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A rare, original Djinn chair from the actual film set of Kubrick’s masterpiece 2001: A Space Odyssey (1968) has just surfaced in a South London private home and helps settle an ongoing debate.
Created before man first went to the moon and without the benefits of computer technology, 2001: A Space Odyssey delivered captivating, realistic images of space using effects which broke new technical and artistic ground. This unique and influential film also featured striking space age furniture including the playful yet functional chairs and sofas known as the ‘Djinn’ series which we first see as Dr Floyd enters the Hilton lobby of Space Station Five on his way to the moon.
The Hilton lobby of Space Station Five in 2001: A Space OdysseyDesigned by Olivier Mourgue, the Djinn chairs and sofas stand out loud and proud against the high white interiors of the Space Station’s lobby and as we discuss in our feature Seeing red or tickled pink? The colour of the Djinn chairs in 2001: A Space Odyssey our investigations into the chairs have thrown up some interesting debates on their true colour – red or pink?
Film and Furniture’s own Djinn chair covered in “pink” fabric. Photo ©2016 Film and Furniture.Kubrick ordered that most of the furniture
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DESIGNNEWS
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Bennet Pimpinella brings his cinematic art to the What’s in a Lamp? project. Through his signature technique of scratching directly onto film, he transforms Foscarini lamps into symbols of emotions and memories, crafting intimate scenes infused with a surreal, grunge atmosphere.
Discover more about “What’s in a lamp?”Exploration and experimentation define Bennet Pimpinella’s artistic journey. Born in 1977 and trained in film at L’Aquila Academy, Pimpinella has spent his career merging analog and digital, continuously redefining the relationship between light and image. His visual language is unmistakable: a blend of experimentation, craftsmanship, and an intimate connection to the medium of film itself. His signature technique—scratching directly onto film—captures his creative process, reflecting its intensity and the emotions it conveys. This instinctive, immediate, raw mark on the celluloid stands as a testament to the intensity of the moment. His works possess a grunge, raw aesthetic, charged with emotion, drawing the viewer into a world where the artist’s personal feelings are palpable.
In his contribution to Foscarini’s What’s in a Lamp? series, Pimpinella transforms light into the main protagonist of his cinemati