Street Culture: An assimilation of indoor & outdoor spaces by MaryamQ

STREET CULTURE; AN ASSIMILATION OF INDOOR AND OUTDOOR SPACES By Maryam Q. Heriot Wattt University, Dubai

11th DECEMBER, 2015 E10CE CONTEMPORARY AND CONTEXTUAL STUDIES

STREET CULTURE; AN ASSIMILATION OF INDOOR AND OUTDOOR SPACES MARYAM Q H00138579 BA INTERIOR DESIGN (HONS)

I Maryam Q. of Year 4 BA Interior Design (HONS) at the Heriot Watt University, Dubai campus declare that the essay embodies the results of my own work and has been composed by myself, and that where appropriate I have made acknowledgement of the work of others.

DECLARATION Street Culture: An Assimilation of Indoor and Outdoor Spaces 2 | HWU

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The context of this essay gives focus to street culture its definition, understanding, its relation to space in generic terms as well as its impact in society. The fundamental findings, study the notion of street culture and how it can be applied into an indoor environment without losing its essence but at the same time understanding how the mind and the body relates to a space in terms of transgression and formulating boundaries. This idea is in conjunction with the theme for the Final major project. The scheme of the brief focuses on creating a platform within UAE which prospers in its street culture. Primary research consists of compiling case studies, conducting interview sessions with people who indulge in street culture as well

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as conducting a survey in order to evaluate the feasibility of the project itself. The secondary research consist of looking into journal articles, newspaper articles, referring to websites and formulating opinions. The results obtained, appreciates the idea of having a platform within the UAE which thrives in its street culture in order to gather talent under a uniform roof and at the same time promote interaction. The conclusion drawn seeks to understand that the notion of the streets can be applied indoors so long as it seeks to induce and evoke the sense of â&#x20AC;&#x2DC;the streetsâ&#x20AC;&#x2122; and at the same time links strongly to the outdoor environment. Illustration 5 : Freestyle Football [ePHOTOzine, (2013).]

Street Culture: An Assimilation of Indoor and Outdoor Spaces MARYAM Q. | H00138579 | E10CE

Illustration 6 : Street Art [Ncousla, (2008).] Illustration 7 : Street Dance [Peripheral studios, (2015).] Illustration 8 : Parkour [REPÚBLICA UPDATE, (2015).] Illustration 9 : Freestyle BMX [Wallarthd.com, (2015).]

1. LIST OF ILLUSTRATION

2. INTRODUCTION

3. LITERATURE REVIEW

9 9 10 11

3.1 The Concept of Transgression 3.2 Art, Public spaces and Private properties along the streets of New Orleans 3.3 Exploring São Paulo’s Visual Culture: Encounters with Art and Street Culture along Augusta Street

4. THE STREETS 4.1 Understanding street culture

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12 12

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4.2 How does street culture impact society 4.3 Importance of Street Culture

5. STREET LIFE IN UAE 5.1 ‘Soulless’ 5.2 Why is street culture missing? 5.3 Restrictions imposed in the UAE 5.4 Survey 5.5 Interview

6. PERCEPTION OF SPACE 6.1 Spaces and connection 6.2 Transgression 6.3 Transgression in relation to Public and Private Properties 6.4 Perception of space and Street Culture

7. LINKING THE INDOOR AND THE OUTDOOR 7.1 Pop Stage WATT 7.2 Studio 13 7.3 Museum of Street Culture 7.4 The Delft University 7.5 Miscellaneous studies

13 14 15 15 16 17 17 18 19 19 20 21 22 23 24 25 26 27 28

8. CONCLUSION

9. BIBLIOGRAPHY

9.1 Journal Articles 9.2 Newspaper Articles 9.3 Blogs and Websites 9.4 Case studies

30 31 31 32

10. ILLUSTRATION REFERENCE LIST

11. APPENDIX

39 39 42

11.1 Understanding street culture; B-boy Jebin Mathew 11.2 Questionnaire

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Illustration 1 : Street Art [Ncousla, (2008).] Illustration 2 : Street Dance [Peripheral studios, (2015).] Illustration 3 : Parkour [REPĂ&#x161;BLICA UPDATE, (2015).] Illustration 4 : Freestyle BMX [Wallarthd.com, (2015).] Illustration 5 : Freestyle Football [ePHOTOzine, (2013).] Illustration 6 : Street Art [Ncousla, (2008).] Illustration 7 : Street Dance [Peripheral studios, (2015).] Illustration 8 : Parkour [REPĂ&#x161;BLICA UPDATE, (2015).] Illustration 9 : Freestyle BMX [Wallarthd.com, (2015).] Illustration 10 : Glass house Mies van der Rohe [Archdaily.com, (2015)] Illustration 11 : France Avenue, New Orleans, Banksy [Smyk, B. (2015). ] Illustration 12 : Rua Augusta Visual Culture [Menkman, R. (2015). ] Illustration 13 : Graffiti at Lausane Switzerland [Undo.copypaste.ch, (2010).] Illustration 14 : Skateboarder in action [Release, P. (2009).] Illustration 15 : Abu Dhabi [Trekearth.com, (2015). ] Illustration 16 : Arcadia Blank [Lodown Magazine, (2014). ] Illustration 17 : Tashkeel skating park, Dubai [Coughlin, L. (2014). ] Illustration 18 : Satwa streets, Dubai [Visscher, D. (2015).] Illustration 19 : B-boy Jebin Mathew [Mathew, J. (2015).] Illustration 20 : B-boy Jebin Mathew [Mathew, J. (2015), Jebin Mathew, (2015).] Illustration 21 : B-boy Jebin Mathew [Mathew, J. (2015), Jebin Mathew, (2015).] Illustration 22 : B-boy Jebin Mathew [Mathew, J. (2015), Jebin Mathew, (2015).] Illustration 23 : B-boy Jebin Mathew [Jebin Mathew, (2015).] Illustration 24 : Perception of spaces and boundaries [Architektt.com, (2015). ] Illustration 25 : Perception of spaces and boundaries [designboom | architecture & design magazine, (2013). ] Illustration 26 : Perception of spaces and boundaries [Architecture And Design, (2015). ] Illustration 27 : Perception of spaces and boundaries [Bustler, (2013).] Illustration 28 : Spaces connecting the outdoor environment [Bustler, (2013).]

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Illustration 29 : Pop Stage WATT [Energy Floors, (2015). ] Illustration 30 : Pop Stage WATT [KOSSMANN.DEJONG, (2015). ] Illustration 31 : Pop Stage WATT [KOSSMANN.DEJONG, (2015). ] Illustration 32 : Studio 13 [Dezeen, (2008).] Illustration 33 : Studio 13 [Dezeen, (2008).] Illustration 34 : Studio 13 [Dezeen, (2008).] Illustration 35 : Museum of street culture 508 park ave. [Wilonsky, R. (2015).] Illustration 36 : Museum of street culture 508 park ave. [Wilonsky, R. (2015).] Illustration 37 : Museum of street culture 508 park ave. [Wilonsky, R. (2015).] Illustration 38 : TU Delft, NL [David’s UW Travel Research Journal Summer 2013, (2015).] Illustration 39 : TU Delft, NL [David’s UW Travel Research Journal Summer 2013, (2015).] Illustration 40 : Andaz Liverpool street hotel [Condé Nast Traveler, (2014). ] Illustration 41 : The Alexander [Condé Nast Traveler, (2014). ] Illustration 42 : The Baltazar hotel [Condé Nast Traveler, (2014). ] Illustration 43 : SLS South Beach [Condé Nast Traveler, (2014). ] Illustration 44 : SLS Las Vegas [Condé Nast Traveler, (2014). ] Illustration 45 : Radison Blu Basement parking [Condé Nast Traveler, (2014). ] Illustration 46 : Transgressive spaves Research Journal Summer [Arch2o.com, (2014).] Illustration 47 : B-boy Jebin Mathew [Mathew, J. (2015).]

