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Silco Haus, Lyon (2026)

05/09/2026

Chimney Lamp, BOTHI (BOTHI), Amsterdam, Netherlands

The Chimney Lamp pairs a hand finished aluminium column with a matching pyramid shade cut from the same sheet material, available in brushed aluminium, w**e red, or forest green. A narrow gap runs along one ridge of the shade where the panels meet, letting light escape as a thin glowing seam rather than from an open base. At 36 by 17 by 17cm, the proportions stay close to a 1930s Art Deco silhouette without quoting it directly. Every piece is made to order in Amsterdam with independent local makers, ready in four weeks.

SILCOHAUS is drawn to how little separates the three colourways here, one column, one pyramid, the same aluminium underneath all of it. Ollee Means treats colour as the only variable across the range, so choosing w**e red over forest green changes the mood of a room without changing a single proportion. That kind of restraint, one shape carrying three entirely different colour statements, is what makes small batch design feel considered rather than arbitrary. Nothing about the form needs adjusting to justify a new finish.

Photography by BOTHI

03/09/2026

Urban Cabinet Series (1), Beatriz Arroyo & Lys Villalba (Beatriz Arroyo), Madrid, Spain

This 1950s Madrid apartment was stripped back to its original structure to recover a terrace and open the plan to light. A raw concrete column stands exposed in the middle of the open plan, left rough and unclad while everything around it gets colour, mustard cabinetry, pale blue tile, a teal rimmed mirror. A confetti terrazzo table runs the length of the room on white cylindrical legs, passing close enough to the column that the two read as one composition. The column never gets painted or covered, even as the palette around it keeps shifting from room to room.

SILCOHAUS likes what one uncoloured, rough element can do inside a space this saturated. Arroyo and Villalba leave the column exactly as they found it, so it holds the plan together the way a fixed point holds a composition, tension against all that mustard and blue rather than another colour competing for attention. The more colour surrounds it, the harder that one grey column works. Restraint in one spot is what makes the rest of the palette read as confident instead of busy.

Photography by José Hevia

✦ For in-depth features like SILCO Editorial: Spaces, submit your work for an editorial collaboration. Link in bio.

02/09/2026

Knot Stool, Studio Yann Gandon (Studio Yann Gandon), Copenhagen, Denmark

The Knot Stool is made from laser cut aluminium plates held together entirely with rope, no glue, screws, or bolts anywhere in the piece. Precisely placed openings guide climbing rope through each joint, tied using lashing techniques borrowed from rigging rather than furniture making. The rope comes in seven colours, from a bright yellow to a deep purple, chosen separately from the raw aluminium body. Four flat aluminium elements fold out into the finished stool shape, and can fold flat again for shipping.

SILCOHAUS likes a piece that puts the joinery on display instead of hiding it. Yann Gandon and Maxime Sauce chose aluminium specifically because it stays quiet, so all the attention goes to the rope doing the actual structural work. The colour becomes functional information here, it shows you exactly how the object holds itself together, not just where the accent sits. A stool that explains its own construction at a glance.

Photography by Maxime Sauce (Maxime Sauce)

01/09/2026

BRUJ Apartment, Jean Verville Architecte (Jean Verville Architecte Ph.D.), Québec City, Canada

This 1970s brutalist high rise apartment was stripped back to its raw concrete shell, walls, floors, and ceilings all removed to expose the original structure. Two bright yellow articulated task lamps, the kind found in industrial workshops, swing out from the concrete wall above stainless steel kitchen counters. Glass screens replace interior walls throughout, so the yellow reads clearly through multiple layers of transparency from almost any point in the apartment. Open metal shelving holds ceramics, glassware, and daily objects in full view, turning storage into display against the grey concrete.

SILCOHAUS likes yellow used this precisely, one bright accent doing all the colour work in an otherwise monochrome concrete and steel apartment. Verville treats the lamps as sculptural punctuation rather than lighting fixtures, bending industrial hardware into something closer to a gesture. Against so much exposed concrete, glass, and stainless steel, that single yellow becomes the one thing the eye keeps returning to. A cold material palette gets its warmth from one small, deliberate colour choice.

Photography by Maxime Brouillet (Maxime Brouillet)

✦ For in-depth features like SILCO Editorial: Spaces, submit your work for an editorial collaboration. Link in bio.

30/08/2026

Flat Light, Amber Dewaele (), Belgium

The Flat Light is a stainless steel panel with a strip of yellow tinted acrylic set flush along one edge, hung on the wall or stood on a table with a simple folded metal foot. Light escapes only through that acrylic strip, throwing sharp fan shaped beams up and down the wall on either side of the panel. It comes in two finishes, brushed steel with a soft matte surface, and polished steel that mirrors the room around it. Both share the same yellow glow along the edge, whichever way the light stands.

SILCOHAUS likes how little this needs to do its job, one sheet of metal, one strip of colour, nothing else. Amber Dewaele takes the plainest object, a shop sign, and strips it down to just the glow at the edge, so the colour reads as pure signal rather than decoration. The brushed and polished versions change how the piece sits in a room, one absorbs light, one throws it back, but the yellow line stays exactly the same in both. A small object that gets its presence entirely from restraint.

