Anyone who has followed Rima’s activity in recent years has been able to see with what enthusiasm, at times even too exuberant for the purposes of more in-depth research, it sought to orient its production towards the criteria of Industrial Design. Perhaps among the first in Italy, at the ninth Triennale, Rima proposed the combination of new materials, such as foam rubber and plastic fabrics, with iron and aluminum sheets, whose use as a support for the padding of chairs and armchairs had not been considered. The search for materials that offered the possibility of a faster execution of the products that Rima dedicated itself to was inherent in the need to start production on a 'serial' scale. At that time, still lacking equipment capable of carrying out the multiple processes to complement the basic ones in iron and wood (phosphatizing, painting, polishing, nickel-plating, chrome-plating, oxidizing, plastic molding, upholstery, straw-weaving), they tried to set up a few types of chairs, armchairs, and small armchairs with new materials resulting from the rebirth efforts of the major industrial complexes, capable of satisfying the use for which they were intended.

Production was then organized according to the criteria of group manufacturing, headed by a worker trained in a new kind of production and capable of acting as a useful connection between the designer and the executor. An important task for the producer who had undergone the technical evolution of the time was to promote the technical and moral education of the workforce to bring them closer to the spirit of the designer. Specialization by group was necessary and was the only approach that offered hope for a faster recovery in production. However, the solution brought with it the more general problem of technical reorganization. Once the years of urgent demand were over, the need arose to review and reorganize the production system itself.

The managers of Rima oriented themselves towards the autonomy of all the processing steps necessary to complete the product, freeing themselves from any craft contributions that had often proved to be anachronistic and insufficient within a production program.

With the recent expansion of the factories in Padua, Rima has taken another step towards that restructuring of facilities and that review of equipment for a more rational adjustment, which is considered essential to achieve a well-executed standard production on an industrial level.

Rima can therefore be considered an industry in full evolution, in search of a complete technical-productive balance that alone can define the quality and the strengths of a modern industry. Design intervenes in this process as one of the most important elements of action, but it is certainly not the only or decisive one.

The furniture industry sector in Italy has too often entrusted all its energy to invention and formal novelty in search of success. A stricter production research and a more secure technical orientation provide those bases that alone allow good design to find a way of expression. Certainly, Rima will not lack the energy in the future to proceed along this path, joining that group of Italian industries entrusted with the task of qualifying furniture production in Italy.