A ten-domain structure establishes the primary epistemic spine of Socioplastics by defining the principal knowledge strata through which the field becomes legible, scalable, and self-authorising. Organised as a disciplinary architecture rather than a thematic list, it converts dispersed conceptual operations into a coherent taxonomy capable of supporting both theoretical expansion and infrastructural stability. Epistemology occupies the highest register because it defines how the field theorises its own formation, secures semantic hardness, and constructs sovereignty through metadata, citation, and operational closure. Architecture and Urbanism follow as the spatial intelligence of the corpus, translating epistemic form into built systems, territorial conflict, and civic pressure. Contemporary Art functions as the operative body through which Socioplastics tests itself materially, while Systems Theory supplies the autopoietic logic that prevents collapse by explaining recurrence, emergence, pruning, and distributed durability. Media Theory / Digital Humanities anchors the technical present, where blogs, datasets, DOI infrastructures, semantic graphs, and machine legibility become structural rather than auxiliary concerns. Political Theory secures the sovereign dimension of knowledge production beyond authorised institutions, while Ecology / More-than-Human Studies introduces metabolic, atmospheric, and non-human pressures as constitutive field conditions rather than external themes. Film, Sound, Time-Based Media extends the corpus into duration, memory, and acoustic inscription, and Pedagogy closes the system by defining transmission as the final test of epistemic validity. Together, these ten domains form a scalar doctrine: not merely a classification system, but the disciplinary armature through which Socioplastics becomes readable as field, archive, method, and autonomous knowledge system.