Salt weathering, apart from being an important geomorphologic agent, comprises a major hazard for both modern and heritage structures. Although its action is witnessed globally, it is particularly aggressive in coastal environments. The coastline attracted in antiquity a considerable part of human activity that has left valuable built traces. Conservation research is frequently called upon to define sustainability in this aggressive context. Wall paintings comprise an integral part of the built heritage. The particular importance of wall paintings and finishing layers derives from their unique aesthetic function in the building's integrity as well as the plethora of information that they carry. Whereas wall paintings are more susceptible than masonry materials, the tolerance against loss is much smaller due to their descriptive nature and scale. It is not until recently that international heritage organisations recognised the technical particularities of wall paintings suggesting that they must be investigated independently and treated in situ. This project aims to identify the particularities of wall paintings' susceptibility to salt weathering in the coastal environment. The methodology is composed of both in situ and ex situ experiments. The in situ investigation follows a comparative approach, guided by specific variables, in a number of monuments at the archaeological site of Delos island. The goal of the in situ investigation is to determine the optimal conditions for preservation, by modeling the salts interactions, in an effort to define sustainability against salt weathering in this aggressive environment. The ex situ approach comprises laboratory simulation of the weathering mechanism and aims to describe the particularities of the substrate that lead to the distinct loss of the external finishing layer, which carries the principal information. The results of the project underline the importance of kinetic deviations deriving from the solution and the substrate properties. Despite the limitations of determining the optimal conditions for preservation, the variables that directed the comparative approach permitted the generation of a periodic model in agreement with the phenomenological observations. The model suggests that the potential of salt damage in real conditions of various contamination pathways and sources cannot be restricted to a single resultant. Although the model follows a certain periodicity in response to the annual climatic cycle, random events and fractionated accumulation lead to the production of mixtures with variable composition. Additionally the results stress the role of solar radiation and air movement as evaporation accelerators. Consequently environmental control against salt weathering should be directed towards multiple components which in the case of coastal environments, mainly due to the presence of marine aerosols, cannot be achieved simply by hygrothermal management. On the other hand we traced specific deviations from the theoretical model of salts interactions, concerning mixtures commonly found in coastal regions that should also be taken into account. Besides we tested the hypothesis of salts accumulation at the interface of rendering layers, caused by hydraulic discontinuity, with a weathering simulation. The aim of this investigation was to provide evidence descriptive of damage. It has been shown that the external layer of wall paintings is particularly susceptible to marine aerosols and it can be damaged independently and in advance of the bulk mortar. The salts crystallise selectively under the lime wash layer causing gradually its detachment from the mortar. The results of the weathering simulation raise serious implications for remedial and preventive conservation practice and suggest that research must focus as well on the kinetics of particular cases.

inting was introduced to Iran via a cultural exchange between Iran and . fuvid period (1501-1736 AD). A European influence is reflected in the ~ ir a.ted in Isfahan, a city in central Iran, which played an important role in niklD art. The damage, for example to those paintings in the Ali Ghapoo and . alaces and Sukias House, has occurred because of the impact of .tMtunt tn tors on the paintings and has been ongoing for the last 400-500 years light microscopy (LM), polarised light microscopy (PLM), Fourier transform copy (FTIR), scanning electron microscopy with energy dispersive X-ray (M/EDX) and X-ray diffraction (XRD) in conjunction with contemporary ti es that existed in the Safavid period were the main tools used to identify the colour palette and other components) and techniques used in the paintings were used in conjunction with conductivity tests to investigate the degradation of llolnti1:1gs and their supporting plaster and the role of environmental factors, particularly n of salt crystals, chiefly sulphates and carbonates. These are shown to have important role in the deterioration of the paintings. limate records and local measurements of humidity, temperature and UV light ut to an explanation of the degradation of the paintings. Measurements of humidity, ruture and light on the site and their comparison with local metrological organisation U ur ments show high impact of environmental factors surrounding the surface of the IlItill s where the occurred damage is higher. This is because the semi-arid climate of 1111/,111111 is particularly deleterious to oil paintings and has caused flaking of the paint layers. '1'111.' study shows how an interdisciplinary approach incorporating art history, technical and -uvunnmental studies and a range of instrumental analyses can help, first, to tackle a dq~r;ldation problem in conservation science. This approach has, moreover, led to the d Iscllvery of unknown aspects of the paintings, amending the existing state of knowledge. It 'lI\l)wS the presence of (Lapis Lazuli) Lazurite, Ochre-bitumen, Yellow ochre, Orpiment, ( irccn earth, Copper resinate, Bitumen, Lead white, Gold as used pigments.

No description available.