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Street culture is observed as an urban center or a shared space which accommodates to the benefit of all that use them. It is the accessibility of recreational activities. This can be categorized in to various activities ranging from art, music, sports etc. it is perceived as a platform for idea generation and allows for pushing limits and boundaries in order to achieve a higher goal. It is also known as the creative force which instigates thrill and excitement. Most people, at some point in their youth or adolescent years associate themselves with some form of street culture or the other. The association to such activities in itself gives the person a sense of self and identity to themselves or their personality. Karabanow, J. (2006). This can be in the form of art preference, music taste or sports in general. The streets have often been allied with forming groups and interacting with one another and thereby helping to create platforms which allow for the formation of common interest groups. When looked at from afar it can also be an environment where informal learning takes place. It is home to people who find a sense of self, identity and a place of belonging in what they love doing best. The following essay gives a detailed insight into the topic and its impact on society. The hypothesis of the project brief explores the idea of street culture and the activities it entail. It focuses in the construction of recreational spaces which harnesses, promotes, utilizes talent and at the same time creates a

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common ground for the gathering of such talent. As a result interactions take place along with idea generation and the creation of interest groups. The vital idea behind the establishment of the concept is with relevance to the mere fact that UAE has painted itself an image wherein it only seeks to cater to the needs of extravagance and comfort. Huw Davies, G. (2015). It gives no ground what so ever to the roots of the city; in this case, the street culture. This has been to an extent where practicing street cultural activities is considered as illegal. In the process of globalization and the need to be at the forefront when it comes to the competition of luxury, it can clearly be observed that one can hardly find any places which promotes street cultural and recreational activities. It is hard to come across groups of youth playing outdoors and creating informal learning experiences which would lead to them uncovering their hobbies and interests and thereby deviating from the clichĂŠs. The probable cause as per observations can be due to the weather as well as the restrictions the government of the UAE enforces upon the practice of street culture. The concept of â&#x20AC;&#x2DC;the streetsâ&#x20AC;&#x2122; alone is an act which is evidently seen to exist outdoors. Therefore bringing the streets indoors would contradict its entire existence. The central purpose of this essay is to understand how the mind perceives space when it comes to forming boundaries. It looks at transgression and how it seeks to create new possibilities when it comes to perceiving indoor and outdoor spaces and thus reinstating the understanding of bodies and spaces which frame them can be redefined. Susan, H. (2015). It looks at case studies which understands the design principles involved when using the concept indoors. Sometimes, it is used to retain the extinction of a culture, create a feeling of nostalgia to the user whereas other times it is used to create a specific experience for the passer by. Furthermore, the case studies also understand how spaces can alter our perception into relating spaces which are outdoor but also evoke a sense of being indoor.

Street Culture: An Assimilation of Indoor and Outdoor Spaces MARYAM Q. | H00138579 | E10CE

Considering at the main key philosophies which create a link to the issues pertaining to street culture, the review seen below discusses three main academic papers which explain the key theories of this essay.

strong link to the outdoor rather than being a completely closed off space. This can be a matter of essential concern in relation to the concept of street culture, the reasoning being simply because street culture is an act which is associated with the outdoor environment. The journal article goes into great detail on the concept of ‘boundaries’ with relevance to perception. A space is automatically considered to be off-limits the moment our mind identifies a territory which is impossible to intrude on to. The reasoning behind this being that our perception instills this on to us due to the norm which is placed by society upon us. “Boundaries are virtual conceptualizations of transgression in our mind; we see it as we perceive it“ Susan, H. (2015). This has been supported up by using an experiment of Nora Wendl who studies the famous Glass House by Mies van der Rohe which was inhabited by Dr. Edith Farnsworth. Wendl studies the photographic memories of the interior space which Farnsworth left behind and projects them onto the interior space. Illustration 10 : Glass house Mies van der Rohe [Archdaily.com, (2015)]

3.1 THE CONCEPT OF TRANSGRESSION This review sheds light upon the perception of spaces as how we perceive it to be. ‘A state of transformation that leads to progression in the long term; a state of notion which keeps changing and progressing with time’ Susan, H. (2015). It seeks to address the mere fact that contemporary interior spaces are considerably being constructed with openness, using the aspect of connectivity as its crucial and evident factor. Spaces are deemed to have a

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The conclusion drawn from the studies indicate that the major part of the house allowed for absolute transparency with no partitions or walls inside the space. Keeping this in mind we observe that these design aspects contradict the design style observed. Especially in a residential interior which would result in straying from the norm or in other words transgressing. However, it cannot be denied that the glass house has a direct visual connection to the outdoors evoking a strong perception of being outside whilst within a ‘boundary’. Thus, the space acting as a mediator between the outside and the inside of the glass house.

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3.2 ART, PUBLIC SPACES AND PRIVATE PROPERTIES ALONG THE STREETS OF NEW ORLEANS

The academic paper elucidates the street art scene in New Orleans, post hurricane Katrina, where street artist Rex Dingler responds to the aftermath of the city’s catastrophe by painting across the wall and spreading about meaningful messages. This is in turn allows an opening for the existing local street artists to unite and come together. They work side by side in order to create a city which is constant with their values. This was attained by bringing forth the public dimensions of private property; using the walls for street arts without invoking ownership claims. The concept of street art itself is the usage of public and private property as a surface for making a statement to the public. Therefore, Lynch has argued that “first spatial right is the right to presence, the right to be in place” Kevin Lynch (1981, p. 225), it is after that that the right to use the space as well as access. According to Lynch’s theory it’s after these rights have been realized that other rights such as the right to excluding others can be grasped. The events which followed involved Banksy coming into New Orleans, post Katrina in order to spread meaningful messages of peace through his artwork. His work of art connected with the city of New Orleans. The results caused the street artists to evoke a sense of vibrancy throughout the city with their artworks sprawled on for miles. “The city itself is deployed as an artistic material,” Austin J. (2010, p. 38). The messages conveyed held deep meaning to its inhabitants to a point where the artworks were taken indoors and preserved in museums and art galleries. The magnitude of this movement reached to a point where the property owners whose walls were used as canvases, redeveloped the properties and retained the artwork around it by converting it into a sound studio, this claimed the space to be innovatively structured to be utilized for a function which supported street culture itself. It also seeks the thought provoking notion that

Illustration 11 : France Avenue, New Orleans, Banksy [Smyk, B. (2015). ]

the impression of street culture indoors can be conceivable if the essence of street art is preserved. Banksy’s art being preserved is an effective example taken indoors. Properties with Banksy’s work started being sold at extreme high value due to the exquisite masterpiece. This instance helps us better understand that the space has retained its original essence and has been preserved.

