The lack of emotional and imaginative perception of urbanized space, the negative impact of the anthropogenic urban environment on the psycho-emotional state of a person, prompts the search for alternative ways to organize the urban environment. European cities are facing the problems of the decline of some districts and are looking for quick and effective ways to promote the development of public life. Many countries are developing citizen experience by implementing strategies to improve the interaction of citizens with the city in various aspects - from the arrangement of comfortable pedestrian areas to the use of modern technologies in the urban environment [1]. In the Scandinavian countries, the related philosophy of hygge is widely used, aimed at creating a sense of happiness in everyday life, which also includes the organization of urban space. This philosophy is developed by David Sim in the concept of the “soft city,” according to which the environment can be truly comfortable for citizens through their interaction, which significantly improves the quality of life in the city. It draws inspiration from the tradition of human-centered planning and shows how creating human-friendly cities can stimulate socialization and engagement of residents in a common life. The key idea of a “soft city” is a change in the understanding of the environment, in which the needs of people, rather than the architectural form, come first. This philosophy is also reflected in the work of Ian and Ingrid Geil, who in the 1970s pioneered an interdisciplinary approach where human life was prioritized over architectural solutions.
Around the same time, a new urban trend emerged in Denmark, Dense-Low, which combined the technologies of industrial construction of apartment buildings with the typological features of individual houses. The projects of this movement changed the scale of development, creating village-like neighborhoods with individual dwellings with their own entrances and gardens, as well as common areas for socializing. These changes, along with pedestrian zones, bicycle paths, and environmental solutions, make the urban environment more comfortable, welcoming, and sociable [2].
The analysis of art forms of the late twentieth century revealed a global trend of their moving beyond the artistic infrastructure into the architectural and urban environment [3]. Artistic design differs from other types of design in its focus on art. This type of design was a response to the standardization of official architectural and urban projects in the mid-20th century. Such an alternative way of developing the environment expresses the individual approach to creating space and the creative freedom of the artist, promoting the rejection of stereotypes and the search for inspiration in avant-garde ideas and alternative concepts. Artistic design is defined as a complex process that combines artistic and architectural form-making in individual buildings, open and closed spaces, and the urban architectural environment as a whole to enhance the artistic and cultural value and integrity of the environment, and move to a new quality level [4]. Artistic design considers the architectural urban environment as a human-centered one that develops social interaction, aesthetic appearance of space, and a sense of belonging to the community, which positively affects the quality of life of citizens. The introduction of street art objects into the city space helps to reduce the negative impact of the anthropogenic urban environment on the psycho-emotional state of a person, forming an urban environment with components that have the properties of artworks.
Street art is a non-legalized form of contemporary art that interacts with the viewer, raising questions about contemporary art and the space in which it is placed. Representatives of street art transform the urban environment into an exhibition space, adding to the usual functions the artistic perception of the author's work and communication with the citizens. The effectiveness of street art as a modern artistic design trend is significant. It develops a number of concepts of the urban environment that reflect its characteristics and approaches to the creative process. The advantages of developing the urban environment through street art include such characteristics as polychromy, multidimensionality, meaningfulness, and emotionality [4]. Within the city, this artistic trend considers the use of various color combinations to create an aesthetic impression and convey certain emotions. Multidimensionality involves the use of different levels and spatial aspects to create the impression of depth and space in art projects. To achieve meaningfulness, strong ideas are used through symbolism, metaphors, and other means of communication, conveying a specific message in an artistic expression. Creating an emotional connection with citizens is ensured through the use of interactive elements that evoke emotions and impressions, as well as create a certain atmosphere of the environment.
The purpose of the article is to explore modern forms of streetart and their role in shaping the citizen experience in the city, which is focused on the needs and comfort of residents and increases the level of involvement of citizens in the community, urban change and the development of a human-centered environment.
