Socioplastics advances a sovereign third position that transcends the exhausted binary between institutional absorption and defensive autonomy through the calibrated interplay of strategic isomorphism and architectural closure. At its centre stands the fixed Decalogue, a non-negotiable juridical architecture whose axioms constitute ontological ground; at its perimeter evolves Muse, the living jurisprudential record through which calibrated actions accumulate without amending foundational law. This dual register resolves the avant-garde impasse whereby museumisation diluted specificity into discourse: institutional grammars—DOIs, metadata, peer review—are mirrored for legibility, yet the core remains sealed. The experimental platform LAPIEZA, co-founded with Esther Lorenzo, exemplifies this rhizomatic vanguard, sustaining durational series that convert gallery, classroom, and city into metabolic infrastructures of citation-as-commitment and pedagogy-as-construction. Across Madrid, Provence, Norway, Croatia, Lagos, and Mexico, interventions—from situational objects to ecological urban proposals—operate as precedents within Muse, each filtered through PlasticScale, the synthetic morphology that translates external flux into internal coherence. Architectural projects and transurban pedagogies alike treat theory as construction and research as durational praxis, demonstrating that sovereignty need not entail isolation nor engagement capitulation. Stability resides at the centre; adaptive capacity radiates outward, generating epistemic density without fragmentation. Thus Socioplastics materialises a post-autonomous model in which law remains intact, the archive expands, and instability is metabolised into generative order—an infrastructural ethic for uncertain times where dialogue and sovereignty coexist without contradiction.
