In a 2015-interview with Scandinavian art magazine Kunstkritikk, Carsten Hoff recollects, that although Atelier Cyberspace did try to implement computers, they had no interest in the virtual space as such: Our shared point of departure was that we were working with physical settings, and we were both frustrated and displeased with the architecture from the period, particularly when it came to spaces for living.We felt that there was a need to loosen up the rigid confines of urban planning, giving back the gift of creativity to individual human beings and allowing them to shape and design their houses or dwellings themselves – instead of having some clever architect pop up, telling you how you should live.The word became popular in the 1990s when the uses of the Internet, networking, and digital communication were all growing dramatically and the term "cyberspace" was able to represent the many new ideas and phenomena that were emerging.
It behaved like nature in the sense that it grew when its two component parts were mixed. This made it an obvious choice for our work in Atelier Cyberspace.
We had this idea that sophisticated software might enable us to mimic the way in which nature creates products – where things that belong to the same family can take different forms.
All oak trees are oak trees, but no two oak trees are exactly alike.
We were thinking in terms of open-ended systems where things could grow and evolve as required. The nozzle would emit and apply material that grew to form amorphous mushrooms or whatever you might imagine.
For instance, we imagined a kind of mobile production unit, but unfortunately the drawings have been lost. It was supposed to be computer-controlled, allowing you to create interesting shapes and sequences of spaces.It extends across that immense region of electron states, microwaves, magnetic fields, light pulses and thought which sci-fi writer William Gibson named Cyberspace.