The result of exploring the possibilities of a singular line in 3D space, the E-Turn is a continuously morphing ribbon that twists and turns from seat to structure before overlapping and returning again in the configuration of a bench. The endless E-Turn refers to eternity; it dramatically transcends width and dimension as it wraps into its moebiuslike form. The E-Turn by Brodie Neill established a new design language, highlighted by TIME Magazine’s The Design 100.

A curvaceous bench carved from reclaimed African hardwood; Meridian’s sweeping contours are captured in the rich tones of Panga Panga.
Once laid as a herringbone parquet floor at a school in Leicester, over 2000 reclaimed blocks have been painstakingly refurbished into the sculptural formation.
Shaped by state-of-the-art robotics, the smooth undulations dissect through varying dark hues of hardwood, exposing the offset construction through a constant flow of end grain to long grain.

Circling back on a significant design, the new @ Chair in mirror-polished stainless steel reflects Brodie Neill’s early explorations into form and function as a seamless mobius-strip like entity. Encompassing the entire configuration of a chair within a single gesture, the @ Chair was included in Time Magazine’s Design 100 in 2008.

With a commanding posture and monolithic structural integrity, the Atmos console is a dynamic expression in true metal craftsmanship. Formed from a single surface of infinitely recyclable bronze, the console melds form and function with sculptural precision. Finished in a two-toned technique of a mirror-polished void and satin metallic exterior, the console’s cantilevered planes and cascading uprights fuse at the central hyper-reflective vortex.

With a commanding posture and monolithic structural integrity, the Atmos desk is a dynamic expression in true metal craftsmanship. Formed from a single surface of infinitely recyclable stainless steel, the desk melds form and function with sculptural precision. Finished in a two-toned technique of a mirror-polished void and satin metallic exterior, the desk’s cantilevered planes and cascading uprights fuse at the central hyper-reflective vortex.

A contemporary rendition of a 19th Century specimen tabletop, Gyro substitutes examples of precious marble, timber and ivory with ocean terrazzo. With a reverse gradient in varying hues of white and blue the composite is inlaid in a kaleidoscopic diagram to depict the Earth’s longitudinal and latitudinal lines.

Diving deeper down in the degrees of makeshift waste, Jetsam makes use of the thousands of microplastic fragments left over from the Gyro tables creation. With a strong mix of greens, yellows and reds the triangular Ocean Terrazzo dining table is backed in a deep forest green. The Jetsam table adopts a similar leg system to that of its sister design the Flotsam low elliptical table consisting of black backed Ocean Terrazzo and plays upon the catastrophic presence of Flotsam and Jetsam in our oceans.

A low elliptical table consisting of black backed Ocean Terrazzo, Flotsam plays upon the catastrophic presence of plastic in our oceans.

Brodie Neill has collaborated with an international network of scientists, beachcombers, engineers, artisans and manufacturers to collect and reconstitute small fragments of plastic washed-up on the shores to produce the terrazzo like composite, Ocean Terrazzo.

A series of three side tables with biomorphic silhouettes, the Torso series is carved from a stack of laminated, reclaimed Panga Panga parquet. Hundreds of blocks of this rare and endangered tropical hardwood have been salvaged from a school in Leicester where it lay as a herringbone floor for almost 60 years. Each amalgamation of refurbished Panga Panga is carved with a sinuous surface that form three heights of small tables, each bearing a unique torso like shape.

A continuation of the cross thatched technique first developed for the Latitude Bench, Longitude introduces the use of square stocks salvaged from floor boards. Sourced from a renovated hospital in Hastings in East Sussex, 240 linear metres of rich toned Rhodesian Mahogany have been painstakingly refurbished. Composed with a sculptural array of subtle interlocking joints, Longitude’s dynamic form is structurally lightweight whilst surprisingly ridged.

Elevating the structural moiré pattern of the Longitude to new heights is the Altitude Chair that pins each coordinate of rich toned wood with brass rivets. Over 700 square dowels of reclaimed Rhodesian Mahogany are cross stacked on a shifted orientation that maps the concave form of the chair.

The Flotsam bench is produced using the innovative ocean terrazzo material developed by Brodie Neill using reclaimed and recycled fragments of ocean plastic. Cast completely as a singular piece by artisans in the UK, the bench seat takes its name Flotsam from the maritime term of objects lost at sea. It is created from multicoloured ocean plastic fragments set within a black bio-resin. The black edition of the Flotsam bench was presented at the National Museum of Science & Technology in Milan during Fuorisalone 2019 as part of the Guiltless Plastic exhibition curated by Rossana Orlandi.

Capsule captures the nostalgia of the traditional hourglass but propels it into a contemporary context by switching sand with fragments of multicoloured ocean plastic. A time piece, Capsule reflects the present scene where at some of the worst affected beaches around the world, microplastic almost outweighs sand.

The multicoloured Remix is an organically shaped, low chaise longue carved from reclaimed and sourced materials including a mixture of plastics and woods. The randomly selected mix of materials is laminated into a block, which is contoured by a 5 axis CNC cutter, ensuring a single smooth organic surface with bold lines.

Editions by The Apartment Gallery London

A contemporary rendition of a 19th Century specimen table top, Gyro substitutes examples of precious marble, timber and ivory with ocean terrazzo, an innovate material produced by fragments of ocean plastic waste. In varying hues of blue and green the composite is inlaid in a kaleidoscopic diagram to depict the Earth’s longitudinal and latitudinal lines.

The Flotsam series is produced using the innovative Ocean Terrazzo material developed by Neill for his Plastic Effects installation at the Australian Pavilion at London Design Biennale 2016. Neill has collaborated with an international network of scientists, researchers, environmental experts, beachcombers, engineers, artisans and manufacturers to collect and reconstitute small fragments of plastic washed-up on the shores around the globe to produce the terrazzo like composite Ocean Terrazzo.