My degree project aims to find an alternative destiny to the city glitches- the forgotten industrial buildings which are constantly being torn down. All the memories, the urban creatures that nest inside them, are considered disposable in city planning. The aim of this project is not to stop urban development but to create spaces where this endless force magically stops, a bubble of “utopia”, where the urban beings take their own time to flourish, undisturbed. I focus my project on the abandoned factory house Nitrolackfabriken in the southern part of Stockholm, a building threatened with demolition. I went through three stages in the design process: first background research, second a design proposal about turning the building into a functional culture house, and lastly landed on a design intervention where I gave up the previous culture house proposal, refused it on behave of the building itself, and gave the house back to what is already inside. I created three design interventions in this new part of the project: the garden, the pond, and the fire room. I see the building and all the small beings nesting inside as part of an intertwining relationship, a living being, a “GIANT.” I abstracted her into a human-like shape, wishing to create an emotional resonance between the GIANT and us. To remind us that we are all part of this complexity.

Main focus of this work is to compare and map the evolution of primal sources of inspiration in Czech art in the years 1980-2015. It brings the overview of the authors, who adopted the elements of visual reality, and describes the ways how they used it in their works. Highlighted are the authors whose works are influenced by some of the following topics: commerce and kitch, pornography, comic books, graffiti and street art, folklore, culture of natural nation and childs drawings. Reasons and motivation of the authors for using these extraordinary ways of expression are also clarified. The main part of the work is completed by a context of the exhibitions which took place in the defined time period and follow the topic. It is possible to imagine the evolution and the meaning of primal sources of inspiration in the context of post modern art, according to the basis of the discovered findings.

Made available in DSpace on 2016-04-29T13:32:30Z (GMT). No. of bitstreams: 1 Maria Helena dos Santos.pdf: 7334120 bytes, checksum: 8015306eed8d9e46be93116ecbcf87b9 (MD5) Previous issue date: 2009-10-16 / Fundação Ford / Inserted in the fields of urban studies and of youth, the present dissertation inquired on the meanings that a graffiti group assigns to their practise in the urban space of the São Paulo Metropolis. In order to answer the original question that guided research namely, how a grafitti group establishes relationships with the city spaces and how its members attribute meaning to their action , this study draws on the broad human sciences literature on youth and on the city, having strongly resorted to Michel de Certeau concepts of space, place, and tactics. By means of interviews and of participant observation, the activities of the group called o.p.n.i. were followed in the city of São Paulo from March, 2007 through January, 2009. A brief account of the city space occupation process and of the emergence of graffiti make up the background against which the analysis unfolds the trajectory of the group and of its three members two blacks and one white, aged 23 to 24 years old, dwellers in São Mateus, in the far outskirts of the city. The analysis of the group constitution and of the tactics they resort to in order to face daily space, race, and class discrimination, which they are aware of allowed for eliciting the various meanings of graffiti for them: through graffiting they become conspicuous, keep group ties, survive; they express themselves, protest, denounce inequality, racism, politicians‟ corruption, police violence. By refusing business appealingness, the keen political intent of their various manifestations led them to engaging in community action among youngsters in their neighbourhood. Following them around the city also allowed for acknowledging the way they build subjectivity intertwined with the group‟s consolidation and with doing graffiti, as a means of sustaining a stubborn refusal of constantly imposed subjection. This research also contains a DVD with the documentary accomplished with the group investigated / Esta dissertação filia-se ao campo de estudos de juventude e cidade, com o objetivo de investigar os sentidos que um grupo de jovens imprime á pratica do grafite no espaço urbano na metrópole de São Paulo. Para responder a pergunta que orientou a pesquisa como um grupo de jovens grafiteiros forjam espaços na cidade e que sentidos imprimem a suas ações táticas foi consultada ampla literatura das ciências humanas sobre juventude e sobre a cidade, recorrendo-se especialmente, para esta última, ao referencial teórico de Michel de Certeau. Por meio da observação participante e de entrevistas, acompanharam-se as atividades do grupo de grafiteiros o.p.n.i. na cidade de São Paulo de março de 2007 a janeiro de 2009. Uma breve recuperação do processo de ocupação da cidade e do surgimento da pichação e do grafite formam o pano de fundo da análise da trajetória do grupo de três grafiteiros (dois negros e um branco, com 23-24 anos) moradores do bairro periférico de São Mateus. A análise da constituição do grupo e das táticas a que recorrem para enfrentar no cotidiano a discriminação espacial, racial e de classe social permitiu apontar os vários sentidos que atribuem à prática do grafite: pelo grafite adquirem visibilidade, mantêm o grupo unido, sobrevivem; expressam-se, protestam, denunciam a desigualdade, o racismo, a violência policial, a corrupção de políticos. Recusando o apelo comercial, a clara intenção política de várias de suas manifestações consubstancia-se na opção, pela via do grafite, por uma ação comunitária voltada aos mais jovens no bairro onde moram. O acompanhamento de sua trajetória evidencia como constroem suas subjetividades entrelaçadas com a consolidação do grupo e a prática coletiva do grafite, em uma forma de sustentar a recusa constante do lugar de assujeitamento e submissão que lhes é comumente designado. Acompanha a investigação um DVD com o documentário realizado com o grupo investigado

