A dark floor and a pale wall set the tone before the bathroom pieces take over. In this design bathroom, the geometry stays clear: rounded bowls, straight fronts, slim tap handles and a freestanding oval bath placed against a calm backdrop. The series is built around visible choices rather than ornament, and that makes the individual elements easy to read. From the first basin to the mirror and the bath, the room is shaped by a consistent line language.

Basins that keep their edge

The basin range gives the series its strongest identity. Several models show a raised rim, which makes the wash area immediately recognisable, while oval and round versions soften the overall composition. Some arrangements pair the basin with an asymmetric base unit and open shelving, so the furniture does more than hold the sink; it breaks up the front and leaves parts of the lower section visible. In the images, white basins sit against oak bathroom vanity fronts and darker wood finishes, creating a clear contrast between surface and frame.

The furniture range runs from compact washbasin units to larger pieces between 410 and 1400 mm wide. That spread allows the design bathroom to shift from a narrow guest room to a broader family setting without changing its visual language. Three new wood-look decors extend the selection of thirteen furniture surfaces, and the diamond-black handle repeats the rounded edge of the basin and console. The effect is not decorative fuss. It is a set of repeated cues that keeps the room visually readable from one element to the next.

Oak finishes and open storage

The oak bathroom vanity shown in the imagery brings the warmest note into the series, but even there the look stays restrained. Straight cabinet lines, pale basins and chrome taps keep the furniture from feeling heavy. Where the base units open into shelving, the voids become part of the composition. They also echo the asymmetrical layouts described in the range, where offset elements and matching sub-cabinets create a more open lower zone. In a modern bathroom, that kind of interruption matters because it gives the furniture a lighter stance.

Mirrors that shape the wash area

Light is handled with the same clarity as the ceramics. The round mirrors from the Licht + Spiegel range use indirect light, so the mirror becomes a bright disc rather than a flat reflective panel. In the rectangular versions and mirror cabinets, an LED light field sits at the top edge and spreads light across the wash zone. The result is practical, but the visual impression is just as strong: the mirror marks the center of the room and frames the basin below it. In the photographs, the round lit mirror also softens the harder lines of tile and cabinetry.

One of the clearest image details is the contrast between the mirror and the surrounding finishes. Dark floor tiles, blue wall tiles and pale plastered surfaces all sit behind the vanity units, but the mirror keeps the scene from breaking apart. It draws the eye to the sink area without adding another material layer. That is useful in a design bathroom where the furniture already carries a strong profile. The mirror does not compete with it; it gives the wash area a fixed point.

Toilets, a matching bidet and water-saving flushing

The sanitaryware follows the same geometric discipline. All toilets in the series use Rimless technology, and some versions can be specified with HygieneGlaze ceramic coating. The flushing performance is described with just 4.5 litres, which keeps the product detail precise rather than showy. A matching bidet completes the line. Visually, the toilet design stays quiet: clean edges, no clutter around the bowl and a shape that sits easily beside the more expressive basin and furniture pieces.

That restraint matters because the series is meant to work across different bathroom scales. In a compact layout, a rimless toilet takes up little visual space and leaves room for the basin, mirror and furniture to do the talking. In a larger modern bathroom, the matching bidet helps extend the same language across the room. The pieces stay close in proportion and finish, so the suite feels coordinated without needing extra gestures.

A freestanding bathtub with a soft profile

The freestanding bathtub is one of the most immediate forms in the range. Made from DuraSolid, it has a velvety look and feel, and its shape takes its cue from the oval countertop basin. At 1600 mm long, it is also sized to sit comfortably in smaller bathrooms. In the imagery, the freestanding oval bathtub stands out against pale walls and darker floor tiles, where its rounded shell breaks the sharper room edges and becomes a clear focal point.

The built-in baths extend that offer in a different way. Sanitär acrylic models are available in five sizes from 1500×750 to 1800×800 mm, with a version at 1800×800 mm that can also be ordered with two sloping backrests. Some baths are offered as whirl versions, using six flat water-air jets in the side wall to create a massage effect. The overall language stays measured, but the choice of formats means the series can answer very different room proportions and ways of bathing.

Bath forms for smaller and larger rooms

What stands out here is not a single hero object but the way the bathing options are scaled. The freestanding model keeps a small footprint and still reads as a central element. The built-in versions stretch the same programme into longer, more enclosed layouts. Even the whirl bath remains visually quiet, because the jets are set into the side wall rather than announced on the surface. That keeps the bath line simple from the outside, while the function stays hidden until it is needed.

Geometric taps and a more deliberate start of the flow

The taps continue the series’ straight, graphic feel. Their handles are narrow and vertically placed, which gives the mixers a slim profile above the basin. A FreshStart function is available for the basin taps for the first time. In the middle position, only cold water flows. Hot water is added only when the handle is moved deliberately to the left. It is a small shift, but it changes the daily use of the basin and keeps unnecessary hot water use out of the middle setting.

In the photos, the chrome finish catches the light against matte tiles, oak fronts and white ceramics. Because the taps are so cleanly drawn, they work with the raised basin edges and the round mirror rather than against them. The straight lever and the curved spout create a subtle tension, but the overall reading remains calm. That restraint is what lets the fixtures fit into both the smaller vanity views and the wider bathroom compositions shown across the series.

A complete design bathroom with room to choose

D-Neo brings basins, bathroom furniture, toilets, a bidet, a freestanding bathtub, built-in baths, mirrors and taps into one readable system. The series does not rely on a single finish or form. Instead, it uses repeated shapes, limited contrasts and a clear family of details: the raised basin edge, the black handle, the oval bath, the lit mirror and the slim tap lever. Those cues can be combined in different ways, which is why the range feels adaptable without losing its identity.

Seen together, the products build a design bathroom that can stay restrained or become more graphic depending on the chosen surfaces. Oak bathroom vanity fronts add grain and depth, white basins keep the wash area bright, and the indirect light mirror gives the room its brightest surface. For anyone looking at a modern bathroom as a complete interior rather than a single product, this series shows how ceramics, furniture and fittings can carry the same language across the room without repeating themselves mechanically.