Where the D8704 uses the nine-pane grid to structure and articulate its glazed area, the D8705 makes the opposite decision with complete conviction: one single uninterrupted pane of frosted glass, spanning nearly the full height of the door from just below the top rail to just above the bottom rail, with no glazing bars, no grid, no subdivisions of any kind. The glass is the door. The white frame — top rail, bottom rail, lock stile, hinge stile — is reduced to the minimum structural necessity, present only to hold the glass and carry the hardware. The result is a door that feels closer to a frameless glass partition than to a traditional timber door, yet retains the warmth and material presence of a white-painted solid construction at its perimeter. The frosted glass diffuses light across its full height — a column of soft, even luminosity when backlit — while the matte white frame keeps the composition pure, calm, and architecturally neutral. The gunmetal square-rose lever handle, carried over from the D8704 in the same dark metal and square backplate format, is the one deliberate material contrast: small, precise, and correctly proportioned against the large glass field.
The SD-AGWP025 is built on a single, confident idea: take the architectural language of the slatted timber wall — one of the defining interior design movements of the past decade — and deliver it in a material that stone-finishes it into the luxury tier. Multiple square-profile batten ribs, tightly and evenly pitched across the panel width, create a dense vertical grid that reads as contemporary architectural cladding at scale. The WPC hollow-core extrusion gives each batten structural rigidity with minimal weight. But it is the surface finish programme that positions the SD-AGWP025 as a premium product: three confirmed stone and marble finishes — black Marquina with white lightning veining, Calacatta white with grey veining, and dark grey concrete-stone — each applied continuously across batten tops, sides, and channel floors, so the stone pattern runs uninterrupted across the full three-dimensional surface of every rib.
Where the SD-AGWP028 makes its statement through four wide, architecturally spaced square hollow battens, the SD-AGWP029 takes the opposite compositional position: more battens, narrower pitch, softer profile. The result is a wall surface whose installed character reads less as a grid of individual architectural elements and more as a unified directional texture — the kind of surface that covers an entire room wall and recedes into the background as warm material atmosphere rather than asserting itself as a designed object. The full-width living room installation confirms this: floor-to-ceiling honey oak panels across the entire wall, a large artwork hung directly on the surface, and the panel itself functioning as a warm, directional backdrop rather than a feature. The rounded or slightly tapered flute profile — softer than the SD-AGWP028's hard square section — reinforces this atmospheric quality, the curved rib edges catching light more gently and casting softer shadow lines than angular profiles.
The same Japandi soul — expanded for two. The SHUIDAO BC074 natural oak fluted double-sink bathroom vanity takes every design principle of the BC073 and scales it to a generous double-basin width, creating a master bathroom vanity suite of rare material depth and bilateral symmetry. The fine vertical fluting wraps the full extended width of the rounded oak cabinet body in a continuous textural rhythm. Two white marble countertop sections carry two undermount basins side by side. Two brushed gold tall cylinder faucets rise from the marble. Two matching oval brushed gold LED mirrors float above — one per basin, perfectly centred, creating a symmetrical composition that is as considered as any interior design decision in the home.
Two sage green basins. Two oval gold mirrors. One continuous wall of warm fluted oak. The SHUIDAO BC076 natural oak fluted double-sink bathroom vanity is the wide double-basin version of the BC075 — scaling the botanical green + oak + gold three-tone palette to a generous master bathroom width, and doing so with a symmetry and material confidence that makes the suite feel less like a bathroom vanity and more like a considered interior installation. The fluted oak cabinet spans the full double-sink width in a straight-corner configuration — the flat 90° edges and continuous fluting across the full face create a strong horizontal rhythm. Two sage green vessel basins sit above the white stone countertop as matching coloured objects. Two brushed gold faucets. Two oval gold-framed LED mirrors. The bilateral perfect symmetry of the composition is the suite's most deliberately designed quality.
Legs change everything. The SHUIDAO BC078 natural oak fluted leg-stand bathroom vanity takes the fluted oak material story of the BC073 family and introduces the single design detail that transforms a cabinet into a piece of furniture — four solid oak turned legs that lift the cabinet body clear of the floor. The visual gap between cabinet and floor creates a lightness and airiness that no plinth-base vanity can achieve; the floor is visible beneath the cabinet, the room breathes around the piece, and the vanity reads as a freestanding object of furniture design rather than a fixed bathroom installation. The fluted oak body itself is generous in width, straight-cornered, and presented in the same warm blonde tone. White Carrara marble sits above. Brushed gold faucet rises from the marble. Oval gold LED mirror above. All elements exactly right for what they are.
Warm wood, wide and floating. The BC070 is the double-sink wall-hung companion to the BC069 — scaling the natural oak fluted straight-corner format to a generous master bathroom width while making one key material change: the dark black stone countertop of the BC069 is replaced by a clean white stone surface. The white countertop above the warm blonde oak cabinet creates a softer, more luminous composition than the dark-stone variant — the two grey vessel basins read as the primary tonal accent rather than the countertop itself. The oak fluting at double-sink width creates a wide, warm horizontal band of vertical texture that floats above the dark concrete floor. Two brushed gold faucets. Two oval gold LED mirrors. The warm-wood bilateral composition in this suite is among the most naturally inviting in the entire BC07x family.
