Michael Nitsche describes game space as a layered condition, running from coded workings of the machine through to the social space in which games are played. Their work explored architecture as a project through multiple concurrent strands and tackled the rise of consumerist technoculture, of which games have become a flagship medium.
By their nature game spaces involve sequences of user-instigated events and systemic reactions taking place in synthetic worlds, yet such relations already concerned of many of the twentieth century’s most experimental architects.
Their “negative utopias,” which held a mirror up to architecture and society, were derived from work that enmeshed “high” and “low” culture into a new form of spatial practice.
While most famous for their perspectival collages (such as , 1972), we can argue that Superstudio’s most notable work was that underlying structure from which all these projects emerged: a diverse set of studies and experiments that tied together in the process of redefining an architectural practice.
Price explored the integration of dynamic systems into architecture through organizational diagrams.