Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022 ISBN: 978-605-06286-7-8 150 GRAFFITI: AS A NOVEL ELEMENT IN CONTEMPORARY INTERIOR DESIGN TRENDS Preeti Namdeorao Dongre 1 , Namrata Arora Charpe 2 1 Ph.D Scholar, Banasthali University, Rajasthan, INDIA, [email protected] 2 Associate Professor, Banasthali University, Rajasthan, INDIA, [email protected] Abstract Graffiti and side Street Art can be found in almost every single major and small Metropolitan town throughout the world. The Graffiti Art can be seen from the Ancient History and remerged along with the rise of the hip- hop lifestyle and changing trends. Graffiti began in Philadelphia, New York between the ’60s and ’70s. In New York, people began tagging their names/nicknames and their street number on walls. Public transport and street signs Graffiti. Graffiti can be both historically, artistically, professionally and culturally important. Graffiti comes in a wide variety of forms, styles, and disciplines, from seemingly amateurish scribbles and masterfully executed murals that dominates the wall. Graffiti look decorative and aesthetically attractive and enhance the area. The story of the Graffiti and street art presents us with an unimaginably vast arena of art. Graffiti is the most common popular art existing today with different motivational styles and approaches. Graffiti is a craft of communicating the perspectives or perspective by painting, scratching a drawing on the vertical surface or some other surface. It might likewise portray any social or political message. Graffiti adds new dimensions to the surface & gives liveliness to the Interior and Exterior areas. Graffiti artists are giving new life to the Interior Spaces also. Graffiti has always been considered important as a Street Art. In this paper main focus is on the Graffiti history & novel element in contemporary Interior design trends in Interior spaces like the Interior and Exterior areas of Residential, Commercial, Hospitality, Educational Centers, Restaurants, Pubs, Offices, Hostels, Railway stations, etc Keywords: Graffiti, hip-hop, culturally, scratching, street art, interior design, residential, commercial. INTRODUCTION A well-executed work of graffiti or street art may elicit sentiments of surprise, excitement, or amusement upon first glance, but the link between uncommissioned urban art and cultural heritage may be more difficult to discern. Graffiti has previously been associated with vandalism and a subculture that needed to be eradicated as soon as possible. With the positive critical attention given to works by artists such as Jean- Michel Basquiat and Keith Haring in the 1980s, and current works by Banksy, Steve Powers, and others, graffiti began to be recognized as something more than crime – as art with far more value, art that could reach beyond the walls of a gallery. Indeed, the popularity of this subculture has exploded, and with it comes a stronger sense of connection to one's ancestors. Graffiti and street art have cultural significance because of their individualistic nature, ability to beautify and enhance public spaces, and highly visible way of speaking out on political, social, and economic issues, as well as because it so clearly represents an artistic subculture with a message deemed important by some members of the public and the art establishment. Though it may be a more radical and unconventional approach to heritage creation, its growing popularity demonstrates that such cultural values are clearly realized [1]. With its thriving subculture and wide-spread
GRAFFITI: AS A NOVEL ELEMENT IN CONTEMPORARY INTERIOR DESIGN TRENDS
Mar 30, 2023
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Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 150
GRAFFITI: AS A NOVEL ELEMENT IN CONTEMPORARY INTERIOR DESIGN TRENDS
Preeti Namdeorao Dongre1, Namrata Arora Charpe2 1Ph.D Scholar, Banasthali University, Rajasthan, INDIA, [email protected]
2Associate Professor, Banasthali University, Rajasthan, INDIA, [email protected]
Abstract
Graffiti and side Street Art can be found in almost every single major and small Metropolitan town throughout the world. The Graffiti Art can be seen from the Ancient History and remerged along with the rise of the hip- hop lifestyle and changing trends. Graffiti began in Philadelphia, New York between the ’60s and ’70s. In New York, people began tagging their names/nicknames and their street number on walls. Public transport and street signs Graffiti. Graffiti can be both historically, artistically, professionally and culturally important. Graffiti comes in a wide variety of forms, styles, and disciplines, from seemingly amateurish scribbles and masterfully executed murals that dominates the wall. Graffiti look decorative and aesthetically attractive and enhance the area. The story of the Graffiti and street art presents us with an unimaginably vast arena of art. Graffiti is the most common popular art existing today with different motivational styles and approaches. Graffiti is a craft of communicating the perspectives or perspective by painting, scratching a drawing on the vertical surface or some other surface. It might likewise portray any social or political message. Graffiti adds new dimensions to the surface & gives liveliness to the Interior and Exterior areas. Graffiti artists are giving new life to the Interior Spaces also. Graffiti has always been considered important as a Street Art. In this paper main focus is on the Graffiti history & novel element in contemporary Interior design trends in Interior spaces like the Interior and Exterior areas of Residential, Commercial, Hospitality, Educational Centers, Restaurants, Pubs, Offices, Hostels, Railway stations, etc
Keywords: Graffiti, hip-hop, culturally, scratching, street art, interior design, residential, commercial.
