In the end it only depends what sounds right to your ear.
From a theoretical point the first thing you will have to decide on is if you wanna stay in a tonality/modus.
If so your options will be limited as theres only a few that will work once you've got your oscillators tuned to a triad.
-whole tone scale obviously (won't sound good imo in techno related stuff)
-octatonic scale works too but cant build triads with all the notes
-diminished works fine in minor 3rds
-sus4 chords work in a multitude of examples
I probably forget some but after all there's not really a theory behind this as it is very focused on the way one works with 2/3/4 fixed voice synth's.Your best bet to find more info on this is to look for the theory behind neighbouring tonalities like Cmaj/Am.
In Jazz the principle is the same. When arranging f.ex. for big band where you need chords for different melody notes there's a few techniques like diatonic or chromatic approaches.
The thing is you'll always check the scale of the tonality you're in and there can be some notes that clash which is entirely left to the arranger if he leaves them or alters/omits them.
A last note, chords in 'stacked 4ths' work so well because it's a very neutral sound and can be found/used in a multitude of scales. Take f.ex. C/F/Bb triad ,works in Cm / Dm / Fm/ Fmaj / Gm and other more complicated scales.
Furthermore the sus4 chord is a very common 'sound' used in modal jazz f.ex. and the possibilities using it are sheer endless, from chromatic to diatonic movements and different voicings of it.
Here's a good example with McCoy Tyner whos famous for the use of stacked 4th chords :