The manifestations of street art, its integration into public spaces as part of everyday life, and the history of street art are explored by S. Mintz [5], as well as its role in transforming higher education, promoting accessibility, degree completion, and equity [6]. The difference between street art and graffiti, understanding the conceptual framework and art historical influence of street art as an art movement independent of graffiti, and its independent development is studied by L. Mancini [7]. U. Blanche [8], E. Dymna, M. Rutkevich [9], A. Shvartsman [10] have been engaged in research on street art in the urban environment, including possible locations of street art, related terms and phenomena. N. Shebek, V., Timokhin, Y. Tretiak [11] consider the sustainable development and harmonization of the architectural environment of cities, their artistic aspects. Di Stefano E. [12] formulates strategies for the artification of public space. A. Holovatyuk is engaged in related research [13], revealing the definitions of the concepts of “public public space of the city”, its “semantic architectural stereotypes” and “meme objects” through their interconnection, the history of formation, development and organization of public spaces of cities. Graffiti as a stage in the formation of street art was studied by L. McDowall, P. de Souza [14], and street art as a transformation of everyday life is considered in the study of V. Molnar [15]. The issues of evolution and typology of murals in the urban environment were studied by Abyzov V., O. Chuieva [16], M. Bakowska [17], Y. I. Kang Song, and J. A. Gammel [18]. Murals from the standpoint of cultural representation and identity were studied by L. Palermo [19], K. Moss [20] and J. Skinner, L. Jolliffe [21], as democratic art was considered by D. Conrad [22]. The visual aspects of murals, their role in the modern functioning of urban social movements and urban environment were considered by K. Jaklewicz [23], B. Rolston [24], M. Rutkiewicz [25], M. Balcerak and K. Stachowiak [26]. Similar studies are conducted by L. Maluga [27], B. Salij-Hofman [28], A. Smoczynska and J. Lapinski [29], who study murals in the process of forming public space through art. E. Mendelson-Schwartz, N. Mualam analyze the policy, practice, and regulation of murals in the city [30], J. Petri addresses the somatic aspects of murals in terms of urban participation [31]. The processes of festivalization of urban spaces have been studied by W. Cudny [32], R. Finkel, L. Platt [33], A. MacDonald [34], Van Aalst I., Van Melik R. [35]. L. McDowall, K. Budge [36], M. Kwon [37] consider street art and local identity, and options for combining them. D. Wiles in [38] studied the history of Western performance. R. Rushmore [39] studies augmented reality and digital spaces in public places, the impact of viral art on street art and graffiti. V. Praslova explores pop art, street art, public art and art design as modern trends in artistic design of architectural and urban environment [4].
The study of activating citizen experience through the introduction of streetart objects is based on systemic, historical and functional approaches. Some of the research methods used in the study include: the method of theoretical literature analysis, the method of statistical inference, the method of historical comparisons, the method of mixed qualitative and quantitative analysis, and the synthesis of data from open sources of information. The following methods were used to study the role of street art in the artistic design of a human-centered environment: urban planning, functional, planning, artistic, and conceptual. The urban planning method is applied at the stage of choosing the location of art objects, based on the consideration and further development of the historical context of the environment. In most cases, we are talking about a city with a high population density and significant flows of people. Art objects in such an environment reflect these features through the development of multifunctionality, which increases the comfort level of citizens. The functional method is used to determine the optimal set of functions and the relationships between them within the artistic design of public urban space. The planning method, which is based on the data obtained during the application of the functional method, makes it possible to detail the dimensions and adjust other parameters to identify the architectural features of art objects. The artistic method is used to create social contexts in the urban environment and tools that convey its cultural significance. The conceptual method is aimed at developing a general concept of the artistic organization of urban space, which systematizes and synthesizes all the methods used, namely: urban planning, functional, planning and artistic [40].
Street art has deep historical roots that date back to ancient times when people used walls and public spaces to communicate with society, often outside of official canons and institutions. In the 20th century, street art took on a new meaning, particularly after the emergence of graffiti in New York City in the 1970s, when artists began to use street spaces as platforms for self-expression. This art not only reflects social problems, but also acts as a form of protest and draws attention to political and cultural issues, turning into a multifaceted phenomenon that includes various forms of expression.
