Design Art Papers 2025 | No. 13

just a means of transmitting a predefined message, but also a transformative force that reshapes perception, provokes responses, and initiates a continuous dialogue. 2.1. Occupation and reclamation of space: discourses on control and property The physical action of creating art in a public space, whether legal or illegal, is in itself a powerful discourse on property, control, and the right to the city. Streets, walls, and urban furniture are, inherently, regulated spaces, and unauthorized artistic intervention represents a demonstration of the power of individuals to leave their visual mark in controlled environments. As philosopher and sociologist Henri Lefebvre argued, the „right to the city” [3] is not just a right to access urban space, but a right to modify and appropriate it, to actively participate in its creation. By the simple act of painting awall, the artist takes control, even temporarily, of a portion of the urban landscape, generating a tacit discourse on the contestation of authority and the democratization of access topublic space. It is a declaration that the city belongs not only to institutions or owners, but also to its citizens. In this context, the action of creating street art becomes a tactic by which citizens reclaim their right to transform „pre- defined” spaces and create newmeanings. This perspective underlines that the action of intervention is, fundamentally, a discourse on resistance and individual agency. The ephemerality ofmany street art works is another aspect that generates a profound discourse. Many works are created knowing they will be quickly erased, damaged, or covered. This action of creation destined for disappearance is a discourse on impermanence, on the transient nature of the city, and on the constant struggle for visibility. It underlines the fragility of the artistic act in the face of urban norms and cleanup crews. Paradoxically, it is this very ephemerality that can amplify the impact, transforming each encounter with thework into a unique andprecious experience. At the same time, the action of documentation (photography or filming) becomes crucial, generating a permanent discourse on an artwork that, physically, no longer exists, but which survives in collectivememory and digital archives. Furthermore, the action of visually revitalizing degraded areas through street art can generate a complex discourse on urban regeneration, and also on its consequences, such as gentrification. A gloomy area, transformed overnight by a vibrant mural, can become a point of cultural attraction. This artisticactionattractsattention,increasestheperceivedvalue of the area and, implicitly, can influence social and economic dynamics. Thus, street art is not just a reflection of change, but an active agent of it, and its aesthetic intervention action triggers a broad discourse on social transformation, real estate speculation, and the balance between development and the preservation of community identity. 2.2. Impact and reaction as a formof discourse: fromobservation to confrontation The action of creating a street artwork initiates a reaction fromthepublic: decodingand interpretation. This interaction is not passive; it generates amultitudeof discourses. Passers- by stop, discuss, take photos, post on social media, write articles – all of these are forms of discourse generated by the visual impact of the art. Theworkbecomesastartingpointforconversations,debates, and individual or collective reflections, demonstrating the powerof art tostimulatecritical thinkingandprovokediverse reactions. The act of creating art in the street can be a performance in itself, a performative action that generates a discourse on the artistic process, visibility, and risk-taking. Even if many artists prefer anonymity, the moment of creating the work – often in plain sight, in public – attracts attention and triggers a dialogue with passers-by or with authorities. This direct and public action underlines the artist's courage, determination, and commitment, transforming the creative process into an ad-hoc spectacle, which carries its own message on freedom of expression and the right to express one's vision in a shared space. NOTE / END NOTES [1] Will Ellsworth-Jones, Banksy: The Man Behind the Wall (Frances Lincoln Publishers Ltd, 2021), 73. [2] Michel de Certeau, The Practice of Everyday Life (University of California Press, 1984), 37-39. Design Applications. Biomimetics, MDPI, 23.08.2024 [3] Henri Lefebvre, The Right to the City (Blackwell Publishers, 1996), 154-158. Even the action of erasing or vandalizing street art is, in turn, a form of discourse. Whether it's the authorities cleaning a wall, or other artists intervening over an existing work, these actions represent a response, a counter-statement. The removal of a work can be an institutional discourse on control and public order, while the overlay of another work is an artistic discourse on dialogue, competition, or even a critique of the original work. These interactions create a dynamic cycle of action and reaction, where each visual intervention generates new layers of meaning and new dialogues in public space. Conclusions In conclusion, street art transcends the simple category of an artistic manifestation to become a complex socio- cultural phenomenon, strategically positioned at the intersection of discourse and action. As we have explored, its messages—whether critical, subversive, or purely aesthetic—are not simply placed in public space, but are generated and amplified by the physical act of intervention. Anonymity, ephemerality, the occupation of space, and evenpublic reactions (whetherof admirationor censorship) are not just attributes of street art, but intentional actions that fundamentally contribute to the discourse it carries. This continuous symbiosis between discourse and action transforms the urban space froma passive background into a dynamic visual agora. Street art remains a vital barometer of society, a space for resistance, reflection, and dialogue, a mirror of urban tensions and aspirations. Despite its growing commercialization and acceptance in certain contexts, its inherent ability to generate discourse through action, to provoke, and to re-signify the environment keeps it relevant as a transformative cultural and social force in the contemporary landscape. With every applied brushstroke or sprayed stencil, street art continues to write and rewrite the collective narrative of the city. 293 292 / / / / Caiete de Arte și Design / nr. 13 / 2025 / / / / Publicație a Centrului de Cercetare și Creație în Artele Decorative și Design / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /