Metaclads / Façade systems
A selection · over 1,000 designs in production
Everything below is ours — drawn, tooled and produced in Sonipat, then installed by our own crew. Each runs in anodised gold, champagne, copper, corten or steel grey, or powder-coated and PVDF-finished to your specification. Click any panel to open it full size.
Showing 11 families · 1,000+ designs in production
Round holes graded dense to open across the sheet, so the pattern runs on across panel joints instead of repeating inside them.
Reads as light, not as holes — the image only resolves from across the street.
Rounded squares notched at the corners, leaving leaf-shaped openings in the gaps between them.
Organic without being floral — works where a plain circle would feel too mechanical.
A triangular lattice cut through the sheet, each facet catching light on a different plane so the field reads as depth rather than pattern.
Made to be uplit. After dark the whole pier becomes the light fitting.
Round discs fixed in a dense grid across a backing panel, each turned to its own angle so the surface never reads flat.
A shifting image rather than a grid — and it survives being looked at from two metres.
Diamond tiles lapped across the field, run in mixed tones so the surface scatters rather than bands.
Two or three finishes in one field is where this family earns its keep.
Rounded scale tiles set staggered, course over course, across a continuous field and returned over the parapet.
The calmest surface in the range — closest thing here to a woven wall.
Lapped shingles in staggered courses, each standing off its bracket so the field carries shadow as well as colour. Pointed, rounded, scaled — the profiles run into dozens.
Sweep the courses and the whole elevation appears to move. Light it and every edge catches.
Petal pressings run as one continuous field around columns, piers and returns, each tile faceted so no two catch the light the same way.
A column clad in Blossom stops reading as structure and starts reading as surface.
Channel sections ranked close and vertical, carried around the corner unbroken so the rhythm never resets. The same sections run as rafters and batten soffits, mitred at the corner so the ribs meet in a chevron.
Privacy from the street, open from inside — the workhorse of the range.
Vertical fins, each individually curved, so the ranks together read as a single wave across the elevation.
The most tooling-intensive family we make, and the one that stops traffic.
Our own extruded sections — the carriers, trims, closers and ribbed boards every family above is hung on.
The parts nobody photographs. They decide whether a façade line stays straight for twenty years.
Finishes
Every family above runs in any of these. Anything outside them is a powder-coat or PVDF specification — send the shade reference and it comes back on a physical sample before production, not as a screen render.
How to specify
You don't need a finished façade package to talk to us. You need enough for our engineering desk to understand the surface, the area and the constraint.
A drawing, a sketch on paper, or a straight-on photo of the site. Any of the three is a real starting point.
Approximate square footage of the face to be clad. Rough is fine — it sets the scale of the conversation.
Which Metaclads family or finish you're drawn to, or just the feeling you're after. We'll tell you what suits the elevation.
Fixing substrate, access, existing openings, timeline. The things that decide what's actually buildable.
Next step
We don't quote a façade — we prototype it. You'll hold a physical sample in the actual finish before a single production panel is cut. And if your design isn't in the families above, it is almost certainly already one of the thousand-odd patterns on our floor — or a new die, which we cut too.
Finishes
Six metallics we hold as house finishes. Beyond them, anodising, powder-coat and PVDF cover effectively any shade you can reference — send a code, a swatch or a photograph of something you saw on another building, and it comes back on a real panel before production, not as a screen render.
Anodised, powder-coated or PVDF, in gloss, satin, matt or textured. Metallics, solids, timber-grain transfers and weathered effects. If the shade exists as a code or a physical sample, it can come off our line — and you will hold it before a production panel is cut.
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