Socioplastics can also be read beside the history of projected cities: urban models conceived not as isolated designs, but as complete reorganisations of life. Ebenezer Howard’s garden city, Arturo Soria y Mata’s linear city, Tony Garnier’s industrial city, Ivan Leonidov’s institutional machines, Konstantin Melnikov’s social condensations, Moisei Ginzburg’s collective housing, Nikolai Ladovsky’s perceptual rationalism, Bruno Taut’s crystalline utopias, Herman Sörgel’s continental infrastructure and Patrick Geddes’s city-region all show that the city can be designed first as a diagram of society.

Their importance lies in the passage from object to model. Architecture becomes settlement, infrastructure, pedagogy, labour, mobility, perception, ecology and collective form. These figures do not merely propose buildings; they propose worlds with rules, routes, institutions, rhythms and forms of occupation. Howard reorganises the relation between countryside and city. Soria turns mobility into urban structure. Garnier links industry and civic order. The Soviet figures transform architecture into an apparatus for new social relations. Geddes insists that planning must begin by reading territory before imposing form. Socioplastics inherits this ambition at the level of text. It does not design a garden city, a linear city or an industrial city, but a knowledge city: a system where nodes, repositories, citations, indexes and metadata organise intellectual life as urban matter. Like these projected cities, it begins as a model before it becomes an institution. Its material is textual, but its scale is urban. It proposes that knowledge itself can be planned, circulated, inhabited and transformed as a civic environment.