No. 6 – Deathscrapers
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Deathscrapers summons the architecture that surrounds the dearly departed. Seeking alternately to soften death’s physical and emotional toll or cultivate death’s instrumental potential, the stories of Deathscrapers span all scales of spaces for the dead and the bereaved to examine how living people engage with dead bodies expired buildings, and comatose cities. While death may be a solemn subject and discussing it openly is often taboo in American culture, this issue of SOILED offers an optimistic and human attitude toward understanding how spatial and architectural issues actively participate in death culture.

Jessica Charlesworth crafts curious memento mori objects to engage human mourning and loss.
Zack Saunders re-appropriates dead bodies as surrogate wombs for human gestation.
Office S&M constructs totemic memorials for our online identities.
Irena Gajic draws nine speculative rooms to die in.
David Weissman & Dan Weissman converse about the design and medical ramifications of spaces for palliative care.
Kyle Branchesi & Shane Reiner-Roth reconsider unrealized, aborted, and condemned buildings as sites to cultivate architectural character.
Galo Cañizares panders stills from an architectural snuff film, recording the material demise of three architectural projects.
Courtney Coffman translates the psychology of self-destructive desire into architectural terms.
Ryan Flener & Samuel Mortimer call upon architects and city planners to set fire to our existing cities.
Manon Mollard projects a parallel world of the dead alongside the familiar city of the living.


No. 5 – Cloudscrapers
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Cloudscrapers looks up into air-space as a site for activated atmospheres, a privileged perch, and otherworldly occupation. Clouds are prone to felt (sensually), reflected upon (intellectually), and seen (visually and representationally). In turn, Cloudscrapers’ stories indulge cloud precipitating, cloud pondering, and cloud watching. They explore the relationship between the built and the diffuse. Can built objects exercise control in the aerial environment where everything is fluid, inter-connected, and treacherous to hang on to? What types of human encounters are uniquely aerial, and how might we best appreciate their elusive spatial ramifications? Akin to previous issues of SOILED, Cloudscrapers condenses ideas that might waft off the printed page and into the physical environment. Batten down the hatches, we’re in for a doozy!

Jack Wates constructs a sensual cloud cycle within the interior of a building.
Arthur Maxwell recounts the rescue of a public bather lost in time and nebulous emotions.
Clark Thenhaus inserts new astrological agency into simple agrarian forms.
Jenny Odell perches herself upon the cloud to better observe our quotidian surroundings.
Talha Ahmad & Michal Ojrzanowski narrate the theological dilemma faced by Muslim denizens of a floating city.
Natalya Egon & Noel Turgeon inflate the interior and exterior airspace to discover new wonders in an aging architectural icon.
Molly Chiang & Matthew DeLuca forecast a hiker’s journey along a trail elevated to atmospheric heights.
Luis Callejas tethers balloon doppelgangers of earthbound objects and creatures to protest authority.


No. 4 – Windowscrapers
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Windowscrapers probes the three fundamental functions of a pane of glass: transparency, refractivity, and reflectivity. In turn, it indulges prying eyes, projective portals, and mirrored surfaces to explore voyeuristic people-watching, alternate realties, and strategic exposure. Its stories inhabit moments where public spectacle intermingles with the humdrum of private routine. By peering through physical apertures and symbolic frames, Windowscrapers seeks to explore a continuum of human encounters, from the sinister to the serendipitous. Akin to the issues of SOILED before it, Windowscrapers believes that the printed page can transcend the bookshelf—that print media can be a tool to engage with the physical environment, according to architectural and fenestrated coordinates. Welcome to the peep show!