Submitted by Isidora Rivas (isidora.rivas@gmail.com) on 2017-10-20T18:22:30Z No. of bitstreams: 1 Puerto Tatuado, Movimiento Graffiti de la ciudad de Valparaiso.pdf: 9187697 bytes, checksum: b4a2a64bbb39e59011c3f7ea182c01f0 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2017-11-08T13:11:37Z (GMT) No. of bitstreams: 1 Puerto Tatuado, Movimiento Graffiti de la ciudad de Valparaiso.pdf: 9187697 bytes, checksum: b4a2a64bbb39e59011c3f7ea182c01f0 (MD5) / Made available in DSpace on 2017-11-08T16:43:35Z (GMT). No. of bitstreams: 1 Puerto Tatuado, Movimiento Graffiti de la ciudad de Valparaiso.pdf: 9187697 bytes, checksum: b4a2a64bbb39e59011c3f7ea182c01f0 (MD5) Previous issue date: 2017-09-04 / Esta investigación busca dar a conocer la génesis del movimiento graffiti de la ciudad de Valparaíso y sus más de 25 años de desarrollo, como un fenómeno urbano complejo que ha acompañado y respondido a los diferentes procesos históricos del país, a través de la ocupación gráfica del espacio público. Para ello se estructura el trabajo en tres capítulos históricos que van mostrando como el graffiti se fue transformando en una manifestación identitaria y de representación urbana juvenil. El primer capítulo contextualiza los orígenes del fenómeno, la influencia que el Hip Hop tuvo en sus primeros años y como éste va trasladándose desde la periferia alta de Viña del Mar, al centro urbano de la ciudad. El segundo capítulo muestra el traslado geográfico y el asentamiento del graffiti en Valparaíso, analizando el componente generacional, las transformaciones estéticas y como la ciudad fue influyendo desde la patrimonialización en su expansión y desarrollo. El tercer capítulo y final aborda el período contemporáneo del movimiento graffiti en Valparaíso y como el espacio urbano se ve afectado por su masificación y desborde, analizando las principales tensiones y posibilidades que en los últimos años se han generado con la expansión de la pintura y escritura callejera en la ciudad. / Esta investigación busca dar a conocer la génesis del movimiento graffiti de la ciudad de Valparaíso y sus más de 25 años de desarrollo, como un fenómeno urbano complejo que ha acompañado y respondido a los diferentes procesos históricos del país, a través de la ocupación gráfica del espacio público. Para ello se estructura el trabajo en tres capítulos históricos que van mostrando como el graffiti se fue transformando en una manifestación identitaria y de representación urbana juvenil. El primer capítulo contextualiza los orígenes del fenómeno, la influencia que el Hip Hop tuvo en sus primeros años y como éste va trasladándose desde la periferia alta de Viña del Mar, al centro urbano de la ciudad. El segundo capítulo muestra el traslado geográfico y el asentamiento del graffiti en Valparaíso, analizando el componente generacional, las transformaciones estéticas y como la ciudad fue influyendo desde la patrimonialización en su expansión y desarrollo. El tercer capítulo y final aborda el período contemporáneo del movimiento graffiti en Valparaíso y como el espacio urbano se ve afectado por su masificación y desborde, analizando las principales tensiones y posibilidades que en los últimos años se han generado con la expansión de la pintura y escritura callejera en la ciudad.

