Discover the world of architecture with the rare and highly sought after Global Interiors Frank Lloyd Wright 2 book. Immerse yourself in the genius of Frank Lloyd Wright as you explore the stunning houses he designed and the innovative electronics he incorporated into his work. This book is a must-have for any architecture enthusiast and offers a unique insight into the mind of one of the greatest architects of our time.

Explore the language of design and discover new ways to appreciate the beauty of architecture through this rare book. Its pages are filled with stunning images and expert insights that will leave you feeling enlightened and inspired. Don't miss out on the opportunity to add this valuable addition to your collection. Order today and experience the wonder of Frank Lloyd Wright's work.

All items are sold used and as is. Please see photos for condition and feel free to message me with any questions. Check out the other stuff in my store! I’m always willing to make a deal on multiple items & combine shipping!

Frank Lloyd Wright Sr. (June 8, 1867 – April 9, 1959) was an American architect, designer, writer, and educator. He designed more than 1,000 structures over a creative period of 70 years. Wright played a key role in the architectural movements of the twentieth century, influencing architects worldwide through his works and mentoring hundreds of apprentices in his Taliesin Fellowship.[1][2] Wright believed in designing in harmony with humanity and the environment, a philosophy he called organic architecture. This philosophy was exemplified in Fallingwater (1935), which has been called "the best all-time work of American architecture".

Wright was a pioneer of what came to be called the Prairie School movement of architecture and also developed the concept of the Usonian home in Broadacre City, his vision for urban planning in the United States. He also designed original and innovative offices, churches, schools, skyscrapers, hotels, museums, and other commercial projects. Wright-designed interior elements (including leaded glass windows, floors, furniture and even tableware) were integrated into these structures. He wrote several books and numerous articles and was a popular lecturer in the United States and in Europe. Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time".[3] In 2019, a selection of his work became a listed World Heritage Site as The 20th-Century Architecture of Frank Lloyd Wright.

Raised in rural Wisconsin, Wright studied civil engineering at the University of Wisconsin and then apprenticed in Chicago, briefly with Joseph Lyman Silsbee, and then with Louis Sullivan at Adler & Sullivan. Wright opened his own successful Chicago practice in 1893 and established a studio in his Oak Park, Illinois home in 1898. His fame increased and his personal life sometimes made headlines: leaving his first wife Catherine "Kitty" Tobin for Mamah Cheney in 1909; the murder of Mamah and her children and others at his Taliesin estate by a staff member in 1914; his tempestuous marriage with second wife Miriam Noel (m. 1923–1927); and his courtship and marriage with Olgivanna Lazović (m. 1928–1959).

His Prairie houses use themed, coordinated design elements (often based on plant forms) that are repeated in windows, carpets, and other fittings. He made innovative use of new building materials such as precast concrete blocks, glass bricks, and zinc cames (instead of the traditional lead) for his leadlight windows, and he famously used Pyrex glass tubing as a major element in the Johnson Wax Headquarters.[citation needed] Wright was also one of the first architects to design and install custom-made electric light fittings, including some of the first electric floor lamps, and his very early use of the then-novel spherical glass lampshade (a design previously not possible due to the physical restrictions of gas lighting).[citation needed] In 1897, Wright received a patent for "Prism Glass Tiles" that were used in storefronts to direct light toward the interior.[101] Wright fully embraced glass in his designs and found that it fit well into his philosophy of organic architecture. According to Wright's organic theory, all components of the building should appear unified, as though they belong together. Nothing should be attached to it without considering the effect on the whole. To unify the house to its site, Wright often used large expanses of glass to blur the boundary between the indoors and outdoors.[102] Glass allowed for interaction and viewing of the outdoors while still protecting from the elements. In 1928, Wright wrote an essay on glass in which he compared it to the mirrors of nature: lakes, rivers and ponds.[103] One of Wright's earliest uses of glass in his works was to string panes of glass along whole walls in an attempt to create light screens to join solid walls. By using this large amount of glass, Wright sought to achieve a balance between the lightness and airiness of the glass and the solid, hard walls. Arguably, Wright's best-known art glass is that of the Prairie style. The simple geometric shapes that yield to very ornate and intricate windows represent some of the most integral ornamentation of his career.[104] Wright also designed some of his own clothing.

