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SIMULACRA

DISCOVER

References beyond the current archive.

Nothing here is part of the collection. Each one is shown with the signals it holds in common with SIMULACRA and the entries those signals lead to, so the reason it appears can be followed and disagreed with. Distance is read off the archive graph, not scored.

It crosses a discipline, or holds a single signal within its own. An existing interest extended into another creator, period or field.

DISCOVERED07 PLATES

DISCOVEREDINTERIORSADJACENT

Villa Müller

PHOTOGRAPH Zikmundlender / Wikimedia Commons / CC BY-SA 4.0Cropped for layout; this adapted presentation is offered under the same licence.

Villa Müller

Adolf Loos · 1930

INTERIORS holds two entries and is the thinnest part of the archive. Loos's Raumplan is the origin of the idea both of them depend on: rooms set at different heights and linked as a sequence, with a plain exterior and rich stone inside. Judd's floors at Spring Street are the same proposition stripped of the marble.

SIGNALS

ROUTE BACK

  1. Villa MüllerDISCOVERED
  2. SPACE2 SHARED101 Spring StreetDonald JuddSB-INT-002IN ARCHIVE
SHOW 3 PATHS

SOURCEen.muzeumprahy.cz

DISCOVEREDINTERIORSADJACENT

Arabesque table, 1949. Casa Mollino's own interiors are photographed only under licence, so the plate is the furniture the apartment was built around.

Arabesque table, 1949. Casa Mollino's own interiors are photographed only under licence, so the plate is the furniture the apartment was built around.

PHOTOGRAPH 14GTR / Wikimedia Commons / CC0Cropped for layout.

Casa Mollino

Carlo Mollino · 1960–1968

The Severe Futurism formula reserves ten per cent for something strange or sensual and warns that without it the first two layers make a bunker. Mollino is what that ten per cent looks like at full strength: an apartment assembled as a private ritual, lacquered and mirrored, never lived in. E-1027 is the archive's only other entry holding sensual-modernism, and this is its opposite temperament.

SIGNALS

ROUTE BACK

  1. Casa MollinoDISCOVERED
  2. LACQUER3 SHAREDE-1027Eileen GraySB-ARC-003IN ARCHIVE
SHOW 3 PATHS

SOURCEcasamollino.com

DISCOVEREDINTERIORSADJACENT

Maison Tropicale

PHOTOGRAPH Jim Linwood / Wikimedia Commons / CC BY 2.0Cropped for layout.

Maison Tropicale

Jean Prouvé · 1949–1951

Chareau had Dalbet fabricate the fittings of Maison de Verre on site; Prouvé went further and made the building itself a product, folded from aluminium sheet, flat-packed and flown to Brazzaville. It is the point where the archive's industrial-elegance stops being a finish applied to architecture and becomes the method of construction.

SIGNALS

ROUTE BACK

  1. Maison TropicaleDISCOVERED
  2. INDUSTRIALMaison de VerrePierre Chareau + Bernard BijvoetSB-INT-001IN ARCHIVE
SHOW 3 PATHS

SOURCEcentrepompidou.fr

DISCOVEREDOBJECTSADJACENT

Judd furniture

SOURCE Judd FoundationReferenced from its source. Rights not established by SIMULACRA.

Judd furniture

Donald Judd · 1984–1993

Judd is already in the archive twice, as sculpture and as a building. The furniture is the third position and the most argued-over: he insisted a chair is not art and refused to let the two be read together, while making both from the same proportions. Following a creator across the boundary he himself drew is the point.

SIGNALS

ROUTE BACK

  1. Judd furnitureDISCOVERED
  2. SERIALITY3 SHAREDUntitled concrete worksDonald JuddSB-ART-001IN ARCHIVE
SHOW 3 PATHS

SOURCEjuddfoundation.org

DISCOVEREDFASHIONADJACENT

Jacket and waistcoat, c.2010, V&A.

Jacket and waistcoat, c.2010, V&A.

SOURCE Victoria and Albert MuseumReferenced from its source. Rights not established by SIMULACRA.

Carol Christian Poell

Carol Christian Poell · 1994–

Already named in the wardrobe formula as a way of testing the system rather than confirming it, and not yet an entry. Object dyeing is the reason: the garment is built first and dyed whole, so seams and hardware take the colour unevenly and no two pieces finish alike. That is controlled distressing as a process rather than an effect.