Pictorial graffiti representing ships from prehistory, protohistory and the early medieval period are frequently examined by nautical historians and archaeologists seeking information about ancient ship technology. Examples of the academic discussion and interpretation of these images may be found from the nineteenth century to the present day, in a wide range of studies. Many of these works reflect their writers' casual, even disdainful attitudes to ancient graffiti. This may be seen in their approach to the information which these images appear to contain, which may concentrate, for example, on the certain aspects of particular subjects without reference to details in their immediate or wider contexts, which may have a bearing on the images' form and meaning. In a similar vein, other writers have interpreted ancient ship graffiti using concepts of art, such as the assumption of realism of depiction, which may be inappropriate to some early visual imagery. This thesis argues that ancient ship graffiti need a more detailed and systematic interpretation as both art and artefact before their contribution to nautical history may be more reliably evaluated. In order to explore the many challenges which these graffiti offer, a multi-disciplinary approach is used, to consider aspects of the relationship between formal art and graffiti, the psychology of image making, symbolism, the philosophy of interpretation, archaeology, and the social meaning of physical context. Following these theoretical discussions, five case studies from a number of different regional and chronological groups have been chosen to provide some examples of many of the issues which were considered. It is hoped that this study demonstrates that an approach to the interpretation of ancient ship graffiti which avoids a narrow concentration on nautical technology may reveal more of their potential as evidence, not only for the form and use of early ships, but also for other aspects of life in the past.

This thesis aims to form the basis of research on the Icelandic street art by detailing the main events that spurred the development of this art movement and by describing the key factors that shaped the evolution of this artistic movement in Iceland and the societal reaction towards it. The presented theoretical material aims to enable discussion on street art substance in this one particular country, taking into consideration the scope of definitions applied in international street art research. While regarding already existing studies on this artistic movement in other countries, this thesis presents the local specifics in order to highlight the differences in artistic and social approach. The topic was chosen due to personal interests that grew expansively while the author was living in Iceland. The possibilities to directly observe the evolving contemporary art scene and participate in the ongoing changes served as a factual basis for further research. Author noticed the sizeable gap in the research on Icelandic art, especially available to international academic forums. Moreover, there has been no previously conducted research on Icelandic street art, and, to date, only limited study on Icelandic contemporary art is available. Another factor for the choice of theme was the particular interest in the contemporary artistic movements that raise the question of applicable art definitions and hence also the scope of research, which demands a multidisciplinary approach. Street art, as a dynamic socio – artistic movement, encompasses such an approach and challenges the researchers to apply various methods of art history, combined with sociological approach, in order to conduct research on graffiti, street art or broader urban creativity. Due to the ambivalent nature of street art as well as the possible legal consequences it carries, accessing the functional sources for academic purposes is crucial. This study involves materials obtained direct in local research, through interviews and field work but also municipal documentation and information provided in domestic press and social media. It seemed essential to present the most important occurrences in local political and social history and to summarize the factors that allowed the formation and development of Icelandic street art. Due to the pioneering element of the study, the monography of the movement seemed more appropriate than a detailed analysis of particular artworks or artists’ biographies adopting methodologies designed for the history of art.:PART I Theory 1. Methodology and research goals 1.1 Subject matter and research tools 1.2 Historical background reasoning the topic choice 1.3 Development of history of art as a discipline reasoning the topic choice 1.4 Information sources used in research, collection methods and value assessment 1.5 Specifics of Iceland 2. Fluctuating scope of the area of interest 2.1 Change in the approach 2.2 Widening research and multidisciplinary approach 3. Nomenclature in the street art and urban activity studies 3.1 Overview of milestones in attempts of street art definitions 3.2 Newest points of view 3.3 Definitions used hereby 4. Institutionalization as an inseparable part of street art history 4.1 Scope of definition 4.2 Institutionalization as an inseparable part of street art 4.3 The side effect of sponsored street art 4.3.1 Graffiti in large-format advertising 4.3.2 Substitute for freedom in curated urban space 4.3.3 Zero Tolerance Policies and clean cities 4.4 Publicity of the public art 4.5 Research on the institutionalization of street art 5. Icelandic street art in the context of the current state of international research 5.1 Area of interest – social studies and the edge of different disciplines 5.2 Different means of research on street art 5.2.1 Festivals, conferences and street art museums as a research tool 5.2.1.1 Street art festivals 5.2.1.2 Street art conferences 5.2.1.3. Street art museums 5.2.2 Material published in book forms 5.2.3 Online accessible articles and reviews, blogs 5.3 Icelandic art 5.4 Street art in Reykjavík 5.4.1 The Reykjavík Grapevine 5.4.2 Online sources: personal blogs, tourist information, social media accounts 5.4.3 Hard copy published materials 5.4.4. Social media and sharing platforms 5.4.5 Film materials 5.4.6 Publications of cultural and educational institutions 6. Icelandic street art 6.1 Environment for street art development in Iceland. Artistic society after the Second World War 6.2 Hlíðargöngin as the first scene for Icelandic street art 6.3 Bloom and expansion time 6.4. Zero Tolerance Policy Implementation in Reykjavík 6.4.1 Reasons for the implementation of Zero Tolerance 6.4.2 Scandinavian inspirations for Implementation of Zero Tolerance Policy 6.4.3 The costs of Zero Tolerance Policy 6.4.4 Obtaining permission for graffiti 6.4.5 An assigned place for graffiti 6.4.6 Icelandic version of Zero Tolerance Policy 6.5 The peak of urban creativity around 2012 6.5.1 Hjartagarðurinn 6.5.2 Guido van Helten Sailors, Skagaströnd 2013 Afi, Reykjavík 2013 No exit, Reykjavík 2013 – 2014 Halla, Vestmannaeyar, 2014 Girl, Akureyri 2014 Jón from Vör, Kópavogur 2015 Sæfari, 2015 6.5.3. Sara Riel 6.5.3.1 Education, early recognition and awards 6.5.3.2 Beginnings on the street art scene 6.5.3.3 Time of growing up 6.5.3.4 In the vibrant city 6.5.3.5 Natural Kingdoms 6.5.3.6 Memento Mori 6.5.3.7 Is it legal? 6.5.3.8 Turn into abstract organic art 6.5.3.9 What plant would you like to be and why? 6.6 Street art intensity around 2012 – 2013 and balancing the scene off 6.7 Wall Poetry 6.7.1 Iceland Airwaves Festival 6.7.2 Urban Nation 6.7.3 Wall Poetry 2015 6.7.3.1 Project description 6.7.3.2 Artworks 6.7.4 Wall Poetry 2016 6.8 Current situation on Icelandic street art scene 7 The official and social approach towards street art in Iceland 7.1 Street art reception 7.2 Reykjavík´s mayor Jón Gnarr and Banksy 7.3 Educational institutions 7.4 Artists associations 7.5 Exhibition rooms and artists-run spaces 8. ”Icelandness”? 9. Summary List of the Icelandic names and their translation in English Photography credentials Bibliography PART II Photographic material Fig. 1 Research on social reception of street art Photographs