Wright, an individualist, did not affiliate with the American Institute of Architects during his career; he called the organization "a harbor of refuge for the incompetent" and "a form of refined gangsterism".[106] When an associate referred to him as "an old amateur" Wright confirmed, "I am the oldest."[107] Wright rarely credited any influences on his designs, but most architects, historians and scholars agree he had five major influences:[citation needed]

Louis Sullivan, whom he considered to be his Lieber Meister (dear master)

Nature, particularly shapes/forms and colors/patterns of plant life

Music (his favorite composer was Ludwig van Beethoven)

Japanese art, prints and buildings

Froebel gifts[108]

Wright was given a set of Froebel gifts at about age nine, and in his autobiography he cited them indirectly in explaining that he learned the geometry of architecture in kindergarten play:

For several years I sat at the little kindergarten table-top ruled by lines about four inches apart each way making four-inch squares; and, among other things, played upon these 'unit-lines' with the square (cube), the circle (sphere) and the triangle (tetrahedron or tripod)—these were smooth maple-wood blocks. All are in my fingers to this day.[109]: 359 

Wright later wrote, "The virtue of all this lay in the awakening of the child-mind to rhythmic structures in Nature… I soon became susceptible to constructive pattern evolving in everything I saw."[110]: 25 [111]: 205 

He routinely claimed the work of architects and architectural designers who were his employees as his own designs, and believed that the rest of the Prairie School architects were merely his followers, imitators, and subordinates.[112] As with any architect, though, Wright worked in a collaborative process and drew his ideas from the work of others. In his earlier days, Wright worked with some of the top architects of the Chicago School, including Sullivan. In his Prairie School days, Wright's office was populated by many talented architects, including William Eugene Drummond, John Van Bergen, Isabel Roberts, Francis Barry Byrne, Albert McArthur, Marion Mahony Griffin, and Walter Burley Griffin. The Czech-born architect Antonin Raymond worked for Wright at Taliesin and led the construction of the Imperial Hotel in Tokyo. He subsequently stayed in Japan and opened his own practice. Rudolf Schindler also worked for Wright on the Imperial Hotel and his own work is often credited as influencing Wright's Usonian houses. Schindler's friend Richard Neutra also worked briefly for Wright. In the Taliesin days, Wright employed many architects and artists who later become notable, such as Aaron Green, John Lautner, E. Fay Jones, Henry Klumb, William Bernoudy, and Paolo Soleri.

Wright was a passionate Japanophile — he once proclaimed Japan to be "the most romantic, artistic, nature-inspired country on earth."[113] He was particularly interested in ukiyo-e woodblock prints, to which he claimed he was "enslaved."[114] Wright spent much of his free time selling, collecting, and appreciating these prints. He held parties and other events centered around them, proclaiming their pedagogical value to his guests and students.[114] Before arriving in Japan, his impressions of the nation were based almost entirely on them.[113][115]

Wright found particular inspiration in the formal aspects of Japanese art. He described ukiyo-e prints as "organic," because of their understated qualities, their harmony, and their ability to be appreciated on a purely aesthetic level.[115] Additionally, he cherished their free-form compositions, where elements of the scene would frequently breach in front of one another, and their lack of extraneous detail, which he called a "gospel of elimination."[113][116] His interpretation of chashitsu (tea ceremony venues), mediated by the ideas of Okakura Kakuzō, was that of an architecture which emphasized openness, the "vacant space between the roof and walls."[117][a] Wright applied these principles on a large scale, and they became trademarks of his practice.

Wright's floor plans exhibit strong similarities to their presumed Japanese forebears. The open living spaces of his early homes were likely appropriated from the World's Columbian Exposition's Ho-O-Den Pavilion, whose sliding-screen dividers were removed in preparation for the event.[118] Likewise, Unity Temple follows a gongen-zukuri layout, characteristic of Shinto shrines and likely inspired by his 1905 visit to the Rinnō-ji temple complex,[119] and the shape of many of his cantilevered towers, including the Johnson Research Tower, may have been inspired by Japanese pagodas.[120] Wright's ornamental flourishes, as seen in his leaded glass windows and lively architectural drawings, demonstrate a technical indebtedness to ukiyo-e.[116] One modern commentator, discussing the Robie House, suggests that such elements combined allow Wright's architecture to exhibit iki, a particularly Japanese aesthetic value marked by a subdued stylishness.[121]

