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。
阿德爾曼在今年的邁阿密/巴塞爾設計當代藝術博覽會上發布了這一亮點。
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.”
阿德爾曼表示，設計的目的似乎是玻璃固定裝置可能從框架上滑落並破碎，導致“根本不安全”。
阿德爾曼告訴迪澤恩說：“它有一些非常錯誤的東西，同時也非常漂亮。”
“它產生了大量的視覺張力，看起來像腳手架或腿支撐。”
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.
為了創造這種效果，阿德爾曼設計了一種幾乎隱藏的結構，該結構基於一系列針刺穿燈泡並將其固定到位。
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。
“這並不是一種喜歡使用尖峰的人群，”她說，並評論說，她的許多客戶群通過薄而鋒利的裝置清除了燈具。
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.
有些燈泡柔和地彎曲，而其他燈泡則採用新藝術風格的細節，包括羅紋圖案和凹槽。
“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。
阿德爾曼於2014年6月11日至16日在瑞士城市舉辦的邁阿密/巴塞爾設計展上展示了天堂之城。
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.
它形成了Aldeman工作室多年來推出的不同系列的高潮，代表了她的工藝如何發展。
“我正在處理它的整個技術方面，或者那些挑戰，所以我可以通過情感或某種表達方式來驅動它，”她說。
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。