Cette thèse porte sur l'analyse des processus de production des œuvres d'art urbain (de l'art pérenne au street art) pendant la régénération urbaine. L'art joue-t-il un rôle de révélateur, de socle voire de catalyseur du développement des territoires dans un contexte de société événementielle et de compétition métropolitaine ? Ce questionnement prend principalement appui sur une opération d'aménagement dans la métropole parisienne (Zone d'Aménagement Concertée Paris Rive Gauche) et mobilise des cas satellites en Ile-de-France, qui font/ou ont fait l'objet de la prise en compte d'actions artistiques. D'abord, l'idée est de démontrer que l'art joue un rôle grandissant dans et pour le projet urbain, en examinant l'évolution de ses formes, de ses spatialités et des enjeux territoriaux et touristiques qu'il doit servir depuis l'engagement de l'opération en 1991. De plus, il s'agit de mettre en lumière les contraintes, les reconfigurations et les hybridations des pratiques des acteurs des mondes de l'aménagement et de l'art, ainsi que la prise d'importance de professionnels à la croisée de ces mondes, incarnés par les galeristes de street art dans Paris Rive Gauche. Enfin, cette étude se penche sur les effets de la promotion de l'art- et en particulier du street art - sur le statut de centralité et l'image des territoires valorisés. En quoi agit-elle sur la valeur internationalisée de cette image et la transformation des espaces publics en espaces de galeries ? Une attention est portée sur la reproduction de projets similaires dans différents contextes géographiques, les mécanismes de fonctionnement des acteurs impliqués dans les projets et leurs circulations spatiales. / The purpose of this research is to analyse the production processes of urban artworks (from perennial art to street art) within urban regeneration. Does art represents a witness, a base or even a catalyst of the development of territories within the context of the event society and the metropolitan competition? This questioning is mainly based on a development operation in the Parisian metropolis (Zone d'Aménagement Concertée Paris Rive Gauche) and mobilizes satellite examples in Ile de France, which are or have been the subject of artistic actions. This thesis first of all demonstrates that art plays a growing role in and/or the urban project, by examining the evolution of its forms, its spatial features and the territorial and tourist issues that it must serve since the beginning of the operation in 1991. ln addition, it highlights the constraints, the reconfigurations and hybridizations of the behavior of the professionals in the fields of urban and art, well as the growing importance of figures at the crossroad of both fields such as street art galleries in Paris Rive Gauche. Finally, it analyses the effects of the promotion of art - specifically street art - on the status of centrality and the image of the territories. How does it affect the internationalized value of this image and does it transform public spaces into gallery spaces? For this purpose, a special attention is given to the reproduction of similar projects in different geographical contexts, the behavior of the actors involved in the projects and their spatial circulations.