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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Vitra Design Museum. Photo: © Michael Webb.

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Weil am Rhein, Germany 1987–89

In the late 1980s, a palpable shift in Gehry's aesthetic occurred with his first European commission: the design of two buildings for the manufacturing center of the Vitra furniture company. Gehry was asked to create a unified plan for a factory building that would sit adjacent to Nicholas Grimshaw's 1981 factory, as well as a small museum to house company CEO Rolf Fehlbaum's collection of approximately two hundred Modern and contemporary chairs. The resulting design departed from the disparate layering of geometries and informal materials common to Gehry's southern California structures and evidences a shift toward more organically sculptural forms.

The angularity of Gehry's previous structures was broken at Vitra by his use of the curve. Baroque arcs and gentle spirals imply collective movement, responding to the dynamic nature of the manufacturing center. Even the rectilinear factory is whisked into the action by the undulating ramps that flank it and visually correspond to the curvilinear museum. The sloping plaster and stucco forms recall Le Corbusier's iconic chapel Notre-Dame-du-Haut (1950–55), an important architectural landmark for Gehry located nearby in Ronchamp, France. The zinc rooftops of Gehry's museum and factory work in tandem with Grimshaw's aluminum-clad building to loosely unify the campus, yet are varied enough in style to work with more recent architectural additions.