White ceramic takes the lead here, with rounded basins, a freestanding bath and chrome taps set against wood, stone-look flooring and large panes of glass. The result is a designer bathroom collection that reads as one coordinated series rather than separate products. Each element follows the same tulip-like profile, from the basin edges to the handles on the taps. The effect is calm, but never static; the shapes keep moving from one detail to the next.

White forms shaped by a tulip silhouette

The collection is built around an organic silhouette that recalls a blooming tulip. That curve appears in the ceramic washbasins, in the bath and in the smaller fittings, so the eye keeps returning to the same line. It gives the series a sculptural presence without pushing the forms into display object territory. The pieces still work as sanitaryware first. This is what makes the designer bathroom collection feel practical in use, not only composed for the page.

Seen in the photographs, the white surfaces carry the strongest visual weight. A double basin arrangement sits on a wooden vanity, while another setup pairs glossy ceramic with beige stone-look floor tiles. In a different view, a freestanding basin stands on chromed supports beside timber wall panels. These are not decorative add-ons. They are the surfaces that let the curved ceramic read clearly, with light catching the edges and the chrome reflecting the room around it.

Basins that move between monolith and countertop

One of the most striking pieces is the freestanding ceramic washbasin, designed as a monolith. Depending on the building conditions, it can be supplied with wall or floor connection. The form stands almost like a single block, but the upper edge softens as it rises. The round above-counter sink takes a different route, with a lightly flared rim that opens outward. A rectangular basin viewed from above keeps the same language, and the range also includes a compact basin and vanity unit option for smaller layouts.

The photography underlines how varied that basin family can look in real rooms. In one image, two oval bowls rest on a timber cabinet with chrome taps centered between them. In another, a single round basin sits on a beige front with discreet chrome pulls. The strongest impression is not size but proportion: the bowls are generous enough to read as focal points, yet restrained enough to sit quietly with the wood grain, the tile texture and the black-framed glazing in the background.

Vanity unit details that stay visually light

The vanity unit range is defined by sharp mitred edges and a choice of finishes that change the mood of the basin area without altering the overall line. Widths vary across the series, and the surfaces come in solid colours with either high-gloss or satin-gloss finishes. A solid wood front is also available, in natural oak or American walnut. In the images, that material mix is easy to read: glossy white ceramic against oak, beige fronts with chrome handles, and wood used where the cabinet needs to ground the basin visually.

The semi-gloss surfaces have a practical advantage described in the source material: small scratches on the special lacquered finish nearly disappear, so the furniture keeps its fresh look for longer. There is also an anti-fingerprint coating, which matters in a room where doors, handles and drawer fronts are used constantly. It is a quiet kind of convenience, expressed through the finish itself rather than through extra hardware. The surfaces remain plain enough to let the ceramic, taps and mirror carry the composition.

Design toilet and bidet with hygiene in focus

The series also includes floor-standing and wall-hung toilets and bidets, plus a matching urinal. Their forms stay close to the basin language, so the sanitary pieces do not feel borrowed from another collection. The toilets feature HygieneFlush, a surface-flushing system that is said to clean the full inner surface effectively. The water path creates a vortex, and the flush is designed to work with 4.5 litres of water. For a design toilet, that matters as much as the profile of the bowl.

HygieneGlaze comes standard on the new HygieneFlush toilets. According to the source, the ceramic glaze is fired into the toilet and helps kill around 90% of bacteria after six hours and about 99.9% after 24 hours, including E. coli. The page also mentions a lifetime ceramic warranty for the series. Those facts place the collection firmly in everyday use. It is not only about the visible shell, but about the inner surfaces and the way they are treated over time.

Bathroom taps with the same tulip line

The bathroom taps were designed for this series as well, and they repeat the tulip-shaped handle across basin, bidet, shower and bath fittings. That small handle is the most direct bridge between the ceramic pieces and the water points. Its surface is finely polished, with vertical grooves that catch the light in thin lines. On the basins, the taps stand upright and precise; on the bath they sit with the same controlled profile. The range includes comfort heights S, M and XL, which keeps the collection usable across different basin types.

In the photographs, the chrome finish gives the room a colder note against the wood and white ceramic. It sharpens the outline of the basins and picks up the window frames, drawer pulls and supports. That contrast is useful. Without it, the collection might feel too soft, too rounded. With it, the forms keep their edge. The taps do not try to dominate the basin area; they finish it, and the light on the metal helps define where one element ends and the next begins.

Mirrors, light and the bath as a final curve

The matching mirrors continue the same careful detailing. They are available with sensor or app control, and the forward-set mirror glass creates a layered effect around the illuminated field. The mirror surface seems to hover slightly in front of the light zone, which makes the reflection feel deeper. Temperature settings with memory can be synced through the Casambi app, and the mirrors can be dimmed or equipped with mirror heating. In a bathroom with large windows or dark-framed glazing, that controlled light becomes part of the composition.

The bath finishes the collection with the same curved profile seen elsewhere. The freestanding acrylic bath is seamless in its cladding and comes in an oval version in two sizes, while the round bath with a 1400 mm diameter offers a stronger gesture. In the images, both read as clear sculptural objects: a glossy white oval bath beside wood flooring, and a round tub set against black steel glazing. Together they show how the designer bathroom collection moves from basin to bath without changing its line.

A complete bathroom series that holds together through detail

What keeps the range coherent is not a single finish or one signature part, but the repetition of a clear shape language across the whole bathroom. Basins, toilet, bidet, bath, mirrors and bathroom taps all carry the same soft geometry. That makes the collection easy to extend across different interiors, from rooms with pale stone-look tiles to settings with timber panels and herringbone floors. The visible materials can change, but the ceramic profile stays recognisable. That continuity is where the series is strongest.

For a project page, the appeal lies in that mix of clarity and restraint. The products are detailed enough to stand alone, yet they are intended to work as a complete bathroom series. The freestanding ceramic washbasin, the round above-counter sink, the design toilet with hygienic toilet flush, the vanity unit and the bath all belong to the same family. In the images, that family is easy to read: white ceramic, chrome, wood and glass, each keeping its own place in the room.