INTRODUCTION
A well-executed work of graffiti or street art may elicit sentiments of surprise, excitement, or amusement upon first glance, but the link between uncommissioned urban art and cultural heritage may be more difficult to discern. Graffiti has previously been associated with vandalism and a subculture that needed to be eradicated as soon as possible. With the positive critical attention given to works by artists such as Jean- Michel Basquiat and Keith Haring in the 1980s, and current works by Banksy, Steve Powers, and others, graffiti began to be recognized as something more than crime – as art with far more value, art that could reach beyond the walls of a gallery. Indeed, the popularity of this subculture has exploded, and with it comes a stronger sense of connection to one's ancestors. Graffiti and street art have cultural significance because of their individualistic nature, ability to beautify and enhance public spaces, and highly visible way of speaking out on political, social, and economic issues, as well as because it so clearly represents an artistic subculture with a message deemed important by some members of the public and the art establishment. Though it may be a more radical and unconventional approach to heritage creation, its growing popularity demonstrates that such cultural values are clearly realized [1]. With its thriving subculture and wide-spread
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 151
reputation in conventional art circles, the concept that graffiti and street art are solely associated with criminality and damage is quickly dispelling. In the late 1960s, a West Philadelphian artist named Cornbread is credited with inventing modern graffiti, which soon took off in New York City on the sides of subway cars1. Taki 183 and Tracy 168, for example, began to earn notoriety by labelling locations outside of their area with "nicknames" based on their street numbers. From simple marker doodles to more sophisticated pieces with brilliant colors and an ornate calligraphy style known as "wildstyle," the tags evolved. Taggers primarily targeted subway carriages since they travelled across the city, providing the writer far more exposure than a work in a fixed spot. Graffiti was linked to crime since it was used to demarcate territory between gangs, and the New York City administration responded with a major anti-graffiti campaign. Clean1 has become a household name by 1989. Since then, graffiti and street art have grown in popularity among writers and spectators alike, and the Australian National Trust has even formally acknowledged them as culturally significant [2]. The most basic form of graffiti is merely the artist's name on the wall, referred to as a "tag," as a way of declaring their presence, recording oneself, and establishing an uniqueness within an area. The first things are given at birth and the first response to the question, "Who are you?" is our name. In addition to subway carriages, graffiti can be found on bridges, billboards, abandoned buildings, and other structures It is systematically planned with an artistic sensibility and carried out in dangerous environments. Simply putting their names in these extremely public places, the authors risk arrest and injuries. Graffiti in New York City started off as a basic tag – the writer's alias written on available surface. As the number of different graffiti "crews" grew, so did the size and complexity of the tags, which expanded the stylistic vocabulary. Along with various aesthetic variants, application methods began to emerge, resulting in the street art movement. Few art forms have clear distinctions between graffiti and street art, but Cedar Lewisohn's Street Art: A Revolution elucidates the major difference. The fundamental difference between graffiti and street art, according to Lewisohn, is that graffiti emphasizes on the actual words and lettering, dubbed "calligraphy peacocks" by Lewisohn, whereas street art encompasses a wide range of artistic mediums: the effects that the graffiti and street art have on their audience are perhaps the most significant commitment to cultural legacy. It has for quite a while been viewed as a public voice, standing up on political, social, and financial issues in a clever and terse way.
Fig.1: Graffiti on Bark Street Cafe, Noida (Source https://www.zomato.com/ncr/bark-street-hajipur-noida)
It's incredibly parallel, and it can surprise and excite viewers who come across street art by coincidence. Lately, the subculture has exploded, inferable from the simplicity with which it very well may be gotten to through social media. It's almost too easy to become lost in a two-hour YouTube video or blog post committed to introducing and understanding graffiti and street art. It is partly owing to the way that it rises above racial and social boundaries; it is not restricted to a single ethnic or socioeconomic group in both the artist's circle and the audience. It began with teenagers from impoverished areas, it has since grown to include artists from many walks of life. Graffiti and creative street art have long been popular among the general public at all levels of society because of their visual accessibility. When graffiti and street art are
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 152
examined through the prism of specific cultural values, the connection to heritage becomes more apparent[3]. "Aesthetic, historic, scientific, social, or spiritual worth for past, present, or future generations," according to the Burra Charter. A case can be made for the emergence of graffiti and side street art as a form of cultural legacy by focusing on values formed between an entity and its setting - in such case, urban art and the subculture that surrounds it in the public spaces. Furthermore, the recent implementation of creative place making, in which people of the public, commercial, and nonprofit areas interact with the different people of different community to improve a neighborhood through the artistic expression or other inventive ways, can readily support this art movement.