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The following academic paper explicates the street art scene in the city of Sao Paulo. It sheds light on the ‘Video Guerrilla’ which posed to be a new visual experience to the art scene in Sao Paulo when it was initially introduced. The concept of video guerrilla can be explained as art work which is compiled into a video format and it is then projected on the façade of the building. These art works are seen as a narrative to the city of Augusta, a time line which poses as a fundamental element defining the city. In other words, this innovative art portrayal has modeled itself to be viewed as an open art gallery which would be easily accessible as an alternative to the “exclusive and formal brick and mortar art galleries and museum” Lamazares, A. (2014). Projects such as this are considered to be compelling as they invite the passerby’s to focus their attention from their daily routine and connect to these urban performances in different ways. The main objective of this creative charade was to offer the street artists a chance to get recognized for their work. This urban intervention stimulated a blending in the realm of art and architecture where public and private spaces intermingled. It drew

Illustration 12: Rua Augusta Visual Culture [Menkman, R. (2015). ]

3.3 EXPLORING SÃO PAULO’S VISUAL CULTURE: ENCOUNTERS WITH ART AND STREET CULTURE ALONG AUGUSTA STREET 11 | HWU

“There is no better place for expression than the streets, free and open to the general public” – Bruno Caramori. Lamazares, A. (2014).

out a new and innovative perspective to the display of art which needn’t necessarily be confined indoors in order to attract major and important crowds. The walls itself act as a transgressional boundary creating a link to the indoors from the outdoor space itself by transforming the structures of Rua Augusta into communicative canvases. On another note the street culture in Rua Augusta has been deemed as a subject of vandalism to the posher inhabitants of the space. This in turn led to the segregation of the posher private spaces from the public space which engages in street culture, including the interactive Rua Augusta. Anthropologist Caldeira undertakes a study in order to understand better as to why the private spaces which are owned by the wealthy people of Rua Augusta choose to exclude themselves from the public spaces. She seeks to study the street culture of Brazil, which consists of skate boarding, parkour, motorcycling etc. She argues that this street culture within the Rua Augusta acts as an artistic production stimulating urban performances there by giving a new visual connection to the space aside from the art itself. These acts in turn affirm the rights to the city and at the same time fracture the public with its aggressive transgression. Transgression is understood as the act of defying a norm set by society but this norm needn’t necessarily be seen as an act of disregard to the person committing the act itself which is subjective. Hence, explaining the reason as to why people consider street culture in a negative perspective when it can also be seen as a learning experience to the person who is keen on expressing and evolving their potential talent. At the same time to the natives of Rua Augusta who are involved in its street culture seek to formulate an enormous boundary which visually links itself to the indoors and the outdoors of the city. This would eventually transgress the space from one which is confined to the outdoors, into one which can also be functional indoors keeping in mind that the space evokes a sense of being outdoors ultimately retaining its essence.

Street Culture: An Assimilation of Indoor and Outdoor Spaces MARYAM Q. | H00138579 | E10CE

4.1 UNDERSTANDING STREET CULTURE Street culture is perceived to be a flourishing force most of the countries around the globe. It is considered to give the country a sense of identity and a sense of place to its inhabitants. It has its own story to express to the passerby. The essence of street culture entails all the activities which seeks to evoke thrill and excitement. They may range from skateboarding, parkour, B-boying, free style BMX and so on. These activities are taken up as a hobby by most youth or young adult who see it as a means to get away from their problems or seek a place for excitement; a realm where they don’t have to hesitate to be themselves. It is a means to redirect one’s energy into something positive. It is a source of getaway for the young adults who seek entertainment outside the work environment by relaxing, interacting, and catching up with friends, Karabanow,

Illustration 13: Graffiti at Lausane Switzerland [Undo.copypaste.ch, (2010).]

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J. (2006). Also, this very much leads to them enhancing their skills and naturally latent talent as the streets are observed to be the core areas where ideas spring up. To put it into simpler terms the street is recognized as a source of “freedom”, “excitement”, and “a cure for boredom” (Green, D. 1998; Visano, L. 1990). To some adolescence it is seen as a phase which gives them an opportunity to explore into, trying to find what it is that they want to achieve out of it.

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4.2 HOW DOES STREET CULTURE IMPACT SOCIETY

Though street culture can be seen as a positive change for many, the negative side to street culture cannot be over looked. In many places around the world it is known to have a history of, vandalism, malevolent mischief, illegal trespass, annihilation of public property or antisocial behavior Acosta, R. (2011). Undeniably, there are people who seek to exploit the culture and exploit the benefits that it offers. This is considered as an exploration phase to the young adolescence, making sense of their past experiences, current dilemmas and future dreams. It acts as a path which outlines the way in which they recognize and segregate themselves from the outside world. The negative aspects can be controlled by enforcing a well-ordered system which brings out the positive perspective of the culture. Thereby, having the pros outweigh the cons.

Illustration 14: Skateboarder in action [Release, P. (2009).]

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Looking at it over a wider context, the need for street culture should not be ignored as it is seen as a part of the urban cultural heritage exclusive to each country. This cultural heritage is not seen as stagnant as it adopts change in every continuum, always in transgression, concluding that street culture is never stable. F. Abbas Zadeh and A.B. Sulaiman states that â&#x20AC;&#x153;culture is a way of life, influencing the physical, appearance, activities and behavioral aspects that these are important to support needs thereby creating a sense of place.â&#x20AC;? Zadeh, F. and Sulaiman, A. (2010). This also implies that culture plays a crucial role in triggering public life and in turn increasing the overall appeal of the streets. This is a solitary reason as to why it is important, since it helps form social bonds, adapts to social change, mobility, and cultural understanding with its diversification in the realm of the street life. This is done bearing in mind that street life is a significant aspect of open space making it the most essential feature of public realm. Having a firm foundation in defining the character of the urban space, it caters to the functional, societal, cultural and leisurely needs of people.

4.3 IMPORTANCE OF STREET CULTURE The practice of street culture with relevance to urban spaces provides the freedom of expression to the talented people, giving them an infinite boundary to express all their pent up energy, a quintessential dominion, an informal learning ground where people interact with strangers regardless of it being a public space or the activity they indulge in (Ehrenfeucht R. 2014). Thus, highlighting the importance of having a firm platform which perceives to define the essence of a city and its culture as it is bound to differ from country to country. Having exposure and experience to street culture is perceived as important and unavoidable to most of the individuals in society at some point of their lives. It draws out an opportunity to form opinions, learn something new and gain an understanding to the events and activities around them.

Illustration 15: Abu Dhabi [Trekearth.com, (2015). ]

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5.1 ‘SOULLESS’ Keeping the above impressions in mind, the focus has been drawn onto the UAE. The most common inference drawn upon by creative graffitti artist is the“soulless” Aldersley, J. (2014) nature of the walls with the depriviation of vibrant colors. This has been due to the inevitable impact of globalization and the everlasting urge for development when the matters pertain to modernization. It is a country which has over the years witnessed a bloom in its luxurious resorts, biggest airports, tall buildings, and upcoming high rise towers catering to its commercial environment and value Huw Davies, G. (2014).

When looked upon closely, UAE has composed a vivid notion which skims its beautiful streets from its vibrant street life filled with creative graffitti art. Street culture is observed to provide a unique identity which distinguishes itself from other countries. As said by anonymous graffiti group ‘Arcadia Blank’, “The world has gone from blue and green to brown and yellow” Lord, C. (2011) giving a protuberant emphasis to the never ending construction, signifying the oncoming of more high-rise structures within the UAE. They also go on to explain how the city is vibrant with its night life and lights yet there is nothing to display which is significant to be pondered upon; “All these lights and nothing to display”Jones, K. (2013).

