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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.

Two or more signals in common with an entry of its own kind. The archive was already pointing at these.

DISCOVERED08 PLATES

DISCOVEREDARCHITECTURENEAR

Salk Institute

PHOTOGRAPH Jason Taellious / Wikimedia Commons / CC BY-SA 2.0Cropped for layout; this adapted presentation is offered under the same licence.

Salk Institute

Louis Kahn · 1959–1965

The archive already holds three buildings that use light as a material and a walk as a structure. Kahn is where that logic is most severe: a travertine court emptied of everything so a single channel of water can point at the horizon, and concrete poured with the joints left legible rather than ground away, which is the same argument Scarpa makes at Brion at a smaller scale.

SIGNALS

ROUTE BACK

  1. Salk InstituteDISCOVERED
  2. CONCRETE5 SHAREDChurch of the LightTadao AndoSB-ARC-006IN ARCHIVE
SHOW 3 PATHS

SOURCEsalk.edu

DISCOVEREDARCHITECTURENEAR

SESC Pompéia

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

SESC Pompéia

Lina Bo Bardi · 1977–1986

Sainte-Bernadette is a concrete bunker built for worship; SESC is a concrete factory converted for leisure, with raw block towers joined by aerial walkways and irregular punched openings. The archive's brutalism is consistently monastic or defensive. This is the same material and the same severity used for pleasure, which is the gap in the collection.

SIGNALS

ROUTE BACK

  1. SESC PompéiaDISCOVERED
  2. CONCRETE3 SHAREDSainte-Bernadette du BanlayClaude Parent + Paul VirilioSB-ARC-002IN ARCHIVE
SHOW 3 PATHS

SOURCEsescsp.org.br

DISCOVEREDOBJECTSNEAR

How High the Moon

PHOTOGRAPH Sailko / Wikimedia Commons / CC BY 3.0Cropped for layout.

How High the Moon

Shiro Kuramata · 1986

An armchair of expanded steel mesh with no frame: the whole volume is visible and almost absent, which is negative-space made into a load-bearing object rather than a composition around one. Maison de Verre does this with glass block at the scale of a house.

SIGNALS

ROUTE BACK

  1. How High the MoonDISCOVERED
  2. TRANSLUCENT2 SHAREDMaison de VerrePierre Chareau + Bernard BijvoetSB-INT-001IN ARCHIVE
SHOW 3 PATHS

SOURCEvitra.com

DISCOVEREDSOUNDNEAR

SOUND1998NO PLATE

threshold.house is no longer Coil's label — the domain now serves a rent-to-own company, and its og:image is that company's wordmark. Rejected as junk rather than shipped. Checked 2026-09-20.

Time Machines

Coil · 1998

Four untitled drones, each named for a chemical compound and built to suspend the listener's sense of time. Boy Harsher is the archive's nocturnal and erotic electronic entry; this is the same territory taken to ceremony rather than to song, and it connects the SOUND holdings to the ritual signal that runs through the architecture.

SIGNALS

ROUTE BACK

  1. Time MachinesDISCOVERED
  2. DARKWAVE4 SHAREDBoy HarsherBoy HarsherSB-SND-004IN ARCHIVE
SHOW 3 PATHS

SOURCEthreshold.house

DISCOVEREDFASHIONNEAR

Clothing ensemble, 2003, V&A.

Clothing ensemble, 2003, V&A.

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

Helmut Lang, 1986–2005

Helmut Lang · 1986–2005

The wardrobe formula lists him as a test case and the archive has no entry. Lang is where technical fabric, industrial hardware and severe tailoring were first put together as everyday clothing rather than as a proposition, which is precisely the register the formula is trying to hold.

SIGNALS

ROUTE BACK

  1. Helmut Lang, 1986–2005DISCOVERED
  2. TECHNICAL TEXTILE3 SHAREDJULIUS — industrial tailoringTatsuro Horikawa / JULIUSSB-FAS-002IN ARCHIVE
SHOW 3 PATHS

SOURCEvam.ac.uk

DISCOVEREDARTNEAR

Judenplatz Memorial, Vienna, 2000. House was demolished in 1994 and no free photograph of it exists; this is the same cast-void argument standing in a square.

Judenplatz Memorial, Vienna, 2000. House was demolished in 1994 and no free photograph of it exists; this is the same cast-void argument standing in a square.

PHOTOGRAPH HeMei / Wikimedia Commons / CC BY-SA 3.0 ATCropped for layout; this adapted presentation is offered under the same licence.

House

Rachel Whiteread · 1993

Negative-space is the second most connected signal in the archive, carried by eight entries, and in every one of them it is an absence composed around solid things. Whiteread inverts it: the inside of a condemned terraced house cast in concrete and the house then demolished, so the void is the only object left.

SIGNALS

ROUTE BACK

  1. HouseDISCOVERED
  2. SERIALITY4 SHAREDTorqued EllipsesRichard SerraSB-ART-003IN ARCHIVE
SHOW 3 PATHS

SOURCEtate.org.uk

DISCOVEREDARTNEAR

The Lightning Field

PHOTOGRAPH John Cliett / Dia Art FoundationReferenced from its source. Rights not established by SIMULACRA.

The Lightning Field

Walter De Maria · 1977

Judd's hundred concrete works at Chinati and Serra's ellipses at Dia are both grids you walk. De Maria's is four hundred steel poles over a mile of desert, and it can only be experienced by staying overnight. The same seriality, with duration added as the material. Dia holds two of the three.

SIGNALS

ROUTE BACK

  1. The Lightning FieldDISCOVERED
  2. SERIALITY3 SHAREDTorqued EllipsesRichard SerraSB-ART-003IN ARCHIVE
SHOW 3 PATHS

SOURCEdiaart.org

DISCOVEREDSOUNDNEAR

Carsten Nicolai performing, 2009.