Fig.2: KAWS exhibit at the Pennsylvania Academy of Fine Arts, 2013 (Source: http:// trendland.com/kaws-exhibtion-at-pafa/.)
1. HISTORY OF GRAFFITI
Despite its public nature, we knew very little about historical attitudes regarding graffiti until recently, owing to the fact that it has been poorly documented and preserved in general. As a result, it has a unique status as an ancient and unapologetically public behavior that has remained almost unknown in history. Nonetheless, it has to be considered one of our oldest literary traditions. Graffiti may be useful in this sense, as an old type of informal public literature.
The origins of the term 'graffiti,' as well as the context in which it was coined, will be explored in this chapter. The goal is to go beyond current concerns about graffiti as a criminal and obtain some historical perspective on such acts. Graffiti does not appear to have been recognized as a distinct type of writing in the past, and it has elicited little positive or negative reaction. Graffiti remained a popular pastime for literate people of all ages and classes until the industrial revolution. As a result, until recently, walls and other public surfaces served as a place for democracy, where various voices converged to converse, argue, and otherwise declare on issues that were important to them at the time. After Industrialization, changing technology substituted graffiti to some extent, and the public communication and self-expression that graffiti provided is now achieved through other media. However, graffiti has only been declared vandalism and a violation of other people's property rights since 1970, at least formally. Graffiti's status has shifted from an inscription in a shared public space to vandalism of others' property. Changing attitudes can be ascribed to the unique characteristics of current graffiti techniques, as well as a shift in attitudes regarding shared public spaces, which have become increasingly dominated by corporate graffiti, or advertising[4].
I proposed a new Cultural Defense in the previous chapter, arguing that some graffiti should be accepted since it has cultural value. This viewpoint was proposed as a counterpoint to the Art Defense, which holds that graffiti should be accepted if and only if it exhibits adequate artistic worth. In this chapter, it will be claimed that the Cultural Defense is also the most compatible with the prevailing view of graffiti since ancient times, out of the four interpretations provided. This isn't to suggest that graffiti wasn't considered art. Rather,
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 153
it appears to have been accepted as a common sort of low-cultural activity that was regarded an acceptable use of public space [5].
Fig.3: Cornbread "King of the Walls," in Philadelphia, 1967 (Source: https://www.pinterest.ca/pin/472948398350678867/)
2. STATEMENT OF PROBLEM:
Subway art has existed since the dawn of humanity, and graffiti has taken on a variety of styles. The widespread availability of stencils and stickers resulted in an explosion of creative mediums that are inspired by graffiti but different enough to be defined as street art. According to popular perception, the only difference between graffiti and street art is whether it's "in a spraycan" or "out of a spraycan." according to popular belief.
3.1 However, the most fundamental difference between the two techniques can be seen in the content: graffiti is and has always been about the written letter and the design created on the vertical surface. Graffiti art is more into the interior spaces making the ambience and the place appealing to the users.
3.2 Only the alphabet was modified as it progressed from tag to wildstyle and other styles, as well as attempts with colour, shadows, 3-D effects, and other artistic elements. Graffiti is limited to the usage of letters, whereas street art deviates from the norm. Another distinction is how these individuals refer to themselves. Graffiti artists work in galleries, but graffiti writers write in public space. Many street artists prefer to be referred to simply as "artists" rather than being labelled as belonging to a particular genre.
3.3 According to Steve Powers, these concepts are not mutually exclusive: a graffiti writer can also be a traditional artist, as he is.
