This essay concerns graffiti, and in particular graffiti removal regarded as iconoclasm.Graffiti is described as a visual symbol laden with both negative and positive values, and sometimes as a meaningful expression in the urban public space. One problem with graffiti as a field of study is the diversity of both the meaning of the term as well as the diversity of the phenomenon itself. Therefore I have defined the term graffiti as follows: words and images painted on public walls by a person usually in an unauthorised manner. Specific examples of graffiti and related phenomena are presented. Within the Swedish anti-graffiti discourse the pejorative term klotter (scribbling) is used to describe what I above define as graffiti.

The chosen task in this thesis is to compare two projects of importance on the impact on the approach to graffiti in Norrköping and Göteborg. My main source for empirical findings was interviews. I have examined the Norrköping project Canslit including Legal graffiti walls and a graffiti school and the political process around it. This was compared to the Göteborg project kulturprojekt Röda Sten, which is a cultural center that happens to be covered in illegal graffiti. The conclusion was that due to the very detailed plans and well-functioning communications between actors in the Norrköping project, this has resulted in a creative, tolerant approach to graffiti still with low rate of illegal graffiti.

Street art can be defined as an artistic expression, often anonymous and illegal, which is constructed in the public environment. The purpose of this essay is to provide a broad and balanced picture of what street art can mean. The aim is to examine street art as a phenomenon. What features has the phenomenon and in what ways is it important for the creators, spectators and place? This paper focuses on graffiti.

This study is about howStockholm?s policy for zero tolerance of graffiti from 2007 affected the graffiti culture inStockholm. We have researched what consequences there were for the practice of graffiti, and what consequences there were for the stylistic performance of graffiti. In doing so, we have had two focus group interviews and one deep interview including eight graffiti writers from Stockholm. The individuals in the groups have been practising graffiti for a varied amount of time, but we have representation from both before, and after/during the policy of zero tolerance from 2007. Our study shows that the result ofStockholm?s policy for zero tolerance of graffiti for the graffiti culture inStockholmwas a ?subcultureification?, a ?stylistic generalization? and the ?subculture?s ambivalent identity?.

The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself.  Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art..

För att förebygga klotterbrott upprättade Västerås år 2012 och Norberg år 2002 varsin laglig graffitivägg. Denna studie undersöker med hjälp av klotterbrottsstatistik huruvida en minskning i antal anmälda klotterbrott har skett i kommunerna efter att väggarna upprättades. Datan har analyserats genom Z-tester. Västerås har delats in i tre områden med olika avstånd till väggen. Indelningen har gjorts då hypotesen i denna uppsats är att det har skett en minskning i antal anmälda klotterbrott i Område 2 och Område 3.

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.

I detta arbete underso?ks niondeklassares attityder gentemot bilda?mnet, graffiti samt den illegala aspekten av graffiti. Graffiti a?r ett visuellt uttryck vars vara eller icke vara i skolans bilda?mne a?r omdebatterat. I fo?rha?llande till Jan Thavenius (2003) resonemang om skolans ra?dsla fo?r att info?rliva en radikal estetik i undervisningen framsta?r graffiti som a?mnesstoff som en va?lkommen didaktisk utmaning.

I detta arbete underso?ks niondeklassares attityder gentemot bilda?mnet, graffiti samt den illegala aspekten av graffiti. Graffiti a?r ett visuellt uttryck vars vara eller icke vara i skolans bilda?mne a?r omdebatterat. I fo?rha?llande till Jan Thavenius (2003) resonemang om skolans ra?dsla fo?r att info?rliva en radikal estetik i undervisningen framsta?r graffiti som a?mnesstoff som en va?lkommen didaktisk utmaning.

In our thesis we will compare interior walls, both bearing and non-bearing. All of thewalls analyzed are currently used in production by Skanska Construction, who is alsoour employer/supervisor for the project. The different wall types will be comparedfocusing mainly on time, cost and workability. All of these walls aside from the nonbearingwall are constructed using concrete, either prefabricated or cast on site..

Syftet men uppsatsen är att göra en kartläggning av perspektiv på graffiti i det offentliga rummet. Detta görs genom kvalitativa intervjuer av semi-strukturell karaktär med sju olika aktörer som på olika sätt spelar en roll i konflikten om graffitins existens i det offentliga. Uppsatsen präglas av ett humanistgeografisk perspektiv och undersöker även hur dessa sju aktörer upplever det offentliga rummet. Det teoretisk ramverket för uppsatsen är Doreen Massey´s Sense of place. Som också utgör det huvudsakliga källmaterialet.

This is a booklet with information and inspiration about precast retaining walls. The three chapters contain information about concrete as a material, how the surface of the wall can be altered, and a chapter with ideas for a new precast wall. I have obtained information through books, interviews, lectures and fairs. The retaining walls on the market do not correspond to the requirements of the Landscape Architects I have interviewed. I have therefore considered their opinions in the chapter containing my new ideas for new retaining walls.

Ända sedan graffiti började förekomma i Sverige för ca 20 år sedan har den, nästan utanundantag, ständigt ökat i omfattning. Sveriges kommuner har försökt bemöta den illegalagraffitins framfart med olika sorters förebyggande åtgärder. Dock har dessa metoder sällanutvärderats kvantitativt, och resultaten av de implementerade åtgärderna är ofta osäkra. Syftetmed denna studie är att med ekonometrisk metod utvärdera två av dessa metoder; lagligaväggar och snabbsanering. Förhållandet mellan dessa åtgärder och anmälda graffitibrottundersöks med OLS-regressioner genomförda för en panel med 172 svenska kommuner underperioden 1996-2004.

?Undersökning syftar mot att visa att det finns informella läroprocesser inom den kreativa praktiken graffiti och vilken roll de spelar när en utövare kommer in på en konsthögskola.Min frågeställning är, vilket inflytande denna informella läroprocess har haft för mina informanter, i deras val av utbildningsområde? För detta ställer jag också frågan, vilka moment som varit särskilt viktiga för mina informanter i den kreativa processen? Det ges en kortfattad beskrivning av graffitins historia. Undersökningsdelen är baserad på intervjuer med tre informanter som själva målar graffiti.Deras svar är sedan tolkade utifrån ett sociokulturellt perspektiv med hjälp av Roger Säljö och Lev S Vygotskij texter Lärande i praktiken och Fantasi och kreativitet i barndomen. I slutdiskussionen berörs lätt den kriminella aspekten av graffiti och kampen om det offentliga rummet.Den gestaltande delen i examensarbetet utgörs av en graffitimålning som gjordes utifrån en skiss som var daterad 1993. Gestaltningen får utgöra en symbol för en graffitimålares resa från tåg och väggar in på en konsthögskola.Målningen gjordes i Vita havet på Konstfack..

The city?s public environments are meant to be perceived as safe and inviting areas to visit any time of the day. In recent decades the number of vandalism complaints has doubled and graffiti has become so common that it received a separate category in the crime statistics. With this type of impacts in the public environments the experience are precarious and a boring sight. It?s difficult to put a price tag on these types of crimes, the number of unreported cases suspected to be large.