His ideas about the art of Japan appear to have drawn greatly from the activities of Ernest Fenollosa, whose work he likely first encountered between 1890 and 1893.[122] Many of Fenollosa's ideas are quite similar to those of Wright: these include his view of architecture as a "mother art," his condemnation of the West's "separation of construction and decoration," and his identification of an "organic wholeness" within ukiyo-e prints.[116][122] Also like Wright, Fenollosa perceived a "degeneracy" in Western architecture, with particular emphasis on Renaissance architecture; Wright himself admitted that Japanese prints helped to "vulgarize" the Renaissance for him.[122] Wright's art criticism treatise, The Japanese Print: An Interpretation, may be read as a straightforward expansion upon Fenollosa's ideas.[116][122]

Though Wright always acknowledged his indebtedness to Japanese art and architecture, he took offense to claims that he copied or adapted it. In his view, Japanese art simply validated his personal principles especially well, and as such it was not a source of special inspiration.[115] Responding to a claim by Charles Robert Ashbee that he was "trying to adapt Japanese forms to the United States," Wright said that such borrowing was "against [his] very religion."[123] Nonetheless, his insistence did not stop others from observing the same throughout his life.

Wright was also an active dealer in Japanese art, primarily ukiyo-e. He frequently served as both architect and art dealer to the same clients: he designed a home, then provided the art to fill it.[124] For a time, Wright made more from selling art than from his work as an architect. He also kept a personal collection, which he used as a teaching aid with his apprentices in what were called "print parties";[114][125] to better suit his taste, he sometimes modified these personal prints using colored pencils and crayons.[115] Wright owned prints from masters such as Okumura Masanobu, Torii Kiyomasu I, Katsukawa Shunshō, Utagawa Toyoharu, Utagawa Kunisada, Katsushika Hokusai, and Utagawa Hiroshige;[115] he was especially fond of Hiroshige, whom he considered "the greatest artist in the world."[114]

Wright first traveled to Japan in 1905, where he bought hundreds of prints. The following year, he helped organize the world's first retrospective exhibition on Hiroshige, held at the Art Institute of Chicago,[124] a job which strengthened his reputation as an expert in Japanese art.[115] Wright continued buying prints in his return trips to Japan[115] and for many years he was a major presence in the art world, selling a great number of works both to prominent private collectors[124] and to museums such as the Metropolitan Museum of Art.[126] In sum, Wright spent over five hundred thousand dollars on prints between 1905 and 1923.[127] He penned a book on Japanese art, The Japanese Print: An Interpretation, in 1912.[113][126]

In 1920, many of the prints Wright sold had been found to exhibit signs of retouching, including pinholes and unoriginal pigments.[115][127] These retouched prints were likely made in retribution by some of his Japanese dealers, who were disgruntled by the architect's under-the-table sales.[115] In an attempt to clear his name, Wright took one of his dealers, Kyūgo Hayashi, to court over the issue; Hayashi was subsequently sentenced to one year in prison, and barred from selling prints for an extended period of time.[115]

Though Wright protested his innocence, and provided his clients with genuine prints as replacements for those he was accused of retouching, the incident marked the end of the high point of his career as an art dealer.[126] He was forced to sell off much of his art collection to pay off outstanding debts: in 1928, the Bank of Wisconsin claimed Taliesin and sold thousands of his prints — for only one dollar a piece — to collector Edward Burr Van Vleck.[124] Nonetheless, Wright continued to collect and deal in prints until his death in 1959, using them as bartering chips and collateral for loans; he often relied upon his art business to remain financially solvent.[126] He once claimed that Taliesin I and II were "practically built" by his prints.[127]

The extent of his dealings in Japanese art went largely unknown, or underestimated, among art historians for decades. In 1980, Julia Meech, then associate curator of Japanese art at the Metropolitan Museum, began researching the history of the museum's collection of Japanese prints. She discovered "a three-inch-deep 'clump of 400 cards' from 1918, each listing a print bought from the same seller — 'F. L. Wright'" — and a number of letters exchanged between Wright and the museum's first curator of Far Eastern Art, Sigisbert C. Bosch Reitz. These discoveries and subsequent research led to a renewed understanding of Wright's career as an art dealer.[126]

