This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement.       The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice.       The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas.       This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today.       From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself.        Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today.

The purpose with this essay is to examine and create an understanding for what meaning graffiti and street art has for those who practice it. Furthermore, the practice of graffiti and street art is seen in relation to how urban space is produced. Five semi-structured interviews and one group interview has been made to answer the questions "What meaning does graffiti and street art has for those who practice it? Can it be seen as a way to construct identity?" "How do the artists relate to existing ideals about public space?" and "Does the artists see graffiti and street art as a resistance against the normative representation of the city, in that case, how?" The theoretical framework consists of Mitchell's ideas about public space, Tonkiss' definition of social order, Lefebvre's spatial triad, de Certeau's concept of strategy and tactics, the concept of appropriation and Castell's theory about collective identity. The results showed that the practice of graffiti and street art can be understood as a more complex practice than earlier research has shown. Four different dimensions of meaning could be distinguished. Together the four different dimensions expressed an understanding of graffiti and street art practices as a collective resistance identity. The essay also shows that street art and graffiti artists have a more including ideal about public space.

KROBOVÁ, K. (2012). Public space, its social parameters and not only pictorial dimensions. Praha: Charles University, Faculty of Education, Art department, 122 pages. (Attachment: set of photography and object-totem) This thesis is corcerned with public space in its dimensions of visual, architectonic, pictorial, social and psychological. How does the space impact us and how do we influence it. This kinds of view are hold out with people in age of adolescent. I follow up with my bachelor work which was concerned with this age group in course of study in subculture graffiti and street art which I use now for examples and possible influnces on graphic design and illustration. I continue with refilling questionnaire and didactics project, partly practically maked in practice, after theory. This work is topped up with documentary of pictures in public space, object of my own and ritual in space like this. Key words: PUBLIC SPACE, COMUNICATION, CREATOR, SUBCULTURES, VIZUALITY, CONTEXT, ADVERTISMENT, GRAFFITI, STREET ART, ART, CULTURE, ART EDUCATION

No description available.

The concept of the city has come to play a central role in the practices of a new generation of artists for whom the city is their canvas. Street art is a complex social issue. For decades, its presence has fueled intense debate among residents of modern cities. Street art is considered by some to be a natural expression that exercises a collective right to the city, and by others, it is seen as a destructive attack upon an otherwise clean and orderly society. This research focuses on various forms of street art from the perspective of the urban audience. The general aim is to further an understanding of how people interact with and respond to street art. Qualitative and quantitative data were gathered via direct participant observations of street art installations and 139 surveys conducted with residents in Portland, Oregon. Survey respondents distinguished between street art forms; generally preferring installations and masterpieces over tagging and stickers. More respondents considered graffiti to be a form of artistic expression, rather than an act of vandalism. Participant observations indicated that purposefully-designed street art can promote interaction between people, art, and public space. Random urban spectators became active collaborators; using art and performance to express themselves in public. These findings indicate there is a need to reconsider zero tolerance graffiti policies. Overall, these findings also contribute to a more informed discussion regarding the regulation, acceptability, and possibilities of unauthorized artistic expression in cities.

No description available.