Illustration 16: Arcadia Blank [Lodown Magazine, (2014). ]

5. STREET LIFE IN UAE Street Culture: An Assimilation of Indoor and Outdoor Spaces 15 | HWU

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5.2 WHY IS STREET CULTURE MISSING ?` Rarely does one come across groups of youth playing outside or celebrating its street culture in the UAE. It would be challenging to narrow down the probable cause but at the same time with close observation, the primary cause can be the relentless and harsh heat of the UAE which highly limits the initiation of outdoor activities taking place. Studies have shown that UAE is known to experience harsh heat conditions with temperatures shooting up to 50 degrees during the summer times. The next protuberant cause can be focused on the nobel atmosphere wherein, painting walls is considered a serious penalty within society. Upcoming or well established street artists in the UAE find it problematic to express themselves without having get into trouble with the authorities. Quoting the words of prominent street artist Sya One, â&#x20AC;&#x2DC;If it starts going out on the streets, it will just get locked down instantly and graffiti will endâ&#x20AC;&#x2122; Croucher, M. (2013). Illustration 17: Tashkeel skating park, Dubai [Coughlin, L. (2014). ]

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5.3 RESTRICTIONS IMPOSED WITHIN THE UAE The laws in the UAE do not permit the notion of street art without overlooking the hefty consequences. Adam Hardy a curator in one of the prominent art galleries in Dubai conveys that practicing street art in Dubai ”interferes with a society that has been lulling us to sleep with its purring machines” Lord, C. (2011). Famous Street artists such as Sya One, Ruben Sanchez speak of the introduction of “Legal Walls” where artists can “let loose without fear” Jones, K. (2013). And at the time a simple licensing system which would provide them with a platform in order to express their artwork as long as it does not explicitly cross governmental boundaries or pose as a threat to the authority Aldersley, J. (2014). Not having such amenities can have its side effects. The example of Fujairah can be studied. The city is known for its historical sites, hillsides and mountains. The lack of spaces for expression has resulted in the youth of city vandalizing the sites. This not only called for a ban on the street art within the city but also resulted in implementation of strict measures to be taken against those responsible. Hellyer, P. (2014).

5.4 SURVEY A survey conducted (refer to appendix) amongst a group of people who practice parkour, B-boying and street football was undertaken. The main theme of the survey was to understand the credibility of a platform indulging in street culture. When asked if would prefer having a space exclusively for street culture, 84% of the crowd was in favor of the idea leaving Illustration 18: Satwa streets, Dubai [Visscher, D. (2015).]

with a minority of 7% neutral to the idea and 9% were not sure of the idea. The groups in favor of the idea comprised of street football players and parkour practitioners. The survey helps us understand the need of places which promote talent and street culture in a place which has been dominated by its commerciality and posh vibrancy. Street Culture: An Assimilation of Indoor and Outdoor Spaces 17 | HWU

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Illustration 19: B-boy Jebin Mathew [Mathew, J. (2015).]

Illustration 20, 21, 22: B-boy Jebin Mathew [Mathew, J. (2015), Jebin Mathew, (2015).]

5.5 INTERVIEW Similarly, an Interview with B-boy Jebin Mathew of the Decathlon Crew based in UAE explains the issues street dancers face when it comes to finding a gathering platform in order to practice, as renting out studios is not always feasible. It is not seen as out of norm for him and his crew to practice at highrise towers which are unfinished and under hibernation. But this nonetheless results in some tenants complaining of noise pollution whilst the others see it as a means of entertainment and observe. Jebin relates his dance routines to be enthused by his surroundings. Its raw unfinished atmosphere is witnessed to be the driving force for him and his crew to find the motivation they need in order to keep going. From the above arguments it can be concluded that addressing the needs of such people calls for providing a platform which would not only harness and gather talent within one roof but also at the same time provide a space which can be in its literal sense an essence of â&#x20AC;&#x2DC;the streetsâ&#x20AC;&#x2122; due to the experience it evokes. (Refer to appendix)

Illustration 23: B-boy Jebin Mathew [Jebin Mathew, (2015).] Street Culture: An Assimilation of Indoor and Outdoor Spaces 18 | HWU

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6.1 SPACES AND CONNECTION

Illustration 24: Perception of spaces and boundaries [Architektt.com, (2015). ]

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Street culture is observed to be a transgressive act. It is the compilation of activities which takes place outside. Therefore, it is vital to understand the correlation between the body and mind in relation to the space. Perception of spaces is an essential norm which the mind unconsciously goes through in order to define a boundary or a space. According to Lynch â&#x20AC;&#x153;first spatial right is the right to presence, the right to be in placeâ&#x20AC;? Kevin Lynch (1981, p. 225). It is essential to articulate connections to the mind in order to institute the notion of being within a boundary.

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6.2 TRANSGRESSION The theory of transgression is associated in this sense. The unmitigated concept itself was propositioned in order to understand better; “architecture and culture in ways that challenged accepted practices, orders and norms” Sara, R. and Littlefield, D. (2014). Boundaries are limitations which is created by the mind. It is a virtual transgression which is triggered in order to understand what ‘to do and what not to”. With relevance to the study of the Glass House by Mies van der Rohe which has been occupied by Dr. Edith Farnsworth for over 20 years explains her experience within the house which is surrounded by four glass walls. She speaks of transgression with the viewpoint that she feels the need to be vigilant at all times when inhabiting the house. According to her, the house itself serves to be an x-ray” Wendl, N. (2014), conceiving a strong link to the outside environment.

Illustration 25: Perception of spaces and boundaries [designboom | architecture & design magazine, (2013). ]

To Farnsworth, this is an act of transgression as she prefers to inhabit a space which leaves her entirely subjected to the outer surroundings. In connection to understanding the relation of the body to the space, the house of Mies van der Rohe functions as a good example of contemporary architecture as it reflects the modernistic idea of connecting the indoor spaces to the natural environment thereby contributing to its uniqueness. Hence the use of a transparent solid boundary, in this case the glass wall serves as a permeable surface granting access to the outdoors. The academic paper ‘Perception of Space, Susan, H. (2015) articulates the idea of modernistic interior architecture today communicating a sense of openness through its open plans and layouts, thereby transgressing onto an impression which defies the standard norm of four walls. Acquiring a direct visual connection to the outside has become a new trend which is not seen as uncommon today.

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6.3 TRANSGRESSION IN RELATION TO PUBLIC AND PRIVATE PROPERTIES The notion of transgression is not only limited to the association of the body and space, but it also can be perceived upon the realms of public and private properties. Using a space without invoking ownership claims Ehrenfeucht, R. (2014). The following argument works in favor of the owner of the boundary as well as the individual who uses the space in order to make a strong statement which abides by the act of transgression.

Illustration 26: Perception of spaces and boundaries [Architecture And Design, (2015). ]

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6.4 PERCEPTION OF SPACE AND STREET CULTURE Crossing over to the concept of street culture it can be noted that streets in a precise sense correlates to the outdoors. Cobblestone pathways, murky surroundings, galvanized steel and metallic surfaces and exposed brick walls give a sense of rawness to the space. Understanding the concept of boundaries is vital in order to relate to the outdoors as perhaps establishing a platform which prospers in its street culture would be meaningless if it’s completely defined by structural and solid boundaries. The example of Rua Augusta is better apprehended when it is perceived to be envisaged as the streets itself being an enormous playground, with the structures acting as the transgressional boundaries which inhabits talents, learners, observers and spectator. The open air gallery displaying video guerilla serves to disregard the norms of art being confined to the traditional for walls and takes the innovative idea of visual culture onto a whole new level.

Keeping the above arguments in mind. A conclusion can be drawn upon the perception of using authentic design principles which would combine the amalgamation of outdoors within the indoors. This authenticity would be defined by the direct and strong links which would help preserve and retain its unique essence; in this case the concepts of the streets. The following would thereby contribute to the “relationship between the body and space, and the way in which accepted relationships between the two might be transgressed, or understood through transgression” Sara, R. and Littlefield, D. (2014). Illustration 27: Perception of spaces and boundaries [Bustler, (2013).]

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Illustration 28: Spaces connecting the outdoor environment [Bustler, (2013).]

