Socioplastics operates as a relational architecture that infiltrates the gaps between objects, bodies, and the urban fabric. It is a practice born from the necessary transition From Classical Order to Socioplastics, where the rigid geometries of the past dissolve into the fluid dynamics of The Fifth City. In this ecosystem, the artist is not a creator of static forms but a mediator of forces—technological, vegetal, and affective. This shift requires a new ethical position, one defined by the tension of Doing and Not-Doing as Urban Practice. By embracing intentional passivity and the softening of boundaries, we move From Mirador to Relational Repair, transforming the act of observation into an intervention of care. Here, the "mirador" is no longer a detached vantage point but a threshold where space begins to think and matter begins to remember. The narrative of Socioplastics extends into the visceral and the domestic. It addresses the weight of Melancholia by whitening domestic memory, stripping away the hierarchy of the past to reveal the residue of history. This atmospheric tension is balanced by the metabolic reality of Fishdish, where edible systems and ritualized actions ground the practice in the immediate, physical world. Ultimately, these Selected Works form a mesh—a Site Architectural Summary that rejects closed representation. Instead, it offers a terrain where trans bodies, failing machines, and hybrid anatomies coexist. It is a radical mode of attention that hydrates itself with every new context, proving that art is not a style, but a way for space to articulate its own fragility and agency.
