128 THE BUILDING CONSERVATION DIRECTORY 2025 CATHEDRAL COMMUNICATIONS OLD BUILDINGS, NEW GRAFFITI JAMIE FAIRCHILD GRAFFITI IS a graphic communication undertaken by painting, scratching or marking of a substrate illicitly – that is to say, without the owner or guardian’s permission. Under UK statute this falls within the definition of criminal damage, sanctionable by fines or even imprisonment. In the case of a listed building, graffiti removal is dealt with procedurally as it would be for any alteration, since the removal process itself also risks damaging the building or changing its appearance. Listed building consent (LBC) may be required for the work so clarification should therefore be sought from the planning department of the local authority before removal. Marks made long ago by visitors or occupants may be classed as graffiti, but the passage of time may give them historic significance, particularly in context with the history and purpose of the structure: this might be a name, initials, date or even a sketch or piece of verse. Similarly, painted historic signage and advertising will often warrant protection, as will craftsmen’s marks made during construction. These are found on building stones and timber from earliest times and often served a practical purpose. As with other forms of vandalism, graffiti is associated with neglect, and with poorly maintained or abandoned structures in particular. However, this perception has evolved with the rise of mural painting and street art, and some graffiti has transitioned in status to that of public art and cultural asset. Applying graffiti, especially to historic buildings and memorials, remains a strong taboo in society at large. Recent protest graffiti has seen many high profile public and corporate listed buildings targeted where the notoriety generated is perceived by the perpetrators as augmentation. Whatever the merit of a message, a pertinent concern is that the publicity given to such events risks repetition, or the triggering of copycat behaviour. Tagging, the repetitive use of a stylised signature by an individual or group for ‘territory marking’ is perhaps the graffiti with which we are most familiar. Painted hand or footprints might be described as examples of prank graffiti. Clearly, graffiti is a fertile area for sociological and psychological study. APPLICATION METHOD AND MEDIUM Pre-planned graffiti will normally be with automotive or ‘craft’ aerosol spraypaint, but a marker pen is more likely to be used spontaneously. Recent protest graffiti has seen the use of modified fire extinguishers and even a fire engine, where the fire retardant has been replaced with a waterborne paint or dye. It is near impossible to produce a legible message or symbol in this way, but a lot of liquid is expelled quickly, the colour coordinated with other messaging. The choice of medium may simply come down to what most readily comes to hand, found unsecured in a shed or building site. Just occasionally a medium is chosen to be easier to remove. It might be assumed that all water-based media and food products fall into this category, Applying a softener gel to graffiti on a limewashed surface. Here, graffiti adhesion is quite poor. Limewash lost in the process would usually be renewed within the standard maintenance cycle. (All images: Jamie Fairchild)
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