29/08/2026

Hues Hair, Adriana Hanna (Adriana Hanna Office), Richmond, Melbourne

This 2016 hair salon splits its main space into personal cutting stations arranged around a T shaped structure rather than the usual row of chairs facing a wall. Cream and green paint splits each wall at chair height, with green covering the lower half and the base of the structural forms. Arched and pitched niches punch through the walls in a repeating rhythm, some housing a wash basin, others a single chair upholstered in black and white houndstooth. A lilac curved ceiling detail breaks the palette in one section, catching light differently from the flat cream and green surfaces around it.

SILCOHAUS likes how the colour split here does double duty, keeping hair colour reflections accurate for the stylists while also drawing the shapes of the room. Hanna uses green and cream as a structural line rather than a mood, marking where floor becomes wall and where each arched booth begins. The houndstooth chairs are the one pattern allowed into an otherwise flat colour scheme, giving texture against all that solid paint. A commercial ceiling grid left visible on purpose keeps the budget honest instead of hiding it.

Photography by Dan Hocking (Dan Hocking)

✦ For in-depth features like SILCO EDIT: Spaces, submit your work for an editorial collaboration. Link in bio.

28/08/2026

Bamboo Floor Lamp, Mo_&_A / googlesheet (HAO), Taiwan

This floor lamp is built from curved steel plates joined with visible bolts at two nodes, echoing the stem and joint structure of a bamboo stalk. No rolling machine is used, the curve comes from the natural elasticity of the flat steel itself. Light escapes through the narrow gaps between the plates rather than from a shade, casting a soft vertical glow up the wall behind it. Each section can be taken apart at the bolted joints, which keeps shipping compact and lets the tubes be replaced.

SILCOHAUS is drawn to a material doing the opposite of what it looks like it should. Steel here bends like a plant stem, and the mechanical joints, bolts and nuts, are left visible rather than hidden, standing in for the plant’s natural nodes. Hao Chen and JiKang Lee get warmth and softness out of a cold material using structure alone. Nothing about the lamp needs a shade or a cover to feel organic.

Photography by googlesheet

28/08/2026

Kent Kitchen Remodel, Kitchen Bee Design (Kitchen Bee Design), Kent, England

This kitchen pairs chartreuse yellow cabinetry with a burnt orange archway that opens onto a Rosso Silestone utility niche. Slim shaker cabinets, a marble island, and a T shaped breakfast bar sit in yellow, while a painted orange beam and the arched doorway carry the second colour through the room. Inside the arch, matching Rosso cabinetry and countertop turn the small utility space into its own saturated orange box.

SILCOHAUS likes how the arch frames the colour change here, no door or wall needed. Kitchen Bee Design lets orange take over completely inside the arch, so the shift reads as a deliberate reveal rather than a clash. Two saturated colours share one home by each getting a fully committed room, not a shared palette.

Photography by Chris Snook

✦ For in-depth features like SILCO Editorial: Spaces, submit your work for an editorial collaboration. Link in bio.

27/08/2026

010 Lounge Chair, OFAA (OFAA), Athens, Greece

The 010 Lounge Chair is folded from single sheets of 5mm gunmetal grey aluminium, with no separate frame or upholstery layer. Each folded plane does double duty as both structure and seat, a backrest, an armrest, and two circular cutouts through the side panels. The whole piece measures 800 by 500 by 600mm and reflects the glass block wall behind it like a dark mirror. Every edge is a straight fold or a laser cut circle, nothing curved or upholstered softens the geometry.

SILCOHAUS is drawn to pieces where one material has to carry the entire design on its own, and this is a clean example of that. Christos Kalientzidis lets aluminium be structure, seat, and finish all at once, so there is no decoration layered on top of the geometry, only the geometry itself. The dark grey tone reads almost black in some light and pale steel in others, changing with whatever surrounds it rather than staying fixed. A chair built from folds alone, with nothing added to soften them.

Photography by Maria Saltaura (Maria Saltaura)

26/08/2026

House 14a, pihlmann architects (pihlmann architects), Copenhagen, Denmark

This 1950s Copenhagen house was renovated rather than demolished. Brushed stainless steel shows up as the contrast material against red brick and warm plywood. A full length steel counter and sink run through the kitchen below industrial pendant lights, set against burnt orange cabinetry and exposed brick. Thin steel fittings bolt directly into brick piers elsewhere in the house, left plain and utilitarian. Herringbone oak floors, plywood ceilings, and exposed brick carry the warmth through every other room.

SILCOHAUS is built on this kind of contrast, industrial material against warm material, steel against brick and timber. pihlmann architects use steel the way a workshop would, chosen for durability rather than looks, and that choice is exactly what stops it from reading cold. The house stays warm because the steel is doing real work, not decoration. Industrial and warm sit side by side here without either one softening the other.

Photography by Hampus Berndtson (Hampus Berndtson)

✦ For in-depth features like SILCO Editorial: Spaces, submit your work for an editorial collaboration. Link in bio.

Silco Haus

05/09/2026

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