My project takes place in Athens, address Lagoumitzi 15. The plan is to undertake and give life to the huge skeleton-like unfinished structure there. I transform the "skeleton" to a center for urban art, street art. My ambition is for the buidling to become the epicentre for street art in Athens. Since I am designing the building for a non-conformist group of people, graffiti artists, I choose to approach the project by trying to mimic the parasitic art form that is graffiti, in architecture. I wanted the building to radiate the same energy as the artform it is devoted to, and its intended users. The method I am working with is a parasitic method originally by Andrew Benjamin.

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Graf ti and street art are two young artistic and expressive manifestations present - both directly or indirectly - in the day-to-day life of almost anyone. Beyond their initial categorization as vandalistic expressions far from the perception of an organized society, graf ti and street art have transformed the conception of mural art and regained its importance again in the public environment. Despite the rejection that these practices have suffered for years - due to the illegal condition of their actions -, many people do not pay attention to those particularities, and focus on what the artworks have to offer to the environment. On the one hand, this produces the promotion of maintenance campaigns to keep them in their best state inside - or outside - from where they were created. But, on the other hand, the procedures, the techniques and the concepts, differ from a traditional practice, so that, due to the youth, general incomprehension and variety of materials, studies related to their conservation in this matter are scarce. The research made for this doctoral thesis tries to compensate this shortage, initiating a search on mechanisms of conservation and restoration applicable to those typology of artworks. In order to achieve this, it has been completed a rst approach to understand their concepts, objectives, relationships with the environment and procedures. Similarly, the research has focussed in the application of a particular conservation system: the strappo detachment; adapting this mechanism to aerosol mural paint as a last safeguard avaliable. For all this, the research in this doctoral thesis is divided into two distinct but continuous parts, the theoretical corpus and the experimental corpus, which are distributed as follows. Firstly, the theoretical corpus, deals with all those questions related to the understanding of contemporary graf ti as a social artistic movement, begun in the late 1960s in the United States. In addition to its relationship with other artistic practices, and with it, the development of what is known nowadays as street art. At the same time, it is exposed the importance that both forms of independent public art have supposed for the contemporary mural art and the peculiarities that the aerosol painting offers within it. And, nally, the possibilities of the application of conservation and restoration processes on the same practices. Also, considering the opinion of graf ti writers and street artists, the public support, and the criteria and adaptations needed in behalf the restoration in contemporary times and speci cally, the use of the detachment systems. Secondly, the experimental corpus, which focusses on the application of the strappo system following the re ections provided by the theoretical corpus. This part presents an in depth study of material possibilities in the application of strappo on murals made with aerosol paint, a fundamental technique in graf ti and very recurrent in street art murals. In this way, structured trials are presented in which diverse materials are combined. The results are evaluated both during and at the end of the processes, individually and in general. Also, all the trials used have the objective to analyse the changes present in their surface. This research aims only to open the way to the possibilities of conservation of these alternative artistic practices, adapting some particularities of graf ti ans street art to the perspective of art restoration. / El gra ti y el arte urbano son dos manifestaciones arti'stico-expresivas relativamente jo'venes, pero presentes -directa o indirectamente- en el di'a al di'a de casi cualquier persona. Ma's alla' de su encasillamiento inicial como expresiones vanda'licas alejadas de la percepcio'n de una sociedad organizada, el gra ti y el arte urbano han transformado la concepcio'n del arte mural y recuperado su importancia nuevamente en el entorno pu'blico. A pesar del rechazo que estas pra'cticas han sufrido durante an¿os -por el condicionante ilegal de sus acciones- son muchos los que no atienden a este hecho y se centran en lo que tales obras ofrecen al entorno. Por un lado, esto produce la promocio'n de campan¿as por el mantenimiento de las mismas en su mejor estado dentro -o fuera- de donde fueron creadas. Pero, por otro lado, sus procedimientos, te'cnicas y tambie'n conceptos, di eren de una pra'ctica tradicional; por lo que, su juventud, incomprensio'n y variedad de materiales producen que los estudios relativos a su conservacio'n sean escasos en este tema. La investigacio'n de esta tesis doctoral intenta suplir esa escasez, iniciando una bu'squeda hacia mecanismos de conservacio'n y restauracio'n aplicables a esta tipologi'a de obras. Para ello, se ha realizado un acercamiento hacia sus conceptos, objetivos, relaciones con el entorno y procedimientos; y al mismo tiempo, se ha estudiado un sistema de conservacio'n aplicado a las obras de tipologi'a mural, en concreto, el arranque a strappo sobre pintura en aerosol, planteado como medio de salvaguarda aplicable en u'ltima instancia. Por todo ello, la investigacio'n en esta tesis doctoral se divide en dos bloques diferenciados pero continuos, el corpus teo'rico y el corpus experimental, los cuales