Selected products that rethink the architectural envelope through intelligent glass, invisible framing, acoustic material innovation, precision aluminium cladding, active ceramic surfaces and inclusive accessibility solutions.
SageGlass Harmony® uses electrochromic technology to control heat and glare while preserving daylight and views. Its gradient tinting allows the glass to transition gradually from clear to tinted, making solar control part of the façade itself.
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Vitrocsa's Invisible Frame system embeds the frame into the floor, ceiling and walls, reducing the window to almost pure glass and creating an uninterrupted transition between inside and outside.
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Active Surfaces® is a photocatalytic ceramic, activated by natural or artificial light, that breaks down air pollutants and odour-causing molecules and reduces bacteria and viruses on contact. Its superhydrophilic finish keeps the façade largely self-cleaning, with rainwater doing most of the work.
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ARCHISONIC® Natura moves acoustic treatment beyond the conventional synthetic panel. Natural raw materials and cellulose-based solutions bring texture, sound absorption and material expression together as one architectural surface.
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Mato is an aluminium façade cladding system based on an invisible click fixing. Horizontal and vertical profiles can be combined to create different rhythms, depths and shadow effects while retaining a precise architectural appearance.
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Photo: Viakan
Accessible circulation starts with thoughtful architectural detailing. Viakan offers tactile warning studs and guiding strips to help people with visual impairments navigate public spaces, alongside anti-slip profiles and Braille solutions for safer, more inclusive buildings.
Photo: Carrières du Hainaut
A 350-million-year-old limestone, blue-grey when cut and near-black when honed, worked since Roman times and still specified today for cladding, paving and thresholds - the material behind countless Belgian façades and public buildings.
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Photo: Petersen Tegl
Wood-fired, hand-moulded brick with the irregularity and colour variation of a pre-industrial process - the material Peter Zumthor chose for the Kolumba Museum, and still made by hand on the Danish coast today.
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