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Silco Haus, Lyon (2026)

11/09/2026

Stan, Studio Raphael Klug (Raphael Klug), Cologne, Germany

Stan is a hexagon shaped stool in lacquered wood, measuring 430 by 350 by 350 millimetres. Three flat panel legs, lacquered in deep violet, meet at angled joints to support a hexagonal seat finished in teal with a thin violet edge. The panels read as folded planes rather than turned or joined parts, carrying the same flat geometry from legs to seat. No additional ornament breaks the six sided form.

SILCOHAUS reads the teal seat as a held note against a body built entirely in violet. The colour sits only on the top surface and its thin trim, so it announces itself the moment the stool is seen from above and disappears from every other angle. That single placement keeps the teal from competing with the violet, the two colours divide the object rather than blend into it. A stool this geometric earns its personality from where the second colour is allowed to sit, not from how much of it there is.

Photography by Manuel Meyer

10/09/2026

Marmara, AREA (AREA) / Architecture Research Athens, Argostoli, Kefalonia, Greece

Marmara is a one bedroom, attic level apartment renovated for use as a summer residence. Its floor is composed from reclaimed marble remnants, quarry offcuts and salvaged countertop and baseboard pieces, laid with terrazzo infill in a continuous pattern of grey, cream, black and pale blue. A curved marble threshold partially screens the shower niche, revealing a wall of red gridded tile behind it. Plywood cabinetry runs throughout the kitchen and bathroom, left plain and unadorned against the stone floor.

SILCOHAUS reads the red tile as the one deliberate break in an otherwise reclaimed, muted material palette. Set behind a pale curved marble opening, the red holds its own precisely because everything around it, floor, cabinetry, fixtures, stays quiet. The colour does not spread across the apartment, it stays contained to a single niche, which is what keeps it from reading as decoration. In a project built from leftover stone, that restraint is what gives the red its charge.

Photography by I. Roufopoulou

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

09/09/2026

Rounded Edges Lounge Chair, LESORR (LESORR), Montréal, Canada

The Rounded Edges Lounge Chair is built from folded brushed aluminum, with a seat and backrest upholstered in dark green leather over a black oxidized frame. The chair’s signature split sits on the backrest rather than the seat, a shift from earlier pieces in the collection made for added comfort. The black oxide finish is applied by hand, so no two chairs carry the exact same surface pattern, and it holds a cooler, flatter tone against the dark green than the raw aluminum version would. It belongs to LESORR‘s SS26 Rounded Edges collection, priced at 4,850 dollars in this oxidized aluminum finish.

SILCOHAUS reads this chair as a contrast built entirely between two surfaces. The steel stays hard and reflective, cut into flat folded planes, while the leather sits soft and matte in dark green, absorbing the light the metal throws off. Neither material borrows from the other, so the colour holds its ground instead of blending into the frame around it. That contrast, steel against colour, is the whole design.

08/09/2026

TEC ENERGY Office, MRDK (Ménard Dworkind), Montréal, Canada

The TEC ENERGY office occupies a corner suite in Place Ville Marie, the 47 storey tower built by I. M. Pei in 1962. MRDK paired stainless steel cabinetry with a terrazzo counter and decorative Mutina floor tiles in the kitchen and dining area, where the bar stools are upholstered in burnt orange leather. A travertine coffee table with a white plaster base sits nearby, its stone top veined in warm ochre. Glass and glass brick partitions separate the kitchen from the open plan workstations, carrying daylight from the tower’s facade through the whole suite.

SILCOHAUS reads this project as a single held note inside a room built from steel, stone and glass. The burnt orange stools carry the colour alone, set against a kitchen otherwise finished in stainless steel and pale terrazzo. Held to one material and one zone, the colour stays legible instead of diffusing across the space. In a tower defined by its own restraint, that discipline earns the colour its place.

Photography by David Dworkind (David Dworkind) and Alex Lesage (Alex Lesage)

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

07/09/2026

Untitled Lamp, Daniel Slats (Daniel Slats)

This 194 by 30cm floor lamp is built from aluminium optical axis pillars, acrylic, tension nuts, and a concrete base, with baking paper stretched over the acrylic core to diffuse the light. Metal turnbuckles and eye bolts, the kind used to tension cable, cinch the paper shade at both ends instead of a conventional fitting. Lit, the piece glows anywhere from warm orange to cool pink depending on the bulb and the room around it.

SILCOHAUS likes hardware left doing exactly what it was built for, turnbuckles made for tensioning cable, repurposed here to hold a lampshade taut instead of hiding behind a housing. Daniel Slats treats the tension nuts as visible skeleton rather than something to conceal, so construction and finish become the same thing. Concrete underneath something this luminous is an odd pairing that works, weight holding down what would otherwise float away.

Photography by Daniel Slats

06/09/2026

La Nave, Atienza Maure Arquitectos (Atienza Maure), Sant Adrià de Besòs, Barcelona

This 450 square metre former printing warehouse combines a tech company’s office with one founder‘s home, built for under €380 per square metre using galvanized steel shelving racks in place of conventional construction. Rust orange painted steel pipes cross the ceiling in a tight grid, sitting against green plumbing lines and pale grey metal trays that double as walkable floors. Plywood covers the walls and platforms throughout, left in its raw blonde tone rather than painted over. A poured white concrete kitchen island and a pink veined marble table are the only fixed, heavy elements in an otherwise built from off the shelf industrial parts.

SILCOHAUS likes a project where colour shows up as leftover construction logic rather than a chosen palette. Atienza Maure let the rust orange pipes and green plumbing stay exactly the colours they came in, so the accent hues here are functional, not decorative. Against all that raw plywood and steel shelving, the poured concrete and marble pieces read as calm, weighted anchors precisely because everything around them is lightweight and modular. A tight budget produced a genuinely distinct material language instead of a compromise.

Photography by Simone Marcolin (Simone Marcolin)

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

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, wine 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 wine 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.

Silco Haus

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