Curriculum Vitae



Curriculum Vitae



October 2009: ‘Contemporary Design Auction’ organized by Philips De Pury Company, London. (Lathe Chair I)

July 2009: ‘Design High’ group show in collaboration with Louise Blouin Foundation, London.

World Sustainability Center. Participation in a team on the architectural contest for the congress and the hotel on the Afsluitdijk.

July 2009: ‘Telling Tales’. Group show in the Victoria & Albert museum, London. (Lathe Chair VIII)

May 2009: Design Miami/Basel, Basel. ‘Lathe Table, Lathe Chairs I, III, V and VIII.

March 2009: ‘Design Show’. Gallery Magda Danyz, Paris. Group show, entered with ‘Lathe Chairs’.Pavillon des arts et du design,

‘Lathe Chairs’ in collaboration with Carpenters Workshop Gallery.

February 2009: ‘Lathe’, Carpenters Workshop Gallery, London. Solo exhibition with eight new pieces ‘Lathe Chairs serie’.

October 2008: ‘Family of Forms’, Como. ‘Lathe Chairs’, group show of the Designacademy.

DesignArt, London. Art fair with ‘Lathe Chair VIII’ for Carpenters Workshop Gallery.

Purchase V&A museum, London ‘Lathe Chair VIII’.

May 2008: Design Miami/Basel, Basel. ‘Lathe Chair VIII’ for Carpenters Workshop Gallery.

April 2008: Salone delMobile, Milan. ‘Consanguineous Furniture’ group show for Lebesque Eindhoven.

October 2007: ‘Salonfaehig’, Eindhoven Design Week. Organised this group show with other recently graduaded designers in the

‘Regionaal Historisch Centrum’ in Eindhoven.

April 2007: Salone del Mobile, Milan. ‘Lathe Chairs’ exhibition for Galleria Spazio Rossana Orlandi.

February 2007: Kunstpaviljoen, museum in Rhoden for art and design, Exhibition of recently graduated designers. ‘Lathe Chairs’

EQ: IQ stores, China. Interior proposes for similar clothing stores. In collaboration with Architecture office ‘Urban Matics’.

‘Woodcarved Chair’, in collaboration with manufacturers Haans and Asiades.

January 2007: Singapore Design Fair. Presentation of different products, including: Woodcarved Chair and table, Lloomlamp,

Chestcouch. In collaboration with Asiades.

November 2006: Graduationshow, Graduation ‘vormgeving’ at the Designacademy. Course ‘Man and Living’ with the projects:

‘Lathe Chairs’ and ‘Homegrown’.

January 2006: Working period Studio Makkink Bey.

Recyclart, Stadssalons. Participation in a team on the design contest for joung architects, designing 2 courts in Brussel.

December 2005: Bond Nederlandse Architecten. Participation in a team on the design contest designing a sports centre for

the disabled in Amsterdam.

September 2005: Internship Studio Makkink Bey.

Start study ‘History of the Philosophy’, University of Utrecht (not completed).



October 2008: ‘Best of Show’ DesignArt London (Lathe Chair VIII).



2009 A + A magazine, China/Dom magazine Russia: Objects for interior, June/ Casa Viva, Mexico: Esta De mode, June/FirstLook Magazine, Lebanon:

Lathe Collection / M comme maison, France/Inside Outside, The Indian

Design magazine, India/O2 magazine (China) ,June/Frame magazine: DesignArt section, May / Salon: Sebastian Brajkovic designer, April

/ Architectural Digest: Dali der mobile, March / Designweek: Vanguard of DesignArt,

February / IDEAT, February / Wallpaper magazine, January / Blend Magazine, January

2008: Wallpaper magazine: best invests 2009, November / The financial Times: House and home, November / The Art Newspaper, October

/ Newsweek, May / Interni, April / New York Times, June / L’Officiel, July / Elle

Magazine, USA, August/

2007: Experimenta, February / IDFX, January / Eigen huis & interieur, January

2006: VTwonen, December / Domus, December / Trouw, October / Het Parool, October / Avantgarde, September




2010: How to design a chair, publisher, Conran Octopus Designmuseum London, United Kingdom.

