Equally striking is KRJST Studio’s monumental jacquard tapestry. Positioned between two oversized stained-glass floor lamps, its organic, root-like texture enters into dialogue with the lamps’ intricate patterning and the surrounding veined marble wall panelling. Adeline Halot’s installation of metallic wires and flax linen coils forms another focal point. Uncoiling along the villa’s staircase, the serpentine intervention partially envelops the balustrade, fusing structure and softness in a single gesture.

If textiles introduce tactility, metal brings along a more assertive material presence. Vladimir Slavov’s monumental floor lamp, a textured bronze piece rising over two and a half metres in height and shaped like a giant flower, approaches illumination as a sculptural event, balancing precision with a raw, almost ritual force. Sharing a similarly elemental language, Maison Jonckers’ Between the Lines coffee table and TATAU side table combine hand-formed oxidised metals with etching-like incisions that recall archaic mark-making while maintaining material refinement.

Assembled from standard U and L metal profiles, Thibault Huguet’s LAMP#1 embraces construction constraints and economy of means, transforming industrial components into a deliberately pared-back object. A related logic underpins a metallic chair composed of angular planes by multi-hyphenate artist and designer Lionel Jadot, founder of Zaventem Ateliers, whose contributions throughout the villa reflect his longstanding affinity for repurposed materials and experimental processes.

Glass also plays a significant role, most notably in Lila Farget’s moulded works from the Maze Elements and Ondulations series. The former’s maze-like silhouettes reference the large-scale labyrinth installation she created for her 2024 solo exhibition at the Glass Museum of Charleroi, while the latter emerged from a study of a drop of water, its ripple-like surface animated by integrated blue lighting.

Other highlights include Mathilde Wittock’s sculptural Bouze Lamps, whose tubular forms are grown from two textiles derived from the same plant; Aurélien Veyrat’s wall panels composed of discarded bricks and plaster reclaimed from earlier projects; Pascale Risbourg’s hand-crafted clay candlesticks and column-like objects that draw on architectural and archaeological archetypes; and Cédric Van Parys’ billboard-inspired installation.