Community planning

edit

Frank Lloyd Wright's commissions and theories on urban design began as early as 1900 and continued until his death. He had 41 commissions on the scale of community planning or urban design.[128]

His thoughts on suburban design started in 1900 with a proposed subdivision layout for Charles E. Roberts entitled the "Quadruple Block Plan". This design strayed from traditional suburban lot layouts and set houses on small square blocks of four equal-sized lots surrounded on all sides by roads instead of straight rows of houses on parallel streets. The houses, which used the same design as published in "A Home in a Prairie Town" from the Ladies' Home Journal, were set toward the center of the block to maximize the yard space and included private space in the center. This also allowed for far more interesting views from each house. Although this plan was never realized, Wright published the design in the Wasmuth Portfolio in 1910.[129]

The more ambitious designs of entire communities were exemplified by his entry into the City Club of Chicago Land Development Competition in 1913. The contest was for the development of a suburban quarter section. This design expanded on the Quadruple Block Plan and included several social levels. The design shows the placement of the upscale homes in the most desirable areas and the blue collar homes and apartments separated by parks and common spaces. The design also included all the amenities of a small city: schools, museums, markets, etc.[130] This view of decentralization was later reinforced by theoretical Broadacre City design. The philosophy behind his community planning was decentralization. The new development must be away from the cities. In this decentralized America, all services and facilities could coexist "factories side by side with farm and home".[131]

Notable community planning designs:

1900–03 – Quadruple Block Plan, 24 homes in Oak Park, Illinois (unbuilt);

1909 – Como Orchard Summer Colony, town site development for new town in the Bitterroot Valley, Montana;

1913 – Chicago Land Development competition, suburban Chicago quarter section;

1934–59 – Broadacre City, theoretical decentralized city plan, exhibits of large-scale model;

1938 – Suntop Homes, also known as Cloverleaf Quadruple Housing Project – commission from Federal Works Agency, Division of Defense Housing, a low-cost multifamily housing alternative to suburban development;

1942 – Cooperative Homesteads, commissioned by a group of auto workers, teachers and other professionals, 160-acre farm co-op was to be the pioneer of rammed earth and earth berm construction[132] (unbuilt);

1945 – Usonia Homes, 47 homes (three designed by Wright) in Pleasantville, New York;

1949 – Parkwyn Village, a plat in Kalamazoo, Michigan, developed by Wright containing mostly Usonian houses by other architects with four by Wright. The community was planned to be on circular lots but was re-platted and squared off.

1949 – The Acres, also known as Galesburg Country Homes, with five houses (four designed by Wright) in Charleston Township, Michigan; The Acres remains the sole example of a planned community that has not had its circular lots squared off or been sub-divided.

Death

edit

On April 4, 1959, Wright was hospitalized for abdominal pains and was operated upon. Wright seemed to be recovering but he died quietly on April 9 at the age of 91 years. The New York Times then reported he was 89.[133][134]

After his death, Wright's legacy was engulfed in turmoil for years. His third wife Olgivanna's dying wish had been that she, Wright, and her daughter by her first marriage would all be cremated and interred together in a memorial garden being built at Taliesin West. According to his own wishes, Wright's body had lain in the Lloyd-Jones cemetery, next to the Unity Chapel, within view of Taliesin in Wisconsin. Although Olgivanna had taken no legal steps to move Wright's remains (and against the wishes of other family members and the Wisconsin legislature), his remains were removed from his grave in 1985 by members of the Taliesin Fellowship. They were cremated and sent to Scottsdale where they were later interred as per Olgivanna's instructions. The original grave site in Wisconsin is now empty but is still marked with Wright's name.[135]

Archives

edit

After Wright's death, most of his archives were stored at the Frank Lloyd Wright Foundation in Taliesin (in Wisconsin), and Taliesin West (in Arizona). These collections included more than 23,000 architectural drawings, some 44,000 photographs, 600 manuscripts, and more than 300,000 pieces of office and personal correspondence. It also contained about 40 large-scale architectural models, most of which were constructed for MoMA's retrospective of Wright in 1940.[136] In 2012, to guarantee a high level of conservation and access, as well as to transfer the considerable financial burden of maintaining the archive,[137] the Frank Lloyd Wright Foundation partnered with the Museum of Modern Art and the Avery Architectural and Fine Arts Library of Columbia University to move the archive's content to New York. Wright's furniture and art collection remains with the foundation, which will also have a role in monitoring the archive. These three parties established an advisory group to oversee exhibitions, symposiums, events, and publications.[136]

