Oliver Pelle spent childhood afternoons in his father’s office, watching structural engineering drawings turn into fields of lines and notation before anything was built. That memory anchors Hopper, a new series of aluminum and glass lighting by the designer, on view this month in Paris, France, as part of Metallic Reverie, an exhibition he shares with Jean Pelle, his co-founder at the Brooklyn-based studio PELLE, at LE 28, a new exhibition space opened by the gallery Triode.

The series includes four objects, and one of them, Hopper 04, carries no light source at all. The console table repeats the same hand-finished aluminum tubing and bracket system as the wall and table lights across a 41.5 inch top, though the illumination drops out entirely. That absence marks the throughline in Hopper. The series is organized around a repeating structural notation of aluminum tubing and joints, and light turns out to be only one form that notation happens to produce.

In Hopper 01 and Hopper 02, both wall lights, short aluminum brackets stack around a vertical run of sand-blasted glass tubing that carries the LED source. The glass diffuses the light into a continuous line instead of a single point, and the aluminum housing around it stays visibly mechanical, with pins and joints exposed at the surface. Hopper 03 compresses the same system into a table lamp seven and a half inches wide. Across all four pieces the compositions avoid settling into a recognizable lamp shape or furniture typology, keeping the visual logic of a working drawing intact in the finished object.

The series sits alongside Fountains, a group of brass and hand-painted sheet metal sculptures by Jean Pelle, shown in the same rooms at LE 28, a new exhibition space Triode built beside the rue Jacob showroom it has run for ten years. PELLE is the first studio invited to show there. Pelle trained as an architect at Yale, and Hopper carries that training forward as a working method, translating engineering drawing into welded and bolted aluminum.