New York industrial designer Lindsey Adelman’s latest light comprises a series of glass orbs that appear to dangle precariously together on a gridded metal frame.

Adelman launched the light at this year’s edition of contemporary art fair Design Miami/Basel.

Called Paradise City, it features dozens of differently designed bulbs that are attached to thin rods and joinery. Each of the glass bulbs rests gently on small surface areas across the silvery gridwork.

紐約工業設計師林賽·阿德爾曼(Lindsey Adelman)的最新燈光由一系列玻璃球體組成,這些玻璃球體似乎在網格金屬框架上搖搖晃晃地搖晃著。


被稱為天堂之城,它有許多不同設計的燈泡,附在細桿和細木工上。 每個玻璃燈泡都輕輕地放在銀色網格上的小表面區域。

Adelman says that the design is intended to look as if the glass fixtures could slip off the frame and shatter, appearning “not safe at all”.

“There’s something very wrong about it, and very beautiful about it at the same time,” Adelman told Dezeen.

“It creates just a ton of visual tension, and looks like scaffolding or a leg brace.”




To create this effect, Adelman has designed an almost-hidden structure based on a series of pins that pierce the bulbs and hold them in place.

The glass orbs that form Paradise City are a variety of shapes and designs, and are intended to provide contrast. Some feature long spikes to evoke sharpness.


形成天堂之城的玻璃球是各種形狀和設計,旨在提供對比。 有些具有長尖峰以喚起銳度。

“It’s quite precarious and vulnerable, and fragile, but at the same time strong and voluptuous and sort of radiant,” Adelman said. “It’s like feminist aggression or something.”

“It’s also for me like an urchin – it’s self-protection,” she continued. “It expresses something also where you’re hiding and your defences are up. Almost more than attacking.”

阿德爾曼說:“它非常岌岌可危,容易受到攻擊,而且非常脆弱,但同時又強壯又性感,有點容光煥發。” “這就像女權主義的侵略或其他東西。”

“這對我來說也像是一個海膽 – 它是自我保護的,”她繼續道。 “它也表達了你隱藏的東西,你的防禦力也在上升。幾乎不僅僅是攻擊。”

This is not the first time the designer has used spikes in her designs. Her Burst collection also features pointy ends, paired with more sensuous bulbs.

“It’s not a crowd-pleaser type of a decision to use spikes,” she said, commenting that much of her client base steers clear from fixtures with thin, pointed pieces.

這不是設計師第一次在她的設計中使用尖峰。 她的Burst系列還有尖頭,與更感性的燈泡搭配。


Some of the bulbs are softly curved, while others are detailed to draw on Art Nouveau details, including ribbed patterns and fluting.

“I wanted to play with a language,” Adelman said. “It’s like classically elegant, but then smash it up and kind of be a little bit more brutal or heavy-handed about it, so it becomes less precious,” she said.

Adelman presented Paradise City at the 2019 edition of Design Miami/Basel, which took place in the Swiss city from 11 to 16 June.


“我想玩一種語言,”阿德爾曼說。 “這就像經典優雅,但隨後粉碎它,對它有點殘酷或笨拙,所以它變得不那麼珍貴,”她說。


It forms a culmination of different collections that Aldeman’s studio has launched over the years and represents how her craft has evolved.

“I’m getting a handle on the whole technical aspect of it, or those challenges, so I can have it be driven more by emotion or an expression of something,” she said.

Born in New York City in 1968, Lindsey Adelman established her design studio in 2006 after studying at Rhode Island School of Design.



Lindsey Adelman於1968年出生於紐約市,於2006年在羅德島設計學院學習後成立了自己的設計工作室。


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