Graffiti and street art are two types of street art that differ in their features, functions, and location rules. Communities of these genres unite artists, promote mutual learning and support, and popularize street art as a form of self-expression. The classic forms of graffiti are bombing and tagging, and street art is murals. Graffiti is a subculture associated with the application of inscriptions and drawings on urban surfaces, mostly without permission, which causes controversy over its perception as art or vandalism. Graffiti artists use graffiti as a way of self-expression, but citizens often do not understand the motives and norms of this subculture, which leads to misunderstandings. Bombing is a form of graffiti that is considered to be the beginning of the history of street art.
Bombing is characterized by the rapid application of drawings in difficult conditions to leave a trace of one’s presence. It emphasizes speed, efficiency and the author’s unique style, with clear lines, uniform filling and a minimum number of movements. Tagging is a form of graffiti that consists of quickly applying simple signatures or symbols that identify the artist. Done with markers, it serves to establish a presence, reputation, or advertisement within a graffiti subculture. Tags can be unique and often incomprehensible to outsiders, creating exclusivity and preserving the anonymity of the author. Street art is an art form that evolved from graffiti, combining various styles and techniques such as stencils, collages, installations, and assemblages. More often than graffiti, it is being legalized, appearing at festivals, galleries, and museums, expanding its audience. Although its works are usually short-lived, street art claims to be a new form of aesthetics in contemporary art. Street art is an artistic design direction that uses architectural and urban spaces for creative expression and communication with a wide audience. Its goal is to provoke a reaction from the audience and draw attention to social, political, and cultural issues. The works placed on the streets of the city create a dialog between the artist and the citizens, adding creativity to everyday life and provoking reflection.
The world of street art unites many talented artists from different countries, each with a unique style. For example, Banksy (UK) creates provocative political works, Jean-Michel Basquiat (USA) started as a graffiti artist who later became known in galleries, Shepard Fairey (USA) is the author of works about power and protest, Blue (Italy) paints large murals and animated films, Alexander Fattahov (Portugal) uses carving techniques on walls, Space Invader creates mosaic aliens in the style of pixel graphics, Monsieur Henri draws cartoon character faces with an emotional accent, Zeus adds three-dimensional shadows on urban surfaces, integrating the works into the environment, Swan creates graphic images of people and nature, taking into account the texture of the walls, Mark Jenkins (USA) installs realistic human figures in public spaces that evoke emotions and reflections on society.
Street art has a significant impact on the organization of urban space, social interaction, and community life. It is able to transform buildings and spaces into art objects, unite the community, acting as a “bridge” between people of different social status, ages and cultures. It is a platform for expressing collective identity and building social cohesion that can engage local residents in cooperation, promoting communication and social cohesion. Street art often violates traditional notions of “high” and “low” art. It allows us to test new techniques, styles, technologies and concepts. For example, artists can use projectors to create virtual paintings or interactive installations that allow viewers to interact with the art in real time. Street art has the ability to attract tourists and create economic opportunities for cities. Places with famous murals or graffiti often become cultural tourism zones, which stimulates the local economy through tourism and also promotes the development of creative industries. Thus, street art is not only a way of artistic expression, but also an important tool for social, cultural, and urban change. It is able to create new opportunities for the integration of different social groups and contribute to improving the quality of life in urban areas.
One of the trends in street art is improvisation, which creates a general atmosphere of free art that can be felt and joined. It is based on personal intuition, creative process and experience, rather than using scientific approaches. Improvisation emphasizes feeling and spontaneity, allowing you to experiment and express yourself freely without being bound by theoretical justifications. It gives you freedom and responsibility for the result of your own work, allowing you to choose your own path in designing the environment. Street art intuitively makes extensive use of deviations from conventional forms, which to some extent is a tool for achieving a goal or performing an action. This makes it possible to explore new expressive forms, creating something unpredictable and unique, and promotes innovation and the creation of new cultural models in the field of architecture, design, and art.
