“Costruzioni per illuminazione.”
Introduction
During my buying trips in Italy, I regularly visit a furniture collector and restorer by the name of Giuseppe. For over 25 years, his passion for vintage lamps and furniture has been unwavering. Throughout all these years, he has gained a lot of knowledge about local furniture and lamp manufacturers from northern Italy. With his passion also comes a great and dusty collection of all kinds of literature, furniture and lamps. During one of my last visits to his warehouse last year, my eyes fell on a pile of old drawings of lamps. They were from a company named Sagim, which was based in the Treviso region near Venice, Italy. I had never heard of this name before and I was immediately intrigued. Giuseppe told me that he gathered all the papers himself from the long abandoned factory with the help of a concierge who had worked at the Sagim factory. I’ve been given the opportunity to examine each piece of this paper archive and write a story about it. This archive includes hundreds of photos, drawings, catalogs, correspondence and various other pieces of literature. This archive allows me to map almost the entire production process and collection of Sagim. From the first sketch to the manufacturing blueprint. So little is known about Sagim and the things they created. We’re changing that and giving Sagim the appreciation they deserve.
Materials gathered from the abandoned Sagim factory
Various catalogs of Sagim's lighting
Who were Sagim?
Sagim was an Italian lighting manufacturer established in Mogliano, Italy. The company was founded in the early 1950s, and for about 35 years, they created many types of lighting fixtures, encompassing domestic options like table lamps, floor lamps and hanging lamps, as well as tailored lighting solutions for businesses such as retailers, hotels, and even naval enterprises like the Reunited Shipyards of the Adriatic.
Sagim was a relatively small lighting company with only one establishment that was used as an office, factory and showroom. Their establishment was an old building from the 19th century spanning about 3000 m2. It was a healthy company that made many different lamps. We think that during their entire existence, they produced between 1000 and 2000 different models.
Lighting showroom within Sagim's establishment
The company collaborated with architects and interior designers, owning a Technical Office (Ufficio Tecnico) dedicated to planning and selecting lighting fixtures for various commercial spaces. They didn’t just offer standard lighting but also offered solutions, including custom glass chandeliers for hotels and tailored solutions for businesses like shoe stores. Sagim established extensive networks not only within Italy but also in Germany. They sourced glass parts from the renowned German manufacturer Doria Leuchten. Moreover, for their vibrant glass lamps and chandeliers, Sagim established multiple associations with Murano-based glass artisans such as La Murrina and Vinicio Vianello.
Throughout their roughly 35-year tenure until their closure in 1985, Sagim’s lamps evolved with the times, adapting to new trends, technological advancements and innovations.
Initially, their production started with classic Italian lighting; some of them were similar to the more renowned manufacturers like Stilnovo and Fontana Arte, but most of their collection featured a lot of bohemian-like chandeliers and other ordinary lighting fixtures, often featuring combinations of traditional materials such as glass and brass. In the second half of the 1960s, production became more colorful and modern, but it wasn’t until about 1970 that Sagim began a total transformation of their principles.
Interestingly, most of Sagim’s designers remain virtually unknown in the design world, except for notable names like Gianmaria Potenza (former owner of La Murrina) and Lino Tagliapietra, both of whom are distinguished Maestri from Murano, famed for their delicate and organic glass objects.
Mod. 5218 by Lino Tagliapietra
Mod. 5397 by Gianmaria Potenza
Radicalization:
Towards the end of the 1960s, a radical change in the approach to the disciplines of architecture and design emerged. Fascinated by everything that happened in those years in the world of art, politics, music and literature, the artists struggled to express themselves through the languages of rationalist philosophy. This flow was a social reform action achieved through artistic expression. This period, between 1968 and 1972, was the beginning of a major change in the design culture of the West and especially in Italy. During this period, accessibility to new materials like plastic increased. It’s the combination of innovation and the radical shift in design disciplines that significantly amplified the creative freedom of designers. Many Italian lighting manufacturers left their mark on this new design paradigm, including Sagim.
Radical design lighting 1965 - 1972 (Picture by DESTE Foundation)
During this period of radicalization, Sagim embraced a new design ethos and underwent a total revamp of their brand, one that was highly futuristic and incomparable to their previous styles. The dated Sagim logo gave way to a sleeker “S” designed by Edera Radici.
Old logo and corporate identity
New logo and corporate identity
Radici also known as Studio Radici, was a lead designer and a pivotal figure in Sagim’s radicalization, introducing dozens of table lamps, floor lamps and wall and ceiling elements. The static shapes of all lamps by Radici result from a recurring interplay of curved arcs and linear dynamics, entirely crafted from chrome-plated brass. Radici’s designs exuded a sleek aesthetic without excessive embellishment.
