The naturally coloured Viennese cane pairs very harmoniously with the Natural Knotty Oak finish and creates a balanced contrast with the Dark Chocolate Oak colour option – the same contrast played with back in the mid-19th century by Thonet’s iconic No. 14 Coffee House Chair, which gave this style of wickerwork its name. Stretched across a frame, it not only conjures up a sense of lightness but ensures the cabinets are well ventilated too.

Max’s clear-cut design plays with basic geometric forms and underscores the combination of modernity, tradition and craftsmanship. Its distinguishing features are the in-frame fronts with their slender profiles and the integration of Viennese cane in the selection of doors and fronts available for the vanity cabinet, wall-mounted cabinet, dresser and storage bench. The corner posts and drawers are made of solid wood, the sides of the carcass, shelves, top panels and front insets of veneered panels. All the cabinets in the collection feature a consistent design element: their frame-and-panel construction with corner posts that double as legs in combination with square and rectangular in-frame fronts that are opened via a recess and can therefore dispense with handles.

The Max vanity units are available as floor-standing (total height: 912mm) and wall-mounted (height: 612mm) variants, both with a depth of 490mm and in a choice of four widths: 550, 700, 1000 and 1300mm. The vanity top is made of extra-thin gleaming white ceramic. The wall-mounted units are also available with round sit-on washbasins made of white or matt black ceramic, which are standard in the case of the guest bathroom solution (height: 910mm; depth: 400mm; width: 550mm). The partitioning of the vanity cabinet into drawers and vertical cabinet elements varies depending on its width.

With a drawer at the bottom and a tall compartment with a door, the narrow tall cabinet (height: 1990mm; depth: 403mm; width: 406mm) is reminiscent of a hall cupboard. The wider variant (width: 606/806mm) also has a series of open compartments on the side. The dresser (height: 1210mm; depth: 453mm; width: 1006mm) with its asymmetric layout – three drawers and a compartment with one upright rectangular door – and the storage bench, which is available in two widths (height: 500mm; depth: 450mm; width: 700/1200mm), also trigger associations with traditional products and have a very authentic, almost nostalgic charm that is translated into the here and now by the modern design language.

The simple mirrors (height: 600mm; depth: 200mm; width: 450/600/900/1200mm) are equipped with LED lighting all the way round and echo the design of the furniture with a deep frame that doubles as a shelf. The 1-door wall cabinets (height: 600mm; depth: 200mm; width: 300mm) are the same height as the mirrors and can be combined with them to create a flush ensemble. In addition, the illuminated mirrors allow the colour temperature to be varied between warm and cold white.

Thanks to its material qualities and well-conceived design, the concept behind the collection (in-house design: Teresa Meister) shines a spotlight on naturalness and sustainability. The dimensions of the Max elements, for instance, are based on a grid system that means the same components and fronts can be used for all the cabinets in the collection. The smaller number of different parts reduces the complexity of both production and logistics and is therefore kind to the environment.

When it came to developing Max, burgbad also attached great importance to complying with the strict test criteria associated with the “Furniture made in Germany” label of origin, which are monitored by the German Institute for Quality Assurance and Certification (RAL). Launched by the Association of the German Furniture Industry (VDM) in 2020, the label guarantees that the development, assembly and quality testing of the certified products take place in Germany, that the manufacturing process relevant to quality mainly takes place in Germany and that the components primarily originate from Germany.