i've written about her before, and likely will again, but i love to check in on brooklyn-based designer lindsey adelman to see what new beautiful new creations she's posted, or really, wish list rabbit holes to spiral dive into.
the power of organic form in lighting design cannot be underestimated. particularly in the home, and even more so when you spend a good amount of the day under fluorescents with little natural to offset. and then to top that off, when you live on a latitude where 7 months of the year absorption of vitamin d– with the exclusion of pill routes– is rationed and/or unavailable, the choice of emotionally supportive lighting is truly something to subsidize with sales from your first unborn child, and/or grandparent.
on that note, balance is everything. balance is all about weight– be it physical or visual or perceived, in which i would also include proportion and color as effects of weight– and in lighting, above all things decor, is it most apparent and required. adelman's choices of material, usage of opacity, and most of all structure are exemplary, and would so seamlessly exist with the traditional scandi-clean line-minimalist somewhat sterile decor environment you have here, which is also beautiful in its purity but these would add personality without intruding.
spare a moment to take these two adelman pieces in:
these are symphonic studies in praise of, and attestments to that power of balance and organic form.
i was once told i'm a quiet riot; i'd like to think that if i had a spirit object ... it would be one of her pieces. subtly luxurious and consuming, they kind of transcend their category. some of them are quite large, but if you look at more of them you'll notice that while that is the case, they never oppress or confine the space, an advantage i've come to love with my kartell ghost chairs (invisible furniture is an excellent tip for small apartment city dwellers). branches jut out as they would stem in nature, in a perfectly unplanned, organic frozen lightning bolt that feels as if it could actually grow and eventually flower.
i found an interview where the designer says of her design process: "when i work out the structures– for example, if i have nine points of light, and i want to spread them out to hang over a dining table using the least amount of material– as we develop the joints and the tubes and the leverage, you always realize, oh, right, nature’s already figured it out. it’s always the exact same angles in molecules or the exact same angles in the veins of a leaf or cracks in clay.”
then, the transparent bulb casings provide a warm degree of separation from the direct light, which is just bright enough in multiples to be functional– it's all about a glow. the whole theory is very björk. i just love when man-made objects can be modern and simultaneously "return" to nature with fluidity and without pretension, and even be functional. i've thought on more than one occasion of taking out loans for a custom adelman piece. i think i need someone to pull the trigger for me.
enjoy x
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