Street art is legalization-oriented, claims to be a new form of aesthetics in contemporary art, and often appears in legal street art festivals, galleries, and museums. Street festivals are an important part of the modern urban landscape, allowing artists to express their creativity in public space and interact with a wide audience. Such official festivals aim to combat the natural phenomena that saturate the city streets by showing an alternative - street art, rarely held outside of cities due to the extremely large number of visitors. They are organized by public and charitable organizations and local authorities, individual activists, and socially responsible businesses. The use of the trend of communicativeness can be illustrated by the annual Ukrainian street art festival “Art-Vision” held on Vyacheslav Chornovil Avenue in Kolomyia, Ivano-Frankivsk region of Ukraine [41]. Urban planning aspect: locations with a large number of people. These can be popular tourist and commercial areas where a large number of people can engage in interaction. The volumetric and spatial aspect: dynamic events and actions take place within the festival. Performances are organized, happy hours are held, and the result is the creation of street art objects: murals, installations, social sculpture, art mobs. It brings together and interacts with street musicians, artists, painters, writers, handmade art, and photographers. Functional aspect: live music, master classes, photo exhibition, shadow theater, laser show, events by extraordinary personalities whose work does not fit into the usual framework. Content aspect: the mission of the festivals is to preserve the aesthetics of the historic part of cities, create a comfortable environment for citizens, and develop the cultural and spiritual consciousness of young people and the city.
Street art reflects the artist's meaningful statement, his or her desire to rethink reality or the inner world through creativity in public space. Street art draws attention to a certain problem, raises social, political or cultural issues, causing emotional interaction and interest of passers-by. The dialog in which the artist expresses himself, and passers-by perceive and respond to the statement, creates a special atmosphere and interaction between art and the viewer, becoming the basis of the trend of communicativeness. Street art really develops its own language of communication, with its own rules for providing new perspectives of development to the environment. It influences urban dynamics, brings elements of creativity into everyday life, and can become a source of inspiration for many people. Thus, street art has a form and always a content, which often coincide and complement each other, focusing on the citizens as a direct target audience. It expresses social, political and cultural messages, acting as a means of expression for local communities, protesting or supporting certain views and ideas.
A mural is one of the largest types of street art works, taking the form of a planar artwork placed on the urban surface. It has a clearly defined concept, theme or message. The peculiarity of murals is their large size and visibility, which makes them an important element of the public environment. Murals can reflect culture, history, social issues, and have artistic value for viewers. They contribute to the formation of local identity and add beauty and expressiveness to the city, turning it into an interesting and artistic environment for residents. Sometimes murals have a realistic subject matter, similar to classical frescoes, while other times they can be abstract, using symbols, shapes and colors to express an idea. This allows artists to communicate with the audience and influence the urban landscape, emphasizing important issues of society. A striking example is the murals of the famous artist Banksy, who confirmed seven of his works in Ukraine [4, 42]. Urban planning aspect: places to create works without public interference in the destroyed cities of Ukraine due to the Russian invasion, and at the same time locations that have the potential to impress the viewer. Volumetric-spatial aspect: large size and visibility of the planar images. Functional aspect: a tendency to realistic images or abstraction, the technique of classical murals combined with stickers, stencils, posters. Content aspect: an opportunity for artists to express their ideas and raise important issues for society. It is a theater of action, as cities are rebuilt in an effort to preserve unique works on partially destroyed surfaces. In this way, a unique thing happens: art stops reconstruction, and reconstruction can destroy art.
An important feature of street art, which has resulted in a separate artistic trend, is the compilation of elements, ideas, and methods from different disciplines to create new, innovative solutions. It involves cooperation and knowledge exchange between representatives of different specialties, allows you to go beyond traditional design limited to one specific field or methodology, and combine different approaches and knowledge to solve complex problems that require versatility. The authors of street art are inherent in the search for a new language that uses a variety of compositional, figurative, and constructive solutions borrowed from non-architectural design fields such as fashion, furniture, graphics, sculpture, etc. They are used to create unique compositions, unusual shapes, and interesting non-standard interactions between space and people. Thus, street art projects actively use rare visual tricks and unconventional solutions to define the boundaries of the architectural and urban space. It is a compilation of well-known images, an unusual combination of shapes and geometry, and the use of unexpected materials that allows expressing ideas and meeting the needs of citizens.