2009: Trend Forecaster’s Handbook, Publisher Laurence King, United Kingdom.

Furnish II, publisher Gestalten, Germany.

Styles, Schools and Movements, Thames & Hudson. United Kingdom.

Once upon a chair, publisher Gestalten, Germany.

Heimtextil trend book, publisher Heimtextil, Germany

Telling Tales, fear and fantasy in contemporary design. Publisher V & A publishing, United Kingdom.

Design in the 21th century, publisher Thames&Hudson, United Kingdom.

2008: Design with a smile, Stichting Kunstbook, Belgium

50th anniversary Designacademy, publisher Frame, Netherlands



February 2009 Visiting lecturer Royal College of Art, London. (Lathe Chairs)



by Gareth Williams,

Senior Tutor, Design Products, Royal College of Art (2008)

Is it symptomatic of our recessionary times that imaginative designers seem pre-occupied with history and memory?The young designer Sebastian Brajkovic believes that “truly new and useful products and ideas unite the future, present and past”. His furniture could not exist without historic styles and furniture making techniques, or our appreciation of them. He shares with his audience an understanding and respect for what has passed, but he does not merely reproduce traditional styles in a bid to replicate history. Rather, Brajkovic transforms and mutates archetypal shapes into new forms, usingcontemporary technologies. These hybrids exist entirely in their own present, but are built on our recognition of the past within them.

Born in Amsterdam in 1975 to a Dutch-Indonesian mother and a Croatian-Italian father, Brajkovic studied cabinet-making before enrolling at Design Academy Eindhoven with a conscious intention to meld art and design. Brajkovic’s method is original but visually quite obvious. He stretches and contorts the shapes of familiar chair types so they appear blurred in thecentre while remaining crisp at the periphery. The classic proportions of each chair seem to be enhanced rather than destroyed by the designers’ intervention. There is a kinetic quality to the works as they appear to be caught in motion between states,like moving objects on film, and Brajkovic admits the influence of cinema.

They are called Lathe chairs because of the notion that they are made by lathe turning. It is a simple idea, beautifully and elegantly rendered. With several chairs it is possible to imagine where the rotation point is located, often just beyond the field of the chair itself. Lathe Chair II appears to be spun around an invisible point just behind the seat; Lathe Chair IV has been rotated around a point at the base of the front right leg, causing the left side of the chair to topple through ninety degrees. The conceptual device of rotating the chair encourages us to reconsider our sense of the space it inhabits. In our imagination we can continue the rotation, through floor or wall planes, inscribing perfect circles. Like reflections in a fairground hall of mirrors, the chairs contort perspective and our sense of reality.The chairs derive from nineteenth century rococo and classical revival models in shape, and although they are conventionally upholstered, Brajkovic does not replicate traditional woven silk covers. Lathe Chair VIII depicts mythical beasts andLathe Chair V bears medieval knights. Common to all the upholstery is the machine-embroidered ‘smear’ of imageryconnecting the peripheral elements. These lines follow and visually reinforce the rotation through which Brajkovic has spun the chair. While studying with Jurgen Bey at Eindhoven, Brajkovic made his first Lathe chairs in 2006 by deconstructing existing furniture. Bey’s concern for revisiting historical furniture types is evident in the works of his student. For later editions Brajkovic translated the wood into cast bronze with a beautiful gray patina like slate. The transfer from wood to bronze invites us to regard these furniture items as sculptural forms.

The most recent addition to the Lathe series is a new departure: a low table with the exaggerated profile of a pedestal base. Theentire table has been cut from aluminium on a lathe using a computer controlled chisel arm to exactly recreate Brajkovic’s original drawing. The circular whirls in the table top are deliberately visible, and tighten at the centre so that, as Brajkovic observes “now the table looks like it is spinning, just as it did on the lathe bench before it was ready.”