Big Bobs Furniture Store – Adjustable Deluxe Fabric Posture Chair with Height Arms – B.P. Museum
Big Bobs Furniture Store
- In typesetting, furniture is a term for pieces of wood that are shorter than the height of the type. These pieces are used to layout type by blocking out empty spaces (white space) in a layout set in a chase.
- Furniture (probably from the French 'fournir' — to provide) is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above
- furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
- Furniture was a British pop band, active from 1979 to 1991 and best known for their 1986 Top 30 hit "Brilliant Mind".
- a supply of something available for future use; "he brought back a large store of Cuban cigars" wordnetweb.princeton.edu/perl/webwn
- keep or lay aside for future use; "store grain for the winter"; "The bear stores fat for the period of hibernation when he doesn't eat"
- memory: an electronic memory device; "a memory and the CPU form the central part of a computer to which peripherals are attached"
- shop: a mercantile establishment for the retail sale of goods or services; "he bought it at a shop on Cape Cod"
- The Bobs is an a cappella album by The Bobs, released in 1983. The group's music is sometimes referred to as New Wave A Cappella. The vocal arrangement of "Helter Skelter" was nominated for a Grammy award in 1984.
- The Bobs at Riverview Park in Chicago, Illinois is considered by some roller coaster enthusiasts to have been the ultimate wooden roller coaster. It was built in 1924 and was demolished with the rest of the park in 1967. The Bobs was built by Frank Prior and Fredrick Church at a cost of $80,000.
- The Bobs are a "new wave" a cappella group founded in San Francisco, California in the early 1980s.
- The BOBs – Best of the Blogs – is the world’s largest international Weblog competition. Founded and sponsored by Deutsche Welle, the German International Broadcasting Service, the BOBs are now in their fourth year.
- loud and firm; "a big voice"; "big bold piano sounds"
- large: above average in size or number or quantity or magnitude or extent; "a large city"; "set out for the big city"; "a large sum"; "a big (or large) barn"; "a large family"; "big businesses"; "a big expenditure"; "a large number of newspapers"; "a big group of scientists"; "large areas of the
- significant; "graduation was a big day in his life"
- bad: very intense; "a bad headache"; "in a big rage"; "had a big (or bad) shock"; "a bad earthquake"; "a bad storm"
Interior Decorate (Self) 1955 To 1958
Hotel In Catskills: Bus Boy: One Week One Summer Only 1960
Hotel In Catskills: Maitre’d: Full Time One Summer Only 1960
Buildesign: Part Time 1960 – 1962: Bob Wolff from Belgium.
Telephone sales to Owners of Buildings to remodel lobbies; also design and occasional work painting and helping to install terrazzo tile called Venezia.
Designs For Business: Full Time: 1962-1963:
Earl P. Carlin: New Haven: Draftsman, part-time 1965 while at Yale: One of my first jobs in New Haven. Draft and help build model
Ed. D. Stone: 1964: is where I met Gene and applied for Yale
Vorhees Smith Walker Hanes and Walker: 1963
Interiors for Telephone Company 1963
Morris Lapidus 1964 (Six Months Only To Christmas) It is his son Alan who introduced me to John carpenter in Puerto Rico. It while working here I met Christina.
Buchwald Drapery Workshop: The father of the famous Art Buchwald. It is working for him that I earned some of money I need for Yale
Selwyn Pomeroy; It is where I worked hanging drapes while I attended Pratt. It is Mr. Pomeroy who introduced me to his son Lee for whom I later worked in Manhattan.
Classic Drapery Workshop (piecework 1965,1969-1973 for Stanley Sommers). It is for Stanley that I had my first full time job. I earned the money I need to go to Columbia, New York School and later to Pratt and then Yale. Stanley was shot to death by a burglar in his factory building on Rose Feiss Blvd some years later. He visited us in our loft ON 68 street before we left for Jackson, Tennessee. His son now manages a playhouse in New England.
Feiss Assoc. (Self) 1966-1968: Peter Dapont of Dapont Construction of Waterbury, Jim Martin of Redding Connecticut; Tom Vitagliano of Orange, Vitale Bros. of East Haven
Caproni Associates: of New Haven and Vincent and Vito Celentano. There is now a school bearing the Celentano family name in New Haven. The family name is from Solerno and Calibrase (Calabria which also can be of Bari in Northern Italy) Vincent and Vito were the worst customers Gene and I had and like Joe Schroeder the pastor of Florida turned David Schilling against me so did the Celentano brothers destroy the partner ship between Gene and I. However, this was all part time while I was going to school in New Haven; now the firm is in Orange while Attending Yale
“Every night they would come with some tea and say, ‘Tomorrow we will kill you.’”