Installation comes from the English verb “to install”, which means to set up, place or mount. In the context of art, it refers to the technical aspects of creating a work when various components are combined into a single composition to convey the artist's concept or idea. Installations typically involve physical or virtual interaction with space, creating an experience from a visual, spatial, and temporal perspective that adds depth and context to the work. Their essence is to immerse the viewer in a special space and experience that evokes an emotional and psychological response, interacting with the audience on different levels. This approach allows us to reveal new layers of meaning and create an experience that goes beyond mere contemplation [43, 44]. Installations are divided into three main types: conventional, virtual, and video installations. Conventional physical installations are the traditional type consisting of real objects placed in space. The viewer interacts with them in the real world through structures and things that form a spatial experience. Virtual installations are created using virtual reality or augmented reality technologies, where viewers can interact with virtual objects and spaces using special devices such as headphones or mobile applications. This opens up new opportunities for perceiving art in a virtual environment. Video installations use video and sound components projected onto screens, walls, or other surfaces. Video in the context of an installation creates the atmosphere of the environment, tells a story, and evokes an emotional connection with the viewer [4, 45]. Social sculpture uses artistic unanswered questions that affect the urban landscape and interact with the community. Its approach is similar to installation art in its focus on creating unexpected associations and experiences for viewers, which makes it possible to view ordinary objects in a new light and discover new ways of perceiving public space through art. Artistic design actively combines different types of installations and social sculptures, which allows expressing artistic concepts through the contrasting interaction between the local environment and art, giving the city a new visual dynamic. The use of this trend can be illustrated by the example of the urban installation (W)ego by MVRDV studio, presented at the Dutch Design Week in 2017 [46]. The urban planning aspect: spectacular locations in the city with a large spatial flow, such as central squares and streets, city art festivals, are chosen. Volumetric and spatial aspect: physical or virtual interaction with human space, forming an impression of the visual, spatial and temporal perspective of the work. Functional aspect: a combination of elements of sculpture, design and architectural models, objects, drawings, sound, virtual reality, interaction with the Internet, etc. The semantic aspect: the flow and combination of modules visualizes the process of negotiation between residents, during which the name is recoded from Ego to Vago. The artistic play that emerges from specific contexts expands the possibilities of perception and creates an immersive experience.
The introduction of street art objects into the urban environment is like a hobby, so the trend of intervention is no less important. Street art is a living trend that is constantly evolving and influencing citizens. Its non-traditional nature and the use of innovative techniques encourage viewers to find new ways of understanding and perception. It evokes strong emotional reactions, surprise, elation or irritation. It creates new ways of interaction and communication between the creator and the viewer, as well as between the viewers themselves and their impressions of alternative artworks. This new language of mystification involves the use of rare approaches, experiments with media, and influencing the psychological aspects of the viewer's perception, creating an emotional interaction. Animation, optical illusions that create the impression of movement, vibration or other dynamic phenomena can be used. Performances and happenings are the areas of actionism that street art has borrowed from and the most successful examples of this trend. Each of them has its own peculiarities of creating interaction with the viewer or space.
Performance implies that the artist has a predetermined goal and moves towards achieving it, including the artist's actions as part of the performance. The perception of art through performance has become famous thanks to the work of the artist Marina Abramovic. Her approach helps participants to go through certain experiences and change their consciousness at the stages of spiritual and physical preparation, where participants interact with the space, which turns into an experiment zone. This makes it possible to experience different emotions, such as boredom, anger, dissatisfaction, or calmness, and to prepare for the perception of the performance. The main stage takes place in the sound chamber, preceding the rest and assimilation of the performance. This process helps to change the consciousness of the participants, helping them to overcome their fears and worries. The Marina Abramovic Institute, designed by OMA Studio, is an archive of forty years of the artist’s work and a laboratory for studying various artistic genres, such as film, theater, music, opera, ballet and