3. OBJECTIVES
4.1 To Study the details of the graffiti and how it is used in interior designing
4.2 Compare graffiti with street art
4.3 How the use of graffiti more good for the coming generation.
4. GRAFFITI AS A NOVEL ELEMENT IN CONTEMPORARY INTERIORS
Graffiti writing is a wholly reliant activity on the tag. Whether you like it or not, the tag forms the foundation of graffiti art and without it, you aren't a graffiti writer." Studying studio-based graffiti art works in an institutional environment, semiotics, norms, and hierarchies, as well as the foundational aesthetic codes, played an important role. As a result, the decoding of modern graffiti art is based on the verbal, visual, and artistic ideas and traditions that emerged on the streets of New York in the 1970s and 1980s. In the beginning, there was
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 154
the tag, as stated in the quotation above. The tag is a cryptic, calligraphic, and monochrome lettering style that is often regarded as the simplest type of graffiti [6]. The graffiti movement established many aesthetic conventions such as Tag, throw up, piece, and master piece. Furthermore, graffiti had its own distinct visual foundations as well as its own rules and rituals, including the game of fame and, most notably, train graffiti. Graffiti hierarchies are interwoven with achieving renown. In general, unless it is on a hall of fame, a tag or piece by another writer shouldn't be sprayed over. 4. there are two or more crews In terms of aesthetics and hierarchies, graffiti cannot be adequately summarized in a few sentences. Nancy has done extensive research on the various aesthetics, hierarchies, and norms of graffiti art. Graffiti art codes are tough to decipher that's why they typically address few insiders or certain crews in the local graffiti scene.."There is no message in graffiti for the general people." It's only open to a select few. People who wish to understand it must put in a lot of effort to learn the graffiti language. "Public art, on the other hand, is the polar opposite." This short phrase by the Prague artist collective Crew Against People (CAP) highlights a crucial aspect of graffiti's nature. Graffiti has no purpose of reaching a big audience due to the inaccessibility of different symbols and coded language, which sets it apart from a street and public art. An illegality, an antagonism into the system, inherent creative aesthetics such as different graffiti style writing, as well as a context and place uniqueness is some key characteristics of the graffiti. [7] It appears practically hard to consider exhibiting graffiti art in art institutions based on these core characteristics of graffiti.
In summary, traditional graffiti has established its own terminology independent of "conventional" fine arts. Insiders of graffiti culture could largely and only crack the unique system of signs and symbols, regulations, and hierarchies that graffiti produced. Outsiders find it difficult to understand, decode, and accept its semiotics, regulations, hierarchies, and aims due to their uniqueness. As shown in this short section on street graffiti, it is apparent that it carries challenging and hefty overtones. This demonstrates the emergence of a sense of tension upon entering the institutional space, which will be bandied in greater depth in the following section. In the 1980s, the introduction of graffiti art into galleries and the commercial graffiti art market was crucial not only for the acceptability and legitimacy of the art movement, but also for the creation of a target demographic. This is accompanied by graffiti's transformation from a subculture form of expression to a commercial graffiti art form. With the negative connotation of the word "sell-out," graffiti art lost credibility in the scene and consequently deep respect for its hard-won separation from the commercial system, but it eventually caught up within the art market. The shift of the graffiti phenomenon from 'outside' to 'inside' proceeded gradually but steadily, leading to a degree of adaptation to the conventions of the institutional art system. Graffiti's institutionalization prompted a re-evaluation of a once-popular subculture. Graffiti art was not only re-evaluated, but also recognized as an independent creative art genre as a result of the institutional shift. This shift meant that the move to a curated art gallery environment signaled the end of creative traditional graffiti, resulting in a terminological divergence. Graffiti had to be acknowledged as 'art' in order to be regarded an independent art genre once it entered the art institution's system, and as a result, it was given the term 'graffiti art.' As a result, while 'graffiti' belonged on the side street, 'graffiti art' was displayed in museums. [8]
Fig.4: Graffiti on Garam Dharam Restaurant (Source - https://www.scoopwhoop.com/New-Restaurants-In-Delhi/)
5. GRAFFITI IN INTERIOR SPACES
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 155
The layered character of the two paintings is represented by a braid of lines. Both pieces have a vibrant, expressive, energizing influence. Aside from the color scheme, there are a few distinct variances to be found. The painting Alchemy shows how the colors were swung in the air first, before the canvas was set down. JonOne's 24/7 does not support this working practise. The majority of 24/7 was painted directly on the canvas, as evidenced by the systematic different brush strokes and the direction of the unique writing layers. JonOne writes his tags on the canvas rather than swinging the paint around. This is most likely where JonOne's approach and action painting diverge the most. The writing direction obviously influences the structure of the picture 24/7, whereas the lines and color spots in Alchemy appear more chaotic and unplanned. After then, it's possible JonOne employs a different style of interesting action painting. The canvas can be hung on the vertical wall first, and then laid out on the floor to complete the project. To summarize, JonOne's art pieces are structurally based on text and are visually linked to abstract expressionism. While the fundamental role of letters has been gone, each line of the letter now has its own autonomy. Unlike conventional abstract expressionists like Jackson Pollock, JonOne comes to this method from a very different unique background. In terms of context, they have nothing in common, owing to the fact that JonOne is an autodidact with no formal training in fine art. His graffiti roots can still be seen in the obsessively repetitive writing of his tag.
