Performative patterns

Rule-based space, is a space defined by explicit mathematical rules such as physics, sounds, artificial

intelligence, data etc. Mediated space or representation space refer to the way game space is presented

in an audiovisual plane, using cinematic presentation techniques. The first two refer to the way space is

represented. Fictional space, on the other side is not a represented space as it exists only in the player's

mind, or is imagined by player based on their understanding of available images. It is a conceived image

in mind. Play space, is the way space is used. In this space come together player and game mechanics.

Social space is characterized by social interaction, implying that the game space is influenced by several

players interacting with each other. In this sense, it is considered as a space of representation, in which

various actors or players can communicate and share their experience. Each layer of space has specific

patterns of interaction which can be seen also in architectural terms separately.

Performative patterns

Videogames mimic real-world spatial use patterns. Games as spatial constructs are architectural (Espen

Aarseth, Henry Jenkins and Bernadette Flynn). Because the relationship between architecture and games

is reciprocal, the spatial conditions of architecture that are true for video games may also be understood

in virtual reality architecture. Not only are videogames architectonic spaces to explore, but they are also

performative mediums. Alexander Galloway (2006) emphasizes this character of video games:

“…games are actions, enacted in a cybernetic relationship between the player and hardware.” (Galloway, 2006)

This feature of video games is part of gameplay, and is manifested through actions, reactions and

interactions of player and game. In this sense, game space is tied to gameplay and can be interpreted

only by the way it affects gameplay. Ulf Wilhelmsson, professor in game development, sustain that

“there is a strong relationship between where we play and what we play, that game environments

constrict and afford what it is possible to do”. The qualities of architecture and landscape dictate how the

player can interact with them and what gameplay is possible. Similarly, based on Robert Venturi

assertion referring to architecture that, “the activities of people in cities and buildings can be seen as patterns” , it’s evident the impact of user in the spatial patterns. The following type of patterns

embedded in real space manifest as archetypes of spatial use in game space:

 Challenge space – Gameplay is offered by directly challenging the player through physical

challenges. Playgrounds, road obstacles, ramps, and racetracks are examples of discrete units

that are intentionally designed for physical challenge. Architecture is considered as an enemy or

an opponent in challenge space. In subtler ways, challenge spaces are becoming increasingly

prevalent in the everyday world. A city poses a variety of navigating challenges for which there 190

are several aiding tools, such as maps, street directories, and GPS devices. Similarly, in games,

complex settings frequently provide the same sorts of aid, and maps are a common component.

Many games include environmental challenges such as navigation and wayfinding. The player

must negotiate and memorize spatial configurations due to several passageways, wide vistas,

and intricate patterns.

 Contested space – Gameplay often creates an arena for conflict in game space. Contested space

is an environment contested between different players or users. Contested spaces are

completion spaces, battlefields, spaces of disputes, football fields etc. Some of them are highly

regulated contests, formalized space based on precise rules, others present aggressive and

informal conflict. Contested spaces appear in videogames on a variety of levels. Games present

various type of contestations: contest for land, contests for resource control, where players

compete for control of a limited number of resources required for gameplay, contest for the way

to design. Contested space are part of architecture and urban planning design processes when

dealing with decision making of multiple actors on the same space.

 Nodal space – Game space is governed by social layout, which adds structure and intelligibility to

the game by imposing social patterns on the game environment. The nodal space is an event

space in which are concentrated various activities. These spaces show a direct link between the

activities we do perform in games without affecting the outcome of those activities. Nodal

architecture has no direct influence on gameplay, but it can define activity boundaries, making

gaming more location-specific. Specialization of activity through architecture and landscape is

familiar and easily understood by players.

 Codified space – Codified space are about interface and information objects which are non-

spatial game components, but are valuable for gameplay. Codified Space is about the connection

to information that is in itself not spatial. Architecture acts as a simplifier that reduces complex

information layers to a comprehensible and localized icon. Strategy games, which require

management of large amounts of complex information, are the biggest employers of codified

spaces. In architecture codified space is about the user interface and information that can be

accessed on object parameter, data, information.

 Creation Space – Game space is creatable and transformable and gameplay is about building up

space or objects. Architecture is something that is constructed and then continuously

transformed, refurbished, and reused by its inhabitants. For instance, in Sim-City the player

builds up and manages a city, through zoning land, creating transportation networks and

providing services and leisure activities. The city is the result of its architectural and urban fabric.