video art. It is an example of creating a unique public space for creativity and communication, allowing participants to experiment with new art forms in a comfortable performance environment. Performances allow artists to bring their concepts to life through interaction with the environment and the transformation of space. In this way, artistic design through dialogue and art reveals new layers of interpretation, where the city becomes the background and art projects become the territories of the most daring searches. By interacting with these works, viewers become part of the experience. By interacting with these works, viewers become part of the experience, discovering new opportunities for reflection and perception. Such interaction with art enriches the routine landscape of the city with unforgettable moments that evoke emotions and leave a mark in the memory [43]. Happenings, on the other hand, develop spontaneously, without a clear outcome. It is a form of art and theater practice that involves improvised events without a defined narrative, where the audience is the participant. It is performed by an artist or a group of artists, but they do not control the process, and the audience reacts to each other's actions and the surrounding context, creating a unique and spontaneous experience for the participants. Happening art is about manipulating objects and people in space to bridge the gap between artist and audience, involving the latter in the performance and making their interaction with the artist and other participants an essential part of the event. This approach changes the perception of the traditional roles of the artist and the audience, opening up new opportunities for a shared creative experience. There are four important features of happening. The first is the combination of theatrical elements with real life objects and phenomena. The second is the absence of a plot and sequence between parts that are emotionally and compositional connected but have no logical chain. The third is the simultaneous depiction of several images or theatricalized episodes, each of which has its own idea. The fourth is acting, but not for the purpose of creating a fictional character in conventional circumstances, but for the event itself to be its true purpose [43]. The idea of happening is currently at the intersection of everyday art and theatricality, integrating various scenarios of life into urban space. It consists in searching for possible scenarios in the environment, creating spatial interaction and building the drama of an architectural concept where space becomes the embodiment of various aspects of everyday life. The inclusion of unexpected situations is achieved through active human interaction with the environment. The architect, creating a happening, forms a space that meets the needs and promotes interactive interaction, but loses control over the process and the result. Happenings can take place in various places, such as galleries, train stations, squares, and other unusual locations that are not intended for performances. This changes the traditional model where performances take place exclusively on stage, and the happening becomes a creative form that offers an alternative approach to performances and forces the audience to rethink their role by actively perceiving the event and the environment. In artistic design, happenings are often intertwined with performance. Chinese designer Jody Xiong from Shanghai has realized an impressive happening called “Green Pedestrian Crossing” that has turned into a real artistic intervention in the urban environment [47]. Urban planning aspect: locations with a large number of people are chosen, one hundred and thirty-two pedestrian crossings, and then fifteen other Chinese cities. The three-dimensional aspect: a large canvas with a tree pattern without leaves was laid out on the roadway where the pedestrian crossing is usually located, and pedestrians' shoes were stained with green paint spilled in front of the crossing. Functional aspect: the movement of citizens caused the process of transformation of the picture – the tree “gained leaves” with each step of a pedestrian who left his imprint on the road. Content aspect: an attempt to emphasize the benefits of walking compared to using cars and public transport, highlighting the theme of art, nature, ecology and environmental protection.
The manifestation trend covers projects that express current issues of space use, energy efficiency, sustainable construction, social inclusion, etc. This helps to push the boundaries and understand art as a source of innovation, expression of ideas, and a challenge for change. Architectural manifesto projects try to spark discussion, draw attention to problems, and suggest alternative ways of development. These projects can be controversial and aim to stimulate change and artify the urban environment. This becomes an impetus for innovative solutions, the introduction of new technologies and approaches, the development of architectural thinking, and the identification of new directions for the development of the urban environment. The use of graphic elements, symbols, or images that go beyond conventional graphic techniques turns art buildings into an environment of fusion and interaction of forms and art objects. Bright colors, contrasts that create a strong impact on the retina.
