Today’s post is about the suspended low voltage lighting system from ALBUM used in the lower-level Office and the Master Bathroom. I discovered this description in the 2012 ALBUM catalog, which can be downloaded from the company’s website:
“THE ORBITE SYSTEM. ‘Orbite’ is a lighting system inspired by the structure of a slice of Universe, in which bodies that are of different shape, size and brightness are hanging in the space appearing motionless, still.”
I thought I’d start with a photograph looking diagonally from just inside the entry to the opposite corner of the lower-level Office, (below), highlighting the shapes and sizes of the hand blown glass fixtures chosen by Carol Byrne and Will Bruder in 1998.
Again, referring to the 2012 ALBUM catalog, I’ve extracted a description of how the system can be applied:
THE SYSTEM PROJECT. The Orbite System uses cables (supporting cables) which supply power and actually support the lighting sources, they are applied in a high position at the edges of the area to be lit. The starting point of the two cables, one for each pole, depends on the position of the mains power socket to which it is to be connected, the transformer will be placed near it and will supply the system at safety extra-low voltage. These ‘supporting cables’ may be fixed to the ceiling or walls, or can be connected between opposite walls. They can also be applied to metallic structures as the securing elements are isolated. The lighting bodies are chosen according to the type of light required, they are then positioned on the system.
In the case of the Byrne residence, the supporting cables are attached to the ceiling and trace the perimeter of the room, enabling light to be directed where it’s needed and/or desired. In this same photograph, (above), you see how we’ve chosen to concentrate the light over the work spaces, (above the elevated cherry table projecting into the room and above the maple and cherry counter top running the length of the south and west walls), in the lower-level Office.
In the foreground, you’ll see an example of the “MOZZARELLA” lighting body, then just beyond it and slightly to the left, “PASTICCINI”, down and to the right “POPONE”, then behind, examples of a clear, blue, green and red “FILI D’ANGELO”, all illuminating the table, with the clear “FILI D’ANGELO” directed upward, splashing the ceiling and casting indirect light around the room. As we progress down the west wall, you’ll see examples of “GOCCIA”, “PATATA COTTO” and “PATATA VETRO” at the far end of the counter top. The blue “FILI D’ANGELO” is directly over a lovely ceramic plate by Gretchen Wachs. The five color photographs are original images by Will Bruder, and the three mixed-media baskets are by John Garrett. In the foreground a turned wood bowl by Matt Moulthrop. In the background on the floor is a large ceramic vessel by the late Liz Anderson called “Olla” purchased from LewAllen Contemporary art gallery in 1996.
This next photograph, (below), is of the lighting body “SCUFFIA” found hovering above the desk on the south wall, just inside the entry to the lower-level Office. Martha captured this image one evening after sunset shortly after we completed the interior painting project in May of 2011.
The next two photographs, (below), are of the green “FILI D’ANGELO” lighting body we’ve trained on a 6″ square painting by Ken Edwards. Isn’t the green in the lighting body a fantastic compliment to the green hues in Ken’s painting?
This last photograph in the lower-level Office, (below), is of the transformer mounted on the ceiling above the desk, (which runs along the south wall), with the supporting cables exiting from the copper cover and secured to the ceiling with triangular copper brackets around the perimeter of the room.
The Orbite installation in the Master Bathroom concentrates lighting above the sinks and in front of the large mirror, illustrated in the photograph below. There are two lighting bodies used in the Master Bathroom, “PATATA VETRO” and “GOCCIA”, all lamped with halogen bulbs. Again, the supporting cables follow the perimeter of the room, but are attached to the north, east and west walls rather than to the ceiling. You catch a glimpse of a painting by Otis Lumpkin, titled “Red Bicycle” on the wall opposite where Martha was standing when she took this photograph.
I’ve included a close-up of one of the “PATATA VETRO” lighting bodies, (below). …and you can see the copper conductors for two of the other lighting bodies draped behind this fixture in the foreground. Doesn’t it create an interesting visual effect due to the reflected images in the mirror?