This section of the essay focuses on the case studies which pertain to the assimilation of outdoor elements within the boundaries of indoor spaces. Devising a connection between the two is important in order to rationalize the arguments which have been looked upon in the previous chapters. Educing a sense of genuineness is essential when it comes to the amalgamation of street culture within the indoor environment. It is vital that the essence of the culture remains highly intact. This can be accomplished either by formulating design principals which focus of initiating an indoor outdoor feel to the space or creating a space which would preserve the essence of its ingenuity. The subsequent results would be forming a direct connection which portrays a sense of legitimacy to the overall experience of the space.

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7.1 POP STAGE WATT The Pop stage WATT, a night club located at Rotterdam Netherlands. It is a sustainable space which replicates the essence of the street life in Rotterdam. It is considered to be â&#x20AC;&#x153;a mini city in itselfâ&#x20AC;? Pop stage WATT. (2015). with each room having its own exclusive atmosphere to it. This has been attained through use of unique materiality which is distinctive to each space. The layout of the space invokes the concept of the streets. The fundamental appeal is the entrance which gives a direct visual connection to all-inclusive activities undertaken within space Pop stage WATT. (2015). Illustration 29: Pop Stage WATT [Energy Floors, (2015). ]

A gradient of vibrant colorful lights up the walls conveying a street atmosphere to the space. Materials such as galvanized steel has been used on the railings and ramps which acts as the circulation to the first floor. The space also comprises of an open courtyard which allows the users to enjoy the open air. Due to this, a direct visual connection is devised. The aforementioned can be regarded as an undeviating example to the reproduction of streets within an indoor environment by making sure that the entirety of the atmosphere is attributable to the concept of street life. The materials used within the space along with the idea of linking the space to the outdoor courtyard compliments the notion of transgressing to the outdoor environment.

Illustration 30 & 31: Pop Stage WATT [KOSSMANN.DEJONG, (2015). ] Street Culture: An Assimilation of Indoor and Outdoor Spaces

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7.2 STUDIO 13 The following project elucidates the thought of bringing of excitement, vibrancy and vitality to the dull workplace environment by use of graffiti on its entry point so that the users of the space who pass by look upon the art and feel a sense of calm. The interior also has been designed in a manner which uses cost effective materials inspired by the streets Krzykowski, M. (2008). Its polished concrete slab, perforated surfaces, galvanized steel roofs which are exposed interposes to the rawness of the space. The generic layout helps to correlate to the space as it communicates an outdoor feel.

Illustration 32, 33, 34 : Studio 13 [Dezeen, (2008).]

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The museum of street culture 508 Park Avenue downtown speaks of the eradication of homelessness within the city of Dallas, by the means of providing a space which would serve as a timeline for the creative people who have funded the street life of Dallas. This ranges from jazz musicians, street artists and street performers.

Illustration 37 : Museum of street culture 508 park ave. [Wilonsky, R. (2015).]

Wilonsky, R. (2015). The new interior of the space looks to renovate and convert one of the oldest buildings in Texas into a museum with appropriate workshops. The interior has an old grunge industrial look to it; with exposed ceiling, and brick walls. The modernistic aspect has been depicted through the means of innovative technology and the activities each space provides. Though the space contains closed off boundaries, the experience of the space can been assessed to be one of the old streets of Dallas with its materiality and the innovative modernized technology.

Illustration 35 & 36 : Museum of street culture 508 park ave. [Wilonsky, R. (2015).]

7.3 MUSUEM OF STREET CULTURE

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Illustration 38 : TU Delft, NL [Davidâ&#x20AC;&#x2122;s UW Travel Research Journal Summer 2013, (2015).]

7.4 THE DELF UNIVERSITY, NL Street culture has had a major crossover to the interior industry especial when it comes to maintaining its experience. The Delft University in the Netherlands is one such example where the partly burnt down building has been renovated and refurbished. The theme of the space has close associations to the street with its use of asphalt Illustration 39: TU Delft, NL [Davidâ&#x20AC;&#x2122;s UW Travel Research Journal Summer 2013, (2015).]

flooring and street typology within the interior environment Bk City Guide. (2013). The intentional scars left on by the old run down walls have been retained. . This, in a rhetorical sense relates to the old streets and alleys of the Netherlands which have been worn out and deteriorated out over the years. The raw and unfinished nature of the space was meant to convey a sense of impermanence and creative stimulation to the inhabiting students. Providing a close link to the notion of space and time, where the experience of the space is retained through the theme which initiates a feeling of nostalgia to the old street life of Netherlands linking closely with the old and the new.

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Illustration 40 : Andaz Liverpool street hotel [Condé Nast Traveler, (2014). ] Illustration 41 : The Alexander [Condé Nast Traveler, (2014). ] Illustration 42 : The Baltazar hotel [Condé Nast Traveler, (2014). ] Illustration 43 : SLS South Beach [Condé Nast Traveler, (2014). ]

7.5 MISCELLANEOUS STUDIES

Illustration 44 : SLS Las Vegas [Condé Nast Traveler, (2014). ] Illustration 45 : Radison Blu Basement parking [Condé Nast Traveler, (2014). ]

The Andaz Liverpool Street Hotel, The Alexander collaborating with the Indianapolis Museum of art, the Baltazar Hotel using prominent works of Banksy, SLS South Beach displaying works of famous street artist RETNA on the column structures of their hotel, SLS Las Vegas with its club life showing off the calligraphy art of Tarek Benaoum, Radison blu Hotel Pudong Century park taking advantage of the basement parking facilities with the help of street artist Paul Conquerel are some of the other few examples that promote the use of street art within an interior environment by using elements of street culture within its interior space calling for a dominant crossover between the realm of interior design and street culture.

The aforementioned studies prove that when it comes to the assimilation of street culture indoors, a legitimate outdoor environment is not always necessary, but the main impression is to retain what the culture it denotes. From the readings above we notice that this can be accomplished by affixing elements which intensely induce the street feel to an environment. However, it cannot be denied that the notion of linking the outdoor and the indoor should not be entirely ignored, rather it should go hand in hand.

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Understanding the theme of street culture is an intense study. Relating it to an interior space is considered to be challenging but not impossible. The arguments in this essay looks upon understands the principles and the design strategies undertaken in order to convey the essence of street life by altering our perception. The analysis drawn, understands space and the atmosphere it can portray which is highly subjective. It seeks to understand the functionality aspect which is key factor as wells as answers the underlying question whether the concept of â&#x20AC;&#x2DC;the streetsâ&#x20AC;&#x2122; can be imposed within a boundary and at the same time preserve its natural environment. This theory seeks to benefit a topic which opens up endless possibilities in design concerning the perception of space and how we understand it. Aspects of the street culture is seen to be a normative experience which is protected and cannot be inextricable from the urban life itself Lamazares, A. (2014). But the perception of space can be altered with the use significant materiality as the key to inducing a street notion. Boundaries can act as a permeable link between the notion of the indoors and the outdoor. This permeable link can be such that it negates the idea that street culture cannot function indoors. However, considering the situation from a design viewpoint and the above analyzed examples it can be stated that there can be two ways to tackle the issue at hand. One, would be to create an environment which integrates elements of street culture within the interior environment by retaining its essence. And the other would be to assimilate the interior environment to outdoors with the help of appropriate design strategies which would subsequently create a perception of being outdoors whilst being within an interior boundary. In the UAE, since it is unwise to prompt outdoor activities unless confined to the indoor environment due to the severe heat conditions, the above arguments can be proposed as a probable solution. Illustration 46: Transgressive spaves Research Journal Summer [Arch2o.com, (2014).]

