Molteni magazine | Architecture | Cultural Collaboration

Cultural Collaboration

Jane McRae for M Magazine, March 2025

FOR UNIFOR, DESIGN HAS ALWAYS BEEN ABOUT MORE THAN JUST A PRODUCT: EACH OBJECT THE COMPANY CREATES REPRESENTS A DIALOGUE BETWEEN THE USER AND MAKER, AND EMBODIES ITS VISION FOR HOW A SPACE SHOULD MAKE YOU FEEL.

This is also the ethos that underpins the Italian furniture brand’s deep commitment to the cultural sector. Since its inception in 1969, UniFor has supported some of the world’s most significant cultural institutions in bringing to life the work of major artists, architects and designers for a diverse range of audiences. From the Centre Pompidou in Paris to the Basilica Palladiana in Vicenza, its creative vision has enhanced the experiences of art lovers around the globe for decades, and continues to do so with each successive collaboration. UniFor’s enduring relationship with the cultural world is not just a corporate strategy – it is a statement of the company’s belief in the transformative power of design and its ability to shape spaces and ideas.

John Akomfrah | Canto V Listening All Night To The Rain | British Pavilion 2024 | PH Jack Hems

Our connection to the world of culture – with architects, artists, photographers, institutions and curators – is a fundamental part of our identity, deeply rooted in our DNA,” says Carlo Molteni, CEO of UniFor. “These relationships are an opportunity for us to communicate our values, while forging strong and lasting bonds with architects, artists, and professionals.

In turn, these projects and collaborations enrich UniFor’s own work. “Exhibitions and temporary setups are challenging contexts: they present significant constraints, involve dialogue with historically rich buildings and existing structures, and must take into account the heterogeneity of the materials displayed,” Carlo Molteni explains. “Confronting such projects requires us to apply our technical know-how and find solutions that are functional, elegant, and respectful of the place. They are a valuable opportunity for research and development – as well as an ideal stage to present our technical expertise to a wide audience in different contexts.”

Toyo Ito, Toyo Ito architetto exhibition, Basilica Palladiana, 2001 | PH Fulvio Orsenigo

UniFor’s journey as a cultural patron began many decades ago. Over that time one of its most significant relationships has been with the Basilica Palladiana, which started in the 1990s. It has produced numerous exhibition setups for the space’s monographic shows dedicated to architectural luminaries such as Tadao Ando, Toyo Ito and David Chipperfield. These collaborations not only demonstrate UniFor’s technical prowess, they have also led to the creation of iconic furniture collections, such as the Régua series, designed in partnership with Álvaro Siza as part of the architect’s exhibition in 1999.

These exhibitions offered us the chance to build relationships with world-class architects and engage with a unique, historical and prestigious context,” Carlo Molteni says. “The relationships we develop through these projects enrich our knowledge and allow us to grow, both as a company and as individuals – as well as giving birth to new connections, and leading to new projects.

UniFor Showroom opening, Corso Matteotti, Milan, 1989 | Sculpture by Gino Cosentino | PH Basilico

UniFor’s involvement in landmark exhibitions – such as Aldo Rossi par Aldo Rossi at the Centre Pompidou in 1991, and Angelo Mangiarotti: When Structures Take Shape at Triennale Milano in 2023 – has shown how it can navigate complex briefs and contexts. But these initiatives are not just about designing display systems: they are about creating immersive experiences that honour the legacy of the creative minds they celebrate.

Aldo Rossi par Aldo Rossi is one of the exhibitions that consolidated our approach to cultural projects. Showcasing our ability to tackle site-specific projects undoubtedly opened new doors for us.

Carlo Molteni

Cuore Research, Study and Archives Center, Triennale Milano | PH Delfino Sisto Legnani-DSL Studio

Similarly, exhibitions such as 2024’s L’intime, de la Chambre aux Réseaux Sociaux at the Musée des Arts Décoratifs in Paris – part of a new series that contemplates how objects reflect lifestyles and societal changes – tested UniFor’s technical abilities at the highest levels, in bringing together a diverse range of objects within a design by Studio Italo Rota.UniFor’s most significant cultural partnership, however, is arguably with the Triennale Milano, a relationship that has evolved over decades and several exhibitions – including the XVIII Triennale di Milano, the 1992 exhibition of modern industrial, architectural and decorative arts titled Life Between Things and Nature. Most recently, in February 2024, the company played a pivotal role in realising the Triennale’s new Cuore Research, Study and Archives Center, a groundbreaking archival project designed by architect Luca Cipelletti. This new space is a dynamic hub for research and collaboration, dedicated to the preservation of more than 300,000 physical and digital items from the museum’s archives.

Cuore Research, Study and Archives Center, Triennale Milano| ph Delfino Sisto Legnani-DSL Studio

The company’s contribution to the Cuore Research, Study and Archives Center went beyond the creation of functional systems for exhibiting and storing objects. UniFor also worked with the Triennale to co-design the relaxation area that sits alongside the archive, equipping it with pieces from its PRINCIPLES Collection, created in collaboration with Dutch architecture firm OMA. This marriage of design and functionality is an illustration of UniFor’s ability to adapt its expertise to a variety of contexts.

Triennale Milano has been carrying out an ambitious renovation project for several years: a path that looks both to the future and the past,” Carlo Molteni says. “Participating in a project like Cuore – an archive of archives open to the city of Milan and beyond – is a great source of pride for us.”

The company’s innovative designs enhance cultural spaces in both aesthetic and practical ways, balancing the preservation of cultural heritage with the creation of space for dialogue and discovery.

Meanwhile, the company’s personal connection to Gabriele Basilico, which goes back to the 1980s, has resulted in several collaborations with the photographer. These include a landmark early partnership with designer Pierluigi Cerri to showcase the Master series of executive furnishings by Afra and Tobia Scarpa in Milan’s renowned art gallery, Pinacoteca di Brera. That project set the tone for UniFor’s future cultural initiatives, revealing its vision for how office furniture and art could coexist in harmony. Most recently, the relationship culminated in the exhibition Gabriele Basilico: Le Mie Città at the Palazzo Reale in Milan 2023. It’s an example of the long-lasting personal connections that underscore UniFor’s cultural work.

Kengo Kuma, Due carpe: acqua/terra – villaggio/città – Fenomenologie, Palazzo della Ragione, Padova, 2008

For Carlo Molteni, all these projects are not peripheral, but a core element of UniFor’s work. “Our cultural projects are not just about showcasing our expertise; they are about forming bonds with organisations that share and promote culture widely, and each project allows us to learn and grow.” In turn, these collaborations reaffirm UniFor’s role as a cultural leader and a champion of creativity and innovation.

issue 18
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