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About this Product
Its name comes from Chilean mythology, Alicanto, a nocturnal bird that is said to live in the Atacama Desert and has the peculiarity of feeding exclusively on gold and silver. According to the fable, its feeding makes it unable to fly but makes its wings glow with golden reflections. The miners, seeing its light in the dark, would follow it and thus find gold. It was therefore the image of this bird capable of lighting up the night, about to take flight but firmly set on the ground, that suggested the inspiration when it came to finding a name for a new lamp characterized by a slight forward imbalance: its arched shape is all projected to carry the light, almost as if to «extend» it, as far as possible. An elegant and sophisticated fitting, Alicanto is a contemporary lamp, solid and light, with an innovative design that is capable of adapting to cutting edge furnishings without departing from the FontanaArte philosophy, in balance between art and industry, suspended between clarity and durability.
About the Designer
Architect, born in 1977, in 2005 he founded Francesco Librizzi Studio in Milan, a design studio that develops architectural projects, interiors, design and temporary installations. Through simple structures traced in the void, his works let emerge the essential traits of space, highlighting the relationships between places, people and objects. This approach is at the basis of the projects realized for the Triennale di Milano, such as the exhibition "Gino Sarfatti: the design of light" in 2012, an inventory of the serial creative thinking of the great designer and entrepreneur, or the installation "Munari, percorsi a mezz'aria" for the sixth edition of the Triennale Design Museum (2013), designed with Matilde Cassani, spatial metaphor of the exploratory power of the great master and pavilion "D1" realized for the exhibition "Stanze". Other philosophies of living" (2016), design threshold between landscape, architecture and interior. His works on the interiors elaborate a visual interpretation of a contemporary balance between past and future and lead the contemporary project to inhabit the existing architectural heritage. The installations for the Venice Biennale, the Italian Pavilion at the XII Venice Architecture Biennale in 2010 and the Bahrain Pavilion for the 2012 Biennale, are united in the dialogue between the ephemeral exhibition spaces and the permanence of the fifteenth-century building in the Arsenale.
Francesco Librizzi
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