美国设计师Lindsey Adelman以其严谨但富有诗意的照明方法而闻名,她回到2021年的Salone del Mobile,推出另一个突破性的系列。这个新系列名为 “天堂”,抓住了游牧民族流浪的奢华精神,创造了一种放纵的自发性的感觉。精心制作的元素被摇摆、穿刺和照明,产生了一种意想不到的时装和朋克的冲突。
墙上的符号由石器制成,带有定制的青铜釉,是专门为阿德尔曼在阿尔科瓦的展示而创作的,背景是米兰英甘尼区的一个19世纪的建筑群–一个捕捉到一种前语言、更原始的交流状态的视觉词汇。林赛凭直觉画出了每一个符号,当她看着每一个符号时,自发地赋予其含义。虽然在美学上它们让人联想到古代文字,但它们是在没有参考任何现有文化或标记的情况下制作的,以便更本能地为林赛脑海中的虚构叙事创造一个新的字母表。
“林赛说:”通常语言会把我们分开–在我们表达自己之前很难不过度分析,而我们想要分享的东西的本质往往被丢失。”这些可能是我实践中更大探索的开始–探索我们是谁的这种原始状态,以及如何表现我们真正想说的东西,以便更接近。”
虽然《天堂》抓住了游牧流浪和睁眼探索的冲动,但这些符号是这种精神的交流。

Known for her rigorous but poetic approach to lighting, American designer Lindsey Adelman returned to Salone del Mobile 2021 to introduce another boundary-pushing collection. Titled Paradise, this new range captures a luxurious spirit of nomadic wandering and creates a feeling of indulgent spontaneity. Meticulously crafted elements are swagged, pierced and illuminated to generate an unexpected clash of couture and punk.
The wall symbols, made of stoneware with a custom bronze glaze, were created specifically for Adelman’s presentation at Alcova, set with a 19th-century cluster of buildings in the Inganni district of Milan — a visual vocabulary capturing a kind of pre-verbal, more primitive state of communication. Lindsey drew every sign from intuition and as she looked at each, ascribed meanings spontaneously. While aesthetically they are reminiscent of ancient texts, they were made without referencing any existing culture or markings in order to more instinctively create a new alphabet for a fictitious narrative in Lindsey’s head.
“Often language can separate us—it’s hard not to over-analyse before we express ourselves—and the essence of what we want to share is too often lost,” said Lindsey. “These may be the beginning of a larger exploration in my practice— exploring this primitive state of who we are and how to represent what we really want to say in order to get closer.”
While Paradise captures the charge of nomadic wandering and open-eyed exploration, these symbols are the communication of this spirit.

南希-哈斯写道:”几个世纪以来,穆拉诺岛上的玻璃吹制者严格地代代相传,把他们的魔法留给自己。但近年来,值得庆幸的是,这些大师级的工匠们已经开始拥抱并被渴望重新诠释历史的年轻一波美国玻璃工匠所拥抱。这种快乐的交流是 “天堂 “的灵感之一,它是由纹理球(由布鲁克林的Michiko Sakano和宾夕法尼亚州的Vetro Vero工作室吹制)组成的一个庞大的雕塑级数,放在一个大链子铜链的网络上,像项链一样优雅地垂下。
在整个作品中,不透明和半透明的圆锥体、圆柱体、球体和钻石以垂直的角度探出,而细长的抛光针增加了危险的魅力。纽约纺织艺术家Taryn Urushido使用一种创新的劳动密集型技术,通过沉重的手工铜链将电线隐蔽地编织起来,使天堂的微妙照明更加神奇。除了一系列标准型号、小型吊灯和壁灯外,”天堂 “还被设计成可以无止境地定制:它可以在一个开放的圆形楼梯的井中扭曲和激流,或者在天花板上无止境地跳舞。

Nancy Hass writes about the collection — For centuries, glassblowers on the island of Murano passed down their expertise strictly through the generations, keeping their magic to themselves. But in recent years, thankfully, those master craftsmen have come to embrace and be embraced by a young wave of American glass artisans eager to reinterpret history. Such a joyous exchange was among the inspirations for Paradise, a sprawling sculptural cascade of textured globes (blown by Brooklyn-based Michiko Sakano and Vetro Vero studio in Pennsylvania) on a network of large-link brass chains that drape as gracefully as a necklace.
Throughout, opaque and translucent cones, cylinders, spheres and diamonds poke out at vertiginous angles, and slender polished pins add an edge of dangerous glamour. Using an innovative, labour-intensive technique, New York textile artist Taryn Urushido crochets the electrical wires invisibly through heavy handmade brass chains, rendering Paradise’s subtle illumination even more miraculous. In addition to an array of standard models, small-scale pendants and sconces, Paradise was designed to be endlessly customizable: it can twist and torrent down the well of an open circular staircase or dance endlessly across the ceiling.

Designer:Lindsey Adelman
Year:2021
Photographys:Nigel Cox, Black & Steil, Matteo Imbriani
Country:United States