AFFORDABLE FURNITURE NEW YORK. AFFORDABLE FURNITURE

AFFORDABLE FURNITURE NEW YORK. DISCOUNT TEEN BEDROOM FURNITURE. NATIONAL CHURCH FURNITURE

Affordable Furniture New York


affordable furniture new york
    affordable
  • low-cost: that you have the financial means for; "low-cost housing"
  • Inexpensive; reasonably priced
  • something that can be afforded
  • (affordability) The extent to which something is affordable, as measured by its cost relative to the amount that the purchaser is able to pay
    furniture
  • Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
  • 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 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 the ground, or to store things.
  • A person's habitual attitude, outlook, and way of thinking
  • Small accessories or fittings for a particular use or piece of equipment
  • Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
    new york
  • A major city and port in southeastern New York, situated on the Atlantic coast at the mouth of the Hudson River; pop. 7,322,564. It is situated mainly on islands, linked by bridges, and consists of five boroughs: Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. Manhattan is the economic and cultural heart of the city, containing the stock exchange on Wall Street and the headquarters of the United Nations
  • one of the British colonies that formed the United States
  • the largest city in New York State and in the United States; located in southeastern New York at the mouth of the Hudson river; a major financial and cultural center
  • A state in the northeastern US, on the Canadian border and Lake Ontario in the northwest, as well as on the Atlantic coast in the southeast; pop. 18,976,457; capital, Albany; statehood, July 26, 1788 (11). Originally settled by the Dutch, it was surrendered to the British in 1664. New York was one of the original thirteen states
  • a Mid-Atlantic state; one of the original 13 colonies

NOT FOR TOURISTS - The BQE: Not Just For Traffic
NOT FOR TOURISTS -  The BQE: Not Just For Traffic
SOURCE: New York Magazine TITLE: The BQE: Not Just For Traffic DATE: Oct 4, 2010 AUTHOR: Sarah Enelow Imagine yourself driving through East Williamsburg along the Brooklyn Queens Expressway, peering out the window. Do you wonder how terrible it must be to live within spitting distance of this grungy hunk of concrete? Hardly. The BQE represents many ideas: Robert Moses' iconic roadway, the fastest route between two boroughs, ridiculous rush-hour traffic, and now, industrial chic. As more Brooklynites are priced out of crowded downtown Williamsburg near Bedford Avenue, they're moving east to populate the area's more affordable houses. Unlikely as it seems, this migration is turning Meeker Avenue, the street that runs alongside the elevated BQE, into an urban promenade in East Williamsburg and a respite from hipster fatigue. Brooklyn restaurants have been surpassing their expensive Manhattan counterparts for years, and while cafes are dropping like flies across Manhattan, there are still some great ones thriving in Brooklyn. Boneshakers is arguably East Williamsburg's finest cafe, an ideal hangout for any creative mind in need of good coffee and wireless access. There's plenty of room to spread out and, as a result of the offbeat location, you won't have to fight for a seat or be shuffled out the door to make way for new customers. Boneshakers also has a light vegetarian menu of fresh sandwiches, salads, burgers, and baked goods. Grandma Rose's is an unassuming Italian joint that literally lies in the shadow of the BQE and has some of the best pizza in the entire city. All pies are made-to-order with an impeccable crust and garden-fresh toppings. Large pizzas are only $9 on Wednesdays and be sure to try their risotto balls. Sunset Cafe is simply an affordable, all-American diner with no frills or pretensions. Grab a booth, take advantage of the free wireless, and order up your diner favorites, from triple-decker sandwiches and breakfast all day to burgers and fries. Shoppers, especially gourmands, are practically guaranteed to find something of interest at any of these specialty establishments. The Brooklyn Kitchen has been providing unique cooking supplies to local foodies since 2006. Previously located a few blocks south, their new location on Meeker Avenue is bigger and better with more room for dairy products, spices and flours, chocolate, pickling supplies, and more. They share the space with The Meat Hook, providing a small but impressive counter of local products from beef and poultry to sausages made fresh daily, including red wine & rosemary, toasted fennel, red and green chorizo, and bahn mi dog, among others. The Brooklyn Kitchen also offers a full calendar of classes on every possible subject: knife skills, urban chicken raising, cookie baking for kids, pickling and canning, beer brewing, pig butchering, and the list goes on. McCarren Park Farmers Market is practically the only game in town for farm-fresh produce, so drop by on Saturday mornings to get your groceries or picnic supplies. You’ll find vegetables, fruits, bread, honey, jam, meat (from beef to rabbit), dairy, and flowers, enough to give the Union Square Farmers Market a run for its money. In a city where so much food is trucked in from hundreds of miles away, take this chance to eat something refreshingly local and seasonal (watch out for classes and events as well). Family-owned and -operated BQE Wine & Liquors is far more than meets the eye. Hugely popular with the locals, BQE offers notably low prices and an extensive selection, especially for wine, scotch, whiskey, and vodka. With amazing customer service, this beats your typical New York bottle shop hands down. There are also discounts available when buying in bulk, making it ideal for party planning. Aside from foodie supplies, perhaps the best shopping is at Meeker Avenue Flea Market, a recent addition to the neighborhood featuring an impressive range of antique furniture, some of it pricey, most of it downright beautiful. Looking for an old piano? Meeker Flea. 1960s loveseat? Meeker Flea. Turn-of-the-century end table? Meeker Flea. The market also features vintage clothes, music, housewares, and all those odds and ends that make flea markets so addictive, plus they hold occasional auctions on Sundays. They’ve included an ATM at the entrance and some vendors may deliver. Don’t forget, there’s another floor of merchandise upstairs. North Brooklyn does indeed have nice parks, but in any event, if you happen upon a Greenstreets along the BQE you might as well take advantage of it. While some of these parks are greener and shadier than others, the benches are a commodity in themselves. Grab an Italian hero or some prosciutto and melon from the Italian butchers on Graham Avenue and have a picnic. You'll find Greenstreets sporadically right next to the BQE, on both the north and south sides of the expressway, the nicest being located
Ettore Sottsass
Ettore Sottsass
words Justin McGuirk “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

affordable furniture new york