Building a monumental dome without the use of external iron chains or traditional centering was the enormous challenge faced by Filippo Brunelleschi at the Cathedral of Santa Maria del Fiore in Florence. To demonstrate the feasibility of his proposal and to guide the construction, he relied on a large-scale wooden model that played a fundamental role in studying proportions, the interlocking of ribs, and the innovative arrangement of bricks using the "a spina pesce" (herringbone) system. As an essential technical tool, this model — which is still on display at the Museo dell'Opera del Duomo in Florence — guided the master builders throughout the construction, establishing itself as a seminal example of the value of models in architectural planning, constructive communication, and experimentation.
Throughout history, various architects have used models as fundamental tools in the development of their projects. Antoni Gaudí, for instance, extensively relied on physical models to conceive the complex and organic forms of the Sagrada Família, using hanging models and plaster molds to study load distribution and structural geometry. In the 20th century, with the advent of modernism, the model gained an artistic and experimental status, explored by architects such as Le Corbusier, and Carlo Scarpa, who used it as a true material laboratory—a space where architectural theory confronted physicality, enabling sensory experimentation and material testing.
Today, in an increasingly digital world, materials are often pre-defined on screen, lacking the crucial tactile dimension fundamental to architecture. Models, however, continue to offer a tactile counterpoint, connecting imagination and materiality in a way no rendering can achieve. Prototypes allow architects to test unconventional ideas, explore the subtleties of physical textures, and rethink how digital visions translate into real environments. A remarkable example of this approach is the collaboration between facade manufacturer Sto and the London-based studio You+Pea, presented in the [ark] magazine and its online presence ark.sto.com. Under the headline Kaleidoscope the [ark] editors invited You+Pea to design their digital model and transform it into a full-scale physical installation.
You+Pea, an architectural design studio founded by Sandra Youkhana and Luke Caspar Pearson, explores the integration of videogame technologies into architectural design, promoting new forms of participation in city-making. In addition to developing architectural interventions and virtual worlds, the studio leads the Videogame Urbanism initiative at the Bartlett School of Architecture, which evolved into a master's program dedicated to cinematic and videogame architecture. Regarding this challenge launched by Sto, Sandra Youkhana explains: "We wanted to explore the ways we could represent the layers of virtual materials through physical ones. In virtual spaces, materials are often paper-thin. We were interested in giving depth, light, and shadow a tangible presence."
With Sto's digitized material library — consisting of high-resolution physically based rendering (PBR) textures — the London studio had access to real-time visualization tools, allowing them to iterate quickly and test ideas with near-photorealistic precision. Using game engine software, they could instantly adjust finishes and lighting effects, compressing the time between concept and prototype. "The main advantage of digital materials and real-time rendering software is the ability to quickly change and test materials," adds Luke Pearson. "This flexibility helps to explore different concepts and makes the gap between experiment and final product much smaller."
The final model, composed of 3D designed insulation materials, coatings, and cladding materials, was structured as a hollowed-out cube measuring 1.2 meters, divided into three distinct zones: an exterior referencing traditional architecture; an interior evoking digital aesthetics; and a dramatic cut where these two universes meet. This intermediate zone became a physical translation of digital gaming logic, materializing technical concepts familiar to the world of architectural rendering through plaster reliefs, CNC panels, and metallic coatings—effectively reversing the engineering of virtual worlds back into concrete architecture.
Each of these areas in the physical installation corresponded to a typical "map" used in digital material creation. The Colour Map was applied at various points, with specific paints converting digital chromatic data into physical pigments. The Ambient Occlusion Map was recreated through a recessed plaster surface, emphasizing internal shadows similarly to digital rendering. The Normal Map appeared in CNC facade panels with a metallic purple finish, referencing the standard colors of this technique. The Metallic Map was represented with floor coatings dyed black, simulating the gradients of reflectivity typical of virtual environments. Finally, the Displacement Map was translated into panels with three-dimensional textures, demonstrating how digital parameters can be physically manipulated to create depth and relief.
More than a demonstration of material possibilities, the project also illuminated a new kind of collaboration. With Sto not merely supplying products but acting as a creative partner and enabler of this architectural intervention, the feedback loop between designer and manufacturer became richer, more fluid, and ultimately enabled an innovative, even unexpected result. "It hinted towards a new kind of dialogue between architects and those who manufacture the materials," observes Sandra. "We could go back and forth, using digital samples and lab finishes, to achieve effects that seemed impossible."
The advancement of digital modeling technologies and real-time simulations has driven the development of so-called digital twins — precise virtual representations of physical objects, systems, or buildings, capable of incorporating performance data and continuously updating. In architecture, digital twins promise to optimize design, operation, and maintenance processes, offering interactive visualizations and predictive analyses. However, despite their enormous potential, these digital experiences still lack fundamental aspects: the tactile and sensory dimension, the unpredictability of how physical materials will age, for example, and the complexity of real spatial interactions. The absence of these qualities underscores the importance of experiences like full-scale models, which complement virtual simulations by enabling direct experimentation with texture, light, depth, and scale—elements that, to this day, no digital simulacrum can fully reproduce.
In addition to materializing digital layers into a tangible architectural installation, the Kaleidoscope project also proposed a critical reflection on the specificities of digital materials, which, as the authors note, have distinct qualities not necessarily found in the physical world. As they affirm: "We wanted to celebrate the particular qualities of the digital material that are different to a physical one." The installation was exhibited as part of the Sto [ark] platform, establishing itself as an experiment that not only explored material possibilities but also expanded the boundaries of design by transforming originally virtual tools into a concrete and sensory spatial language.
This article is part of the ArchDaily Topics: Rethinking Materials: Techniques, Applications and Lifecycle, proudly presented by Sto.
Sto sponsors this topic to emphasize the importance of digitized materials in architectural design. Its high-quality PBR-files, as demonstrated in a case study with the London-based architecture firm You+Pea, provide architects with precise tools for confident decision-making from concept to execution. This approach bridges virtual and physical realms, supporting more accurate and efficient design.
