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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Photo by Joshua White, courtesy of Frank O. Gehry & Associates.

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Birsfelden, Switzerland 1988–94

Gehry's distinctive corporate structures function as iconic symbols for their organizations. Such is the case with his Vitra International Headquarters in a suburb of Basel, which echoes the Vitra International Manufacturing Facility and Design Museum (1987–89) he designed in Weil am Rhein, Germany. Like the manufacturing facility, the headquarters' rectilinear office building provides a subdued backdrop for a visually separate anterior structure—in this case, a "villa" whose smaller scale and animated arcs recall the museum. The villa is sheathed in zinc, the roofing material used in Weil am Rhein, but its facade is distinguished from the earlier buildings by its brightly painted stucco panels.

As in his earlier designs for the workplace, Gehry structured human relations through the architectural arrangements. The centrally located villa, which houses a cafeteria, meeting rooms, and reception area, functions as the social heart of the organization, its smaller size creating an intimate gathering place. An atrium joins the rectilinear office block to this central core, thereby directing employees to a common point of convergence. The neutral office space counters the more distinctive architecture of the villa, and it recalls the open plans of Gehry's Rouse Company Headquarters (1969–74) in Columbia, Maryland, and his Chiat/Day Building (1985–91) in Venice, California. Gehry also negotiates the relationship of the building with the surrounding neighborhood, which ranges from factories to residences: the low-rise office building has a commercial quality, while the villa relates to the scale of the nearby homes.