El Arte Urbano es una manifestación artística que tiene como escenario las calles, sin embargo, los artistas urbanos necesitan de un espacio que les provea de facilidades, formación y recursos para desarrollar su arte a un nuevo nivel, generar nuevas tendencias y vías de difusión. Mediante el presente proyecto de tesis se busca diseñar un Centro de Producción de Arte Urbano donde se dote de recursos e infraestructura necesaria para ser el soporte para la investigación, experimentación y creación de este arte. La propuesta nace a partir de un estudio que incluye la presentación de la problemática, los objetivos a cumplir, la definición de la tipología a desarrollar mediante el análisis de proyectos referenciales, la forma de implantar el proyecto en un entorno histórico como lo es el Centro de Lima, la propuesta del programa arquitectónico y criterios a considerar para el diseño / Urban Art is an artistic manifestation that takes place on the streets, however urban artists need a space that provides them facilities, training and resources to improve their art to a new level, generate new trends and ways of diffusion. The objective of this thesis project is to create an Urban Art Production Center where resources and infrastructure would be given to the artists in order to be the support for research, experimentation and creation of this art. The proposal was born from a study that includes the presentation of the problem, the objectives to accomplish, the definition of the architectural typology through the analysis of referential projects, the way of implementing the project in a historical environment such as the Center of Lima and also the proposal of the architectural program and design criteria to consider. / Tesis

La presente investigación titulada “Centro Cultural de reintegración juvenil en el distrito de Chorrillos” establece dentro de su objetivo principal, determinar cómo influiría incorporar un equipamiento público considerando que el distrito tuvo un carácter histórico, y en la actualidad carece de espacios recreativos y culturales, además se buscan estrategias que ayuden entender como este equipamiento devolverá la identidad a través de la cultura y el arte. El método de estudio usado en la presente investigación es de carácter mixto; es decir es cualitativa y cuantitativa, además posee un diseño de tipo no experimental; el tema que se desarrolló fue de manera descriptiva por lo que la recopilación de datos fue de tipo documental y según la finalidad es aplicada ya que, mejora la calidad de vida de los usuarios a través de actividades recreativas y culturales. Durante el desarrollo de la investigación ya mencionada se llegó a la conclusión final siguiente: El distrito de Chorrillos presenta múltiples problemas sociales que afecta a los habitantes, frente a ello el Centro Cultural Comunitario se dirige a la población menos favorecida de tal manera que se genera un aporte a su crecimiento mediante la cultura, y una recreación educativa, además se incorpora el arte urbano como concepto del proyecto para que este sea más humano y sirva de elemento identitario de la zona a trabajar. / The present investigation entitled “Cultural Center for youth reintegration in the district of Chorrillos” establishes, within its main objective, to determine how to influence the incorporation of a specific public facility that the district had a historical character, and currently lacks recreational and cultural spaces, in addition to look for strategies that help understand how this equipment will return identity through culture and art. The study method used in the present investigation is of a mixed nature; that is, it is qualitative and quantitative, and it also has a non-experimental type design; The theme that was needed was descriptively, so the data collection was documentary and, according to the determination, it is applied since it improves the quality of life of users through recreational and cultural activities. During the development of the aforementioned research, the following final conclusion was reached: The district of Chorrillos presents multiple social problems that affect the inhabitants. In front of it, the Community Cultural Center addresses the least favored population in such a way that it generates a contribution to its growth through culture, and an educational recreation, urban art is also incorporated as a concept of the project for this more humane sea and serves as an identity element of the area to work. / Trabajo de investigación

Firstly, this research is a collaboration with Granny’s Dancing on the Table, a transmedia film project in which the public has the chance to affect a film script through different social media channels. Before the actual film release there will be different game-episodes released in connection to the film. I have mainly been in contact with the game company Ozma, a part of the ‘Granny team’ working on cross-media games for the project. This thesis is a side-project with the aim of exploring a more “hidden universe”, which can later be applied to the design process.Secondly, the research provides a broad picture of the dilemmas faced when applying cryptic design strategies in an urban environment. I explore a few design qualities, how they can enhance user experience and make the user curious about hidden artefacts found on the street or in a public environment. I approached the problem by placing experiments linked to one of Granny’s Dancing on the Tables’ social media channels, in the streets and institutions of the Möllan neighbourhood in Malmö, Sweden. I collected information from both field studies and the interaction design world, regarding the application of design qualities to an artefact. Moreover, I based the research on street art, human behaviour, the psychology of curiosity and visual perception within the field of (transmedia) experience design. Based on my findings from these experiments and interviews I have come up with a set of guidelines to use when applying “hiddenness” to an artefact or design concept.

