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per­sonal stuff.”

So, he’s await­ing an in­vi­ta­tion to ap­pear on Two And A Half Men?

“I will say this on record: I’m not a fan of that be­hav­iour,” he said in ref­er­ence to Sheen’s re­peated re­ported melt­downs. “I think it has gone a bit much, a bit long, but I will say this, my heart does go out to (Char­lie’s fa­ther) Martin Sheen, be­cause I love me some Martin Sheen.”

Washington, a Hous­ton na­tive who now lives in Los An­ge­les with his fam­ily, said he had wanted to be an ar­chi­tect be­fore he stud­ied aero­space en­gi­neer­ing, served in the Air Force and even­tu­ally be­came an ac­tor.

“I’m a col­lec­tor of Le Cor­bus­ier, Mies van der Rohe and the whole Bauhaus pe­riod, so I’m stuck in the 1920s,” he said.

Ap­proach­ing an early Wright stucco home on the east side of For­est, Washington mar­veled at all of the “trick of the eye” de­tails and how the house’s lines were in sharp con­trast to the “doll­house”-like town houses next door.

More time in Africa

“No­body was do­ing stuff like this,” he said. Out­side the Peter A. Beachy House up the block, Washington homed in on the ex­te­rior red bricks’ un­even­ness and what an in­ten­tional de­par­ture they rep­re­sented from the typ­i­cal flat-brick fa­cade. He said he at­tempts to in­ject a sim­i­lar level of de­tail into his act­ing.

“What­ever I’m throw­ing out there in my work, you ei­ther catch that de­tail be­cause you’re ready to catch it, but if you’re not, that’s OK, you’re still be­ing en­ter­tained,” he said.

Af­ter get­ting a tour of the Beachy house and com­ment­ing on ev­ery­thing from its light­ened wood trim to the Stick­ley liv­ing-room chairs, he re­flected: “Peo­ple ask me, ‘Isa­iah, why are you so ex­cited about these build­ings? You’re ex­cited about places where we (African-Amer­i­cans) couldn’t sit down and we had to go through the back door.’ And I say to that, not true. Be­cause some­where the work­ers, the labour­ers, prob­a­bly more than not were African-Amer­i­can.

“We’re all part of it, so I’m just as con­nected to Frank Lloyd Wright, maybe through an­ces­try, as he is to some of the ideas that he’s clearly got­ten from build­ings (in Africa).”

Washington plans to spend more time in Africa, with trips to Libya and Morocco, where he said he’ll fol­low in the foot­steps of artist­sturned-am­bas­sadors to do “some pri­vate con­flict res­o­lu­tion.”

Be­cause Grey’s Anatomy is beamed world­wide, Washington said he has been amazed at his re­cep­tion at the United Na­tions and else­where.

“Be­ing on the set of a movie right now is just, I’m not knock­ing it, but, man, I’m on the world stage right now,” he said. “When peo­ple say, ‘ Do you want to go back (to tele­vi­sion)?’ it’s al­most like ask­ing a per­son who has been shot and maimed about go­ing back to the crime scene.”

Wind­ing up in the court­yard out­side Wright’s Home and Stu­dio, Washington sat down to pose for a photo, got a silly grin and de­clared: “I feel so gay right now!”

“You can’t say things like that,” chided the pho­tog­ra­pher, Keri Wig­in­ton.

“I just said that so you could say that,” he re­sponded with a laugh. “I say that; peo­ple go” – he gasped. He laughed some more and con­tin­ued: “I want to play (the late civil rights ac­tivist and con­gress­woman) Shirley Chisholm! Peo­ple want to know what my next role is. Af­ter I do Lou Rawls (in a project be­ing de­vel­oped), I want to get into con­tention, along with Kimberly Elise and Vi­ola Davis, to see if I can au­di­tion in char­ac­ter to play Shirley Chisholm.”

It’s safe to say that Washington has taken Wright’s flair for de­fy­ing ex­pec­ta­tions and made it his own. – Chicago Tribune/ McClatchy-Tribune In­for­ma­tion Ser­vices

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