Denna studie behandlar tidig hip-hop-film från 80-talet och dess kreativa uttryck genom hip-hop- kulturens fyra grundelement, där en slutsats är att graffiti, breakdance, DJ-ing och rap är av yttersta vikt i bildspråket, och audiellt. Att elementen inleder filmerna visar vilken betydelse dessa har och vidare samverkar de på varierande vis, vilket förstärker den enhet som finns med i filmernas budskap. Enhet och kreativitet är centralt i filmerna och budskap om att möjligheter, framgång och framtid ligger i dem är tydliga. En annan slutsats är att elementen och diverse troper repeteras och sprids vilket stärker hip-hop och hip-hop-film som varumärke.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-12T10:56:43Z No. of bitstreams: 1 Renata Sant_Anna Lamberti.pdf: 3504466 bytes, checksum: fcd6b074f75a4e873a008f02decf05dc (MD5) / Made available in DSpace on 2018-11-12T10:56:43Z (GMT). No. of bitstreams: 1 Renata Sant_Anna Lamberti.pdf: 3504466 bytes, checksum: fcd6b074f75a4e873a008f02decf05dc (MD5) Previous issue date: 2018-09-18 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Some scholars of the artificial environment, i.e. of the habitable urban space which after being affected by human activity corresponds to the concept of city, consider the graffiti one of the main sources of visual pollution in this type of environment. This perspective has been shared by scholars from various areas of knowledge and also by ordinary citizens. In rejection of such homogeneous perspective related to some urban interventions, mainly to the practice of graffiti tag, murals and other forms of street art in São Paulo, this dissertation aims to understand the way by which, through discourse, the taggers recognizes himself as subject, identifies himself, and translates his Other. Thus, it contributes to the practice of graffiti tag to be considered in a perspective different from others phenomena originated in urban environment. For that purpose, the object of analysis was the documentary PIXO (2009), produced by the brothers JoãoWainer and Roberto T. Oliveira. The theoretical framework used was in the enunciative and discursive perspective, as suggested by Dominique Maingueneau in his classical work Genesis of Discourses (2008a) in which the author proposes principles on the functioning of discourses. The first of them, the primacy of interdiscourse over discourse, implies a view of interdiscourse as anterior and constitutive of discourse. To this principle it is articulated that of global semantic according to which all dimensions of discursive textuality are integrated. These two principles support the author's proposal; all the others, including the intersemiotic practice, focused on non-verbal discursive production (from plastic arts, pictorial, musical etc.), are based on these foundations. Finally, as the theoretical-methodological framework on the reference corpus of this study are mobilized and some discourses that permeate graffiti tag practice are recognized, the final analysis points out something often discussed by the taggers themselves: the practice of graffiti tag has a direct relationship with the visibility claimed by a community that lies on the margins of a social organization regulated by representations built and supported in and by the city of São Paulo / Estudiosos do meio ambiente artificial, isto é, do espaço urbano habitável que afetado pela atividade humana corresponde ao conceito de cidade, consideram a pichação – com ch – uma das principais fontes de poluição visual desse tipo de ambiente. Esta visão tem sido compartilhada por estudiosos de diversas áreas do conhecimento e também por cidadãos comuns. Refutando tal visão homogênea, construída em torno de algumas intervenções urbanas, principalmente da prática da pichação, da pixação e do grafite na cidade de São Paulo, esta dissertação tem como objetivo depreender a maneira pela qual, por meio do discurso, o pixador se reconhece como sujeito, se identifica, traduz seu Outro e, com isso, contribui para que a prática da pixação seja pensada de modo diferente de outros fenômenos originados no meio urbano. Para tanto, tomou-se como objeto de análise o documentário PIXO (2009), produzido pelos irmãos João Wainer e Roberto T. Oliveira e, do ponto de vista teórico, recorreu-se à perspectiva enunciativo-discursiva, assim como feito por Dominique Maingueneau em sua obra clássica Gênese dos discursos (2008a), na qual o autor propõe princípios sobre o funcionamento dos discursos. O primeiro deles, o primado do interdiscurso sobre o discurso, implica uma visão do interdiscurso como anterior e constitutivo do discurso. A esse princípio, articula-se o da semântica global, segundo o qual todas as dimensões da textualidade discursiva estão integradas. Esses dois princípios dão sustentação à proposta do autor; os demais, entre os quais se integra a prática intersemiótica, focada na produção discursiva não verbal (das artes plásticas, pictórica, musical etc.), decorrem desses fundamentos. Por fim, mobilizado o arcabouço teórico-metodológico sobre o corpus de referência deste estudo e reconhecidos alguns dos discursos que permeiam a prática urbana da pixação, a análise final aponta para algo frequentemente colocado em discussão pelos próprios pixadores: o ato de pixar mantém relação direta com a visibilidade reivindicada por uma comunidade que se vê à margem de uma organização social regulada por representações construídas e sustentadas na e pela cidade de São Paulo

In this theoretic-practically focused diploma thesis I deal with the issue of an abandoned site and its potencial for the art creation itself. Firs I attempt to foreshow the modern aspects of the art in relation to the urban outskirts creation. I focus on the distinct graffiti phenomenon an its role within the cultural developement of the modern society. In connection with forementioned I aspire to define the phenomenon of site and space. Furthermore I adress the importance of the outskirts with reference to the environmental psychology. Afterwards I carry through a critical reflexion of the theoretical knowledge fragments and apply new findings while resolving the creative task. In the practical part of this thesis I create triptych of wall paintings in the environs of an urban outskirts on the topic of an abandoned site and consequently I carry out their explication.

