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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 will offer an optimistic and human attitude toward understanding how spatial and architectural issues actively participate in death culture.

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!

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!

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.

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.

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.

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