Furniture Designs
Gehry Residence
Loyola Law School
Residences 1
Residences 2
Fish and Snake Lamps
Chiat/Day Building
Vitra International Headquarters
Walt Disney Concert Hall
Fish Sculpture
Lewis Residence
Frederick R. Weisman Art Museum
EMR Communications and Technology Center
Guggenheim Museum Bilbao
Nationale-Nederlanden Building
Vontz Center for Molecular Studies
Der Neue Zollhof
Experience Music Project
DG Bank Building
Ustra Office Building
Conde Nast Cafeteria
Telluride Residence
Performing Arts Center at Bard College
Peter B. Lewis Building
Guggenheim Museum New York
Hotel at Marques de Riscal
Ray and Maria Stata Center
Maggie's Centre Dundee
Millennium Park Music Pavilion and Great Lawn
New York Times Headquarters
 Frank Gehry Architect
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Winton Guest House. Photo: © Grant Mudford Los Angeles CA.

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Gehry's housing designs from the early to mid-1980s appear as groupings of separate, interrelated parts. Such a physical change makes apparent the architect's evolving desire to reduce a building to its most essential components. This change from his earlier unified structures is underlined by his unbuilt addition to a Los Angeles home he first designed in 1958–59, the Steeves Residence, which was redesigned for the Smith family in 1981. In the Smith addition, a collection of attached but disjointed buildings are juxtaposed around a veranda that connects to the original low-lying structure that was inspired by Frank Lloyd Wright's architecture and the simplicity of Japanese design.

Gehry's new approach also reveals his desire to enliven the monotony frequent among large housing developments. The unbuilt Tract House (1982) separates the rooms of the ubiquitous housing type into distinct geometric elements and directly inspired the Schnabel Residence (1986–89), located in an elite Los Angeles neighborhood on a relatively undistinguished plot of land. Drawing upon myriad historical influences and visual impressions, the Schnabel structure is more reminiscent of a scattered village than of an ordered residential compound, with its architectural variations invigorating and seemingly expanding the lot size. The sculptural quality of this arrangement reaches an apogee in the configuration of the Winton Guest House (1983–87) in Wayzata, Minnesota, in which square, wedge, and cone-shaped buildings contain individual rooms of the guest addition and appear as an absorbing still-life tableau when viewed from the main house.