# data[].attributes.body
There comes a point in the design process when the client will approve the design in order for it to be taken to the development phase. The design will then be refined in more detail, factoring in other elements of the scheme. At this stage, drawings will be developed at scale, with the integration from structural engineers, mechanical engineers and other external team members. The design will begin to consider more detailed elements such as materials, fixtures and fittings along with finishes. At this point cost will also begin to play a more important factor, and for larger projects a quantity surveyor may be brought in to manage that aspect of the project.

# data[].attributes.body
The review and develop stage of design can happen numerous times, as we have mentioned the design process is iterative, meaning the process can be repetitive or even cyclical. Design is not a linear process, and can skip around in a random series of responses as it address issues and reacts to changes.

After the design has been analysed, the designer can then refine the design ideas and begin to develop the scheme. It may be that the analysis has presented issues with the design that require circling back to earlier stages, in order to refine ideas.

( similar to what I have done with my project brief )

# data[].attributes.body
After the research phase of the architecture design process, the designer has collected enough information to begin to establish ideas and concepts, and prepare to develop solutions to the problems that have been identified.

As the proposal phase continues, more definite ideas will emerge, and a wide array of tools will be used to convey these early ideas. Sketches and models will be used in plans, elevations and section to develop proposals, along with 3d discoveries to imagine a contextual approach to the design.

It is important to establish the criteria that the proposals will be measured against, be it according to client needs, performance of the building, budget, aesthetics and so on.
It is important to establish the criteria that the proposals will be measured against, be it according to client needs, performance of the building, budget, aesthetics and so on.

# data[].attributes.headline
1. Reconstruction architecture design process

# data[].attributes.subject
1. Reconstruction architecture design process

# data[].attributes.body
1 : identify the problem
wether its abandoned
Research : Research forms the basis for any design project. The type and scope of research can vary, be it a meeting with a client, a site analysis or a desktop study about the history of the site. Either way, the collection of data, discussions with the client or site visit, will all be the basis to forming a starting point for design.

A thorough site analysis will start to form a picture of the context of the site, its limitations, its merits, problems, and allow the designer to focus on developing a response to these issues.

# data[].attributes.headline
different cities - different redevelopment

# data[].attributes.subject
different cities - different redevelopment

# data[].attributes.body
Redevelopment has been ongoing in larger cities since the urban renewal boom of the early 1990s, when, most famously, New York City’s Meatpacking District and Lower East Side became booming hubs for art, nightlife and commerce. It’s only in recent years that this trend has spread to smaller cities throughout the Northeast.

Therefore Manchester - again with booming night life, a major part of the rave culture in the 80s/90s- industrial buildings rebuilt to house legal event spaces and studios

# data[].attributes.body
Redevelopment involves repurposing an abandoned commercial space — whether it’s a factory, a warehouse or a mall — and turning it into something that appeals to today’s consumers. This can include a startup hub or coworking space, a restaurant or microbrewery, a mixed-use residential/commercial space, or any number of other possibilities.

# data[].attributes.body
The charm of a refurbished factory or of a military structure converted for civil use affirms a clear truth: memory survives in history.

Today it is abandoned or marginalized places that allow for a broader concept of context where multiple viewpoints and interpretations are possible. Nature and context are no longer viewed as disjointed processes; on the contrary, human-made and natural environments converge into a single body which architectural culture intends to protect and redevelop. Over the last decades, disused areas, mining quarries, industrial buildings and military bunkers have become contemporary architectural grounds.

# data[].attributes.body
the museum follows the quarry’s transformation-based identity wherein the land is shaped by excavation machinery in an effort to complete a process. The same materials are used with similar systems, and it becomes part of a whole- the consequence of the landscape’s identity. Place and context thus become a single body made of the same substance

# data[].attributes.body
The existing walls and metal structure have been consolidated by adding opening and delimitation features.

Many separate spaces are therefore present, making it versatile for various uses. One of the two halls is bordered by a double system of portals- a bottom one which allows total closure for exhibits or concerts, and a top one used to orient or shield the incoming light. The bricks have been exposed in order to give one an impression of raw material and to showcase industrial building logic, as if to capture an aura of sorts.

# data[].attributes.headline
why industrial sites over Ancient Greek architecture?

# data[].attributes.subject
why industrial sites over Ancient Greek architecture?

# data[].attributes.body
Abandoned landscape project design

Giovanni Maria Biddau,

Antonello Marotta &

Gianfranco Sanna

published august 2020

Mining sites, manufacturing plants, cement factories, silos, slaughterhouses and other industrial building sites are intrinsically different from those seen in classical architecture not only in nature but also in terms of culture and relationship with the burden of time. When we intervene upon a Greek or Roman structure, our approach is respectful to the monument because we ascribe value to it; it emanates a sense of dignity because it has stood the test of time and survived as testament to ancient cultures.

In contrast, the history of industrial structures reveals their shortcoming: though functional, they have tended to create crisis in the terrain they draw resources from. Industrial archeology is dialectic and critical in its nature. Nowadays, these industrial plants located at the edges of historic centers or in quality environmental areas can be opened to new uses.

Industrial archeological sites are like secular cathedrals that have lost the magic of the sacred and speak to us about abandonment and the destiny of humankind. Within metal structures upheld by tensional force, the present highlights the traces left behind by these productive, secular monuments.

# data[].attributes.body
Ruins and historic sites speak to us about the need to rethink settings which belong to long-lost ages and yet are contemporary in the stories they reveal. There are present-day problematic and sensitive areas (abandoned quarries, ex industrial plants, landfills, etc.) which inspire renewed critical thinking; themes of memory and recollection touch us in the here and now. In contrast with the 1970s and 1980 s’ tendency to treat such topics with a mix of lightheartedness and nostalgia, the projects presented in this work regard history as a process of revision and reclamation of profound spatial and social principles. Contact with historic, industrial and modern spaces pushes us to apply new methodological approaches in an effort to re-write the present.

# data[].attributes.body
The reuse of industrial archaeologies and their surrounding spaces offers the potential to reinterpret these places as part of a contemporary context. The condition of abandonment provides the creative foundation necessary for the regeneration of the landscape starting from its constitutive elements.

# data[].attributes.body
Older signs in particular have a certain staying power. Hand-painted with a permanence that outlasts their original commercial messages, they tell a story of a bygone era. Each decade, and each region, has its own look and feel: Ouija board fonts, bold black enamel letters, winking cartoon characters, jazzy cut-outs, bubbles and stars, curlicues and winding flowers, or sleek, minimal designs. At their best, signs elevate the ordinary–the name of a grocery store or shoe repair shop–to the beautiful, suggesting uncommon taste and attention to detail within.