se distribuyen de la siguiente manera. En la primera parte, el corpus teo'rico, se tratan todas esas cuestiones relacionadas con el entendimiento del gra ti contempora'neo como movimiento arti'stico social, iniciado a nales de los an¿os 60 en Estados Unidos, su relacio'n con otras pra'cticas arti'sticas, y con ello, el desarrollo de lo que hoy se conoce como arte urbano. Al mismo tiempo, se expone la importancia que ambas formas de arte pu'blico independiente han supuesto para el entendimiento de la pintura mural contempora'nea y las particularidades de que la pintura en aerosol ofrece dentro de ella. Y, por u'ltimo, se evalu'an las posibilidades de la aplicacio'n de la conservacio'n y restauracio'n sobre las mismas pra'cticas, teniendo en cuenta la opinio'n de los escritores de gra ti y artistas urbanos, la realidad actual respecto a la opinio'n del pu'blico y los criterios y adaptaciones con relacio'n a la restauracio'n en e'poca contempora'nea, y el empleo de los sistemas de arranque. En la segunda parte, el corpus experimental, se realiza la aplicacio'n del sistema de arranque a strappo siguiendo las re exiones aportadas por el corpus teo'rico. Realizando un estudio en profundidad de posibilidades materiales en la aplicacio'n del strappo sobre murales realizados con pintura en aerosol, te'cnica fundamental en el gra ti y muy recurrente en el arte urbano mural. De este modo, se exponen ensayos estructurados en los que se combinan materiales diversos, cuyos resultados se evalu'an a lo largo y nal de los procesos. Tal evaluacio'n de los ensayos se realiza tanto individualmente como en conjunto, aplicando sistemas de ana'lisis generales y especi' cos, focalizados en los cambios presentes en la super cie de las pinturas empleadas en los ensayos. Esta investigacio'n pretende u'nicamente abrir camino hacia las posibilidades de conservacio'n de estas pra'cticas arti'sticas alternativas, adaptando cuestiones particulares de las mismas a la perspectiva de la restauracio'n. / El gra t i l'art urba¿ so'n dues manifestacions arti'stic-expressives relativament joves, pero¿ presents -directa o indirectament- en el dia a dia de qualsevol persona. Me's enlla¿ del seu encasellament inicial com a expressions vanda¿liques allunyades de la percepcio' d'una societat organitzada, el gra t i l'art urba¿ han transformat la concepcio' de l'art mural, i han recuperat la seua importa¿ncia novament en l'entorn pu'blic. Malgrat el rebuig que aquestes pra¿ctiques han sofert durant anys -pel condicionant il·legal de les seues accions- so'n molts membres del pu'blic els que no atenen a aquest fet i se centren en gaudir el que tals obres ofereixen a l'entorn. D'una banda, aixo¿ produeix la promocio' de campanyes pel manteniment de les mateixes obres en el seu millor estat dins -o fora- d'on van ser creades. Pero¿, d'altra banda, els seus procediments, te¿cniques i tambe' conceptes, difereixen d'una pra¿ctica arti'stica tradicional. D'aquesta manera, la seua joventut, la incomprensio' a la qual s'enfronten i la varietat de materials que utilitzen, produeixen que els estudis relatius a la seua conservacio' siguen escassos. La recerca que es troba en aquesta tesi doctoral intenta suplir aquesta escassetat, iniciant una cerca de mecanismes de conservacio' i restauracio' aplicables a aquesta tipologia d'obres. Per aixo¿, s'ha realitzat un acostament als seus conceptes, objectius, relacions amb l'entorn i procediments; i al mateix temps, s'ha estudiat un sistema de conservacio' aplicat a les obres de tipologia mural, en concret, l'arrencament a strappo sobre pintura en aerosol, plantejat com a mitja¿ de salvaguarda aplicable en u'ltima insta¿ncia. Per tot aixo¿, la recerca en aquesta tesi doctoral es divideix en dos blocs diferenciats pero¿ continus, el corpus teo¿ric i el corpus experimental, els quals es distribueixen de la segu¿ent manera. En la primera part, el corpus teo¿ric, es tracten totes aquestes qu¿estions relacionades amb l'enteniment del gra t contemporani com a moviment arti'stic social, iniciat a la dels anys 60 a Estats Units; la seua relacio' amb altres pra¿ctiques arti'stiques; i tambe', el desenvolupament del que avui es coneix com a art urba¿. Al mateix temps, s'exposa la importa¿ncia que ambdues formes d'art pu'blic independent han suposat per la pintura mural contempora¿nia i les particularitats que la pintura en aerosol ofereix dins d'ella. I, nalment, s'avaluen les possibilitats de l'aplicacio' de la conservacio' i restauracio' sobre les mateixes pra¿ctiques, tenint en compte l'opinio' dels escriptors de gra t i dels artistes urbans, la realitat actual respecte a l'opinio' del pu'blic i els criteris i adaptacions en relacio' amb la restauracio' en e¿poca contempora¿nia, aixi' com els sistemes d'arrencament. En la segona part, el corpus experimental, es realitza l'aplicacio' del sistema d'arrencament a strappo seguint les re exions aportades pel corpus teo¿ric. Realitzant un estudi en profunditat de possibilitats materials en l'aplicacio' d'aquest sistema de conservacio' sobre murals realitzats amb pintura en aerosol, te¿cnica fonamental en el gra t i molt recurrent en l'art urba¿ mural. D'aquesta manera, s'exposen assajos estructurats en els quals es combinen materials diversos, els resultats dels quals s'avaluen al llarg i nal dels processos. Tal avaluacio' dels assajos es realitza tant individualment com en conjunt, aplicant sistemes d'ana¿lisis generals i especi' cs, focalitzats en els canvis presents en la superfi'cie de les pintures emprades en les provetes. Aquesta recerca prete'n u'nicament obrir cami' cap a les possibilitats de conservacio' d'aquestes pra¿ctiques arti'stiques alternatives, adaptant qu¿estions particulars de les mateixes a la perspectiva de la restauracio'. / Amor García, RL. (2017). ANÁLISIS DE ACTUACIÓN PARA LA CONSERVACIÓN DE GRAFITIS Y PINTURA MURAL EN AEROSOL. ESTUDIO DEL STRAPPO COMO MEDIDA DE SALVAGUARDA [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/89086