Single lines are essential in letters and writing, according to single lines theory. Writing allowed for the formalization of language through the use of a symbolic system. Writing produces a visual effect that is very similar to the drawing, but it is non-representa- tive. The typeface, particularly the single alphabet, does, nonetheless, have a linear look. When deciphering JonOne's art work, following his aesthetic approach, it appears to be pretty interesting. JonOne's paintings become more abstract as the number of repeating tags on his canvases grows. As a result, the writing system of signs transforms into an abstract and repeated web of limitless lines[9,10].
Fig.5: Graffiti on restaurant wall Tenali Junction (Source - Self capture)
CONCLUSION
"Graffiti art is neither 'just graffiti' nor 'just art,' but a new sort of visual cultural creation that defies categorization" (Austin, 2010: 33). The dynamic progression of graffiti art is reflected in Austin's quote. Since the 1980s, this art form's creative expressions have evolved to the point where they are no longer considered basic 'graffiti' art in urban space, yet they are still not fully accepted inside the institutional framework but slowly its aesthetics beauty is acceptable by the users in the interior spaces like residence, commercial space, etc.…
ISBN: 978-605-06286-7-8 150
GRAFFITI: AS A NOVEL ELEMENT IN CONTEMPORARY INTERIOR DESIGN TRENDS
Preeti Namdeorao Dongre1, Namrata Arora Charpe2 1Ph.D Scholar, Banasthali University, Rajasthan, INDIA, [email protected]
2Associate Professor, Banasthali University, Rajasthan, INDIA, [email protected]
Abstract
Graffiti and side Street Art can be found in almost every single major and small Metropolitan town throughout the world. The Graffiti Art can be seen from the Ancient History and remerged along with the rise of the hip- hop lifestyle and changing trends. Graffiti began in Philadelphia, New York between the ’60s and ’70s. In New York, people began tagging their names/nicknames and their street number on walls. Public transport and street signs Graffiti. Graffiti can be both historically, artistically, professionally and culturally important. Graffiti comes in a wide variety of forms, styles, and disciplines, from seemingly amateurish scribbles and masterfully executed murals that dominates the wall. Graffiti look decorative and aesthetically attractive and enhance the area. The story of the Graffiti and street art presents us with an unimaginably vast arena of art. Graffiti is the most common popular art existing today with different motivational styles and approaches. Graffiti is a craft of communicating the perspectives or perspective by painting, scratching a drawing on the vertical surface or some other surface. It might likewise portray any social or political message. Graffiti adds new dimensions to the surface & gives liveliness to the Interior and Exterior areas. Graffiti artists are giving new life to the Interior Spaces also. Graffiti has always been considered important as a Street Art. In this paper main focus is on the Graffiti history & novel element in contemporary Interior design trends in Interior spaces like the Interior and Exterior areas of Residential, Commercial, Hospitality, Educational Centers, Restaurants, Pubs, Offices, Hostels, Railway stations, etc
Keywords: Graffiti, hip-hop, culturally, scratching, street art, interior design, residential, commercial.
