Q: on left hand and a Bbadd9 on the right hand, both on root position. But I am coming to the realization that seeing them this way may intelectualize the process too much and make me think  of music in more math/pattern terms rather than feeling the music. As for the puzzle part, if i just play the right notes and not worry about which hand does which, the hands slowly start gaining instinct of how to play what. And everytime you play them, you're figuring out the finger-placement puzzle again, or atleast starting to make the connection of both hands working as one as opposed to LH does x, RH does  y. Another advantage I believe is that when changes need to be made to the voicing they are made to the whole at the same time, and rebalancing voices in the other hand to fit the change becomes easier. Because you don't need to relearn both blocks again and/or how they differ from the previous version of the chord, you just need to solve a new puzzle when playing.Mentally it feels kind of like the first time I started seeing the harmonies in classical music as opposed to just learning the notes and the order they come in at. Way easier to play bach's prelude 1 if you know the chords that are being arpeggiated rather than learning/reading each note by itself as it comes. I thin I am slowly unhindering myself of the limitations of the way I learned to play music as a kid. It just always seemed so intimidating to me seeing people improv 2 handed chords
A: i think you are overestimating the existence of 2 handed chords. if you are using 2 hands for a chord, your hands should either be very very close (like in the same range) and hopefully not playing more than about 6 notes max (beyond that it just gets crazy dense ... if you add more notes, they should be on the same notes you're already playing. which means other instruments have to play them) OR, you have a chord with your right hand and 1 note in the bass range. but only do this if you have absolutely no other bass player in your group