Most people don’t usually conjure the image of American policing methods in the Swedish police. The early-to-late 1990s would oversee a push to tackle what was then seen as rising crime and a battle over the subway a decade before in New York City. This style of policing, called Broken Windows would become mythicized in certain political circles about how it was able to reverse the trends of societal decline. It wasn’t soon after that Broken Windows had found itself in two Swedish law enforcement models over a span of fifteen years. By using the theory of Americanization, or how this transatlantic exchange of ideas had impacted important newspaper discourse–we can learn how once-American ideas, like Broken Windows, become new cultural concepts in Swedish journalistic discourse over time.

Keep Denton Beautiful (KDB) is inspired by Keep America Beautiful's model of community engagement to create a clean, beautiful, and vibrant city. The community mural initiative, Artscapes, aims to enliven public spaces, abate graffiti, and inspire community members to keep Denton, Texas, clean and beautiful. The goals of this research project are to understand the impact of Artscapes initiative, community perceptions of public art, and find ways KDB can better align future mural projects with the needs and desires of community members. By talking to artists that have worked with KDB, members of the mural art committee, and community members from the neighborhoods that have existing murals, this research provides input from these three populations to continue creating public art for the Denton community. I discuss the context of my work through Lefebvre's concept of "Right to the City," Rafael Schacter's opposition between sanctioned and non-sanctioned murals, Bourdieu's concept of symbolic and social capital, and David Harvey's work on neoliberalism and the entrepreneurial city.

[pt] Gráfica de rua – estratégias e táticas na cultura visual de rua do Rio de Janeiro é uma investigação sobre o campo da cultura visual de rua. Neste trabalho, observamos uma pluralidade de manifestações visuais – cartazes de lambe-lambe, pixações, grafites, outdoors, banners, impressos volantes, entre outros – objetos que se inserem em um universo dos impressos e através dos quais diversos agentes procuram se fazer representar no espaço público, apropriando-se da rua como um aparato visual. Compreendemos a rua como o lugar de um conflito territorial – uma disputa que se dá no espaço e se manifesta no plano das imagens, através da manipulação, do acúmulo e da sobreposição de indícios visuais. Propomos a noção de capital visual como uma abordagem para as estratégias e táticas de visibilidade levadas adiante pelos diferentes agentes na disputa de poder de que a rua é lugar. / [en] Street Graphic - strategies and tactics on the street visual culture of Rio de Janeiro is a reflection is an investigation about the street visual culture. In this work, we observe the plurality of visual manifestations, such as grafities, billboards, banners, flyers, among others. Objects that are part of the universe of printed forms and through which different agents seek to be represented in public space, by appropriating the street as a visual apparatus. We understand the street as a place of territorial conflict - a dispute that happens in space and manifests in images, through the manipulation, accumulation and overlap of visual clues. We propose the notion of visual capital as an approach to the strategies and tactics of visibility taken forward by the various players in the power struggle that happens in the street.

