Materiality formed a key aspect of the study particularly

Materiality formed a key aspect of the study; particularly for a line of enquiry investigating the interior lighting of the cathedral. The process of applying materials to the model was relatively simple as Lutyens specifies the type of brick used would be a ‘pinky-brown’ Roman design, of which he also specifies at the Thiepval Memorial to the Missing of the Somme. Therefore, photographs were taken of the brick at Thiepval, ortho-rectified digitally and then added to the digital cathedral model as a texture (Fig. 4). It must be noted that the bricks used for the cathedral may have differed if the design had been built; however, the description of the proposed bricks matches those used at Thiepval closely, especially considering it pdgf receptor was designed by Lutyens at a similar time to the cathedral. This procedure of deduction was repeated for the granite aspects of the design and was a relatively simple process as the material had already been used for the crypt; the only built part of the cathedral, which therefore offered direct primary evidence in terms of materiality. The previous paragraph demonstrates that in constructing a digital representation of an unbuilt design, it is highly likely that source material used as a reference for its construction will be incomplete. This can lead to ‘inferences, educated guesses, and just plain wild speculation’ making their way into a digital representation in order to fill in these missing elements (Kensek, 2005). Although the cathedral model required some inferences to be made, ambiguity was largely avoided due to the Lutyens Memorial providing a near complete set of architectural drawings, with additional sources filling in many of the gaps. The cathedral design is systematically laid out; granite footings on top of which brick piers sit, followed by another band of granite, then another band of brick and finally the vaulted arch granite-clad ceilings in the higher levels of the building. This pattern, including the cornice and architrave details, repeats throughout the design so a general rule could be deduced that any unknown elements should adopt these basic principles without any additional detail being added based on assumptions and analogies made. This avoids the situation of relying on educated guesses whilst being confident that the basic design elements are represented as correctly as possible.
Lines of enquiry investigated
Serendipitous discoveries The previous section reveals that constructing a digital representation is the chief method of answering lines of enquiry using the methodology. This process of investigating specific questions using modelling as the primary technique also has the advantage of providing results that are unexpected, and in addition to the lines of enquiry followed based on the tectonic nature of constructing the models. Our previous work in this area has led us to be alert and open to the potential for such unexpected outcomes. This first arose as an issue in the digital re-construction of the Lords Court by Connell, Ward and Lucas (Brown, 2001), as well as investigations into lost projects by Auguste Perret (Brown and Webb, 2010) and Sir James Stirling (Webb and Brown, 2011). These unexpected results are in part due to the nature of architectural models, whether physical or digital, which are required to co-ordinate the plan, section and elevation. When these drawings are viewed as separate entities, the margin for error increases. During the process of constructing the digital model of the Lutyens cathedral design, translation became apparent that an original cross section drawn through the east of the sanctuary was not a straight section cut as assumed, but was in fact staggered (Fig. 12). Two sections were taken through the digital model with straight cuts; the first along the assumed straight line (Fig. 13). This indicated that the centre of the chapter house does not line up with the centre of the spires in the two adjacent chapels, as drawn on Lutyens׳ original drawing and replicated in Fig. 12. The second straight cut was taken through the centre of the chapter house, confirming the presence of the stagger (Fig. 14).