Lighting designed by Edera Radici
One notable example of Radici’s designs are the Fatma wall lamps. These fixtures showcase the hallmark elements of Radici’s style, featuring two gracefully bent sheets of metal that shine light both upwards and downwards. The design’s versatility is highlighted by its suitability for incorporation into expansive compositions, as demonstrated in the pages of the Sagim catalog.
Sketch of the Fatma wall lamp by Edera Radici
Composition of the Fatma wall lamps
Another notable designer at Sagim during this period was architect Giorgo Ponti – often confused with Gio Ponti. We do not know a lot about Ponti, but we do know that he often collaborated with another designer called Gianfranco Mariani. He was the designer of what we think is the most eccentric lamp Sagim has ever released, called Proteo. A table lamp that features adjustable arcs made of tiered sheet metal, these shade elements provide a soft, gradual dispersal of light and gracefully echo the curved arm of the vivid base. Executed in the late 1960s and certainly influenced by architectural disciplines.
As far as we know, Radici and Ponti played a crucial role in the radicalization of Sagim, serving as the key driving forces.
Proteo table lamp by Giorgio Ponti, C. 1971
Behind the scenes of design, production and presentation.
Having explored the who, what and why behind their creations, a single question lingers: how did they create it? Through our extensive research in the Sagim archive, we’ve nearly pieced together the entire journey of creating a lamp. Compiling the gathered information, we can define the lamp development process into six distinct steps.
1. Analysis
This phase involves a comprehensive examination of market needs, trends, user preferences and available resources. In the Sagim archive we found many catalogs from fellow lighting manufacturers such as Biancardi & Jordan. It’s presumed that Sagim not only oversaw competitors’ production but also proactively anticipated and responded to their strategies and products.
Additionally, the analysis phase includes an assessment of available materials, their properties, potential applications and limitations in the design process. This helps designers foresee how these materials can be effectively applied, ensuring that the envisioned design aligns with both creative aspirations and practical feasibility.
Catalog from one of Sagim's competitors
Very similar lighting to that of Sagim, produced by Biancardi & Jordan
2. Concept drawings and sketches
Based on the analysis, the design phase began. Sagim’s designers crafted conceptual designs and sketches, taking into account aesthetics, functionality, materials, and feasibility for manufacturing. Simple conceptual sketches were made and later turned into more detailed drawings.
Some of the designs feature various versions for wall, table, or hanging lamps, drawn from multiple angles, including side and top views, to provide a thorough visual representation. The initial concept described each material used and the overall dimensions of the lamp, specifying the materials employed for each part of the design. The concept was given a short description like “nightlight with 3 lights” and a unique article number.
3. Selection and critical review
Throughout this process, the concepts underwent review and could have been either returned to the design phase or advanced to the next stage. Numerous drawings were made, but not all of them were picked for further development. Presumably, the drawings were forwarded to a design department head for evaluation. Feedback was given on the designs, such as suggestions to exclude or alter materials in specific parts of the lamp.
4. Development of the product
Once the design is accepted, the specifications are detailed like the exact materials to be used, the different versions, colors, dimensions, electrical components and any specific manufacturing processes required. All these details were included in a production drawing on a scale of 1:1. In addition to the article number the model was now given a name.
In some cases, a prototype was made of cardboard and styrofoam. This made it possible to test the design and allowed them to make further adjustments before the lamp actually went into production.
Prototype and production drawing of a lamp
5. Outsourcing & production
The production phase involves gathering materials, manufacturing components, assembly, quality control checks and packaging. Depending on the complexity and scale, production can take place in the Sagim factory or through a combination of suppliers. Sagim often engaged with multiple suppliers for various components—for instance, one for electrical parts, another for paint and yet another for the glass elements’ production. Upon receiving all parts from these different sources, Sagim undertakes the final assembly of the product within their own manufacturing facility.
Quality control and testing are critical in evaluating the lamp’s performance. This involves checking for defects, ensuring adherence to specifications and testing functionality and safety standards.
6. Presentation
Upon completion and acceptance of the manufactured lamps, the next step began with capturing high-quality photographs of the lamps. A series of neutral images, as well as those showcasing decorative elements, are taken to highlight the versatility and aesthetic appeal of the lamps. These images find their way into the company’s catalog, a crucial marketing tool that is distributed to potential customers. In addition to the catalog, the selected photos undergo further editing to be featured in advertisements in magazines like Domus, Formaluce and Illuminotecnica.
Additionally, clients were welcome to explore the showroom at the Sagim establishment in Mogliano. Moreover, the company actively participated in furniture fairs across Italy, like Fiera di Milano (1972), providing an opportunity to showcase their designs and establish connections within the industry.
Sagim's stand at Fiera di Milano 1972 (Soure: Formaluce N.27, page 21)
Advertisement from Sagim (Source: Domus N.486, May 1970)
Sagim’s legacy
During our research we went to the old factory in Mogliano to see it with our own eyes. The building was abandoned long ago and is now overgrown with vegetation.