Photographs and other archival materials are held by the Ryerson and Burnham Libraries at the Art Institute of Chicago. The architect's personal archives are located at Taliesin West in Scottsdale, Arizona. The Frank Lloyd Wright archives include photographs of his drawings, indexed correspondence beginning in the 1880s and continuing through Wright's life, and other ephemera. The Getty Research Center, Los Angeles, also has copies of Wright's correspondence and photographs of his drawings in their Frank Lloyd Wright Special Collection. Wright's correspondence is indexed in An Index to the Taliesin Correspondence, ed. by Professor Anthony Alofsin, which is available at larger libraries.

Wright designed over 400 built structures[138] of which about 300 survived as of 2023.[citation needed] At least five have been lost to forces of nature: the waterfront house for W. L. Fuller in Pass Christian, Mississippi, destroyed by Hurricane Camille in August 1969; the Louis Sullivan Bungalow of Ocean Springs, Mississippi, destroyed by Hurricane Katrina in 2005; and the Arinobu Fukuhara House (1918) in Hakone, Japan, destroyed in the 1923 Great Kantō earthquake. In January 2006, the Wilbur Wynant House in Gary, Indiana was destroyed by fire.[139] In 2018 the Arch Oboler complex in Malibu, California was gutted in the Woolsey Fire.[140]

Many other notable Wright buildings were intentionally demolished: Midway Gardens (built 1913, demolished 1929), the Larkin Administration Building (built 1903, demolished 1950), the Francis Apartments and Francisco Terrace Apartments (Chicago, built 1895, demolished 1971 and 1974, respectively), the Geneva Inn (Lake Geneva, Wisconsin, built 1911, demolished 1970), and the Banff National Park Pavilion (built 1914, demolished 1934). The Imperial Hotel (built 1923) survived the 1923 Great Kantō earthquake, but was demolished in 1968 due to urban developmental pressures.[141] The Hoffman Auto Showroom in New York City (built 1954) was demolished in 2013.

Several of Wright's projects were either built after his death, or remain unbuilt. These include:

Crystal Heights, a large mixed-use development in Washington, D.C., 1940 (unbuilt)

The Illinois, mile-high tower in Chicago, 1956 (unbuilt)

Marin County Civic Center, a municipal complex in San Rafael, California; groundbreaking occurred just one year after Wright's death

Monona Terrace, convention center in Madison, Wisconsin; designed 1938–1959, built in 1997

Clubhouse at the Nakoma Golf Resort, Plumas County, California; designed in 1923, opened in 2000

Passive Solar Hemi-Cycle Home in Hawaii; designed in 1954, built in 1995

Later in his life (and after his death in 1959), Wright was accorded significant honorary recognition for his lifetime achievements. He received a Gold Medal award from The Royal Institute of British Architects in 1941. The American Institute of Architects awarded him the AIA Gold Medal in 1949. That medal was a symbolic "burying the hatchet" between Wright and the AIA. In a radio interview, he commented, "Well, the AIA I never joined, and they know why. When they gave me the gold medal in Houston, I told them frankly why. Feeling that the architecture profession is all that's the matter with architecture, why should I join them?"[107] He was awarded the Franklin Institute's Frank P. Brown Medal in 1953. He received honorary degrees from several universities (including his alma mater, the University of Wisconsin), and several nations named him as an honorary board member to their national academies of art and/or architecture. In 2000, Fallingwater was named "The Building of the 20th century" in an unscientific "Top-Ten" poll taken by members attending the AIA annual convention in Philadelphia.[citation needed] On that list, Wright was listed along with many of the USA's other greatest architects including Eero Saarinen, I.M. Pei, Louis Kahn, Philip Johnson, and Ludwig Mies van der Rohe; he was the only architect who had more than one building on the list. The other three buildings were the Guggenheim Museum, the Frederick C. Robie House, and the Johnson Wax Building.

