These three models of primitive huts, resulting from a thought process begun in 1986, provide insight into the way Wes Jones articulates in his work the affirmation of an aesthetic style and his critical positioning. The variations on the classic theme of the shelter of early humans, symbol of the Vitruvian tradition and the myth of architecture’s “natural” origins, carry the value of a paradigmatic declaration. In the face of the rational representation of the shelter and its most basic construction, these huts infer the logic of primitivism drawn from technological modernity, and their equipment makes it possible to deploy the elements of Wes Jones’ vocabulary of architectonic mechanics: supporting systems of architecture simply placed on the ground, as opposed to the naturalist tradition of rootedness; from access ramps evoking vehicular forms, to situations of transit far removed from sedentary images; articulated protective arrangements evoking excessive mechanical forces, etc. This declaration of intention is therefore a commentary on the very notion of shelter and on all its variations coming from modern architecture’s tradition of innovation (from the “vital minimum” of the constricted cells of 1920s housing units, all the way to the dwelling pods of the 1960s). Thus, his reference to the founding myth translates his reflections on the status of the body/occupant: if the primitive hut and its natural origins constitute one of the principle classic representations of the link between the body and architecture, here, Wes Jones is suggesting the formation of other scales of measurement.