Relations between Rima and the Ponti Fornaroli Rosselli studio had already been established for some time. The first documented collaboration between Gio Ponti and Gastone Rinaldi dates back to 1950, with the creation of the Du 10 chair. In the following years, collaborations intensified, giving rise to an articulated series of chairs, tables, and bookcases. Towards the mid-1950s, Rima, together with Ponti and Rosselli, created a furniture collection that, alongside products by Artflex, Parma, and Knoll International, contributed to the furnishing of the Pirelli Tower. The USC 645 desk fits into this context.

To fully understand the significance of this project, it is necessary to consider the historical framework in which it took shape. The decade following the Second World War represents a crucial moment for Italian design, which configured itself as an expression of the aspirations of a country engaged in reconstruction and the industrialization process. Faced with the profound material and moral destruction left by the conflict, the culture of design felt the urgency to contribute actively to a comprehensive refoundation.

Despite the diversity of ideological positions, some recurring themes emerged: the humanization of objects and spaces, the search for new expressive languages, the dialogue with tradition as a basis for innovation, interest in modern materials, and, above all, the belief that design could play an active role in shaping the social and cultural context. These principles also inform the design of the USC 645 desk and, more generally, the intervention for the Pirelli Tower.

The development of postwar Italian design unfolded along two main directions. On one hand, it was understood as a concrete expression of democratic ideals and a tool for cultural rebirth in post-fascist Italy; on the other hand, it became a terrain for formal experimentation, even in opposition to rigid functionalism. Both of these trends found space in the pages of "Domus" magazine, although in the specific case of the Pirelli Tower a stronger adherence to the first approach is evident.

Ernesto N. Rogers, director of "Domus" between 1946 and 1948, emphasized the need to build not only a technique but also a shared taste and morality, identifying the project as a tool to build a new society. This approach, interwoven with the legacy of pre-war rationalism, expanded the field of architecture and design to include a broader cultural and human dimension.

With Gio Ponti's return to the directorship of "Domus" in 1948, this tension translated into an increasingly intense search for a style capable of expressing a "beautiful life," in which aesthetic quality, ways of living, and production processes were closely interconnected. The idea of art allied with industry became a central theme, while the recovery of tradition, combined with the growth of the industrial apparatus and the introduction of new materials, pushed Italian design towards an increasingly conscious and structured dimension.

These values find full expression in the design of the Pirelli Skyscraper, conceived as a symbol of Milan's rebirth. The complex represents a synthesis between cultural aspirations, technical innovation, and industrial organization. In this context, architecture and design mutually influenced each other: research on the building—in terms of prefabrication, industrialization, and rationalization of the construction site—was also reflected in the design of the furniture, contributing to the definition of new aesthetic and methodological parameters.

Issue 379 of "Domus" (June 1961), dedicated to the Pirelli Tower, underlines the consistency between the building's exterior and its interiors, highlighting how the search for essentiality and unity extended to the design of the furniture. The latter were identical for all users, from managers to clerks, expressing a principle of both formal and symbolic equality.

In the same issue, Rima's contribution to the development of the desk was recognized, described as a central element in defining the identity of the interior spaces. Its uniform presence in the environments—from executive offices to operational spaces—contributed to building a coherent language, based on a "technical elegance" devoid of artifice and on a principle of sobriety that also translated into ethical value.

Indicative is also the way Rima itself described its approach in the catalog of the early 1960s. The office was conceived as a space where environmental well-being directly affected the quality of work. Excessively complex or formally gratuitous solutions were rejected, favoring instead functionality, balance, and clarity. The goal was to offer every user—manager or clerk—optimal conditions, both operational and representative.

From a technical point of view, the USC 645 desk stands out for its advanced construction consistent with these principles. It features a pressed metal "skid" base and represents the evolution of a previous model (USC 636), characterized by die-cast aluminum bases. The structure is made of chrome-plated or nickel-plated steel tubing, with adjustable feet; the painted sheet metal drawer units are equipped with centralized locking systems, while the top is in plastic laminate with stainless alloy edging.

The most innovative aspect, however, lies in the modular concept of the system. More than a single piece of furniture, the USC 645 is part of a configurable set, designed to adapt to different operational needs. The base module is available in three sizes and can be integrated with drawer units and filing cabinets that can be freely positioned. Accessory elements, such as typing tables, can be connected to create more complex configurations, such as "L-shaped" desks.

This approach allowed for the transfer of a flexibility typical of artisanal production onto an industrial scale, while maintaining high standards of quality and formal consistency. The system, codified through a precise scheme of abbreviations, represents an advanced example of integrated design for the working environment.