In a downtown tower, the view is just as stunning inside

MEET DAVID Pollart. Emphasis on the "art."

The Millennium Tower condo he shares with Linda Struthers is a museum of Northwest greats. We bounce from painting to sculpture to swirls of glass back to painting and over again: Dale Chihuly in the living room; Preston Singletary in the dining room; Nancy Mee off the kitchen. In the master bedroom (every room with a killer view of the Seattle waterfront, by the way) it's Gerard Tsutakawa, David Bennett, Guy Anderson.

There's Alden Mason, Morris Graves and Kenneth Callahan in the hallway. Heck, there's a William Cummings in the closet. The office? Galen Hansen, Fay Jones.

Sunset, meanwhile, has trouble competing with Dante Marioni glass vessels and a meteoric head by Hank Murta Adams.

It's impossible not to drop names here when we're tripping all over them throughout the 2,850-square-foot home with one bedroom, two offices and 2 ½ baths. For some guys, it's baseball cards. For Pollart, it's art.

"I've always said art is my drug," he confesses, sitting in a contemporary black-leather chair in his living room. We set our glasses down, very carefully, next to the cobalt-blue block sporting yolk-yellow thorns (Chihuly again). And Pollart explains:

"My father founded Provisioners Transportation. I graduated on Sunday and showed up at Provisioners on Tuesday; and my dad was mad because I didn't show up until Tuesday."

While in the transportation business, he met Chihuly, who was then at the Rhode Island School of Design. "He needed someone to haul things back and forth across the country to shows and various things. It was early, the baskets and seaform pieces."

Pollart was smitten. And in 1997 he retired to concentrate on all things creative: "My friends in the trucking business always thought I was a little weird because my office was filled with art." The theater major who was expected to run the family business had done his time.

Pollart has been involved with the Pilchuck Glass School for the past 25 years, serving on the board and even taking classes.

"It's like falling in love and being rich all at the same time," he says, brushing past his own cast-glass crown on the dining-room shelf. "I don't go to campus that I don't come home wired up.

"What I love about glass art is that everybody helps you. Some of these pieces could not be made alone. And that all started with Dale. He certainly held no secrets."

But enough about that. We've come to see the home he designed and completed two years ago. The kitchen is striking for its Karelian birch cabinets over silver quartzite counters, the wood creamy white with contrasting brown flecks.

"I have an extremely strong feminine side, and that's a good thing," Pollart says of his knack for design.

The glass top of the dining-room table reveals a base in wood, steel and anodized aluminum that represents a ship that has run aground. "Living on a working harbor is one of the most interesting things in the world," he says, explaining his inspiration.

So, can one ever have too much art?

"I've kinda run out of space," he says. "So it has to be something that means a lot to Linda and to me. But it's like having your friends around you all the time."

And with that it's out. Past the Gary Drager, Toots Zynsky, Anna Siems, Clint Brown, George Tsutakawa . . .

Rebecca Teagarden is assistant editor of Pacific Northwest magazine. Benjamin Benschneider is a magazine staff photographer

Information in this article, originally published December 6, 2009, was corrected December 10, 2009. A previous version of this story misspelled the names of artists Ford Crull and Anna Siems.