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9.1 JOURNAL ARTICLES Karabanow, J. (2006). Becoming a Street Kid. Journal of Human Behavior in the Social Environment, 13(2), pp.49-72. Susan, H. (2015). The concept of Transgression. Transgression Ehrenfeucht R. (2014). Art, public spaces, and private property along the streets of New Orleans. Urban Geography, 35(7), pp.965-979. Lynch, Kevin (1981). A theory of good city form. Cambridge, MA: MIT Press. Austin, Joe (2010). More to see than a canvas in a white cube: For an art in the streets. City, 14(1), 33–47. Lamazares, A. (2014). Exploring São Paulo’s Visual Culture: Encounters with Art and Street Culture along Augusta Street. Visual Resources, 30(4), pp.319-335. Green, D. (1998). Hidden Lives: Voices of Children in Latin America and the Caribbean. Toronto: Between the Lines Visano, L. (1990). The Socialization of Street Children: The Development and Transformation of Identities. Sociological Studies of Child Development, 3, 139-161. Zadeh, F. and Sulaiman, A. (2010). Dynamic street environment. Local Environment, 15(5), pp.433-452. Sara, R. and Littlefield, D. (2014). Transgression: Body and Space Rachel. Architecture and Culture, 2(3), pp.295-304. Wendl, N. (2014). Life in a Glass House: An Architectural Projection. Architecture and Culture, 2(3), pp.317-336

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9.2 NEWSPAPER ARTICLES Aldersley, J. (2014). Out in the open: street art back on Dubai’s artistic agenda. The National. [online] Available at: http://www.thenational.ae/arts-lifestyle/art/out-in-the-open-street-art-back-on-dubais-artistic-agenda [Accessed 29 Nov. 2015]. HUW DAVIES, G. (2015). Golden, gaudy and glorious: Dubai has the world’s tallest building and biggest airport ... is it about to overtake London as the most visited city?. Mail Online. [online] Available at: http://www.dailymail.co.uk/travel/article-2733920/Dubai-world-s-tallest-building-biggest-airportsoon-overtake-London-visited-city.html [Accessed 29 Nov. 2015]. Jones, K. (2013). Graffiti in the UAE: the street art culture rises. The National. [online] Available at: http://www.thenational.ae/arts-culture/art/graffitiin-the-uae-the-street-art-culture-rises [Accessed 30 Nov. 2015]. Hellyer, P. (2014). The writing is on the wall for Fujairah’s graffiti artists. The National. [online] Available at: http://www.thenational.ae/thenationalconversation/comment/the-writing-is-on-the-wall-for-fujairahs-graffiti-artists [Accessed 30 Nov. 2015]. Croucher, M. (2015). Dubai street artists hope to brighten up dusty streets of Al Quoz. The National. [online] Available at: http://www.thenational.ae/ news/uae-news/dubai-street-artists-hope-to-brighten-up-dusty-streets-of-al-quoz [Accessed 30 Nov. 2015]. Lord, C. (2015). One artist is altering the Dubai street scene. The National. [online] Available at: http://www.thenational.ae/arts-culture/art/one-artistis-altering-the-dubai-street-scene [Accessed 30 Nov. 2015].

9.3 BLOGS AND WEBSITES Acosta, R. (2011). Street Art – Analog Free Culture. [online] Arttechlaw.com. Available at: http://arttechlaw.com/street-art-analog-free-culture [Accessed 30 Nov. 2015]. Anthropologist, T. (2015). Defining Street Culture?. [Blog] The Narcissistic Anthropologist. Available at: http://thenarcissisticanthropologist. com/2012/09/11/defining-street-culture/ [Accessed 30 Nov. 2015]. Dollarchitecture.com, (2015). döll - atelier voor bouwkunst. [online] Available at: http://www.dollarchitecture.com/ [Accessed 1 Dec. 2015].

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9.4 CASE STUDIES Pop stage WATT. (2015). 1st ed. [ebook] Rotterdam, NL: Kossmann Dejong Exhibition Architects, pp.1-3. Available at: http://www.dollarchitecture. com/flash/_tekst/en/werk/projecten/D384-2%20WATT_en%20mail.pdf [Accessed 1 Dec. 2015]. Krzykowski, M. (2008). Studio 13 by Street & Garden Furniture Co.. [online] Dezeen. Available at: http://www.dezeen.com/2008/09/08/studio-13-bydesign-studio-sg/ [Accessed 1 Dec. 2015]. Bk City Guide. (2013). 1st ed. [ebook] Delft, NL: Faculty of Architecture and the Built Environment, pp.1-26. Available at: http://www.bk.tudelft.nl/ fileadmin/Faculteit/BK/Actueel/Persinformatie/The_Making_of_BK_City/doc/Bguide.pdf [Accessed 1 Dec. 2015]. Wilonsky, R. (2015). Sneak peek at the Museum of Street Culture inside historic 508 Park Ave. downtown. [online] The Scoop Blog. Available at: http://thescoopblog.dallasnews.com/2015/05/sneak-peek-at-the-museum-of-street-culture-inside-historic-508-park-ave-downtown.html/ [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/6 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/5 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/3 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/2 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/1 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/ galleries/2014-08-05/13-street-art-inspired-hotels/4 [Accessed 1 Dec. 2015]. Street Culture: An Assimilation of Indoor and Outdoor Spaces 32 | HWU

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Ncousla, (2008). MELBOURNE - FEB 9: Street art by unidentified artist. Melbourne’s graffiti management plan recognises the importance of street art in a vibrant urban culture - February 9, 2008 in Melbourne, Australia. [image] Available at: http://depositphotos.com/30281987/stock-photomelbourne-feb-9-street.html [Accessed 1 Dec. 2015]. Peripheral studios, (2015). Photography - Rome Study Abroad (The Underground). [online] Available at: http://st.depositphotos. com/1016498/3028/i/950/depositphotos_30281987-MELBOURNE---FEB-9-Street-art-by-unidentified-artist.-Melbournes-graffiti-management-planrecognises-the-importance-of-street-art-in-a-vibrant-urban-culture.jpg [Accessed 1 Dec. 2015]. REPÚBLICA UPDATE, (2015). BEN FRANKE’S PARKOUR PHOTOGRAPHY. [online] Available at: http://republicaupdate.com/2013/02/ben-frankesparkour-photography.html [Accessed 1 Dec. 2015]. Wallarthd.com, (2015). Crazy BMX Trick Freestyle Wallpaper High Defin #8755 Wallpaper | High Resolution Wallarthd.com. [online] Available at: http://wallarthd.com/imagepics/crazy-bmx-trick-freestyle-wallpaper-high-definition.html [Accessed 1 Dec. 2015]. ePHOTOzine, (2013). I AM A Nikon Street Photographer - Freestyle Football. [image] Available at: https://www.ephotozine.com/article/i-am-a-nikonstreet-photographer---freestyle-football-23105 [Accessed 1 Dec. 2015]. Ncousla, (2008). MELBOURNE - FEB 9: Street art by unidentified artist. Melbourne’s graffiti management plan recognises the importance of street art in a vibrant urban culture - February 9, 2008 in Melbourne, Australia. [image] Available at: http://depositphotos.com/30281987/stock-photomelbourne-feb-9-street.html [Accessed 1 Dec. 2015]. Peripheral studios, (2015). Photography - Rome Study Abroad (The Underground). [online] Available at: http://st.depositphotos. com/1016498/3028/i/950/depositphotos_30281987-MELBOURNE---FEB-9-Street-art-by-unidentified-artist.-Melbournes-graffiti-management-planrecognises-the-importance-of-street-art-in-a-vibrant-urban-culture.jpg [Accessed 1 Dec. 2015].

