Clement Meadmore

(1929–2005)

• Written by Jeromie Maver.

Born in Melbourne, Victoria, Clement Meadmore grew up working in his father’s business, Meadmore Models. The model shop provided the perfect environment for the young Meadmore, where he shared his father’s passion for model railways while learning the intricacies of building and repairing mechanical models. These formative years working alongside his engineer father sparked a curiosity about how things worked and a talent for problem-solving, instilling in Meadmore the confidence to design a model aeroplane kit, which was sold in the shop.

In 1946, Meadmore pursued his dream of designing aeroplanes, enrolling in the aeronautical engineering course at Melbourne Technical College (now RMIT University). By 1948, he had changed direction, joining the first intake of the college’s newly introduced Industrial Design course—the first of its kind in Australia. Here, Meadmore took classes in art and three-dimensional modelling and was introduced to the principles of the Bauhaus and De Stijl movements, both of which became highly influential in shaping his approach to design. Insatiably curious, Meadmore read the writings of Mondrian, a founder of De Stijl, particularly his 1921 essay Le Néo-Plasticisme (The New Plastic), which set out strict rules for a new artistic paradigm—demanding straight lines, right angles, primary colours, and precise relationships. The De Stijl philosophy, which also advocated that an idea could be expressed across multiple forms, resonated deeply with Meadmore and became a guiding principle throughout his career.

Drawing on De Stijl influences, Meadmore created his first design—a corded dining chair that embodied his fascination with both design and sculpture, as well as what he termed ‘tensional structures’—experimental, organic wooden forms held in suspension by the clever use of cord. The Corded Chair (1951), an extension of these early experiments, was a three-dimensional expression of Mondrian’s Composition paintings and demonstrated Meadmore’s ability to think creatively about design. He developed a unique language of linear forms where design and sculpture could coexist.

Over the course of his industrial design career (1951–1970), Meadmore embraced a restricted palette of materials, using only what was necessary to create fully resolved designs. With this refined design language, he skilfully explored and manipulated materials and forms to produce space-saving designs with a sense of lightness and reduced visual weight. The result is a collection of furniture and lighting now regarded as iconic Australian mid-century designs—pieces that reflected the modernity of their time and remain strikingly contemporary today.