The façades have a natural stone parament: Gobertange sandstone, a white sandstone quarried near the Belgian village of Jodoigne; and Reffroy stone, a harder white stone quarried in France. They also include a base and coping stones of Belgian bluestone from the Soignies region.
The upper floor has nine narrow, high glass windows symbolising the Belgian provinces (of which there were only nine at the time).

Two reliefs by Charles Leplae, dating from 1954, can be seen on the façade, on either side of the main entrance at the corner of the Carrefour de l’Europe and Putterie, they depict the former Putterie district, which was demolished when the Nord-Midi connection was built.

Another relief by Elisabeth Barmarin (Le jeu de quilles) was installed next to the entrance on Cantersteen.

The walls are faced with travertine and accented with Belgian bluestone skirting.
The floor is paved with French oolite, which has been inlaid with the emblems of the cities of Brussels, Antwerp and Liège in brass.

The ticket counters and ticket hall, as well as the staircase leading to the lower levels, are made of Ticino gneiss. On the mezzanine floor, the doorframe of the Royal Lounge is faced with Labrador granite, as is the doorframe on Cantersteen.

Good artificial lighting was of primary importance when the station was built. This is an underground station, so passengers entering or leaving the station make the transition from natural light to artificial lighting and vice versa. In Brunfaut’s opinion, it was essential that the change from the one to the other be gradual and that the lighting of the staircases, passageways and 300-metre platforms remain absolutely safe. To achieve this, he used a lighting system that was similar to daylight.
Inside the station, the glass bricks in the ceiling of the ticket hall ensure that it is bathed in natural light.

At one of the entrances to the station are plaques donated by the National Office of the Nord-Midi connection (NBV/ONJ), one commemorating Fernand Brunfaut and Eugène François, respectively its chairman and a member of its standing committee, and another honouring Victor Horta and Maxime Brunfaut. Both were made by Dof Ledel.

In the ticket office hall, to the left of the main entrance, there is another plaque donated by the NBV/ONJ, this time to honour three of its members. This is the work of Adolphe Wansart. A semi-reclining female figure holds in her hand an image of St Michael in armour striking down the devil. A medallion of the three directors has been inset above.

Also in the ticket hall, above the main staircase leading to the mezzanine, stands the ‘Liberation’ monument, dedicated to the memory of the railway staff who died during both world wars. It comprises a high relief, the ‘Machinist’, with a rifle over his shoulder and a spanner in the other hand, as well as two reliefs depicting episodes from both world wars. This was the work of Fernand Debonnaires.

Above the entrance on Carrefour de l’Europe, a huge fresco depicts St Michael and a number of Belgian cities. It was made by Joseph Hayez.

Two beautiful old escalators from the Jaspar works are located in the Horta Gallery, the passageway designed by Victor Horta that connects the station to the city centre. They are made of rosewood and were restored at the request of the Brussels Monuments Department.

Do you want to learn more about Brussels-Central station? Then take a look into our historical sheet.