10. ILLUSTRATION REFERENCE Street Culture: An Assimilation of Indoor and Outdoor Spaces 33 | HWU

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REPÚBLICA UPDATE, (2015). BEN FRANKE’S PARKOUR PHOTOGRAPHY. [online] Available at: http://republicaupdate.com/2013/02/ben-frankesparkour-photography.html [Accessed 1 Dec. 2015]. Wallarthd.com, (2015). Crazy BMX Trick Freestyle Wallpaper High Defin #8755 Wallpaper | High Resolution Wallarthd.com. [online] Available at: http://wallarthd.com/imagepics/crazy-bmx-trick-freestyle-wallpaper-high-definition.html [Accessed 1 Dec. 2015]. Archdaily.com, (2015). Farnsworth House | ArchDaily. [online] Available at: http://www.archdaily.com/tag/farnsworth-house [Accessed 1 Dec. 2015]. Smyk, B. (2015). Adventures in Art: The NOLA Street Art Tour. [online] NOLA.com. Available at: http://www.nola.com/nolavie/index.ssf/2011/07/ adventures_in_art_the_nola_str.html [Accessed 1 Dec. 2015]. Menkman, R. (2015). Timeframe | Brazil | NIMk. [online] Nimk.nl. Available at: http://nimk.nl/blog/timeframe/category/brazil/ [Accessed 1 Dec. 2015]. Undo.copypaste.ch, (2010). Black and white are also Autumn’s colors | undo.copypaste.ch. [online] Available at: http://undo.copypaste.ch/urban/ black-and-white-are-also-autumns-colors [Accessed 1 Dec. 2015]. Release, P. (2009). Woodward Launches Digital Skateboarding Photography Camp | Transworld Business. [online] Transworld Business. Available at: http://business.transworld.net/press-releases/woodward-launches-digital-skateboarding-photography-camp/#thvyhX5oRtt11QkR.97 [Accessed 1 Dec. 2015]. Trekearth.com, (2015). Abu Dhabi. [online] Available at: http://www.trekearth.com/gallery/Middle_East/United_Arab_Emirates/West/Abu_Dhabi/ Abu_Dhabi/photo1444793.htm [Accessed 1 Dec. 2015]. Lodown Magazine, (2014). ARCADIA BLANK. [online] Available at: http://lodownmagazine.com/features/arcadia-blank [Accessed 1 Dec. 2015].

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Coughlin, L. (2014). Skateparks in Dubai - top five - Whatâ&#x20AC;&#x2122;s On. [online] Whatâ&#x20AC;&#x2122;s On Dubai. Available at: http://whatson.ae/dubai/knowledge/14830/ skateparks-in-dubai-top-five/#gallery-3 [Accessed 1 Dec. 2015]. Visscher, D. (2015). A couple of kids take a joy ride on their scooter through the streets.... [online] Getty Images. Available at: http://www. gettyimages.ae/detail/photo/couple-of-kids-take-a-joy-ride-on-their-high-res-stock-photography/143753020 [Accessed 2 Dec. 2015]. Mathew, J. (2015). Jebin Mathew - Cover Photos | Facebook. [online] Facebook.com. Available at: https://www.facebook.com/photo. php?fbid=10150433780737513&set=a.10150426399432513.352765.541762512&type=3&theater [Accessed 2 Dec. 2015]. Jebin Mathew, (2015). Bboy in action. [image]. Jebin Mathew, (2015). Bboy in action. [image]. Mathew, J. (2015). Jebin Mathew - Profile Pictures | Facebook. [online] Facebook.com. Available at: https://www.facebook.com/photo. php?fbid=10152468689452513&set=a.448117182512.215814.541762512&type=3&theater [Accessed 2 Dec. 2015]. Jebin Mathew, (2015). Bboy in action. [image]. Architektt.com, (2015). Columbia University Medical Building I Diller Scofidio + Renfro | architektT. [online] Available at: http://architektt.com/ columbia-university-medical-building-i-diller-scofidio-renfro/ [Accessed 2 Dec. 2015]. designboom | architecture & design magazine, (2013). OMA, BIG + ole scheeren make final cut for axel springer HQ. [online] Available at: http:// www.designboom.com/architecture/oma-big-ole-scheeren-make-final-cut-for-axel-springer-hq-12-17-2013/ [Accessed 2 Dec. 2015]. Architecture And Design, (2015). Technology: Possibilities flow with permeable paving | Architecture And Design. [online] Available at: http://www. architectureanddesign.com.au/features/product-in-focus/possibilities-flow-with-permeable-paving [Accessed 2 Dec. 2015].

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Bustler, (2013). BIG’s proposal for the new Axel Springer HQ in Berlin. [online] Available at: http://www.bustler.net/index.php/article/big_among_ three_winners_for_axel_springer_media_campus/ [Accessed 2 Dec. 2015]. Bustler, (2013). BIG’s proposal for the new Axel Springer HQ in Berlin. [online] Available at: http://www.bustler.net/index.php/article/big_among_ three_winners_for_axel_springer_media_campus/ [Accessed 2 Dec. 2015]. Energy Floors, (2015). CLUB WATT. [online] Available at: http://www.energy-floors.com/projects/club_watt_ [Accessed 2 Dec. 2015]. KOSSMANN.DEJONG, (2015). pop-stage WATT - KOSSMANN.DEJONG. [online] Available at: http://www.kossmanndejong.nl/en/project/poppodiumwatt/ [Accessed 2 Dec. 2015]. KOSSMANN.DEJONG, (2015). pop-stage WATT - KOSSMANN.DEJONG. [online] Available at: http://www.kossmanndejong.nl/en/project/poppodiumwatt/ [Accessed 2 Dec. 2015]. Dezeen, (2008). Studio 13 by Street & Garden Furniture Co.. [online] Available at: http://www.dezeen.com/2008/09/08/studio-13-by-design-studiosg/ [Accessed 2 Dec. 2015]. Dezeen, (2008). Studio 13 by Street & Garden Furniture Co.. [online] Available at: http://www.dezeen.com/2008/09/08/studio-13-by-design-studiosg/ [Accessed 2 Dec. 2015]. Dezeen, (2008). Studio 13 by Street & Garden Furniture Co.. [online] Available at: http://www.dezeen.com/2008/09/08/studio-13-by-design-studiosg/ [Accessed 2 Dec. 2015]. Wilonsky, R. (2015). Sneak peek at the Museum of Street Culture inside historic 508 Park Ave. downtown. [online] The Scoop Blog. Available at: http://thescoopblog.dallasnews.com/2015/05/sneak-peek-at-the-museum-of-street-culture-inside-historic-508-park-ave-downtown.html/ [Accessed 2 Dec. 2015].

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Wilonsky, R. (2015). Sneak peek at the Museum of Street Culture inside historic 508 Park Ave. downtown. [online] The Scoop Blog. Available at: http://thescoopblog.dallasnews.com/2015/05/sneak-peek-at-the-museum-of-street-culture-inside-historic-508-park-ave-downtown.html/ [Accessed 2 Dec. 2015]. Wilonsky, R. (2015). Sneak peek at the Museum of Street Culture inside historic 508 Park Ave. downtown. [online] The Scoop Blog. Available at: http://thescoopblog.dallasnews.com/2015/05/sneak-peek-at-the-museum-of-street-culture-inside-historic-508-park-ave-downtown.html/ [Accessed 2 Dec. 2015]. David’s UW Travel Research Journal Summer 2013, (2015). Delft. [online] Available at: http://davidblum.weebly.com/delft.html [Accessed 2 Dec. 2015]. David’s UW Travel Research Journal Summer 2013, (2015). Delft. [online] Available at: http://davidblum.weebly.com/delft.html [Accessed 2 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/1 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/2 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/3 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/4 [Accessed 1 Dec. 2015].

