drawn to the aesthetics of the past as a way of retaining our memories, but reveres the new, with its unknown and curious future.

Exhibition Highlights

In Lathe I Brajkovic twists the familiar seventeenth-century dining chair and conjures up a playful alter reality, where objects themselves can be physically stretched and pulled as if in digital programme. The Lathe I has been pierced by a central axis running through the profile of the chair back, and as though being turned on a giant lathe, the seat and back extend around offering up a new, more spacious seating arrangement. With the seat extruded, the arms of the chair look like they might meet in reverse, the whole piece existing in the negative space of a traditional chair.

Lathe VIII reworks the traditional concept of a loveseat. Two antique chairs have been corrupted, fused together with the vision of modern technology, remade in traditional techniques, and now presenting an entirely new perspective on the conventional loveseat.

There is dynamism in this work, the chairs apparently turn around, pirouette, then spin off and trick the eye by giving the impression of a shift of movement or change of direction.

Like a sequence from The Matrix where the camera rotates around a scene that is frozen-in-time, when taking in the form a certain stillness pervades as you mentally navigate the distorted, alter-reality shape.

In 2008 the Lathe VIII won critics pick of the Design Art London Fair, and was acquired by the Victoria & Albert Museum for their permanent collection with sponsorship from Moet Hennesy. It will also feature in the Telling Tales exhibition curated by Gareth Williams opening in June 2009, which will focus on work by designers who explore the narrative potential of objects, connecting the past with the present.

Made of aluminium, the Lathe Table is quite literally created by being turned on a real lathe. In this incarnation however, the chisel carves aluminum directly instead of the traditional wood.

The evocative sense of movement is conveyed in the spinning lines of the quasi vortex, offering the past impression of a moment of great movement and now stillness. Inspired originally by a child’s spinning top, whizzing around at high speed, it has the same illusion that once at its optimal speed it is no longer moving but standing up straight.

The highly polished surface is a product of the lathe turning technique which polishes as it carves the metal. He explains that whereas the Lathe Chairs are more like painting, in that modifications can be made during the production process, the Lathe Table is a one step process which is an honest and direct application of the Lathe concept.

Lathe V, In this work, modern techniques collide with classical shapes and an artisan use of materials. The turning of the lathe is evident this time through the central axis of the seat, the rotation highlighted further with the pulled extended lines of the embroidery – almost comically -like movement in a cartoon sketch.

Again in a turn of wit, Brajkovic offers a view of the underside of the seat even though the viewer is standing up straight. He bends perspective like a painter might, but in a three-dimensional way.

Born in 1975, his mother is Dutch-Indonesian and his father Croatian-Italian. He graduated from the esteemed Eindhoeven Design Academy in 2006, where he could work within the fields of art and design simultaneously without categorization. He studied under Gijs Bakker, Hella Jongerius and Jurgen Bey, carrying out an invaluable apprenticeship at the Juergen Bey Studio. He continues to study philosophy at the University of Utrecht and lives and works in Amsterdam.
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source: 284brasil

Sebastian Brajkovic é um artista fora do comum, que consegue misturar os universos de grafismo, escultura e mobiliário no desenvolvimento de peças de arte únicas com toques de surrealismo. Ele joga com noções de movimento e espaço, inspirado pelas possibilidades de ferramentas digitais do Photoshop, definindo novas fronteiras entre o novo e o antigo.
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source: roughdreamsfr

Sebastian Brajkovic est un designer hollandais représenté par la Carpenters Workshop Gallery (Londres et bientôt Paris). Il réactualise le mobilier d’époque en lui appliquant des déformations aux accents surréalistes. Le travail sur la forme se retrouve dans les motifs du tissus dont les distorsions suivent les courbes des différentes pièces. Le résultat, déjà saisissant en photo, est d’autant plus bluffant lorsque l’on découvre les œuvres « en vrai ». Alliant nouvelles technologies et techniques traditionnelles, bronze, bois et broderies, Brajkovic donne à voir une conception toute personnelle de la modernité.

Sebastian Brajkovic is a dutch designer who works with Carpenters Workshop Gallery (London and soon, Paris). His artistic process starts by deconstructing historical pieces of furniture, in particular seventeenth-century chairs, then through a combination of wood carving, bronze casting and hand embroidering, he reconstructs an entirely new vision. His functional artworks are both a tribute to the past and a prelude to the future. In the Lathe works, Brajkovic plays with his ’sitters’ subconscious comfort of the familiar, by taking traditional forms and techniques and subverting them with contemporary attitude.
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source: tendencias2009wordpress

Sebastian Brajkovic es un diseñador que ha exhibido su último trabajo en la Carpenters Workshop Gallery de Londres. Son sillas de diseño retro que ha tenido su inspiración gracias a una función que descubrió él mismo de una herramienta del programa Photoshop que consiste en el estiramiento de píxeles.