SIGNALS

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  1. Carol Christian PoellDISCOVERED
  2. TECHNICAL TEXTILE4 SHAREDJULIUS — industrial tailoringTatsuro Horikawa / JULIUSSB-FAS-002IN ARCHIVE
SHOW 3 PATHS

SOURCEcarolchristianpoell.com

DISCOVEREDFILMADJACENT

FILM1979NO PLATE

Mosfilm serves no still from a page that answers this address, Criterion returns 403 and Janus serves a placeholder. A 403 is a refusal, not an obstacle. Checked 2026-09-20.

Stalker

Andrei Tarkovsky · 1979

The archive's film holdings are contemporary and bodily. Stalker is neither, and it carries the architecture entries' vocabulary more exactly than any film already here: a guided walk through a ruined industrial zone toward a room that may grant a wish, filmed in derelict Estonian hydro works. Procession, future-ruin and ritual, without a single body horror.

SIGNALS

ROUTE BACK

  1. StalkerDISCOVERED
  2. Future ruin4 SHAREDSainte-Bernadette du BanlayClaude Parent + Paul VirilioSB-ARC-002IN ARCHIVE
SHOW 3 PATHS

SOURCEcriterion.com

DISCOVEREDFILMADJACENT

FILM1962NO PLATE

Criterion 403, and the film is a sequence of copyrighted stills, so there is no frame to reference honestly. Checked 2026-09-20.

La Jetée

Chris Marker · 1962

Baudrillard is in the archive as a text with no film beside it. La Jetée is the argument made in pictures: a story told almost entirely in stills, about a man sent back into his own memory, where the image replaces the event it recorded. Possessor's occupied bodies are the same idea in a later register.

SIGNALS

ROUTE BACK

  1. La JetéeDISCOVERED
  2. SIMULATION3 SHAREDSimulacra and SimulationJean BaudrillardSB-TXT-002IN ARCHIVE
SHOW 3 PATHS

SOURCEcriterion.com

DISCOVEREDARTADJACENT

Three Gems, de Young Museum — one Skyspace of the many.

Three Gems, de Young Museum — one Skyspace of the many.

PHOTOGRAPH Otheralex01 / Wikimedia Commons / CC BY-SA 4.0Cropped for layout; this adapted presentation is offered under the same licence.

Skyspaces

James Turrell · 1974–

Church of the Light and Therme Vals both use an aperture to make light into the material of a room. Turrell removes the building around the aperture: a cut ceiling, a bench, and nothing else, so the sky becomes a surface. It is the archive's strongest architectural idea isolated and shown on its own.

SIGNALS

ROUTE BACK

  1. SkyspacesDISCOVERED
  2. Light5 SHAREDChurch of the LightTadao AndoSB-ARC-006IN ARCHIVE
SHOW 3 PATHS

SOURCEjamesturrell.com

DISCOVEREDTEXTSADJACENT

An Atlantic Wall blockhaus at Quend-Plage, tilted in the sand. Not a plate from the book: the subject Virilio spent fifteen years photographing.

An Atlantic Wall blockhaus at Quend-Plage, tilted in the sand. Not a plate from the book: the subject Virilio spent fifteen years photographing.

PHOTOGRAPH APictche / Wikimedia Commons / CC BY-SA 4.0Cropped for layout; this adapted presentation is offered under the same licence.

Bunker Archeology

Paul Virilio · 1975

Virilio is already a creator in the archive, as half of the pair who built Sainte-Bernadette, and the book is where that church comes from. He photographed the abandoned Atlantic Wall for years and argued that its bunkers were a new kind of monument: oriented, windowless, already ruins. The entry currently cites the building without the reasoning behind it.

SIGNALS

ROUTE BACK

  1. Bunker ArcheologyDISCOVERED
  2. OBLIQUE4 SHAREDSainte-Bernadette du BanlayClaude Parent + Paul VirilioSB-ARC-002IN ARCHIVE
SHOW 3 PATHS

SOURCEpapress.com

09 OF 24 REFERENCES SHOWN · NONE IN THE ARCHIVE