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The name alone – Cloud – evokes the poetic nature of these creations, which, according to their maker, should convey ‘the feeling of freedom and eccentricity’. The lamps are available in various sizes and models. Each lamp has a voluminous yet delicate paper-like shade, in the centre of which is the invisible light source. With its irregular sculptural shape, marked by countless folds, crimps, bulges and dents, it suggests a fleecy Cloud and then again a large, soft snowball. Looked at more closely, the lampshade consists of several interlinked cup-like elements. Each lamp has an individual note in spite of all lamps having the same structure and the same predetermined shape. The idea is that the fold structure of the shade, which is shaped more or less by accident during production, can be changed by bulging it out or pressing it in. In doing so, Gehry makes users into co-designers who can repeatedly change the shape of the lamp if they so wish.

Light has always been one of the central themes in the work of the American architect Frank O. Gehry, winner of the Pritzker prize and one of today’s most distinguished designers. From the late 1960s onwards, Gehry has consistently created innovative lighting concepts and designed light objects for his manifold construction projects. Apart from experiments with ‘Colorcore’, a material that inspired the ‘Fish’ and ‘Snake’ lamps that were produced in small editions in the mid-1980s, these were all special designs developed in the context of specific projects. The individually designed, expressive light sculptures made for the conference rooms in the Vitra Center in Birsfelden, Switzerland – which was completed in 1994 – are prime examples.