In recent times, the popularity and acceptance of urban art has gradually increased among residents of the community. Graffiti festivals are being arranged and large murals are beginning to be seen more and more in our cities. Graffiti has for many years been seen as a major societal problem and it has often been associated with crime. Today, graffiti is not associated to the same extent with crime among residents and it is easier to include graffiti as an art form in the public space. Graffiti can also be described as an effort to show up and express oneself in the city. Even though graffiti is more accepted today, there is still a policy in Stockholm, regarding painting and graffiti without a permit should be cleaned up within 24 hours, a so-called "zero tolerance for graffiti". Graffiti is usually illegal, although there are places where it is allowed to paint. It can be in the form of places or on so-called open or legal walls. One of the most popular places to practice graffiti in Sweden is Snösätragränd in Stockholm, which from being an old industrial area has developed into a graffiti area. In August 2020, the municipality of Stockholm began demolition of parts of the graffiti area, which has brought to the discussions about urban art as a de-prioritized art form in urban planning. There is thus a growing demand for the art form in society, but also signs of fear that it may lead to for example crime and littering. The purpose of this study is to create a deeper understanding of urban art and how urban art can be included in urban planning. It is thus important first to examine how public art is included and then understand what conditions the actors of urban art have for expressing their art in the public space. The knowledge about art in public spaces and about urban art is based on literature and research. Furthermore, the graffiti area Snösätragränd, which is currently facing demolition, has been chosen as a case study area to create a deeper understanding of the subject. The case study together with site visits, interviews and e-mail communications further contributes with a current and in-depth picture of the studied phenomenon in its context. The study concludes that there is both a need and a desire to view and express urban art in our cities. Furthermore, the study shows that the financial means for public art that exist today are insufficient to enable practitioners of urban art to perform and display their art in the public space. On the one hand, municipalities want to limit urban art with the motivation to avoid crime, on the other hand, there are also efforts to make room for artists to promote this art form. Finally, it is clear that there are different views on urban art and whether it should be included in the public space or not. The study is therefore important for understanding graffiti as an art form or a breeding ground for criminal activity. / Under senare tid har populariteten samt acceptansen för urban konst successivt ökat hos invånare i samhället. Det arrangeras bland annat olika graffitifestivaler och stora muralmålningar börjar synas mer och mer i våra städer. Graffiti har under många år setts som ett stort samhällsproblem och den har ofta associerats med kriminalitet. Idag associeras graffitti inte i lika stor utsträckning med kriminalitet bland invånarna och det är enklare att inkludera graffitti som en konstform i det offentliga rummet. Graffiti kan också beskrivas som en strävan att visa sig och yttra sig i staden. Även om graffiti idag är mer accepterat finns det fortfarande policy bland annat i Stockholm, gällande att målande och klottrande utan tillstånd ska saneras inom 24h, en så kallad ”nolltolerans för klottring”. Graffiti är oftast olagligt fast det finns ställen som det är tillåtet att måla på. Det kan vara i form av platser eller på så kallade öppna eller lagliga väggar. Ett av de mest populära ställen för att utöva graffiti i Sverige är Snösätragränd i Stockholm som från att vara ett gammalt industriområde utvecklats till ett graffitiområde. Augusti år 2020 påbörjade Stockholm stad rivningen i delarna av graffitiområdet, vilket har aktualiserat diskussionerna kring urban konst som en bortprioriterad konstform i stadsplaneringen. Det finns alltså en växande efterfrågan på konstformen inom samhället men också tecken på rädsla att det kan leda till bland annat brottslighet och nedskräpning. Syftet med denna studie är att skapa djupare förståelse för urban konst och hur urban konst kan inkluderas i stadsplaneringen. Det är således viktigt att undersöka hur offentlig konst inkluderas för att sedan förstå vilka förutsättningar den urbana konstens aktörer har för att uttrycka sin konst i det offentliga rummet. Med bakgrund av litteratur och forskning lyfts kunskap fram kring konst i offentliga rum och urban konst. Vidare har graffitiområdet Snösätragränd som idag står inför rivning, valts som fallstudieområde för att skapa djupare förståelse för ämnet. Fallstudien tillsammans med platsbesök, intervjuer och mejlkommunikation bidrar vidare med en aktuell och fördjupande bild av det studerade fenomenet i sitt sammanhang. Studiens slutsats är att det finns såväl ett behov som en önskan att beskåda och uttrycka urban konst i våra städer. Vidare visar studien på att de ekonomiska medlen för offentlig konst som finns idag är otillräckliga för att möjliggöra för utövare att uppföra och visa sin konst i det offentliga rummet. Å ena sidan vill kommuner begränsa urban konst med motivationen att undvika brottslighet, å andra sidan finns också insatser för att ge plats till konstnärer för att främja denna konstform. Det är slutligen tydligt att det finns olika åsikter om urban konst och om det bör inkluderas i det offentliga rummet. Studien är således viktig för att förstå graffiti som en konstform eller en grogrund för brottslig verksamhet.

