Graffiti Architecture Thesis

Graffiti Architecture Thesis-20
The destruction of graffiti sends a message to the young people and communities (of color) where graffiti originated—that their creative expression is not wanted, is of no value, and is therefore expendable. But it can also be a medium for voices of social change, protest, or expressions of community desire.What, how, and where are examples of graffiti as a positive force in communities?

The destruction of graffiti sends a message to the young people and communities (of color) where graffiti originated—that their creative expression is not wanted, is of no value, and is therefore expendable. But it can also be a medium for voices of social change, protest, or expressions of community desire.What, how, and where are examples of graffiti as a positive force in communities?

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However, as a rebellious act, a tool of resistance, and ammunition against corporate greed and political perversion, economic gain through independence and freedom of expression remains difficult for the graffiti artist to attain.

Founding convener of Urban Ecology Australia and a recognised ‘ecocity pioneer’, Paul and co-founders are pioneering the Ecocity Design Institute.

What are examples of graffiti as beneficial influences in communities, as propellants of expression and dialog? This roundtable is a co-production of The Nature of Cities and the new website Arts Everywhere, where these responses are also published.

Also check out The Nature of Graffiti, a gallery that illustrates some of these ideas from an environmental perspective.

When a city provides graffiti walls for its citizens, isn’t it simply extending its hegemony?

When I found stencilled graffiti in my neighbourhood and discovered that it was disguised corporate advertising, I dismissed it as worthless.But institutions also love it, and Drew, like Banksy, has been exhibited in galleries.Street art that is sanctioned as a way to ameliorate dull façades is effectively assimilated as city property; it can no longer be about the conflict of ownership. Adelaide’s previous Lord Mayor, Stephen Yarwood, saw street art as a game-changer for the 21st century city, consigning blank walls to the past.Unemployed and sporadically employed “youth” in their teens and thirties may find inspiration in a spray can, a wall on a deserted street, a few yards of material, an empty carton transformed into a curio box, a bag, or even a pair of old shoes.The surface potential appears vast, particularly since the tools required for the craft are more accessible and cheaper than those needed for charcoal drawings or works produced on canvas.In Zimbabwe, graffiti images often appear in stark contrast to abject poverty or gross excess and may surface unexpectedly on the side of government buildings; on university campuses; and on walls along parks, highways, dilapidated houses, or dead-end streets.The more entrepreneurial may put graffiti images on clothing, bags, and decorative boxes that speak to an alternative and uniquely creative youth culture.Sanctions imposed on the country have made many of the tools needed for other art forms luxury items that few could procure or afford.However, erasers, markers—especially concentrated but fluid watercolours to fill backgrounds and letters—are more accessible and easy to use on cheap canvases such as city walls.Zimbabwe’s history of colonization informs what appears on the walls ‘tagged’ by young artists.The remains of early humans, dating back 500,000 years, have been discovered in present-day Zimbabwe and it has been possible to speculate about these people’s everyday lives and traditions from their hieroglyphic “tags” on walls in and on the outside of caves in various parts of the countryside.

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