Dallegret’s artistic approach is characterized by two converging drives. The first, internal, tends to achieve a synthesis of the different modes and materials, technological or thematic, that he explored over a nearly forty years career. The second drive is outward, directed at a public assertion of this synthesis, by way of major urban installations. The more intimate, analytical, industrial design process, that produces the simple and functional object, is therefore replaced by an essentially formal synthetical megadesign, a totality that, because of its discourse and dimensions, cannot be expressed elsewere than in public space. Moreover, that space becomes itself not only a mere place, but the very object of this ultimate synthesis that henceforth adresses the city as such, that is the postindustrial city, which is the ending expression of liberal democracy, and that the design wants not only to celebrate but also to express and explain by unearthing and revealing its profound urban sedimentation and structure.
He is now working, for 2004/2006, on "i-diodes", a computer line of Leds in cars interaction for the Palais des congrés de Montréal and the Caisse de dépôt et placement du Québec, "i_light", a serie of pulsating Xenon masts along the Ship Channel in Toronto, and in France, "Arc & Flèches", two 300m hydro-power structures and lighting masts in Trélazé, “court-circuit” as dots of light are projected on a wall next to the Conseil d'Architecture, d'Urbanisme et de l'Environnement in Lille, 2006.…
As a designer of "urban objects" or "architectones" with play function, François Dallegret is not part of any movement nor does he favour any particular style or espouse any etiquette. His approach, both exploratory and critical, is that or a free thinker who casts an ironic eye upon our materialistic culture and who revels in striking down doctrinaire or dogmatic constraints that are imposed by certain schools of thoughts dominating this field. This is also the case for post-modernism and nostalgic historicism which, he suggests, affect both architecture and public art with the ostentatious legitimacy of a past bared, or worse still, exhumed. And it is because he prefers to contribute to the shaping of our contemporary world, rather than support weak archeological attempts by devoted diggers, that Dallegret proposes defining a more radical way of introducing the artis factum in the urban milieu.