Art buildings that appear on the streets of cities are interesting manifestations of street art in shaping the citizen experience in the city. They are characterized by the use of artistic techniques beyond traditional techniques, turning buildings into a dynamic, variable environment of interaction between people and art. The dynamism of the appearance is possible through the transformation of the form, the use of a system of media fasades or planes that can be used to transfer and preserve existing murals, create new murals, and take the form of a variable canvas for the presentation of new murals by different artists at different times. One such example is the Glass Mural project, developed by the architects of MVRDV studio in 2020. The art building is located in the Eastern Market district of Detroit, USA, across from the Shed 3 shopping center, on the site of a two-story building, and its key feature is a mural by local artist Denial. The building consists of three three-dimensional blocks, the glass facades of which serve as a canvas for preserving and complementing existing murals. The fences of the lower two-story block contain a work of art by Denial, the second block shows a new mural by Sheefy McFly, and the third one-story block is a changing canvas for new murals by different artists. It is not just a canvas for murals, but also a symbol of local identity, preservation of art and memory through architecture and technology. The project is a unique example of the merger of design and art, creating a space that reproduces, expands, and changes works of art, giving them a new dimension and stimulating the creative potential of the city and its residents [48]. Urban planning aspect: the building is located in the central part of the city on the site of an existing mural by a famous local artist. Volumetric-spatial aspect: the building consists of three volumetric blocks, the facades of which create a canvas for preserving and complementing the existing murals. The lower block is reserved for the preservation of the existing work of art, the second block for new murals, and the third block is a replaceable canvas for the presentation of new murals by different artists at different times. Functional aspect: the ground floor will house retail space, the central floors will be occupied by office space. The top floor will house the circulation cores and access to the exploited roof, available to office tenants. Meaningful aspect: a symbol of local identity, preservation of art and memory through architecture and technology. Demonstration of the fusion of design and art to create a space that reproduces, expands, and changes artworks, giving them a new dimension and stimulating the creative potential of the city and its residents.
The purpose of this study is to assess the role of street art in the artistic design of citizen experience, which is the experience of city residents, covering their interaction with the urban environment and its ability to respond to people's daily needs. It includes physical aspects, mental sensations, and emotional connection to the space, forming comfort, satisfaction, and attachment to the city. This is confirmed by the definition of “civitas”, which in the modern sense is not limited to the physical boundaries of a city or territory, but also includes social, cultural and political relations between its inhabitants. The study considers street art as one of the modern trends in the artistic design of the urban environment, which can turn a modern city into a kind of platform for the interaction of individuality. Street art is becoming a way to express one's individuality within the urban space and at the same time interact with the collective identity of the community. At the same time, modern cities face new challenges when it is necessary to maintain a balance between individual needs and the collective interests of the community. The emergence of new technologies, globalization, the development of social networks, and other factors can both facilitate and impede the preservation of individuality within civitas. In large urban environments, there is a contradiction between individual aspirations (the need for personal freedom, special living conditions, creative expression) and the need to create an environment where there are common rules.
The analysis of streetart manifestations characteristic of artistic design, such as art festivals, performances, happenings, murals, installations, social sculpture, art buildings, and the study of their features, revealed that they fall out of the general context and can act as markers of emotional connection with the environment. At the same time, their positive impact on the balance between functionality, comfort of space, and social integration, which develops the citizen experience, can be traced. The analysis of the objects considered in the study showed their division into performative and physical-virtual forms, depending on the options and levels of possible interaction between humans and the environment. The performative form of an art object is defined as an action that can take the form of an art festival, a happening or a performance, depending on the purpose and scale. An art festival as a part of urban life takes place in a city square, street, neighborhood, courtyard, or a separate building, which gives artists the opportunity to express themselves creatively in public space and interact with a large audience. This place has a recognizable appearance and combines various functions in a single scenario that stimulates active interaction between citizens in order to preserve the aesthetics of the historic part of the city, create an emotionally comfortable environment for citizens and promote the development of cultural awareness of young people. A performance implies a clearly defined goal that the artist strives for, while happenings develop spontaneously, without a predetermined outcome. Performative forms of art objects are activators of interaction that transform the environment into a human-centered one. The result of interaction with a performative form is usually the emergence of art objects in physical (murals, installations, architectural structures) or virtual (video art, social sculpture) forms. The interaction between humans and the environment continues through the development of interactivity of the physical and virtual form of art objects, which ensures the creation of an individual human-centered environment in which a person chooses the route, variations in the shape, color and texture of elements or adjusts the lighting to their needs, creates opportunities for testing different interaction scenarios, experiments and their own interpretations. Thanks to this, citizens are not only involved in joint interaction at the local level of the performative form of art objects, but also get the opportunity to interact individually with the environment, choosing a route, changing the elements of the environment to suit their needs at the micro level.
