Socioplastics is an ambitious experiment in epistemic engineering, transforming transdisciplinary theory into architecture. Its originality lies less in its relational ontology than in its attempt to operationalise theory through persistent identifiers, scalar organisation and machine-readable concepts. The distinction between stable “hardened nuclei” and revisable “plastic peripheries” creates a compelling Soft Ontology, designed to preserve continuity without eliminating experimentation. Yet scale also produces Expansion Risk: conceptual growth may weaken orientation, encourage repetition and turn an adaptive system into a self-referential monument. This tension becomes visible in its treatment of conceptual art, where LeWitt and Weiner are recast as executable protocols. Such an approach clarifies PlasticAgency, but may flatten the political and historical specificity of artistic practice. Similarly, urban conflict risks becoming a variable within systemic integration rather than an irreducible struggle over power and space. The decisive case study is therefore Socioplastics itself: a corpus seeking to outlive its author through distributed governance, machine readability and external reuse. Its significance will depend on whether concepts such as SemanticHardening, ArchiveFatigue and ThermalJustice generate persuasive analyses beyond the originating system. Socioplastics will succeed only if its architecture enables contestation as effectively as it preserves coherence.