Carsten Nicolai performing, 2009.

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

Alva Noto

Carsten Nicolai · 1999–

Ikeda is in the archive and his closest counterpart is not. Nicolai works the same material, error and sine tone and data made audible, but from the visual-art side: he shows in galleries as often as he performs, and the two have collaborated. If the archive holds one of them it has half the position.

SIGNALS

ROUTE BACK

  1. Alva NotoDISCOVERED
  2. SYSTEMS5 SHAREDRyoji IkedaRyoji IkedaSB-SND-005IN ARCHIVE
SHOW 3 PATHS

SOURCEalvanoto.com

DISCOVEREDARCHITECTURENEAR

Sky House

PHOTOGRAPH 運動会プロテインパワー / Wikimedia Commons / CC BY-SA 4.0Cropped for layout; this adapted presentation is offered under the same licence.

Sky House

Kiyonori Kikutake · 1958

Nakagin is the Metabolist idea built at scale and then demolished. Sky House is where it was first tested, on the movement's founding logic: a single raised concrete slab with replaceable 'move-nets' clipped underneath as the family changed. It is Nakagin's direct predecessor and it is still standing, which makes it the one place the argument can still be seen.

SIGNALS

ROUTE BACK

  1. Sky HouseDISCOVERED
  2. METABOLISM5 SHAREDNakagin Capsule TowerKisho KurokawaSB-ARC-004IN ARCHIVE
SHOW 3 PATHS

SOURCEkikutake-architects.co.jp

DISCOVEREDOBJECTSNEAR

Tomb chair, with moose antler.

Tomb chair, with moose antler.

PHOTOGRAPH Reddeleon / Wikimedia Commons / CC0Cropped for layout.

Rick Owens furniture

Rick Owens · 2007–

The archive holds Owens twice in FASHION and nothing of the furniture, which is the clearest case in the collection of one person working the same proposition at two scales: alabaster, plywood and bone made into low monolithic slabs. The interior formula and the wardrobe formula are the same ratio at two scales; so is he.

SIGNALS

ROUTE BACK

  1. Rick Owens furnitureDISCOVERED
  2. STONE3 SHAREDMonolith StudioMarc Personick / MonolithSB-OBJ-002IN ARCHIVE
SHOW 3 PATHS

SOURCErickowens.eu

DISCOVEREDFASHIONNEAR

A-POC T-shirt, 2002, V&A — one garment cut from the tube.

A-POC T-shirt, 2002, V&A — one garment cut from the tube.

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

A-POC

Issey Miyake and Dai Fujiwara · 1997–

A single tube of knitted fabric from which the wearer cuts their own garment, with no seams and no waste. Where Kawakubo distorts the silhouette and Yamamoto holds it away from the body, this removes the pattern entirely and makes the garment a system the buyer completes. It is the engineering argument without the black.

SIGNALS

ROUTE BACK

  1. A-POCDISCOVERED
  2. VOLUME3 SHAREDYohji Yamamoto — black volumeYohji YamamotoSB-FAS-003IN ARCHIVE
SHOW 3 PATHS

SOURCEisseymiyake.com

DISCOVEREDSOUNDNEAR

Pan Sonic live, 2006.

Pan Sonic live, 2006.

PHOTOGRAPH bthrewww / Wikimedia Commons / CC BY-SA 2.0Cropped for layout; this adapted presentation is offered under the same licence.

Pan Sonic

Mika Vainio and Ilpo Väisänen · 1993–2009

The archive has industrial sound made from scrap metal and it has digital minimalism, and nothing in between. Pan Sonic is the bridge: hand-built analogue hardware producing pulses and sine tones at physical volume, the weight of Neubauten with Ikeda's restraint.

SIGNALS

ROUTE BACK

  1. Pan SonicDISCOVERED
  2. METAL3 SHAREDEinstürzende NeubautenEinstürzende NeubautenSB-SND-001IN ARCHIVE
SHOW 3 PATHS

SOURCEeditionsmego.com

DISCOVEREDTEXTSNEAR

The 1960 edition's jacket.

The 1960 edition's jacket.

SOURCE Open LibraryReferenced from its source. Rights not established by SIMULACRA.

Theory and Design in the First Machine Age

Reyner Banham · 1960

TEXTS holds three entries and no history. Banham is the one that makes the others legible: he took the machine rhetoric of the Futurists and the early modernists seriously enough to check it against what was actually built, and he was the critic who took Metabolism seriously while it was happening. Venturi's argument is a reply to his.

SIGNALS

ROUTE BACK

  1. Theory and Design in the First Machine AgeDISCOVERED
  2. SYSTEMS2 SHAREDLearning from Las VegasRobert Venturi, Denise Scott Brown, Steven IzenourSB-TXT-001IN ARCHIVE
SHOW 3 PATHS

SOURCEmitpress.mit.edu

DISCOVEREDTEXTSNEAR

The Zero Books edition, 2009.

The Zero Books edition, 2009.

SOURCE Open LibraryReferenced from its source. Rights not established by SIMULACRA.

Capitalist Realism

Mark Fisher · 2009

The archive holds two television entries about corporate control and no text that explains why they feel the way they do. Fisher's argument is that the dominant mood is not fear of the future but the inability to imagine one, which is precisely what Severance's office and Silo's sealed shaft stage. Baudrillard is the precedent he writes from.

SIGNALS

ROUTE BACK

  1. Capitalist RealismDISCOVERED
  2. CORPORATE DYSTOPIASeveranceDan EricksonSB-TV-003IN ARCHIVE
SHOW 3 PATHS

SOURCErepeaterbooks.com

14 OF 24 REFERENCES SHOWN · NONE IN THE ARCHIVE