Tearing Down The Streets: Graffiti And Street Art

Although, the idea offers reduction of crime by manipulation of the urban space through sur- veillance, it found offensive by some designers like Jeff Ferrell who is a professor of sociology and the author of the books; “Crimes of Style”, “Tearing Down the Streets”, “Empire of Scrounge”, and, with Keith Hayward and Jock Young, “Cultural Criminology: An Invitation”. Nonetheless, restrict- ing access with bars and benches is a part of his concern, his main disturbance is about annihilation of street performances, graffiti and street art that public space loses its publicity because of the ma- nipulation of designers (Ferrell). The dilemma is solved by Nabeel Hamdi who is Emeritus Profes- sor of Housing and Urban Development at Oxford Brookes

In the urban space, communication may be in various dimensions which are not only amongst economical dimension or political dimension, but also included in aesthetically dimension (Lupton 17). Street art along with graffiti and post-graffiti rapidly spread to the world, as they are not merely creative but destructive, they are pointing out an endemic political and social shift in the society (131).

According to Banksy, who is a pseudonymous graffiti artist and who known for disrespect for the legal issues against graffiti, “graffiti is a perfect proportionate response to being sold unattainable goals by a society obsessed with status and infamy” (6). The most critical quality of graffiti is its resemblance with branding and logo. They both, at the base level, use repetition and saturation in their ideographic compression (McCormick 130). Graffiti could be conceived as a marking to the territory (Taşçıoğlu 126). Even more so its a remark that make community and the place appear in the urban space, where they about to eradicate or displaced from (McCormick 83). Many street artist and “gangs” repetitiously apply their definitive ideographic