Adrianne Jørgensen choreographs a Hitchcock-inspired peep show.
Mari Altshuler recounts the serendipitous encounters of un-drawn denizens.
Henry Stephens and Hannes Frykholm curate a public screening of domestic happenings.
Cristina Garriga alchemizes bedroom fabric into urban fabric.
Jimmy Stamp charts a historiography of architectural glass to reveal its latent comedic potential.
Irene Chin plants her finger and nose prints upon previously un-soiled retail windows.
Olivia Valentine and Timur Hammond interrogate the ways by which we bring the world into view.
Julia Sedlock champions the power of small spaces to reinvest architectural agency within the public realm.
Cyril Marsollier and Wallo Villacorta awaken a Brutalist icon from its institutionally imposed slumber.
AVPD challenges our perception of literal and phenomenal reflectivity by fabricating strange fenestrations.


No. 3 – Platescrapers
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Platescrapers probes edible encounters at the intersection of inhabited spaces and the processes of cultivating, peddling, and devouring. It posits that foodstuffs can become extensions of physical places. Platescrapers is at once a narrative and a rallying cry, commingling food culture with established power structures and political agendas. Along this trajectory, Platescrapers navigates itinerant fare, comestible politics, and gastro-ritual to purvey stories about social issues and exaggerated realities; each story illustrates food as a monument to galvanize the public. Akin to the issues of SOILED before it, Platescrapers believes that the printed page can transcend the bookshelf—that print media can orient itself with the dinner table, according to architectural and caloric coordinates.

Stewart Hicks, Allison Newmeyer, and Joseph Altshuler challenge us to play with our food.
Annie Lambla connects yogurt making to dairy farms while observing the culture of the Midwest.
Thomas Hillier recounts the exodus and edible nostalgia of an English twosome.
Greg Corso champions the inclusion of cannabis cultivation into current architectural vernacular.
Kyle Andrew Sturgeon strategizes an infrastructural narrative to combat the invasion of Asian carp.
Eylül Kethüda Wintermeyer choreographs a mega-event around victuals, monuments, and mob mentality.
Francesco Vedovato sets the table with an eclectic cast of foodstuff protagonists.
Katherine Darnstadt delineates an axonometric of a healthy baby’s inputs and outputs.


No. 2 – Skinscrapers
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Skinscrapers probes how our bodies interact with the spaces around them and how the spaces we inhabit can become extensions of our bodies. By focusing on the surface of the skin as a natural mediator, Skinscrapers navigates a continuum of scale, starting inside the gut, proceeding to the contours of the body, and culminating in the anthropomorphic city. At every waypoint along this trajectory, Skinscrapers reaches human-ward, investigates social issues of human-scaled proportions, and cultivates meaningful moments along and within the epidermis. Akin to Groundscrapers before it, Skinscrapers believes that the printed page can transcend the bookshelf—that print media can orient itself with the human body, according to anatomical and architectural coordinates.

Revital Cohen transforms animals into medical devices.
Sarah Ross constructs velour suits to protest authority.
Matt Harlan illustrates a catalogue of new wardrobe opportunities.
Maegan Magathan, Stephanie DeGooyer, and Gabriel Gerlinger track chairs in public spaces.
Jimenez Lai inserts an unexpected white elephant within our living quarters.
Kate Hadley Williams and James Toftness photo-document Chicago’s murals.
Ania Jaworska sculpts a cityscape of eccentric characters.


No. 1 – Groundscrapers
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Groundscrapers probes systems, populations, and infrastructures that occupy massive amounts of space in our existing cities, yet go unrecognized by typical urban dwellers. Rather than reaching vertically towards the sky, Groundscrapers seeks to reach horizontally across disciplines to cultivate meaningful moments along and within the pedosphere. Through conscious positioning of content, visual matter, sediment, and ephemera, Groundscrapers theorizes that the physicality of the printed page can transcend the bookshelf—that print media can orient itself with the surface of the earth, according to its geographical and architectural coordinates.

Contributors to this issue include the Department of Unusual Certainties, Stewart Hicks + Allison Newmeyer, Rael San Fratello Architects, John Szot Studio, Dan Weissman, and Katherine Darnstadt.

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