Technical sponsorships underscore some
of the most important values, practices and
goals of the brand: collaborating with design-
ers; deepening existing expertise; testing
itself under ad hoc, industry-atypical condi-
tions; adapting to the needs of its clients; and
operating not only as a manufacturer but as a
design laboratory.
In catalogues, showrooms and trade-
fair stands, the product does the PR. But
architecture, art and photography exhibi-
tions serve as both free-form experiments
and consumer exposure. Furnishings and
fit-outs demonstrate technical expertise,
creativity and the specialized skills required
to generate impromptu scenarios. ‘UniFor has
always supported cultural and intellectual
collaborations,’ says Carlo Molteni, UniFor’s
chairman and CEO. It was Carlo’s grandfather,
Angelo, who founded the company in 1934
and later purchased the factory that would
become UniFor Emme3 in 1969. ‘We consider
every project an opportunity to experiment
with new techniques or new materials,’ says
Molteni, pointing to such opportunities as
‘perfect for showing our quality and flexibil-
ity’ and for ‘giving us a chance to collaborate
with famous architects in unique locations’.
Indeed, every project carries with it
the prospect of teaming up with world-class
designers or architects. Molteni emphasizes
the direct connection that exists between the
collaborators and UniFor’s managers. ‘That’s
one of the reasons we have long, strong,
lasting personal relationships with creative
people. That, for sure, gives us an advantage
in the industry.’
One more advantage that emerges
from collaborations and special exhibitions
is that resulting products may later become
part of UniFor’s standard collection. The
first UniFor-sponsored exhibition in 1979,
designed by Afra and Tobia Scarpa, occupied
the company’s Paris showroom. Luca Meda
designed a wall divider, similar to Progetto 25,
which became UniFor’s first partition, pro-
duced in the 1980s. Régua tables and chairs
by Álvaro Siza initially appeared in a 1999
Siza exhibition at Vicenza’s Basilica Palladi-
ana, where he used them to suggest that the
form and function of just a few objects can
change our dogmatic views of the workplace.
OPPOSITE UniFor produced
interlocking panels for Michele de
Lucchi’s L’Anello Mancante, a site-
specific installation-cum-monographic
exhibition that showcased his work at
Rome’s Maxxi Museum. RIGHT Partitions developed for David
Chipperfield Architects Works 2018,
an exhibition held at Vicenza’s Basilica
Palladiana, will be added to UniFor’s
product catalogue.Another exhibition that resulted in addi-
tions to the UniFor product catalogue was
David Chipperfield Architects Works, a 2018
exhibition. Austere walls threaded through
a spacious room in the Basilica Palladiana
displayed 15 recent projects and artefacts,
accompanied by information about the
design process. The look was minimal and
rational but organic, letting the content stand
out while maintaining a subtle dialogue with
the building that hosted the show. UniFor’s
panel system became the inspiration for
Picasso Metamorfosi at the Palazzo Reale di
Milano from October 2018 to mid-February- Cerri & Associati and UniFor were
tasked with the display of some 200 works
within six sections – pieces by Picasso
alongside ancient artefacts that influenced
the Spanish artist.
Many projects take place in celebrated
venues, such as Milan’s Palazzo Reale and Tri-
ennale or the Pompidou in Paris, settings that
challenge the display of smaller-scale objects.
These spaces are imposing in size and age,
visibly historical, often ornate or iconic – or
both. UniFor’s solutions meet their strin-
gent demands with an uncompromisingly
contemporary appearance and composition,
contrasting richly with the sites.
The most recent installation at Rome’s
Maxxi Museum, L’Anello Mancante (open
from December 2018 to early March 2019),
was designed by Michele de Lucchi, with
whom UniFor produced the MDL System,
Secretello, Hatch and Teamer products,
as well as UniCredit, an office interior in
Verona. UniFor and De Lucchi came up with
a site-specific installation-cum-monographic
exhibition that showcased the designer’s
work. This example of micro-architecture
was constructed from interlocking scalelike
panels that doubled as shelter and showcase.
Although there are diverse possibili-
ties to choose from among both designers
and exhibitions, Carlo Molteni insists he
doesn’t have a favourite. ‘Every exhibition
has a particular and unique story,’ he says.
‘I always like to say that my favourite will be
the next one.’ ●
unifor.itUNIFOR X FRAME 79