You + Pea Architects' exploration of digital and physical materiality
At the interface between architectural models and final constructions, the mock-up offers a unique opportunity to push the boundaries of design. A digital design by London-based firm You+Pea utilising Sto's facade materials, floor coatings and acoustic systems as integral architectural solutions, was brought to life in a 1:1 scale model.
Meet the architects:
You + Pea
London's You + Pea, founded by Sandra Youkhana and Luke Pearson, merge architecture and video games, translating virtual materials into real-world applications. Discover their process, material choices and challenges both in the magazine and online [ark] magazine content.
AR model / View this model in full screen.
What was the goal of the mock-up?
Sandra: We wanted to explore the ways we could represent the layers of virtual materials through physical ones. So typically in virtual spaces, materials are paper thin, they don't have any life behind what we see on the surface. We wanted to explore how depth, light, and shadow—which are often flat in virtual spaces—could be reinterpreted in a way that feels real and tangible.
Luke: Working with Sto we had access to their extensive library of digitized physical materials, so for us, it was really interesting to peel apart the layers and all of the processing that goes into making those digital materials. We wanted to celebrate the particular qualities of the digital material that are different to a physical one.
What was your strategy in selecting and combining materials for the mock-up?
Sandra: We divided the mock-up into three distinct material categories. The exterior was designed to resemble a physical building, using materials traditionally associated with an external façade and seen on many Sto case studies. The interior was meant to reflect a virtual environment, with finishes that echoed the layered qualities of digital materials. Finally, the section cut was where the two worlds met, combining elements of both the virtual and the physical.
Luke: On the interior we wanted to push how we could make Sto’s materials appear almost unreal. We were inspired by the different maps that make up the virtual materials. Take the section cut of the mockup: it represents the ambient occlusion map which in a digital material is the layer that expresses the internal shadowing within a surface. We found the white debossed render surface really evokes that, because you can see the way that shadow falls but also changes so much within the surface itself. Another example is the bespoke CNC’ed façade panels we used to represent the normal map, which in computer graphics is a map that shows how light bounces off a surface. What's interesting is these maps use the specific colours of blue and purple to communicate the different falls of light. We replicated this colour as closely as possible working with Sto’s colour laboratory and a special recipe metallic finish.
Can digital materials increase productivity and optimize the design process?
Luke: The main advantage of digital materials and real-time rendering software, like game engines, is the ability to quickly alter and test materials. This flexibility helps explore various concepts and achieve near-photorealistic results, making the gap between experimentation and the final product much smaller. This efficiency significantly benefits architects by allowing rapid iterations and refinements.
What did you learn from this collaboration?
Sandra: Working with Sto on this project has hinted towards a kind of new form of dialog that might emerge between, designers or architects and those making the materials, that can happen throughout the design process. We could go back and forth, using their digital materials library and samples, which helped us explore and achieve seemingly impossible finishes.
Luke: Access to Sto’s virtual materials library was key to realizing the project, it allowed us to accurately test and visualize the design decisions that we're making in real-time. Using game engine software, we could customize colors and finishes, pushing the possibilities before even making physical samples. This hints at a future where digital tools are deeply integrated into the design process, making collaboration with material companies even more dynamic.
As a studio that operates between the virtual and physical worlds, it was fascinating to see how physical materials can bridge these two realms. We're always thinking about the impact of the virtual on the physical, both now and in the future. This project gave us the opportunity to test how materials can establish new connections between these worlds, which will influence how we approach this interface going forward.
What influence does gaming have on architecture now and in the future?
Sandra: Gaming has a lot of potential to influence architecture and vice versa. Over the years, video games have served as design platforms, allowing users to express creativity and collaborate in participatory spaces through customization. There has always been a connection between gaming and architecture, and this relationship could evolve even further.
Luke: Platforms like Minecraft are interesting because, although they don't look realistic, they simulate complex material relationships. In real life, materials face environmental conditions like weathering, which isn't typically included in games, but there's no reason it couldn't be. These platforms have the potential for more complex simulations, which could be an exciting area of growth in the future. It’s not just about visual representation but simulating how materials interact with their environments.
What do you see as the role of digital twins in architecture?
Luke: With digital twins, there is always this discussion about the need for a complete simulation of reality. Human beings don't experience all of reality at the same resolution all the time, so I think there's definitely space for twins or simulations that really focus on the granularity of a material experience.
Sandra: It’s interesting when digital twins exaggerate or highlight certain elements to analyze them more deeply. Games do this as well—they aren't always complete replicas of reality.
Luke: Yes, games often amplify certain aspects while leaving others aside. The concept of a digital twin should be something we challenge and explore further. For instance, a model for material experience wouldn’t necessarily be the same one used to simulate a city’s traffic system.
What goes missing between digital and physical materials?
Luke: The main thing missing is the sense of touch - how warm, cold, or soft a material is, which is hard to replicate digitally. Another gap is how materials react to their surroundings, like weathering or environmental changes. Although not typically considered in virtual worlds, these factors could potentially be simulated in the future, making digital materials more realistic.
Explore your options:
Materials Overview library
Visit our interactive Materials Overview library to explore different materials and aesthetics options. This tool allows you to compare and contrast different textures, colours and styles - allowing you to quickly visualise and optionise ideas for your building's facade design.
Visit the Materials Overview
[ark] magazine - the StoJournal for Architects
This story appeared in [ark] magazine No.68. The planning and execution trades are responsible for ensuring compliance with local standards and regulations, as well as realising and warranting of the architectural details and solutions included in this case study.
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