SKU: 41940345802

Nile Vortex Rimless Wall Hung Combined Bidet Toilet With Soft Close Seat

$213.75 $237.50
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Description

Nile Vortex Rimless Wall Hung Combined Bidet Toilet With Soft Close SeatExperience the next generation of hygiene and performance with the Nile Vortex Rimless Wall Hung Combined Bidet Toilet. Designed for modern living, this elegant two in one toilet and bidet system saves space, enhances comfort, and sets new standards for bathroom cleanliness. At the heart of the Nile is its advanced Vortex flushing technology. Unlike traditional systems, the Vortex flush releases water at high speed in a powerful swirling motion,

Experience the next generation of hygiene and performance with the Nile Vortex Rimless Wall Hung Combined Bidet Toilet. Designed for modern living, this elegant two-in-one toilet and bidet system saves space, enhances comfort, and sets new standards for bathroom cleanliness.

At the heart of the Nile is its advanced Vortex flushing technology. Unlike traditional systems, the Vortex flush releases water at high speed in a powerful swirling motion, thoroughly covering the entire bowl for maximum cleaning power. It not only removes waste more efficiently but also reduces water consumption and operates up to 35% quieter than conventional flushes—delivering strength and serenity in one.

The rimless pan design eliminates hidden channels inside the bowl, preventing bacteria build-up and making cleaning effortless. Together with the high-gloss hygiene glaze, the Nile ensures a bathroom environment that stays fresher and healthier for longer.

Comfort is equally prioritised. The soft-close duroplast seat prevents slamming, offers antibacterial protection, and features strong metal hinges for stability. Wall-hung installation creates a floating effect, making the Nile a perfect choice for those seeking sleek aesthetics and easy floor cleaning.

✅ What’s Included in the Price:

  • Nile Vortex Rimless Wall Hung Combined Bidet Toilet Pan (High-glazed Ceramic)

  • Soft-Close Antibacterial Duroplast Seat with Metal Hinges

  • Built-in Bidet Function with Chrome-Plated Adjustable Nozzle and Fittings

  • Optional WC Frame

  • Optional Thermostatic Valve

  • Optional Concealed On/Off Taps (required for bidet operation)

 

Required Concealed on/off Taps:

 CONCEALED ROUND TAP,  A quarter turn concealed lever on/off tap is located on the wall/unit and the pipework from the tap to the toilet will be concealed, no pipes will be visible, and all pipe connections will be concealed. All you will see is the tap and the toilet. It looks nice and tidy, with the lever easy to operate. 
 

 CONCEALED SQUARE TAP, A quarter turn concealed square on/off tap is located on the wall/unit and the pipework from the tap to the toilet will be concealed, no pipes will be visible, and all pipe connections will be concealed. All you will see is the tap and the toilet. It looks nice and tidy with an elegant square design. 

 

Optional Thermostatic Valve:

 

You can buy a thermostatic valve to mix cold and hot water to get instant warm water for the bidet function (not for a flush). The thermostatic valve built into the wall or unit, allows you to set the temperature to the desired level, so during the winter you can have warmer water and there won’t be any nasty surprises to your guests. You still need an on/off tap to control the water flow.

     

    Optional WC Frame with Chrome Push Plate:

     

    If you are not replacing an existing wall-hung toilet or you haven’t already purchased a frame, you need to buy this frame as the toilet will hang on this metal frame to support up to 400kg weight. It does come with a built-in cistern and chrome-plated dual flush button. ( 3 / 6 liters per flush )

    W395 x D115 X H1100 mm

    Adjustable pan height 295 to 540 mm 

     

      Delivery Information
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      Delivery typically takes up to 5 working days, though most orders arrive sooner.

      Need it fast? Express delivery is available at checkout for an extra fee (subject to availability and location).


      Note: Although we offer free delivery to most areas of the UK, please note that a delivery surcharge may apply to certain locations such as UK islands, Scotland, and some rural or hard-to-reach areas of the UK mainland.

      This may include, but is not limited to, the following areas and postcode regions: Eire, GY, HS, JE, ZE, TR, EX, PO30–41 (Isle of Wight), PH, PA, KA, KY, KW, IV, DG, DD, EH, G, AB, FK.

      Please note that this is not a full list, and surcharges may vary depending on the exact delivery location.

      Shipping Notes
      • Free Standard Shipping on $100+ Orders to the USA.
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      Exchange/Return Notes
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      • Final sale items are not eligible for returns or exchanges.
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      SKU: 41940345802

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      4.7 ★★★★★
      Based on 16 reviews
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      Product Reviews
      B
      Verified Purchase
      Bookworm
      Natrona Heights, US
      ★★★★★ 5
      It's All Right Here. All of it.
      Format: Hardcover
      I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
      WAS THIS REVIEW HELPFUL?YesReportShare
      Reviewed in the United States on September 21, 2016
      J
      Verified Purchase
      jk Smiles
      Chelsea, US
      ★★★★★ 5
      A book on dialogue should be experienced first as a book on tape
      Format: Audio CD
      I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
      WAS THIS REVIEW HELPFUL?YesReportShare
      Reviewed in the United States on August 30, 2018
      L
      Verified Purchase
      Lori T. Sly
      Lake Worth, US
      ★★★★★ 4
      Helpful, but not as good as "Story" by same author, and it disses certain genres
      Format: Hardcover
      This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
      WAS THIS REVIEW HELPFUL?YesReportShare
      Reviewed in the United States on December 12, 2019
      R
      Verified Purchase
      Ray Pryor
      Louisville, US
      ★★★★★ 5
      Amazing.
      Format: Kindle
      Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
      WAS THIS REVIEW HELPFUL?YesReportShare
      Reviewed in the United States on April 18, 2017
      K
      Verified Purchase
      Kindle Customer
      Los Angeles, US
      ★★★★★ 5
      So to speak
      Format: Kindle
      Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
      WAS THIS REVIEW HELPFUL?YesReportShare
      Reviewed in the United States on June 12, 2017

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