Frank O.Gehry was inspired by Raphael Soriano early in his career, but soon developed his own style with very curvilinear forms and structures, he wanted the building to feel alive.

Gehry created museums that were warehouses with no windows making the skin the main aspect of the building which forces the architecture to play with the nature around it.

It is one of the world's largest collections of modern furniture design, including pieces representative of all major periods and styles from the beginning of the nineteenth century onwards.

These works, originally the private collection of Rolf Fehlbaum, are now permanently on display at the newly completed Schaudepot building on the Vitra premises.

Together with the museum, which was originally just designed to house Rolf Fehlbaum's private collection, Gehry also built a more functional-looking production hall and a gatehouse for the close-by Vitra factory.

Although Gehry used his trademark sculptural deconstructivist style for the museum building, he did not opt for his usual mix of materials, but limited himself to white plaster and a titanium–zinc alloy.

The sloping white forms appear to echo the Notre Dame du Haut chapel by Le Corbusier in Ronchamp, France, not far from Weil.

As a totality it resolves itself into an entwined coherent display...”[7]The building backs the factory fence and is embedded in a meadow adorned with cherry trees.

Claes Oldenburg and Coosje van Bruggen's prominent sculpture Balancing Tools provides a colourful contrast,[8][9] while Tadao Ando's nearby conference pavilion gives a more muted one.