INTRODUCTION
A well-executed work of graffiti or street art may elicit sentiments of surprise, excitement, or amusement upon first glance, but the link between uncommissioned urban art and cultural heritage may be more difficult to discern. Graffiti has previously been associated with vandalism and a subculture that needed to be eradicated as soon as possible. With the positive critical attention given to works by artists such as Jean- Michel Basquiat and Keith Haring in the 1980s, and current works by Banksy, Steve Powers, and others, graffiti began to be recognized as something more than crime – as art with far more value, art that could reach beyond the walls of a gallery. Indeed, the popularity of this subculture has exploded, and with it comes a stronger sense of connection to one's ancestors. Graffiti and street art have cultural significance because of their individualistic nature, ability to beautify and enhance public spaces, and highly visible way of speaking out on political, social, and economic issues, as well as because it so clearly represents an artistic subculture with a message deemed important by some members of the public and the art establishment. Though it may be a more radical and unconventional approach to heritage creation, its growing popularity demonstrates that such cultural values are clearly realized [1]. With its thriving subculture and wide-spread
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 151
reputation in conventional art circles, the concept that graffiti and street art are solely associated with criminality and damage is quickly dispelling. In the late 1960s, a West Philadelphian artist named Cornbread is credited with inventing modern graffiti, which soon took off in New York City on the sides of subway cars1. Taki 183 and Tracy 168, for example, began to earn notoriety by labelling locations outside of their area with "nicknames" based on their street numbers. From simple marker doodles to more sophisticated pieces with brilliant colors and an ornate calligraphy style known as "wildstyle," the tags evolved. Taggers primarily targeted subway carriages since they travelled across the city, providing the writer far more exposure than a work in a fixed spot. Graffiti was linked to crime since it was used to demarcate territory between gangs, and the New York City administration responded with a major anti-graffiti campaign. Clean1 has become a household name by 1989. Since then, graffiti and street art have grown in popularity among writers and spectators alike, and the Australian National Trust has even formally acknowledged them as culturally significant [2]. The most basic form of graffiti is merely the artist's name on the wall, referred to as a "tag," as a way of declaring their presence, recording oneself, and establishing an uniqueness within an area. The first things are given at birth and the first response to the question, "Who are you?" is our name. In addition to subway carriages, graffiti can be found on bridges, billboards, abandoned buildings, and other structures It is systematically planned with an artistic sensibility and carried out in dangerous environments. Simply putting their names in these extremely public places, the authors risk arrest and injuries. Graffiti in New York City started off as a basic tag – the writer's alias written on available surface. As the number of different graffiti "crews" grew, so did the size and complexity of the tags, which expanded the stylistic vocabulary. Along with various aesthetic variants, application methods began to emerge, resulting in the street art movement. Few art forms have clear distinctions between graffiti and street art, but Cedar Lewisohn's Street Art: A Revolution elucidates the major difference. The fundamental difference between graffiti and street art, according to Lewisohn, is that graffiti emphasizes on the actual words and lettering, dubbed "calligraphy peacocks" by Lewisohn, whereas street art encompasses a wide range of artistic mediums: the effects that the graffiti and street art have on their audience are perhaps the most significant commitment to cultural legacy. It has for quite a while been viewed as a public voice, standing up on political, social, and financial issues in a clever and terse way.
Fig.1: Graffiti on Bark Street Cafe, Noida (Source https://www.zomato.com/ncr/bark-street-hajipur-noida)
It's incredibly parallel, and it can surprise and excite viewers who come across street art by coincidence. Lately, the subculture has exploded, inferable from the simplicity with which it very well may be gotten to through social media. It's almost too easy to become lost in a two-hour YouTube video or blog post committed to introducing and understanding graffiti and street art. It is partly owing to the way that it rises above racial and social boundaries; it is not restricted to a single ethnic or socioeconomic group in both the artist's circle and the audience. It began with teenagers from impoverished areas, it has since grown to include artists from many walks of life. Graffiti and creative street art have long been popular among the general public at all levels of society because of their visual accessibility. When graffiti and street art are
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 152
examined through the prism of specific cultural values, the connection to heritage becomes more apparent[3]. "Aesthetic, historic, scientific, social, or spiritual worth for past, present, or future generations," according to the Burra Charter. A case can be made for the emergence of graffiti and side street art as a form of cultural legacy by focusing on values formed between an entity and its setting - in such case, urban art and the subculture that surrounds it in the public spaces. Furthermore, the recent implementation of creative place making, in which people of the public, commercial, and nonprofit areas interact with the different people of different community to improve a neighborhood through the artistic expression or other inventive ways, can readily support this art movement.
Fig.2: KAWS exhibit at the Pennsylvania Academy of Fine Arts, 2013 (Source: http:// trendland.com/kaws-exhibtion-at-pafa/.)
1. HISTORY OF GRAFFITI
Despite its public nature, we knew very little about historical attitudes regarding graffiti until recently, owing to the fact that it has been poorly documented and preserved in general. As a result, it has a unique status as an ancient and unapologetically public behavior that has remained almost unknown in history. Nonetheless, it has to be considered one of our oldest literary traditions. Graffiti may be useful in this sense, as an old type of informal public literature.
