This second gargantuan monographic by Jean-Christophe Quinton is made up of a strict alternation of sections of drawings and sections of projects which, in this structural recurrence, reproduce the incessant interweaving of his drawing culture and his architectural culture.

”For the last thirty years, this culture has manifested itself in two intertwined convictions: that of exploring architecture through the constant practice of drawing, and that of being an architect of rooms, plans and forms. Drawing is an act so deeply rooted in my practice that it has become inseparable from it, consubstantial with it. It has become a resource. The existential experience of drawing the world, the intimate experience of design drawing and the shared experience of representational drawing are three singular practices that each lead to a specific form: drawings to see, drawings to design, drawings to show.”

Éric Lapierre explains about Jean-Christophe Quinton: ”[...] the form of his pieces can only be understood in the relationship they have with each other. Taken individually, they often appear complex in a way that does not correspond to the legibility and clarity implicit in the notion of a ‘piece’. [...] Quinton seeks to rationally achieve a form of complexity that does not rely solely on his exceptional ability to draw. [...] This approach, consolidated over time, enables Quinton [...] to produce architectures of combat that, by radically confronting the question of repetition, assume the fundamentally social mission that the Modern Movement assigned to architecture: to house the multitude in works of art.”

This second gargantuan monographic by Jean-Christophe Quinton is made up of a strict alternation of sections of drawings and sections of projects which, in this structural recurrence, reproduce the incessant interweaving of his drawing culture and his architectural culture.

”For the last thirty years, this culture has manifested itself in two intertwined convictions: that of exploring architecture through the constant practice of drawing, and that of being an architect of rooms, plans and forms. Drawing is an act so deeply rooted in my practice that it has become inseparable from it, consubstantial with it. It has become a resource. The existential experience of drawing the world, the intimate experience of design drawing and the shared experience of representational drawing are three singular practices that each lead to a specific form: drawings to see, drawings to design, drawings to show.”

Éric Lapierre explains about Jean-Christophe Quinton: ”[...] the form of his pieces can only be understood in the relationship they have with each other. Taken individually, they often appear complex in a way that does not correspond to the legibility and clarity implicit in the notion of a ‘piece’. [...] Quinton seeks to rationally achieve a form of complexity that does not rely solely on his exceptional ability to draw. [...] This approach, consolidated over time, enables Quinton [...] to produce architectures of combat that, by radically confronting the question of repetition, assume the fundamentally social mission that the Modern Movement assigned to architecture: to house the multitude in works of art.”