Things weren’t looking good for Ettore Sottsass in the autumn of 1943.
The story of Italian design – the story of the reinvention of a nation after the Second World War, of modernism’s full bloom and the postmodernist rebellion that followed – nearly lost one of its main protagonists before the first act. An Italian soldier captured by the Germans after Italy switched sides, Sottsass was being held prisoner in Sarajevo. What saved him was that, as an Austrian by birth, he spoke German, and so lived out the rest of the war in charge of the prison food store. Yes, he had a degree in architecture, but there was precious little promise then of the six-decade career to follow, or the fact that even as an 89-year-old he would still be watching journalists scribbling down his thoughts as Italy’s most influential living designer.
“Memphis” is the word most people will associate with Sottsass. The design collective he founded in 1981 not only defined the look of that decade, it was the loudest battle cry yet rattled against modernism – a multi-coloured, no-shapes-barred assault on the idea of functionalism and all it stood for. Memphis trawled its postmodern net through history and pop culture, heaping references on top of each other. It was gutsy, it spawned some of the most tasteless interior design ever but it showed genius. Sottsass was the enfant terrible of design – at the age of 64!
Today, Sottsass is slumped in a swivel chair in the Milan apartment he shares with his wife, Barbara Radice. He is listening to ambient music, lost in thought and at first site looking every one of his years. “How are you?” I ask him. “I am fine, but I cannot play football,” comes the reply. With that joke he sheds at least a decade and reveals that his wits are still pin sharp. And as he turns back to his chair there’s another glimpse of his zest: not many octogenarians can pull off – or even muster – a braided ponytail.
The walls of the apartment resemble a Memphis assemblage: one is bright green with a pink mantel, another flesh-toned with a white trim. I don’t mention it – in fact, I don’t mention Memphis until half way through the interview because I’ve heard that Sottsass is bored of being so heavily associated with what was essentially a blip, albeit a crucial one, in a long career. No, we start with the reason that brought me here, which is the Sottsass retrospective at the Design Museum later this month. “I was very honoured to be in that big exhibition in London,” he says. Honoured but also circumspect, because Sottsass makes no bones about what a retrospective at his age means. As he puts it, “It’s already a funeral.”
It is the early memories that Sottsass enjoys dwelling on. To hear him talk, you would assume that his awakening as a designer took place in New York in 1956, when he spent a month in the studio of the American designer George Nelson. Sottsass had already set up his own architecture practice in Milan and had even started designing his first pieces for ceramics company Bitossi, but an offer of $25 a week from Nelson – “To me it looked like an immense sum of money” – was enough to draw him away. Sottsass insists he was exposed to a revolution. “I was very much impressed by America I must say, because it was clear that America was in the middle of an intellectual revolution – an industrial revolution particularly. Because in Italy we didn’t have the idea of industry… [I was] discovering the reality of that revolution which before, to me, was lived through books or photographs. There was nothing here in Europe.”
America was high on its industrial power and the culture was immediate and uncomplicated compared to home: “All the Europeans, they were intellectuals.” Since Sottsass is probably the most intellectual designer alive (he’s quite the philosopher) the appeal of America has a certain irony to it. But when he returned to Milan he embraced Italy’s burgeoning industrial miracle, beginning a phase of his career that he would later react against. He became art director of furniture manufacturer Poltronova and started consulting for the electronics division of Olivetti. For the latter he designed a mainframe computer, the Elea 9003 (1957-8), and a decade later one of his most iconic objects, the Valentine typewriter.
The typewriter was at the same time the breakthrough, the high point and the beginning of the end of Sottsass’ career as an industrial designer. Plastic, lightweight, a risque red and sheathed in a sleek case, it was portable, affordable and desirable. In design terms it was the Apple iBook of its day, but it didn’t sell as Olivetti hoped. For Sottsass – who was, even then, being pressured to make something to compete with cheap Chinese imports – the creative price of making it was too high. “They told me to design a very poor machine. So I said, OK, if this machine has to become a sort of