Aspects of my work celebrate the purity of geometry and mathematical balance, because the synergy of these elements gives an object utility and an underlying simplicity that inherently makes sense to the user.
Once the sculptural geometry of the table and stool was designed, the proportions were workshopped through the ergonomic and utilitarian principles of furniture design. For example, the table needed a suitable cantilever to make it functional and a stool is a typology that is often moved around, so here the edge provides a lip for easy handling.
The historical significance of terracotta and its sculptural and adaptable qualities are its hallmarks. As an earthenware substrate used for millennia and passed through the hands of artisans all over the world, there is something essential and enduring about terracotta.
This opportunity to use terracotta marks my first foray into objects made to host people rather than plants as I have previously created a collection of terracotta planters!
The aim was to create sculpturally simple forms so that when they are not being used, they can sit as contemporary objects to enhance peoples’ spaces.
Adam Goodrum founded his Sydney design studio in 2006. A design obsessive since graduating from the University of Technology Sydney in Industrial Design, his practice is characterised by invention and curiosity, while his aesthetic and approach are inflected with rigor and integrity. Focusing on furniture, product and collectible design, his work is inherently elegant, often underpinned by a poetic union between art and mathematics. The recipient of every major national design accolade, he has worked internationally with Alessi, Cappellini and Kvadrat and locally with Nau and Tait. Adam is half of A&A, a practice exploring the nexus of traditional straw marquetry craftsmanship and contemporary object design. Adam’s work has been showcased throughout the world and is collected by museums in Australia and internationally.