The most recent investigations at the site of Sechín Bajo in the Casma valley resulted in the discovery of a sequence of three buildings dating from the Late Archaic to the Early Formative Periods, evidencing phases that span more than 2000 years (3500-1500 BC). The First Building comprised a simple platform that underwent numerous extensions, each phase of which received a circular sunken plaza. It was subsequently backfilled and sealed with a clay floor before the Second Building was constructed above it, expressing a change, both in its function and the way it was used. The Third Building represents the most monumental phase, demonstrating a pronounced division between a public area and another zone to which access was unmistakably restricted. In its public areas, the building’s surface was extensively decorated with clay reliefs, exhibiting a complex iconography. The abandonment of the structure, between 1500 and 1300 BP, involved either the destruction or walling-up of the flights of steps that granted access to it. On an external wall of the Second Building, c. 130 graffiti were inscribed. / Las investigaciones en el sitio arqueológico de Sechín Bajo, valle de Casma, han continuado y se ha registrado una secuencia de tres edificios correspondientes al Arcaico Tardío y Formativo Temprano, lo que representa una historia constructiva de 2000 años (3500 a 1500 a.C.). El Primer Edificio, el más antiguo, está compuesto por una plataforma rectangular que sufrió varias ampliaciones, siempre asociadas a plazas circulares hundidas. El Primer Edificio fue enterrado y sellado para levantar encima el Segundo Edificio, que tiene dos grandes fases constructivas. Posteriormente, se erigió el Tercer Edificio, que corresponde a una estructura de tamaño monumental, con cambios en los conceptos de uso y función, y modificaciones en su construcción. El Tercer Edificio tiene áreas de carácter público, con muros que presentan relieves relacionados con un corpus iconográfico bastante complejo, entre cuyos diseños sobresale el personaje denominado El Degollador, mientras que en los espacios privados los muros tienen hornacinas y los ingresos son restringidos. El decaimiento de Sechín Bajo, durante el Formativo Temprano, se puede reconocer en una pared exterior del Segundo Edificio —decorada con 130 grafitis realizados con una técnica muy simple—, en la destrucción de las escaleras principales y el sello de los accesos. Con estos nuevos datos, se pueden evaluar mejor las características de la arquitectura monumental-ceremonial en el valle de Casma desde el Arcaico Tardío al Formativo Temprano.

This study examines how social cohesion is built through exchange of urban art. Graffiti and street art are treated like dirt and washed away. Unsanctioned art is often perceived as alien to museums and private homes. Despite this, many graffiti and street artists produce art in studios that are sold in galleries as urban art. Through ethnographic tools and site visits to homes of collectors in the United States and Sweden this study explores what it means to exchange and own urban art. Guided by Émile Durkheim’s theories on social cohesion and Georg Simmel’s writings on social boundaries, sociological implications of material things are investigated. The analysis shows that exchange of urban art produces and affirms social bonds and passionate feelings about belonging to a specific art world. Artworks in private homes symbolically represent unsanctioned art; which makes collectors feel joy, purpose, and confidence. Urban art collectors dodge discursive definitions of art in favor of nondiscursive and pragmatic boundary work. In contrast to a Bourdieusian perspective this study found that art is not as much about reproduction of social hierarchies as about making social life meaningful and connected. The results suggest further research on materiality in times of digital media.

The thesis Uncharged-charged – new energy for the customs house building deals with a project of a community and cultural centre with an accommodation that reflects specific needs of the rural region on the borders. The core is a conversion of unused historical customs house building near the Hevlín–Laa an der Thaya border crossing to an attractive place serving especially the locals as a supportive environment for their activities. It also brings a new cultural options to the region. The layout adjusts the building to its new function and supports some of the qualities of the current state. There is a new building added as an accommodation for the tourists (especially cyclists and canoeists) travelling at the international cycle tracks or the river Dyje, which cross the location. Also there is a newly designed orchard/campsite surrounding the buildings serving for the accomodation as well.