The origins of the term 'graffiti,' as well as the context in which it was coined, will be explored in this chapter. The goal is to go beyond current concerns about graffiti as a criminal and obtain some historical perspective on such acts. Graffiti does not appear to have been recognized as a distinct type of writing in the past, and it has elicited little positive or negative reaction. Graffiti remained a popular pastime for literate people of all ages and classes until the industrial revolution. As a result, until recently, walls and other public surfaces served as a place for democracy, where various voices converged to converse, argue, and otherwise declare on issues that were important to them at the time. After Industrialization, changing technology substituted graffiti to some extent, and the public communication and self-expression that graffiti provided is now achieved through other media. However, graffiti has only been declared vandalism and a violation of other people's property rights since 1970, at least formally. Graffiti's status has shifted from an inscription in a shared public space to vandalism of others' property. Changing attitudes can be ascribed to the unique characteristics of current graffiti techniques, as well as a shift in attitudes regarding shared public spaces, which have become increasingly dominated by corporate graffiti, or advertising[4].
I proposed a new Cultural Defense in the previous chapter, arguing that some graffiti should be accepted since it has cultural value. This viewpoint was proposed as a counterpoint to the Art Defense, which holds that graffiti should be accepted if and only if it exhibits adequate artistic worth. In this chapter, it will be claimed that the Cultural Defense is also the most compatible with the prevailing view of graffiti since ancient times, out of the four interpretations provided. This isn't to suggest that graffiti wasn't considered art. Rather,
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 153
it appears to have been accepted as a common sort of low-cultural activity that was regarded an acceptable use of public space [5].
Fig.3: Cornbread "King of the Walls," in Philadelphia, 1967 (Source: https://www.pinterest.ca/pin/472948398350678867/)
2. STATEMENT OF PROBLEM:
Subway art has existed since the dawn of humanity, and graffiti has taken on a variety of styles. The widespread availability of stencils and stickers resulted in an explosion of creative mediums that are inspired by graffiti but different enough to be defined as street art. According to popular perception, the only difference between graffiti and street art is whether it's "in a spraycan" or "out of a spraycan." according to popular belief.
3.1 However, the most fundamental difference between the two techniques can be seen in the content: graffiti is and has always been about the written letter and the design created on the vertical surface. Graffiti art is more into the interior spaces making the ambience and the place appealing to the users.
3.2 Only the alphabet was modified as it progressed from tag to wildstyle and other styles, as well as attempts with colour, shadows, 3-D effects, and other artistic elements. Graffiti is limited to the usage of letters, whereas street art deviates from the norm. Another distinction is how these individuals refer to themselves. Graffiti artists work in galleries, but graffiti writers write in public space. Many street artists prefer to be referred to simply as "artists" rather than being labelled as belonging to a particular genre.
3.3 According to Steve Powers, these concepts are not mutually exclusive: a graffiti writer can also be a traditional artist, as he is.
3. OBJECTIVES
4.1 To Study the details of the graffiti and how it is used in interior designing
4.2 Compare graffiti with street art
4.3 How the use of graffiti more good for the coming generation.
4. GRAFFITI AS A NOVEL ELEMENT IN CONTEMPORARY INTERIORS
Graffiti writing is a wholly reliant activity on the tag. Whether you like it or not, the tag forms the foundation of graffiti art and without it, you aren't a graffiti writer." Studying studio-based graffiti art works in an institutional environment, semiotics, norms, and hierarchies, as well as the foundational aesthetic codes, played an important role. As a result, the decoding of modern graffiti art is based on the verbal, visual, and artistic ideas and traditions that emerged on the streets of New York in the 1970s and 1980s. In the beginning, there was
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 154
the tag, as stated in the quotation above. The tag is a cryptic, calligraphic, and monochrome lettering style that is often regarded as the simplest type of graffiti [6]. The graffiti movement established many aesthetic conventions such as Tag, throw up, piece, and master piece. Furthermore, graffiti had its own distinct visual foundations as well as its own rules and rituals, including the game of fame and, most notably, train graffiti. Graffiti hierarchies are interwoven with achieving renown. In general, unless it is on a hall of fame, a tag or piece by another writer shouldn't be sprayed over. 4. there are two or more crews In terms of aesthetics and hierarchies, graffiti cannot be adequately summarized in a few sentences. Nancy has done extensive research on the various aesthetics, hierarchies, and norms of graffiti art. Graffiti art codes are tough to decipher that's why they typically address few insiders or certain crews in the local graffiti scene.."There is no message in graffiti for the general people." It's only open to a select few. People who wish to understand it must put in a lot of effort to learn the graffiti language. "Public art, on the other hand, is the polar opposite." This short phrase by the Prague artist collective Crew Against People (CAP) highlights a crucial aspect of graffiti's nature. Graffiti has no purpose of reaching a big audience due to the inaccessibility of different symbols and coded language, which sets it apart from a street and public art. An illegality, an antagonism into the system, inherent creative aesthetics such as different graffiti style writing, as well as a context and place uniqueness is some key characteristics of the graffiti. [7] It appears practically hard to consider exhibiting graffiti art in art institutions based on these core characteristics of graffiti.