Under senare tid har populariteten samt acceptansen för urban konst successivt ökat hos invånare i samhället. Det arrangeras bland annat olika graffitifestivaler och stora muralmålningar börjar synas mer och mer i våra städer. Graffiti har under många år setts som ett stort samhällsproblem och den har ofta associerats med kriminalitet. Idag associeras graffitti inte i lika stor utsträckning med kriminalitet bland invånarna och det är enklare att inkludera graffitti som en konstform i det offentliga rummet. Graffiti kan också beskrivas som en strävan att visa sig och yttra sig i staden. Även om graffiti idag är mer accepterat finns det fortfarande policy bland annat i Stockholm, gällande att målande och klottrande utan tillstånd ska saneras inom 24h, en så kallad ”nolltolerans för klottring”. Graffiti är oftast olagligt fast det finns ställen som det är tillåtet att måla på. Det kan vara i form av platser eller på så kallade öppna eller lagliga väggar. Ett av de mest populära ställen för att utöva graffiti i Sverige är Snösätragränd i Stockholm som från att vara ett gammalt industriområde utvecklats till ett graffitiområde. Augusti år 2020 påbörjade Stockholm stad rivningen i delarna av graffitiområdet, vilket har aktualiserat diskussionerna kring urban konst som en bortprioriterad konstform i stadsplaneringen. Det finns alltså en växande efterfrågan på konstformen inom samhället men också tecken på rädsla att det kan leda till bland annat brottslighet och nedskräpning. Syftet med denna studie är att skapa djupare förståelse för urban konst och hur urban konst kan inkluderas i stadsplaneringen. Det är således viktigt att undersöka hur offentlig konst inkluderas för att sedan förstå vilka förutsättningar den urbana konstens aktörer har för att uttrycka sin konst i det offentliga rummet. Med bakgrund av litteratur och forskning lyfts kunskap fram kring konst i offentliga rum och urban konst. Vidare har graffitiområdet Snösätragränd som idag står inför rivning, valts som fallstudieområde för att skapa djupare förståelse för ämnet. Fallstudien tillsammans med platsbesök, intervjuer och mejlkommunikation bidrar vidare med en aktuell och fördjupande bild av det studerade fenomenet i sitt sammanhang. Studiens slutsats är att det finns såväl ett behov som en önskan att beskåda och uttrycka urban konst i våra städer. Vidare visar studien på att de ekonomiska medlen för offentlig konst som finns idag är otillräckliga för att möjliggöra för utövare att uppföra och visa sin konst i det offentliga rummet. Å ena sidan vill kommuner begränsa urban konst med motivationen att undvika brottslighet, å andra sidan finns också insatser för att ge plats till konstnärer för att främja denna konstform. Det är slutligen tydligt att det finns olika åsikter om urban konst och om det bör inkluderas i det offentliga rummet. Studien är således viktig för att förstå graffiti som en konstform eller en grogrund för brottslig verksamhet. / In recent times, the popularity and acceptance of urban art has gradually increased among residents of the community. Graffiti festivals are being arranged and large murals are beginning to be seen more and more in our cities. Graffiti has for many years been seen as a major societal problem and it has often been associated with crime. Today, graffiti is not associated to the same extent with crime among residents and it is easier to include graffiti as an art form in the public space. Graffiti can also be described as an effort to show up and express oneself in the city. Even though graffiti is more accepted today, there is still a policy in Stockholm, regarding painting and graffiti without a permit should be cleaned up within 24 hours, a so-called "zero tolerance for graffiti". Graffiti is usually illegal, although there are places where it is allowed to paint. It can be in the form of places or on so-called open or legal walls. One of the most popular places to practice graffiti in Sweden is Snösätragränd in Stockholm, which from being an old industrial area has developed into a graffiti area. In August 2020, the municipality of Stockholm began demolition of parts of the graffiti area, which has brought to the discussions about urban art as a de-prioritized art form in urban planning. There is thus a growing demand for the art form in society, but also signs of fear that it may lead to for example crime and littering. The purpose of this study is to create a deeper understanding of urban art and how urban art can be included in urban planning. It is thus important first to examine how public art is included and then understand what conditions the actors of urban art have for expressing their art in the public space. The knowledge about art in public spaces and about urban art is based on literature and research. Furthermore, the graffiti area Snösätragränd, which is currently facing demolition, has been chosen as a case study area to create a deeper understanding of the subject. The case study together with site visits, interviews and e-mail communications further contributes with a current and in-depth picture of the studied phenomenon in its context. The study concludes that there is both a need and a desire to view and express urban art in our cities. Furthermore, the study shows that the financial means for public art that exist today are insufficient to enable practitioners of urban art to perform and display their art in the public space. On the one hand, municipalities want to limit urban art with the motivation to avoid crime, on the other hand, there are also efforts to make room for artists to promote this art form. Finally, it is clear that there are different views on urban art and whether it should be included in the public space or not. The study is therefore important for understanding graffiti as an art form or a breeding ground for criminal activity.

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 no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/89086

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.