A round basin catches the light first. Its thin edge, soft curve and calm white surface set the tone for this design bathroom collection, where sanitary pieces and furniture are kept in clear dialogue rather than pushed into the background. The result is a bathroom that reads through shape and material: ceramic, matte bathing surfaces, wood, glass and a dark frame line that pulls the elements into one measured composition.

Round basins set the rhythm

The countertop basin appears in two forms, both drawn with the same softened outline. One version is square in plan, the other more elongated, but each keeps the rounded rim that defines the collection. In the square basin, that edge becomes especially visible; it turns the bowl into a quiet statement piece. The DuraCeram® surface allows this thin profile, while the material still supports a shape that feels solid and precise at the same time.

Seen on a vanity or in a double composition, the basin works as the clearest visual anchor in the room. White ceramic stands out against darker furniture fronts, and the circular mirror nearby repeats the same gesture without copying it literally. The eye moves from the basin to the mirror to the narrow gap beneath the furniture frame, where the whole set appears to hover lightly above the floor.

A freestanding bathtub with the same softened outline

The freestanding bathtub carries the same rounded language into a deeper volume. The square version, shaped at 1250 x 1250 mm, takes its cue from the square countertop basin and feels almost like a carved basin scaled up for immersion. In the larger compositions shown in the images, the tub sits near broad glazing, so daylight washes across the matte surface and the nearby wall niche. The bath is also offered in more compact sizes, with an optional air whirl system that adds a subtle massage effect.

DuraSolid® gives the tub its seamless body and a surface that reads differently from glazed ceramic. Instead of reflecting sharply, it holds light in a softer way, which suits the restrained palette of the room. That matte finish matters here. It keeps the freestanding bathtub from dominating the bathroom and lets the surrounding materials — stone-look flooring, wood panels and pale walls — stay visible around it.

Modular bathroom vanity with open and closed storage

The furniture changes the pace of the room. Straight lines and a thin six-millimetre frame contrast with the curved sanitary pieces, and that contrast is what gives the collection its structure. The vanity modules can work as open shelving or as drawers with push-open and self-closing technology, so the composition can stay open in one setting and more closed in another. In the images, the long spans of cabinetry create a clear horizontal base beneath the basins.

Wood, structure glass and matte finishes keep the modular bathroom vanity from feeling technical. The front options range from natural oak and black oak to white flat glass and black structure glass, with white, taupe and graphite super-matte body colours behind them. Those combinations are not decorative in the loose sense; they change how the cabinet reads in daylight. Oak softens the line of the unit, while glass brings a firmer, more reflective edge to the front plane.

Details that sharpen the frame

The narrow frame is one of the collection’s quietest but most specific details. At roughly six millimetres thick, it creates a consistent shadow gap that separates the cabinet from the floor and keeps the volume visually light. That detail becomes even clearer in the darker furniture versions, where the slender line is easier to read against the surrounding surfaces. Anti-fingerprint finishes support the clean surface of the fronts, but the more important effect is visual: the vanity remains composed even when used in larger, more layered bathroom layouts.

Round bathroom mirror and light as part of the composition

The round bathroom mirror mirrors the basin below it, but not in a strict one-to-one way. Its outline is softened by a continuous LED strip, and in one image the glowing ring sits just above a white countertop basin, turning the wall into a second focal point. A sensor on the lower edge controls the light, keeping the mirror free of visible switches. The effect is simple, but not plain: the mirror brings a second circular line into the room and ties the wash area together.

In the double-basin compositions, the mirrors grow into oval and round fields that hold the whole wall section together. They echo the basins without flattening them into repetition. Dark furniture, chrome taps and the pale circles of the mirrors create a layered sequence across the wall. Because the daylight is strong in several images, the mirror edges and basin rims stay crisp instead of disappearing into reflections.

Japan as a visual reference, not a motif

The collection takes its cue from Japanese ritual and craftsmanship, and that reference shows up in the shapes rather than in overt decoration. Handmade ceramic tea bowls are named as the starting point, and their influence appears in the way the basins taper and curve. The forms are abstracted, not quoted. A basin can read as a rounded rectangle, while the bath holds a deeper, more enclosed volume, yet both keep the same softness at the rim. That small shift in edge treatment is what holds the collection together.

Balanced forms, colours and materials give the room its quiet register. The bathroom is treated less as a display of objects than as a sequence of surfaces: ceramic against wood, matte shell against glass, thin frame against broader cabinet front. Nothing is overdrawn. Instead, the collection relies on proportion, repeated curves and the clear difference between the open wash area and the more solid storage elements around it.

Materials chosen for touch and presence

DuraCeram® and DuraSolid® are used for their different surfaces as much as for their shapes. The basins can carry an extremely thin rim, while the bath presents a warmer tactile impression and a matte surface that suits the calm interior shown in the photographs. Around them, selected wood and structure glass expand the palette without crowding the room. The materials are visible as distinct layers, not blended into one overall effect.

The collection also includes elements made from PEFC-certified wood and handcrafted components refined in the manufacturer’s own facilities. High cabinet backs, fixed into a recessed groove, add stability to taller units. Those technical facts stay mostly out of sight, but they explain why the furniture reads so sharply in the images. The surfaces stay flat, the edges stay aligned, and the modules hold their form even in compositions with open compartments, drawers and taller storage pieces.

A bathroom defined by measured contrasts

What lingers from the room is the tension between roundness and line. The basin, bath and mirror repeat the same softened geometry, while the furniture keeps to a strict frame and rectilinear storage layout. Add the dark cabinet runs, pale ceramic and the strips of wood seen beside the glazing, and the collection settles into a clear visual order. It is a design bathroom collection that depends on restraint, but the restraint is expressed through visible detail rather than silence.

Seen as a whole, the wash area, storage modules and freestanding bath form one readable sequence. The eye moves from the round countertop basin to the mirror, then to the cabinet frame, and finally to the bath near the window. Every part has a defined role, from the open shelves to the deeper drawers and the softly lit mirror edge. That is where the collection’s strength lies: in the way each element keeps its own shape while still belonging to the same design bathroom collection.