Le graffiti est depuis longtemps associé au vandalisme dans les métropoles où il prolifère. Il s’intègre au paysage urbain à un point tel que, même s’il procède d’une logique de visibilité et de promotion, nous parvenons à ne plus le remarquer. Pourtant, sa présence suscite toujours la colère des citoyens propriétaires de murs vandalisés et des autorités municipales qui, chaque année, dépensent de grosses sommes d’argent pour l’effacer. Malgré les restrictions et les amendes, le graffiti est néanmoins devenu un véritable phénomène d’art urbain : des artistes graffiteurs ont atteint la notoriété en dehors de leur sous-culture et ont pu exposer légalement leur travail, du fait d’un intérêt croissant du milieu officiel de l’art. Celui-ci contribue à faire grandir l’engouement et l’enthousiasme pour une pratique d’art urbaine. Le graffiti illustre l’expression d’une identité qui s’approprie et subvertit les surfaces urbaines de la ville, au moyen d’un nom propre fictif qui n’a aucune légitimation juridique et légale. De plus, l’application et la diffusion de la signature graffitique communiquent des valeurs qui guident et définissent toute la sous-culture du graffiti. Ces valeurs sont culturellement considérées comme masculines : le risque, le défi et la dissidence. La figure de l’artiste graffiteur apparaît ainsi comme une figure marginale et rebelle. Un tel portrait laisse alors entrevoir une culture fortement machiste, d’autant plus que les garçons qui exercent le graffiti sont beaucoup plus nombreux. Or, si les femmes artistes de la communauté graffitique représentent une minorité, c’est notamment parce que leur attrait pour une pratique illicite, nocturne et dangereuse est moindre. À partir d’une approche qui touche aux gender studies et à certains concepts traditionnels de l’histoire de l’art, nous cherchons à expliquer l’intérêt généralement plus faible des femmes pour le graffiti. Nous désirons également démontrer comment l’exercice des artistes féminines du graffiti se distingue de celui de leurs homologues masculins. De quelle manière se détermine leur expérience? Leur iconographie sert-elle à les définir? Quelles sont leurs opinions et leurs perceptions sur leur propre culture? Finalement, comment caractérisent-elles leur statut de femme artiste au sein d’une communauté "machiste"? / Graffiti has long been associated with vandalism in the city where it has proliferated. In the same logic of visibility and promotion found in all cities, it has become so integrated into the urban environment that we do not even notice it. Nevertheless, its presence constantly arouses the anger of property owners, citizens, and the municipal authorities who spend large sums of money every year in removal costs. In spite of this, graffiti has become an urban art phenomenon. Graffiti artists have attained fame outside of the subculture and are able to exhibit their work legally, in part, because of an increased interest from the art world. Art institutions and the art market have contributed to the increased craze and enthusiasm for this urban art practice. Graffiti is the expression of an illegitimate identity that appropriates urban surfaces in the city using a fictitious name. Writing and spreading that name as much as possible are core values in the graffiti subculture. Risk taking, challenging authority, and dissidence are values generally understood as being masculine. As well, the archetypal graffiti artist is marginal and rebellious. Understood in this manner, it can be seen that this highly populated subculture is powerfully chauvinistic. Female artists in the graffiti community are a minority, in particular because the appeal for an illicit, dangerous, night time practice is less popular. Using an approach grounded in art history and gender studies, this paper will explore why there is a generally low level of interest for women to practice graffiti. It will also be demonstrated that in practice female graffiti artists distinguish themselves from their male counterparts. How do they qualify their experiences? What kind of iconography do they choose to define themselves? What are their opinions of, and how do they perceive, their own subculture? Finally, how they do characterize their artistic feminine status within a male chauvinist community?

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town. / AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.