Las obras parten de diseños tradicionales del siglo XVII que se manipulan digitalmente y se fabrican artesanalmente, mediante el tratamiento de la madera, del bronce y de telas trabajadas a mano. Son obras modernas que recuerdan al pasado.
El artista juega con la deformación física y la distorsión mental.
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source: cooledekode

Bis jetzt haben wir Ihnen eine Menge von modernen, attraktiven und außergewöhnlichen Möbel Designs gezeigt. Aber diese Reihe von Stühlen “Lathe Series” genannt, verdient nähere Aufmerksamkeit. Es ist vom begabten Designer Sebastian Brajkovic geschaffen. Er hat diese Reihe als seine Diplomarbeit für die Eindhoven Akademie angefangen und arbeitet seitdem immer weiter daran. Jeder Stuhl in dieser Reihe ist äußerst kreativ und trägt klassische Note in sich. Sie sehen wie photoshoped aus – aber wir müssen zusagen, jeder Stuhl ist echt und sogar in verschiedenen Galerien ausgestellt.
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source: tutgr

Αυτή η σειρά των καρεκλών που ονομάζεται «Τόρνος» είναι άξια για επιπλέον προσοχή. Δημιουργήθηκε από τον ταλαντούχο σχεδιαστή Sebastian Brajkovic. Ο Sebastian Brajkovic ξεκίνησε αυτή τη σειρά, ως πτυχιακή εργασία για την Ακαδημία Eindhoven και έκτοτε συνέχισε να δουλεύει σε αυτό. Κάθε γραμμή σε αυτή τη σειρά είναι εξαιρετικά δημιουργική. Μην σκεφτείτε ότι είναι photoshopped, μπορούμε να σας διαβεβαιώσουμε ότι κάθε καρέκλα είναι πραγματική και μάλιστα είχαν εκτεθεί και σε διάφορες γκαλερί.
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source: itpaperblog

Il designer Sebastian Brajkovic ha realizzato delle particolare sedute, progettate quasi per gioco con Photoshop. Pezzi tagliati di sedie antiche vengono assemblati aggiungendo pezzi nuovi, così da creare delle sedute allungate, espressione di contemporaneità estrema, manipolazione della percezione che rende sempre più labile il confine tra il virtuale e la realtà…
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source: odesigncn

设计师Sebastian Brajkovic的最新Lathe系列沙发作品近日在伦敦Carpenters Workshop美术馆展出。
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source: mebelsam

The Lathe

Необычная мебель от дизайнера Себастьяна Бражковича (Sebastian Brajkovic)

Себастьян Бражкович родился в 1975 году, учился в Академии дизайна в Эйндховене, где его преподавателями были такие звезды голландского дизайна, как Гиис Бэккер (Gijs Bakker), Хелла Йонгериус (Hella Jongerius) и Юрген Бей (Jurgen Bey). Учился на краснодеревщика. Живет и работает в Амстердаме. Сейчас Себастьян изучает философию в Утрехтском университете.

Необычная коллекция получила название The Lathe. Впервые коллекция была представлена в 2009 году в Лондоне, в «Carpenters Workshop Gallery». Создается впечатление, что предметы мебели выполнены путем вытягивания или экструдирования. Как говорит сам автор работ, идея ему пришла благодаря работе в графическом редакторе «Photoshop». «Эта идея экструзии пришла из функции Photoshop, где вы можете выбрать ряд пикселов и растягивать их так, как тебе пожелается» объясняет Себастьян Брайкович. Нечто похожее он решил сделать и с мебелью.

Предметы его коллекции очень современны, спроектированы и изготовлены с использованием современной компьютерной техники. Однако в них видна и история, чувствуется изысканное мастерство традиционных мебельных дел мастеров. В них перекликается старое и новое.

Процесс создания очередного предмета мебели, Себастьян Бражкович начинал с изучения старинных предметов мебели, в частности стульев 17 века. Он тщательно изучал технику изготовления этих предметов: резьбу по дереву, литье, вышивание. Добавив туда современные технологии, дизайнер получал совершенно новые, завораживающие формы. Его функциональные художественные работы – и дань прошлому и прелюдия к будущему.

Себастьян Бражкович утверждает, что первоначально он преследовал очень простую цель – увеличить количество мест на одном стуле для более просторной посадки, для этого он и стал растягивать традиционные предметы мебели.

Стул для двоих «Carpenters Workshop» из коллекции «The Lathe» стоимостью 16 тысяч фунтов стерлингов даже был признан лучшим экспонатом ярмарки в Лондоне в 2008 году. Он был приобретен для постоянной экспозиции для музея Виктории и Альберта. Также, необычным предметом заинтересовался известный дизайнер-эксцентрик Жан-Поль Готье.