In summary, traditional graffiti has established its own terminology independent of "conventional" fine arts. Insiders of graffiti culture could largely and only crack the unique system of signs and symbols, regulations, and hierarchies that graffiti produced. Outsiders find it difficult to understand, decode, and accept its semiotics, regulations, hierarchies, and aims due to their uniqueness. As shown in this short section on street graffiti, it is apparent that it carries challenging and hefty overtones. This demonstrates the emergence of a sense of tension upon entering the institutional space, which will be bandied in greater depth in the following section. In the 1980s, the introduction of graffiti art into galleries and the commercial graffiti art market was crucial not only for the acceptability and legitimacy of the art movement, but also for the creation of a target demographic. This is accompanied by graffiti's transformation from a subculture form of expression to a commercial graffiti art form. With the negative connotation of the word "sell-out," graffiti art lost credibility in the scene and consequently deep respect for its hard-won separation from the commercial system, but it eventually caught up within the art market. The shift of the graffiti phenomenon from 'outside' to 'inside' proceeded gradually but steadily, leading to a degree of adaptation to the conventions of the institutional art system. Graffiti's institutionalization prompted a re-evaluation of a once-popular subculture. Graffiti art was not only re-evaluated, but also recognized as an independent creative art genre as a result of the institutional shift. This shift meant that the move to a curated art gallery environment signaled the end of creative traditional graffiti, resulting in a terminological divergence. Graffiti had to be acknowledged as 'art' in order to be regarded an independent art genre once it entered the art institution's system, and as a result, it was given the term 'graffiti art.' As a result, while 'graffiti' belonged on the side street, 'graffiti art' was displayed in museums. [8]
Fig.4: Graffiti on Garam Dharam Restaurant (Source - https://www.scoopwhoop.com/New-Restaurants-In-Delhi/)
5. GRAFFITI IN INTERIOR SPACES
Proceedings of DARCH 2022 2nd International Conference on Architecture & Design, 21-22 March, 2022
ISBN: 978-605-06286-7-8 155
The layered character of the two paintings is represented by a braid of lines. Both pieces have a vibrant, expressive, energizing influence. Aside from the color scheme, there are a few distinct variances to be found. The painting Alchemy shows how the colors were swung in the air first, before the canvas was set down. JonOne's 24/7 does not support this working practise. The majority of 24/7 was painted directly on the canvas, as evidenced by the systematic different brush strokes and the direction of the unique writing layers. JonOne writes his tags on the canvas rather than swinging the paint around. This is most likely where JonOne's approach and action painting diverge the most. The writing direction obviously influences the structure of the picture 24/7, whereas the lines and color spots in Alchemy appear more chaotic and unplanned. After then, it's possible JonOne employs a different style of interesting action painting. The canvas can be hung on the vertical wall first, and then laid out on the floor to complete the project. To summarize, JonOne's art pieces are structurally based on text and are visually linked to abstract expressionism. While the fundamental role of letters has been gone, each line of the letter now has its own autonomy. Unlike conventional abstract expressionists like Jackson Pollock, JonOne comes to this method from a very different unique background. In terms of context, they have nothing in common, owing to the fact that JonOne is an autodidact with no formal training in fine art. His graffiti roots can still be seen in the obsessively repetitive writing of his tag.
Single lines are essential in letters and writing, according to single lines theory. Writing allowed for the formalization of language through the use of a symbolic system. Writing produces a visual effect that is very similar to the drawing, but it is non-representa- tive. The typeface, particularly the single alphabet, does, nonetheless, have a linear look. When deciphering JonOne's art work, following his aesthetic approach, it appears to be pretty interesting. JonOne's paintings become more abstract as the number of repeating tags on his canvases grows. As a result, the writing system of signs transforms into an abstract and repeated web of limitless lines[9,10].
Fig.5: Graffiti on restaurant wall Tenali Junction (Source - Self capture)
CONCLUSION
"Graffiti art is neither 'just graffiti' nor 'just art,' but a new sort of visual cultural creation that defies categorization" (Austin, 2010: 33). The dynamic progression of graffiti art is reflected in Austin's quote. Since the 1980s, this art form's creative expressions have evolved to the point where they are no longer considered basic 'graffiti' art in urban space, yet they are still not fully accepted inside the institutional framework but slowly its aesthetics beauty is acceptable by the users in the interior spaces like residence, commercial space, etc.…
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