“Toward a Ludic Architecture†is a pioneering publication, architecturally framing play and games as human practices in and of space. Filling the gap in literature, Steffen P. Walz considers game design theory and practice alongside architectural theory and practice, asking: how are play and games architected? What kind of architecture do they produce and in what way does architecture program play and games? What kind of architecture could be produced by playing and gameplaying?
The task of design is to integrate functional requirements, contextual conditions and technological means into the creation of a work of architectural culture. After twenty years of practice, a team involving Ignacio Dahl Rocha, Kenneth Ross, Christian Leibbrand, Manuela Toscan and others of the Lausanne-based Swiss office of Richter ∙ Dahl Rocha & Associés has undertaken to formulate the knowledge behind their architectural practice in a comprehensive manual. Covering the full span from initial design, building typology, technology to the cooperation with other professions in four extensive sections, this book conveys the concepts, methods and details that constitute the tools of state-of-the-art architectural projects. The material used is completely first-hand, with the technical drawings redrawn to this purpose, coming from projects like the much-acclaimed integral renovation of Nestlé Headquarters, from residential, office and healthcare buildings to the groundbreaking Swiss Tech Convention Center on the Lausanne Polytechnic Campus. Written with the editorial collaboration of Denise Bratton, this book sets new standards for architectural publications as tools for design.
Video game spaces have vastly expanded the built environment, offering new worlds to explore and inhabit. Like buildings, cities, and gardens before them, these virtual environments express meaning and communicate ideas and affects through the spatial experiences they afford. Drawing on the emerging field of embodied cognition, this book explores the dynamic interplay between mind, body, and environment that sits at the heart of spatial communication. To capture the wide diversity of forms that spatial expression can take, the book builds a comparative analysis of twelve video games across four types of space, spanning ones designed for exploration and inhabitation, kinetic enjoyment, enacting a situated role, and enhancing perception. Together, these diverse virtual environments suggest the many ways that video games enhance and extend our embodied lives.
An essay collection exploring the board game’s relationship to the built environment, revealing the unexpected ways that play reflects perceptions of space. Board games harness the creation of entirely new worlds. From the medieval warlord to the modern urban planner, players are permitted to inhabit a staggering variety of roles and are prompted to incorporate preexisting notions of placemaking into their decisions. To what extent do board games represent the social context of their production? How might they reinforce or subvert normative ideas of community and fulfillment? In Playing Place, Chad Randl and D. Medina Lasansky have curated a collection of thirty-seven fascinating essays, supplemented by a rich trove of photo illustrations, that unpack these questions with breadth and care. Although board games are often recreational objects, their mythologies and infrastructure do not exist in a vacuum—rather, they echo and reproduce prevalent cultural landscapes. This thesis forms the throughline of pieces reflecting on subjects as diverse as the rigidly gendered fantasies of classic mass-market games; the imperial convictions embedded in games that position player-protagonists as conquerors establishing dominion over their “discoveries”; and even the uncanny prescience of games that have players responding to a global pandemic. Representing a thrilling convergence of historiography, architectural history, and media studies scholarship, Playing Place suggests not only that tabletop games should be taken seriously but also that the medium itself is uniquely capable of facilitating our critical consideration of structures that are often taken for granted.
This book consists of some selected papers presented at the 4th cultural DNA workshop. The papers include topics from three different perspectives: insightful analysis, intelligent synthesis and cutting-edge tools to better understand cultural DNA.It is this diverse perspective toward cultural DNA that makes this book special and suggestive. This book can be suggestive especially for the designers trying to find the very essence, the archetype, and the building blocks of our environment for the incorporation of social and cultural factors into their designs.This book consists of some selected papers presented as first drafts at the 4th cultural DNA workshop. The papers include topics from three different perspectives: insightful analysis, intelligent synthesis and cutting-edge tools to better understand cultural DNA.
This book proposes that computer games are the paradigmatic form of contemporary landscape and offers a synthesis of art history, geography, game studies and play. Like paint on canvas, the game engine is taken as the underlying medium, and using the Valve Source Engine as the primary case study, it analyses landscapes according to the technical, economic and cultural features this medium affords. It presents the single-player first-person shooter (Half-Life 2) as a Promethean safari, examines how the economics of gambling and product placement shaped the eSports landscapes of Counter-Strike and reveals how sandboxes such as Garry’s Mod visualise the radical landscape of Web 2.0. This book explores how our relationship to the environment is changing, how we express this through computer games and how we can move beyond examining artistic influences on games to examining how historical connections flow through games and the history of landscape images.
How games can make a real-world difference in communities when city leaders tap into the power of play for local impact. In 2016, city officials were surprised when Pokémon GO brought millions of players out into the public space, blending digital participation with the physical. Yet for local control and empowerment, a new framework is needed to guide the power of mixed reality and pervasive play. In Locally Played, Benjamin Stokes describes the rise of games that can connect strangers across zip codes, support the “buy local” economy, and build cohesion in the fight for equity. With a mix of high- and low-tech games, Stokes shows, cities can tap into the power of play for the good of the group, including healthier neighborhoods and stronger communities. Stokes shows how impact is greatest when games “fit” to the local community—not just in terms of culture, but at the level of group identity and network structure. By pairing design principles with a range of empirical methods, Stokes investigates the impact of several games, including Macon Money, where an alternative currency encouraged people to cross lines of socioeconomic segregation in Macon, Georgia; Reality Ends Here, where teams in Los Angeles competed to tell multimedia stories around local mythology; and Pokémon GO, appropriated by several cities to serve local needs through local libraries and open street festivals. Locally Played provides game designers with a model to strengthen existing networks tied to place and gives city leaders tools to look past technology trends in order to make a difference in the real world.
Media narratives inform our ideas of the future - and Games are currently making a significant contribution to this medial reservoir. On the one hand, Games demonstrate a particular propensity for fantastic and futuristic scenarios. On the other hand, they often serve as an experimental field for the latest media technologies. However, while dystopias are part of the standard gaming repertoire, Games feature utopias much less frequently. Why? This anthology examines playful utopias from two perspectives. It investigates utopias in digital Games as well as utopias of the digital game; that is, the role of ludic elements in scenarios of the future.
Der zweite Band der DIGAREC Series beinhaltet Beiträge der DIGAREC Lectures 2008/09 sowie des Wissenschaftsforums der Deutschen Gamestage 2008 und 2009. Mit Beiträgen von Oliver Castendyk (Erich Pommer Institut), Stephan Günzel mit Michael Liebe und Dieter Mersch (Universität Potsdam), Andreas Lange (Computerspielemuseum Berlin), Ingrid Möller mit Barbara Krahé (Universität Potsdam), Klaus Spieler (Institut für digitale interaktive Kultur Berlin), James Tobias (University of California, Riverside), Stefan Böhme (HBK Braunschweig), Robert Glashüttner (Wien), Sven Jöckel (Universität Erfurt) mit Leyla Dogruel (FU Berlin), Michael Mosel (Universität Marburg), Sebastian Quack (HTW Berlin), Leif Rumbke (Hamburg) und Steffen P. Walz (ETH Zürich).
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually come to see similarities between the virtual dystopia and their own ›offline‹ environment, thus learning to stay wary of social and political developments. In his analysis, Farca draws from a variety of research fields, such as literary theory and game studies, combining them into a coherent theory of aesthetic response to dystopian games.
