It’s one of those objects that are so simple, they raise the question of where the design factor comes in. And at the same time it is the model with which the tradition-steeped Swabian piano maker Sauter firmly established its design line. Peter Maly was asked to conceive an instrument that fits in well with a modern living environment while also harmonizing with contemporary art. He indubitably succeeded at this task – by creating a piano body of smooth rectangular surfaces in which straight lines dominate. Metal bands emphasize the most important lines, giving the work a clear articulation, particularly in the black version. This reduction makes Pure, which also comes in red and white, look at once compact and generously dimensioned. This is what a Bauhaus piano might have looked like if the masters of classical Modernism had come upon the idea of redesigning the furniture piece amongst the music instruments. But they neglected to do so. And thus pianos still looked as if they had come out of the previous century. Pure is the logical counter-design: a well-proportioned double block with every bit of frippery polished away. The handle on the keyboard cover melds into the archetypal image as a small straight line of metal. Although the formal solution takes centre stage here, it is hardly an end in itself. By omitting all  distractions, the concentration is focused on what counts: the music.