David Weeks Studio Bottle Tiered Pendant Chandelier No. 407, Three Stations

Some fixtures illuminate a room.

This one conducts it.

The Bottle Tiered Pendant No. 407 by David Weeks is less chandelier, more kinetic sculpture—an orbit of light, balance, and just the right amount of drama. Composed of bilateral tiers extending from a central column, each arm is capped with a handspun “Bottle” shade that feels equal parts industrial poetry and quiet rebellion.

And then—because David Weeks doesn’t do static—each shade rotates a full 320 degrees, allowing you to direct light exactly where you want it… or don’t. Spotlight your favorite object, graze a wall, or let it cast that perfectly diffused glow that makes everyone look better than they did five minutes ago.

The tiers themselves? Customizable. Because of course they are. This isn’t one-size-fits-all lighting—this is a system, a composition, a choose-your-own-adventure for people who care deeply about proportion and balance (and maybe a little bit about impressing their guests, but we won’t say that out loud).

There’s an undeniable lineage here—an echo of mid-century Italian masters like Stilnovo and Arredoluce, with that same sense of airy engineering and sculptural restraint. A whisper of Gino Sarfatti in the precision, a nod to Angelo Lelii in the elegance of form. But where those icons defined an era, Weeks reinterprets it—loosening the tie, rolling up the sleeves, and giving it a distinctly Brooklyn attitude.

And speaking of Brooklyn…

David Weeks, widely regarded as a founding figure in North America’s independent lighting movement, has been shaping the conversation since the early days of DUMBO—back when “industrial chic” wasn’t a hashtag, it was just… the reality. Trained as a sculptor and painter at the Rhode Island School of Design, Weeks approaches lighting the way others approach art: through material, movement, and an obsessive attention to proportion.

Since founding his studio in 1996, his work has spanned lighting, furniture, textiles, and even wooden toys (because why not), collaborating with design powerhouses like Roll & Hill, Moroso, Tala, Habitat, and Areaware. His pieces have been exhibited globally—from Milan to Paris to New York—and live comfortably in both high-profile commercial spaces and very, very well-appointed homes.

Which brings us back to this piece.

It doesn’t scream. It doesn’t beg.

It hovers. It balances. It quietly rearranges the hierarchy of the room.

Because the right lighting doesn’t just show you the space.

It tells you how to feel in it.