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Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/5 [Accessed 1 Dec. 2015]. Condé Nast Traveler, (2014). Street Art Goes Off the Streets, Into Hotels. [online] Available at: http://www.cntraveler.com/galleries/2014-08-05/13street-art-inspired-hotels/6 [Accessed 1 Dec. 2015]. Arch2o.com, (2014). Eckwerk | Kleihues + Kleihues und Graft. [online] Available at: http://www.arch2o.com/wp-content/uploads/2015/06/Arch2OECKWERK-KLEIHUES-KLEIHUES-UND-GRAFT-05.jpg [Accessed 2 Dec. 2015]. Mathew, J. (2015). Jebin Mathew - Cover Photos | Facebook. [online] Facebook.com. Available at: https://www.facebook.com/photo. php?fbid=10150433780737513&set=a.10150426399432513.352765.541762512&type=3&theater [Accessed 2 Dec. 2015].

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MARYAM Q. | H00138579 | E10CE

11.1 UNDERSTANDING STREET CULTURE; B-BOY JEBIN MATHEW

When did you start dancing? - I had an affinity for dancing since I was 10 years of age Who was your inspiration to dancing? - It was Michael Jackson I have briefly mentioned to you about the reasons for this interview with regards to creating a platform for people who thrive in street culture. What is your opinion on the topic? - I think it’s a really good idea what you have planned out. Street culture here in Dubai is almost close to non-existent. People who thrive, when it comes to B-boying especially, they do not receive the exposure they deserve, they are not scouted. To add on, this is not the case in other countries as they are recognized and trained as per their talent thereby giving them the spotlight they deserve. What is the style of dance they you personally deserve? - Personally I specialize in Popping and locking. This includes robotic moves, waving and tutting. It’s funky and it’s my specialty. Do you dance in teams or do you have your own team? Well, both actually. There are many ways you can work upon street dance. Some indulge in it to better their skills where as some do it to get scouted or perform to the public. In order to move forward as a crew you need choreographers. They can train you on a professional level. The normal hiring process involved when it comes to hiring a dancer would be to ask them to perform moves or routines which they are good at. This differs from street dancing as in street dancing you mostly come across ‘Breaking and dancing’ this is termed as a ‘Cypher’.

11. APPENDIX 39 | HWU

A cypher is a circle which the dance crew create and each member walks into the circle which acts as an invisible boundary and performs. This leads to unconsciously getting involved in dance battles. The drawback is that you can’t cypher in front of a client you need to perform with a crew as a group dance. It is always good to practice a few sets which you are good at. Also, no matter how good you are individually you need to know how to dance with a crew in groups. It’s all about the team work. People competing in crews is a common sight out on the streets. Where do you as a group go for practice? - We mostly outdoors as you need to use to the hard flooring. B-boying involves a lot of falling and sliding, so as a street dancer you need to get used to the hard surface first. Plus the streets have an aura of its own which gets us riled up and pumped up providing us with the motivation we need. Are there any spots in specific which you use to go to for practicing? - One of my favorite places to practice is an old building which has been paused on construction. It is located next to the Sharjah shooting range. It’s an empty ground with hard cement and polished flooring. Another place which I use is are the high rise towers which are under hibernation in Ajman. Being in such places truly does give us a sense of belonging, a sense of place to the streets. They are home to for people like us. Have you ever experienced problems when you practice at such locations? - Well many a times it cannot be avoided. Sometimes it’s easy to gain access

Street Culture: An Assimilation of Indoor and Outdoor Spaces MARYAM Q. | H00138579 | E10CE

from the security who works there and they are quite friendly to us. Whereas sometimes we have the tenants complaining of randomers using the space causing a ruckus due to the sound of music. Some of these tenants are quite supportive of us dancing and they see it as a form of entertainment. They come and watch us dance. This gives a boost to our performance and we get to up it a notch. Such motivation sometimes helps keep us going. Would you prefer an indoor studio over the streets? - Definitely the streets. It provides inspiration to our routines. There’s something about this unfinished atmosphere and also it’s because it was where we first began sharing our jam and moves. If you are looking to practice sometimes indoors is preferable. And if you are b-boying definitely the streets because it is then that you get the real feel of dancing. Personally I have performed many times on the streets with my crew. For instance, when I was volunteering for Autodrome there are dances which are performed to keep the public entertained. We ended up with bruises but we are used to that. The thrill is involved when you know there are crowds of people watching you, cheering you on for what you love doing, you don’t feel the pain of being hurt instead you just want to keep going. You only realize that you are hurt once the show is over and the crowd has calmed down. Do you mind practicing in a studio or an indoor evironment? - I wouldn’t say I mind because I have done both. I have practiced in a studio and sometimes it doesn’t meet the requirement we seek. It always lacks in a way or another. For instance, sometimes you get good flooring but the other times you don’t get good mirrors and vice versa. My idea of a good studio would be to have good flooring and mirrors definitely. Aside from that it also needs

to have good stretching equipment’s. This is because there is a lot of flexing involved in bboying, so you need to have a good warm up and stretching is one way to start. Sometimes bars and poles do the trick when it comes to stretching. Are there any events and competitions where you guys get to compete? - Yes definitely, there is Battle of the year and Redbull BC One. They are major sponsors of stuff like this. Battle of the year mainly focuses on crew battles. You have your own crew right? - I am a part of the Decathalon Crew. But even as a group we face many conflicts such as coming to an understanding when it comes to deciding on practice times or locations. And I do perform solo as well aside from dancing with my crew. On another note, there are a lot of people who are into bboying but unfortunately they do not have a platform to actually perform or practice so the project which you are planning would make a huge difference to the youth and adults alike who are being raised here in the UAE. The streets have been associated with negativity too mostly aside from the positives. Creating a space which thrives in street culture is bound to bring up people who create strife as well. Would this be applicable to the field of dance as well? - If you look at it that way anything for that matter would have its pros and cons. And anything you do would also have its negatives aside from the positives. There is bound to be quarrels and fights but that doesn’t mean you

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MARYAM Q. | H00138579 | E10CE

stop doing things because of that. Precautionary measures can be taken for the containment of such issues. Do you think bringing this whole ideas of the streets indoors would defeat its purpose? - Not really. If you look at it the streets always has people doing graffiti in one side and people skate boarding and then there is this side for people like us who dance. Having different activities makes us inspired, if you look at it many of the graffiti artists are also bboying dancers and they are really creative people. And it goes side by side in terms of dance and art. Creative dancers are usually interested in art it helps them come up with routines and new styles. Sometimes bboys who come from abroad get stuck here on work visas. They donâ&#x20AC;&#x2122;t have knowledge about the bboys here in UAE. They would either have to spend time on google researching to find such groups. To add on, they lack the proper platform which can be used to spread their knowledge and know how. And I really think this whole project would contribute to them greatly. Because it would create a platform where such people can come to and interact especially in the dancing community

Illustration 47: B-boy Jebin Mathew [Mathew, J. (2015).]

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MARYAM Q. | H00138579 | E10CE

11.2 QUESTIONNAIRE

Are you interested in street cultural activities ? YES

If yes, which of the following activities are you interested in ? STREET ART PARKOUR

Do you think UAE promotes such activies ? YES

NOT SURE

Do you think it is credible to have a unified platform which promotes street cultural activies ? YES

NOT SURE

FREE STYLE BMX FREE STYLE FOOTBALL FREE STYLE BASKET BALL STREET DANCE SKATEBOARDING

Street Culture is associated with being ‘outdoors’, if the essence of street culture is incorporated into a semi indoor / outdoor space would it defeat its purpose ? YES

STREET MUSIC OTHERS

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MARYAM Q. | H00138579 | E10CE

NOT SURE