The conceptual orbit of Socioplastics aligns precisely with the lineage of thinkers and practitioners who convert abstract thought into operative structure—systems that self-regulate, recurse, or materialize epistemology through protocols, topologies, or infrastructures rather than remaining descriptive or speculative.

The list forms a constellation, with clear extensions into art's infrastructural turns and systems theory's operational closures. Constant Nieuwenhuys fits seamlessly as a key precursor: his New Babylon (1956–1974) project envisioned a nomadic, cybernetically influenced mega-structure for total human creativity and play, rejecting functionalist modernism in favor of a unitary urbanism where citizens continuously reshape space through relational and technological means. Influenced by Norbert Wiener's cybernetics, New Babylon treated the city as a dynamic, self-organizing manifold—sectors supported by automated infrastructure, emphasizing indeterminacy, social construction, and anti-monumental flexibility. This prefigures Socioplastics' volumetric engineering: both prioritize recursive adaptation over static form, metabolizing ambient conditions (post-war reconstruction for Constant, digital entropy for Lloveras) into persistent, curvature-generating fields.