Where the warmth of the forest meets the precision of light — the SHUIDAO natural wood frame round mirror brings genuine organic material into the bathroom in its most elemental form. A wide-profile solid wood surround encircles a large round mirror with a cool white LED halo running between frame and glass, casting a clean ring of light that illuminates the Calacatta marble wall behind it while the honey-toned grain of the wood glows with its own quiet warmth.
Five sides. One corner. Zero wasted space. The SHUIDAO neo-angle corner shower enclosure is the space-efficient solution for square corner bathrooms — its angled front face cuts diagonally across the corner to create a wider, more accessible entry than a standard square enclosure of the same footprint. The slim black aluminium frame and chrome pivot hardware are a deliberate contrast pairing: dark structure, bright fittings. The black stone resin tray grounds the entire enclosure with depth and material solidity.
The CT-024 is the most fluid and organically resolved toilet in the CT one-piece range — a unit where the transition from cistern to pan is not a step or a junction but a continuous, unhurried curve that flows the angular cistern form into the rounded pan body with the kind of seamlessness that only a true one-piece casting can achieve. The cistern shoulders angle gently outward and downward before surrendering fully to the oval pan below, and the pan itself maintains this sense of motion — widening evenly, holding its volume through the mid-section, then closing smoothly to the floor. No hard edges interrupt the journey from lid to tile. The chrome top-flush button punctuates the flat cistern top as the only deliberate accent in an otherwise unbroken ceramic composition.
The CT-016 occupies a quietly confident position in the CT series — a one-piece unit that neither reaches for drama nor retreats into neutrality, but finds its character in an unusual formal quality: the pan body is nearly cylindrical. Where most skirted toilet pans taper, flare, or cinch to establish a silhouette, the CT-016's pan maintains an almost perfectly consistent width from the cistern base to the floor, its sides running nearly vertical before closing into softly rounded lower corners. The result is a pan that reads as a solid, stable volume — more column than curve — anchored to the floor with quiet authority. The compact square cistern above mirrors this discipline exactly, and the chrome top-flush button keeps every surface uninterrupted.
The CT-020 finds its identity in balance — a one-piece unit where the cistern and pan achieve a proportional equilibrium that feels settled and complete rather than deliberately contrasted. The cistern is medium in height and width, the pan below it broad and full but not dramatically so, and the transition between the two is smooth enough that the eye reads the unit as a single coherent form rather than two geometric statements. The slightly squared rear shoulder of the pan — visible where it meets the cistern base — adds a subtle structural note that keeps the form from reading as purely organic, while the softly rounded front and sides carry it comfortably into warm, residential territory. The single top-flush button sits centred and small on the flat lid, the only accent on an otherwise pure white surface.
The CT-022 introduces a formal move not seen elsewhere in the CT series — a pan body that tapers. Where most CT pans expand outward from the cistern base or maintain a consistent width, the CT-022's pan is widest at the upper section just below the seat, then narrows progressively and evenly toward the floor, the skirt converging inward to a base that is notably smaller than the pan's mid-section. The effect is of a form that concentrates its volume in the upper body and releases it toward the ground — an inverted proportion that gives the unit a distinctive forward-leaning, slightly elevated visual presence. Paired with the tall rectangular cistern and centred top-flush button, the CT-022 reads as refined, unhurried, and quietly original.
The CT-018 is the most architecturally assertive toilet in the CT series — a unit where the square is not merely present but dominant, governing every face and every corner from cistern lid to floor tile. The cistern rises tall and perfectly flat, the pan body below it carries the same squared geometry with only the most minimal corner rounding, and the two-button top-flush mechanism sits centred on the lid as a chrome accent against an otherwise uncompromising white surface. If the CT-010 was the CT series' commitment to the rectangle, the CT-018 is its full conviction — a toilet that makes no visual concessions and asks the bathroom around it to rise to the same standard.
Everything in its place. The SHUIDAO oval freestanding bathtub with integrated deck filler and built-in towel rail is a product designed for the bather who wants the tub to do everything — fill, drain, hold towels, and look impeccable — without a single separate accessory cluttering the bathroom floor. The matte black 5-hole filler set sits neatly inside the rim. The twin matte black towel rails are built into the tub body at both sides. And the white oval itself maintains a perfectly clean exterior silhouette. Integration without compromise.
If SD-AGWP033 is the white marble that enlarges a room by erasing its walls, SD-AGWP034 is the exotic stone that makes the wall itself the destination. The pattern on this panel is not a vein — it is a geological event: amber and rust mineral formations erupting across a white crystalline ground, dark charcoal inclusions clustering at the composition's densest points, silver-grey fracture lines branching outward like frozen lightning. At full living room wall scale, installed as a continuous four-panel ABCDA sequence, the SD-AGWP034 produces a wall surface that reads as a single slab of rare Brazilian quartzite — the kind of stone that, in natural form, would require an extraordinary quarry find, a specialist stonemason, and a very large budget. The SD-AGWP034 delivers that result as a pre-engineered panel system: four panel variants, factory-registered for continuous pattern flow, installed in sequence to produce the geological panorama shown above with no visible joins and no pattern repeat breaks.