The introduction of performative and physical-virtual forms of street art into the urban architectural environment is carried out through artistic interventions that can form a spatial structure similar to a seamless grid. The grid consists of nodes where art objects are placed and communication links between the nodes. The creation of a unified system of street art objects will allow them to be effectively combined for qualitative changes at three levels. The urban planning level of such a system would cover the interaction with natural and artificial landscapes, considering the city as a whole. The micro level would focus on the physical and virtual form of objects. The local level would ensure coordinated interaction between all components, combining them into an interactive system. This will contribute to the formation of an urban environment where every resident feels part of the community, can realize their individuality, find comfortable conditions for everyday life, and interact with other people in an atmosphere of friendliness and support. At the same time, the results of the study of street art objects revealed an area that is important for the formation of citizen experience, but remains unattended by street art artists. We are talking about creating places of solitude that should be included in public urban space as spatial elements that can meet a person's basic need to be alone. Therefore, it is advisable to consider such modern areas of artistic design as pop art, art design, and environments in the future to address this issue.
Today, the rapid process of urbanization makes it possible to develop a human-centered urban environment, where interaction between people promotes the development of sustainable neighborly relations by scaling up buildings through the introduction of art objects at a scale that is understandable to humans, balanced use of open and closed spaces, multifunctionality of space, combining and layering different types of buildings, developing pedestrian spaces and a compact environment. Thus, the concept of “civitas” in the context of individuality is extended to the socio-cultural organization of the city, which allows each resident to feel their significance within a large community, creating a single tolerant environment for personal development, diverse in terms of artistic form and function.
Based on the results, the following conclusions were drawn. The analysis of street art objects within the framework of artistic design of citizen experience in the city revealed their division into two forms: performative and physical-virtual. The introduction of these forms into the urban architectural environment occurs through artistic interventions that can form a spatial structure similar to a seamless grid. The grid consists of nodes where art objects are placed and communication links between the nodes. The creation of a unified system of street art objects will allow them to be effectively combined for qualitative changes at three levels. The urban planning level covers interaction with natural and artificial landscapes, considering the city as a whole. The micro level focuses on the physical and virtual form of objects, such as architectural structures and their parts, murals, installations, and social sculpture. The local level ensures coordinated interaction between all components, combining them into a harmonious system and developing interactive human interaction with the environment through the performative form of art objects, such as art festivals, happenings, and performances. As a result of performative interaction, art objects appear in physical (murals, installations, architectural structures) and virtual (video art, social sculpture) forms, activating the citizen experience in urban space. The interaction between people and the environment is also continued through the development of interactivity in the physical and virtual form of art objects (installations, video art and social sculpture, architectural buildings), ensuring the creation of an individual human-centered environment. Thanks to this, citizens are not only involved in joint interaction at the local level of the performative form of art objects, but also get the opportunity to interact individually with the environment at the level of physical and virtual form, developing a micro-level of interaction. In this way, street art really strengthens the connection between art and urban life, shapes the citizen experience in the city, positively influencing the physical, social and mental aspects of the interaction between citizens and the city. Street art helps to create an emotional identity, inspires interaction with the environment and builds a sense of community. Among the possible recommendations for the introduction of street art objects into the urban environment is the development of an interactive system of interaction between citizens, artists, and authorities, which will help develop the street art system at the urban planning level, considering the city as a whole. To do this, a list of spaces and buildings needs to be defined to give them the status of officially authorized street art interventions, including the use of abandoned objects. It is equally important to support public initiatives, such as organizing competitions for artists to create urban artworks and encouraging participation in cultural projects through grants or subsidies for artists who want to implement their projects in public space. The next recommendation is to incorporate art into urban projects by integrating artistic interventions into the design of new architectural buildings and urban spaces and by working together with artists and the public. It is important to stimulate social interaction through art, such as organizing street art events and interactive art projects. The development of a dialogue between artists and authorities, as another recommendation, is possible through the support of legal certainty for artists, through the legislative definition of street art sites, as well as granting artists the right to work legally in public space, subject to the approval of their works by local authorities. The most promising seems to be a dialogue organized by creating a platform for discussion between local authorities, artists, and communities, where artists and citizens can interact at the urban planning level, submit proposals or comment on future art projects and the choice of locations for their interventions. These recommendations will help cities to become not only artistically expressive, but also human and comfortable for citizens, as they contribute to creating an environment where culture and creativity are an integral part of everyday life.