How do architectural practices and discourses circulate through the spaces of games, toys, and amusements? May we situate these popular cultural products in the context of prevailing attitudes toward identity, which may include gender, class, and sexuality? Although fictional architecture has been explored in cinema, literature, and art, there has been no sustained effort to consider the manner in which play both describes and prescribes architectural ideologies. How did designers (e.g. Charles and Ray Eames, the Situationists) insert their views on architecture into gaming processes? How are players constructed and, in turn, how do they mediate imaginary architecture? Panelists might consider the advent of early twentieth century games involving instrumental building, such as A.C. Gilbert’s Erector Sets, J. L. Wright’s Lincoln Logs, and Pajeau and Petit’s Tinkertoys in terms of the construction of gender. Or, they might explore games such as Parker Brothers’ Skyscraper (1937), Balley’s Sky-Scraper (1934), and Monopoly (1935) in light of the hiatus in building during the great Depression. Does Ole Christiansen’s Lego (1949) mirror the colorful modular architecture and furniture of the postwar era and its optimistic construction of middle class suburbanites through modernization? What about the current Prestel game New York Architecture which promises players the “triumph of building a masterpiece?” Do any of these games reinforce contemporary notions of a seminal male genius or progressive modernist discourses? Recently, there has been an explosion in the fabrication of computer games, which involve architectural design and practice. What do they reveal about contemporary culture and its turn to virtual space? In addition, architects also fabricate spaces of leisure in an effort to instill class values. Las Vegas’s postmodern gambling casinos, Palm Springs’ golf courses, and Disneyland’s amusements inculcate architectural ideologies through the spatial organization of play.