In 1992, the Madison Opera in Madison, Wisconsin, commissioned and premiered the opera Shining Brow, by composer Daron Hagen and librettist Paul Muldoon based on events early in Wright's life. The work has since received numerous revivals, including a June 2013 revival at Fallingwater, in Bull Run, Pennsylvania, by Opera Theater of Pittsburgh. In 2000, Work Song: Three Views of Frank Lloyd Wright, a play based on the relationship between the personal and working aspects of Wright's life, debuted at the Milwaukee Repertory Theater.

In 1966, the United States Postal Service honored Wright with a Prominent Americans series 2¢ postage stamp.[143]

"So Long, Frank Lloyd Wright" is a song written by Paul Simon. Art Garfunkel has stated that the origin of the song came from his request that Simon write a song about the famous architect Frank Lloyd Wright. Simon himself stated that he knew nothing about Wright, but proceeded to write the song anyway.[144]

In 1957, Arizona made plans to construct a new capitol building. Believing that the submitted plans for the new capitol were tombs to the past, Frank Lloyd Wright offered Oasis as an alternative to the people of Arizona.[145] In 2004, one of the spires included in his design was erected in Scottsdale.[146]

The city of Scottsdale, Arizona renamed a portion of Bell Road, a major east–west thoroughfare in the Phoenix metropolitan area, in honor of Frank Lloyd Wright.

Eight of Wright's buildings – Fallingwater, the Guggenheim Museum, the Hollyhock House, the Jacobs House, the Robie House, Taliesin, Taliesin West, and the Unity Temple – were inscribed on the list of UNESCO World Heritage Sites under the title The 20th-century Architecture of Frank Lloyd Wright in July 2019. UNESCO stated that these buildings were "innovative solutions to the needs for housing, worship, work or leisure" and "had a strong impact on the development of modern architecture in Europe".[147][148]

Family

edit

Frank Lloyd Wright was married three times, fathering four sons and three daughters. He also adopted Svetlana Milanoff, the daughter of his third wife, Olgivanna Lloyd Wright.[149]

His wives/partners were:

Catherine "Kitty" (Tobin) Wright (1871–1959); social worker, socialite (married in June 1889; divorced November 1922)

Martha Bouton "Mamah" Borthwick (June 19, 1869 – August 15, 1914) was an American translator who had a romantic relationship with architect Frank Lloyd Wright (1909-1914), which ended when she was murdered after a male servant set fire to the living quarters of Taliesin and murdered seven people with an axe as they fled the burning structure.

Maude "Miriam" (Noel) Wright (1869–1930), artist (married in November 1923; divorced August 1927)

Olga Ivanovna "Olgivanna" (Lazovich Milanoff) Lloyd Wright (1897–1985), dancer and writer (married in August 1928)

His children with Catherine were:

Frank Lloyd Wright Jr., known as Lloyd Wright (1890–1978), became a notable architect in Los Angeles. Lloyd's son, Eric Lloyd Wright (1929–2023), was an architect in Malibu, California, specializing in residences, but also designed civic and commercial buildings.

John Lloyd Wright (1892–1972), invented Lincoln Logs in 1918, and practiced architecture extensively in the San Diego area. John's daughter, Elizabeth Wright Ingraham (1922–2013), was an architect in Colorado Springs, Colorado. She was the mother of Christine, an interior designer in Connecticut, and Catherine, an architecture professor at the Pratt Institute.[150]

Catherine Wright Baxter (1894–1979) was a homemaker and the mother of Oscar-winning actress Anne Baxter.

David Samuel Wright (1895–1997) was a building-products representative for whom Wright designed the David & Gladys Wright House, which was rescued from demolition and given to the Frank Lloyd Wright School of Architecture.[151][152][153]

Frances Wright Caroe (1898–1959) was an arts administrator.

Robert Llewellyn Wright (1903–1986) was an attorney for whom Wright designed a house in Bethesda, Maryland.[154]

His children with Olgivanna were:

Svetlana Peters (1917–1946, adopted daughter of Olgivanna) was a musician who died in an automobile accident with her son Daniel. After Svetlana's death her other son, Brandoch Peters (1942– ), was raised by Frank and Olgivanna. Svetlana's widower, William Wesley Peters, was later briefly married to Svetlana Alliluyeva, the youngest child and only daughter of Joseph Stalin. William Wesley Peters served as chairman of the Frank Lloyd Wright Foundation from 1985 to 1991.

Iovanna Lloyd Wright (1925–2015) was an artist and musician.