Presenting the Nine-0 Collection by Ettore Sottsass. The designer, who helped found the Memphis Group and created the iconic Olivetti Valentine typewriter, finished his seating collection for Emeco shortly before his death on December 31, 2007. The name “Nine-0” refers to the age Sottsass was when he designed the collection, which is handcrafted in Pennsylvania using the same 77-step process that Emeco first developed for its 1006 Navy® Chair. Sottsass was one of the first designers to use the 1006 Navy in residential applications, and the Nine-0 is his reinterpretation of that classic chair. The Nine-0, like all Emeco seating, it is crafted of 80% recycled aluminum and has an estimated lifespan of 150 years. Stacks up to six high. Nine-0 chairs and stools contribute to LEED™ credit #4.2 Recycled Content (and credit #5.1 if shipped within 500 miles of Hanover, Pennsylvania). Made in U.S.A.
Brushed anodized aluminum (80% recycled); polyurethane seat and back.
3 Bar Back H 31.5" W 20.25" D 22.25" Brushed anodized aluminum (80% recycled); polyurethane seat. Soft Back H 31.5" W 20.25" D 22.25"
It would not be an exaggeration to call Ettore Sottsass the godfather of Italian design. His designs are smart, elegant, always surprising and idiosyncratic, all hallmarks of true Italian design.
Although born in Austria, Italy became the adopted home for Sottsass and his father, a well-respected architect of the rationalist movement (Sottsass always referred to himself as Ettore Sottsass, Jr., in deference to his father). After architecture school in Milan, Sottsass worked at the office of George Nelson in New York before returning to Italy as a design consultant to the Olivetti company. This appointment produced numerous concepts for adding machines, computers, and furniture, culminating with the Olivetti Valentine typewriter (1969) that he designed with Perry King. A cherry-red portable plastic typewriter, it broke away from the office equipment stable. Meant for use in any place but the office, the Valentine supremely embodied Sottsass' constant challenge to the predictable everyday object. Read more >