[pt] A presente dissertação é fruto de uma investigação sobre formas e possibilidades de atuação política na cidade contemporânea. Em contraponto direto à crise de projeto e da representatividade política instaurada na contemporaneidade, as ações de urbanismo tático pareciam inicialmente responder aos anseios desta investigação. Tratam-se de atos apropriativos e de ativação de espaços da cidade movidos pelas próprias populações. Mas uma análise dos discursos políticos produzidos pelos agentes do caso de urbanismo tático desenvolvido no Largo da Batata (SP), dão a ver a fraqueza de atos baseados na oposição entre sociedade civil e Estado. Explicitamos de que forma estas ações são atravessadas pelo poder biopolítico e pelas estruturas da cidade neoliberal. Mas se a cartografia complexa e microfísica das relações de poder contemporâneo incide sobre os corpos e vidas de todos e de cada um, então uma ação política não necessariamente deve se dar em afronta ao aparelho de Estado. Assim vemos emergir de uma miríade de práticas sua potência micropolítica, dentre elas, a arte no regime estético. Seu caráter eminentemente dissensual produz fissuras na partilha do sensível e, em contato com o espectador emancipado, possibilita a produção de singularidades, a contrapelo das experiências massificantes que predominam nas grandes cidades contemporâneas. Ao final desta dissertação nos debruçamos sobre as relações entre corpo, política e cidade nos trabalhos artísticos do coletivo Opavivará!, apresentados de forma ensaística. / [en] This dissertation is the result of an investigation about forms and possibilities of political action in the contemporary city. In direct counterpoint to the project and the political representativeness crisis established in contemporary times, the actions of tactical urbanism seemed initially to respond to the aspirations of this investigation. These acts of appropriation and activation of public spaces are put in place by the populations themselves. However a careful review of the political speeches produced by the agents of the Batata Precisa de Você, a case of tactical urbanism developed in Largo da Batata (SP), shows the weakness of any political act based on the opposition between civil society and State. We explain how these actions are crossed by biopolitical power and inscribed inside structures of the neoliberal cities. But if the complex and microphysical cartography of contemporary relations of power affects the bodies and lives of each person and everyone, then a political action does not necessarily takes place in defiance of the State apparatus. Thus we see emerge from a myriad of practices the emergence of its micro political potential, amongst them art in the aesthetic regime. Its eminently dissensual character produces cracks in the distribution of the sensible and, in contact with the emancipated spectator, enables the production of singularities, in opposition to the mass experiences that prevail in most of great contemporary cities. At the end of this dissertation we focus on the relations between body, politics and city in the artistic works of the collective Opavivará!, presented as an essay.

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La creación del Centro Cultural de Arte Urbano como espacio público integrador en el distrito de Barranco nace a partir de encontrar en el artista, un usuario especifico y protestante con ideas fuertes, el cual busca siempre intervenir y comunicar algo en la ciudad. Este usuario y su ideología, llegan a apoderarse de la propuesta arquitectónica mediante espacios que representen su diálogo y se adapten a sus necesidades. En medio de ambientes adaptados, con infraestructura precaria para la cultura, un contexto vulnerable y una falta de equilibrio en uno de los distritos más pequeños de la capital, nace una propuesta que representa un cambio y una mejora para la zona A-1 de Barranco. Sin embargo, a pesar de tener un objetivo inmediato y local, el proyecto busca ser un hito para el distrito y un punto turístico para el mercado artístico urbano que representa Perú para Latinoamérica. Es por ello, que busca una arquitectura abierta al contexto, visualmente accesible y diferencial, dentro de la cual se busque la relación interior-exterior y parte-todo. Es decir, una arquitectura de espacios intermedios que responderá ante las problemáticas identificadas, con el fin de lograr ambientes donde el movimiento de la cultura urbana no pierda su esencia al llevar su proceso entre cuatro paredes. / The Urban Art Cultural Center as an inclusive public space in the Barranco district was born from finding in the artist, a specific and protestant user with strong ideas, who always seeks to intervene and communicate something in the city. This user and his ideology, come to seize the architectural proposal through spaces that represent their dialogue and adapt to their needs. In the midst of adapted environments, with a precarious infrastructure for culture, a vulnerable context, and an imbalance in one of the smallest neighborhoods of the capital, the proposal represents a change and an improvement for the A-1 area of ​​Barranco. However, despite having an immediate and local objective, it seeks to be an important point for the district and the urban art market in Latin America. The project looks for an architecture open to the context, visually accessible and differential, within which the interior-exterior and part-whole relationship is sought. In other words, an architecture of in-between spaces that will respond to the problems identified and achieve environments where the movement of urban culture does not lose its essence by taking its process within four walls. / Tesis

Esta tesis plantea crear un espacio, Centro Cultural, que responda a la problemática de un distrito que viene sufriendo de graves problemas como delincuencia, pérdida de identidad y poca difusión artística, como el Rímac. Para esto se plantea el proyecto como un gran espacio intermediador entre las diferentes escalas de entorno, de diversidad cultural y de estilos de vida, ya que se ubica entre un Rímac tradicional y un Rímac moderno; el cual va a potenciar la integración y la expresión artística de los ciudadanos, y estará enfocado en el Arte Urbano. EL diseño planteará los espacios de este centro como espacios “entrepropiativos”, que además de dar la sensación del adentro y afuera, también invita a la comunidad a apropiarse del espacio, y así brindar la mayor relación entre el interior del proyecto y su entorno barrial y distrital. / This thesis proposes to create a Cultural Center that responds to the problems of a district that will also suffer from grave problems such as delinquency, loss of identity and little artistic diffusion, such as the Rímac. For this, the project is presented as a large intermediate space between the different scales of the environment, which is located between a traditional and modern model; Which will enhance the integration and artistic expression of citizens, since you will be focused on Urban Art. The design will pose the spaces of this center as intermediate spaces that will provide a greater relationship between the interior of the project and its surroundings / Tesis

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