In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry. Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.

This thesis defines the theoretical basis essential for building a business plan and simultaneously encompasses the building of a real business plan, which will be focused on the creation of a new company - KK-TECH s.r.o., which will offer complex cleaning services. The key aspect of the thesis is market analysis, which the company will enter, and a marketing and financial plan. I will use primarily data, which have been obtained while studying, and also data, which have been obtained thanks to working in said field.

The development of graffiti into an accepted art form, street art, is a cause of concern for South African property owners. The current position in South African property law regarding the original acquisition of ownership suggests that the creation of street art on movable property belonging to another could result in the transfer of ownership. Ownership of the movable may transfer via accessio to the street artist provided that the artwork changes the nature of the movable. This would occur even if the street artist does not act in good faith because bona fides is not a requirement for the original acquisition of ownership via accessio. This anomaly requires that the South African law on accession in the case of pictura be developed such that good faith be a requirement for the transfer of ownership in this format. With the development and growing popularity of the art form the likelihood of this legal anomaly is becoming a greater possibility. Indeed, the popularity of British street artist, Banksy, has provided numerous examples of contested ownership, albeit within English law. Banksy artworks are collectable and financially valuable. Consequently, not only are they desirable but many of his street artworks are considered to be examples of British cultural heritage and as such may be worthy of protection and preservation. These cases highlight the growing need in South Africa to clearly identify who South African street artworks belong to and, to identify any South African street art that warrants cultural heritage protection. The legislation regarding the protection of South African cultural heritage resources has not yet been extended to any street artworks. Yet there are examples of street art in South Africa that meet the requirements for cultural heritage status or which have the characteristics of cultural heritage resources. The extension of cultural heritage resource status to South African street artworks that are culturally significant could assist in the protection and preservation of these resources. However, the effectiveness of the cultural heritage legislation, in particular the National Heritage Resources Act 25 of 1999, is limited. There are several problematic aspects in this Act. This is of great concern as the issues effect all South Africa’s cultural heritage resources (not just street art which may qualify for such status). However, these issues could be responded to through amendments to the legislation. Significantly, the National Heritage Resources Act seeks to deprive private owners of their property as it seeks to regulate what owners can do with cultural heritage property which they own. However, as it stands there are far too many challengeable issues in this legislation to justifiably deprive this property in terms of s25 of the Constitution of the Republic of South Africa, 1996. This renders significant portions of the National Heritage Resources Act inoperable. Consequently, the amendment of this legislation is necessary to ensure the purpose of the legislation i.e. to ensure the protection and preservation of the South Africa’s cultural heritage resources through the deprivation of property rights or indeed, if necessary, through the expropriation of property. / College of Law / LL. D.

This thesis is an exploration of tabooed literary creations that it terms carnival literature. To achieve the objective of establishing the effectiveness of posting material on Facebook walls of the selected group and individual accounts to escape censorship, the thesis compared traditional graffiti, particularly latrinalia, to ‗cyber‘ graffiti (social media) with Facebook as a case study. Lev Vygotsky‘s Activity Theory helped the study link graffiti, vulgarities, humour and Facebook to the Ndebele society‘s response to tabooing of carnival literature. The thesis argued that participating in traditional graffiti production and coming up with posts on a Facebook wall is a deliberate effort with a target audience just as other genres of literature have. However, society tends to condemn carnival literature as a rebellious genre that deserves exclusion from ‗normal‘ interaction. Carnival literature is therefore censored through tabooing its themes and language. The term carnival literature is derived from medieval performances that were named the ‗carnivalesque‘ by Bakhtin and have equivalents in Africa as a continent and in Zimbabwe as a nation. The characteristics of carnivality are found in both traditional graffiti and ‗cyber‘ graffiti. These, among others, include sex and sexuality as themes, obscenities, vulgarities, and all language that is considered offensive. Interestingly, these elements of carnivality evoke laughter of one kind or another. Latrinalia from selected public toilets from the city of Bulawayo was photographed and subjected to Critical Discourse Analysis with attention being paid to carnivality, Bakhtinian dialogism and humour and its impact on the interaction process. Posts on walls of the selected Facebook group and individual accounts were subjected to the same treatment that was given traditional graffiti. The thesis argues that social media can perform a similar function to that of traditional graffiti with added advantages. Social media has created world communities that are brought together by common interests and platforms where they meet and share ideas. The study also established that messages have layers of meaning, making it unreasonable to ban certain messages since they serve a particular purpose. Social media, particularly Facebook, provides pockets of privacy for candid and unfettered interaction that service specific audiences among the Ndebele; hence can function as the escape route for carnival literature from cultural censorship in Zimbabwe. / African Languages / D. Phil. (African Languages)