Iconoclastic French-born Canadian architect François Dallegret (b. 1937, Morocco) studied at Paris’s Ecole des Beaux-Arts in the 1960s before exhibiting his work at Iris Clert Gallery with the likes of Yves Klein, Jean Tinguely, and Arman. His early “mechanical drawings” took the form of industrial design sketches that playfully explored the relationship between man and machine by depicting cars, rockets, and spaceships, as well as hardware stores and futuristic kitchens as cybernetic interactive mechanisms. In Dallegret’s early drawings, architecture was conceived as a customized environment in a constant state of flux able to be regulated by various devices. After being introduced to the influential architecture critic Reyner Banham, Dallegret moved to the United States in 1965 and collaborated with Banham on his seminal text “A Home Is Not a House” published in Art in America that same year. In 1967, Dallegret was invited to take part in Montreal’s Expo 67 where he constructed large-scale wind-driven works made of spheres mounted on pivot spokes activated by internal motors for the Expo’s amusement park. Dallegret remained in Montreal (where he still lives) and entered the arts and music scene by designing two important downtown Montreal clubs, Le Drug, and the New Penelope Café. Dallegret’s experimental approach was exemplified by, the then radical, Le Drug, a Frederick Kiesler-inspired hybrid venue featuring a restaurant, discotheque, bookstore, drugstore, and gallery, and conceived as an organic, sensual environment. Dallegret’s work has been shown internationally including the CCA in Montreal, Victoria and Albert Museum (London, UK), Centre Pompidou (Paris, France), and the Walker Art Center (Minneapolis, US). Other recent exhibitions include the Architectural Association in London and the most recent Istanbul design biennial.
François Perrin (b. 1968, Paris) is an architect and curator who lives and works in Los Angeles. His architectural practice focuses on site and climate-specific projects, and as a curator he explores the interaction of art and architecture. He previously taught at Art Center College of Design, Cal Poly Pomona, Sci-ARC and UCLA. He has lectured at Columbia University, MAK Vienna, Jan Van Eyck Academie, Universite de Montreal, and Ecole Speciale d’Architecture in Paris. He received his professional degree from Ecole d’Architecture Paris La Seine. He has exhibited his work at the FRAC Centre, UCLA, and MOCA. He has organized an exhibition and edited a publication on Yves Klein’s Air Architecture, Xavier Veilhan’s Architectones project, and a retrospective on architect Francois Dallegret. His work was published in the New York Times and LA Times, as well as Artforum, Sunset, and Dwell magazines. He has written for Architect’s Newspaper, Archi Cree, and Purple Magazine.
Born in 1974 in Saint-Didier (France), Dimitri Chamblas is California Institute of the Arts’s new Dean of the Sharon Disney Lund School of Dance. Trained in dance at Paris Opera’s ballet school, he co- founded the dance company edna, in 1992 with Boris Charmatz, as a way to explore new experimental dance formats. Together, they choreographed and danced the duet À bras le corps (1993), and shot the film Les Disparates (1994). In 1993, Chamblas began dancing for choreographers including Régine Chopinot, Emmanuelle Huynh, and Mathilde Monnier. Throughout his career, Chamblas has collaborated with various artists including Jean-Paul Gaultier, and Andy Goldsworthy, as well as composers such as Heiner Goebbels. Chamblas joined the Paris Opera under Benjamin Millepied’s leadership, where he directed “Troisième Scène,” a digital platform dedicated to commissioning films by visual artists, choreographers, actors, and writers. Among others, participants include Bertrand Bonello, Bret Easton Ellis, and William Forsythe.
© 1965 François Dallegret (pour le dessin) © 1965-2017 François Dallegret (pour la Bulle)