sustainability

Review How Can Street Art Have Economic Value?

Fabiana Forte 1 and Pierfrancesco De Paola 2,* 1 Department of Architecture and Industrial Design, University of Campania “Luigi Vanvitelli”, Via San Lorenzo ad Septimum, 81031 Aversa, Italy; [email protected] 2 Department of Industrial Engineering, University of Naples “Federico II”, Piazzale Vincenzo Tecchio 80, 80125 Naples, Italy * Correspondence: [email protected]; Tel.: +39-320-66-11-888



Received: 10 August 2018; Accepted: 17 January 2019; Published: 22 January 2019


Abstract: The following paper analyzes the phenomenon of Street Art with particular attention to the increasing correlation between practices of Street Art and socio-economic dynamics. From the perspective of recognizing a possible formulation of the economic value of Street Art, the paper aims to describe the impacts which Street Art is having in some urban contexts, where the regeneration processes have found in this new form of “re-signification” an innovative modality of intervention. Some impacts have economic nature (direct, indirect or inducted), others are only social and cultural. Starting from an overview concerning the impacts of Street Art on the property market in several urban contexts, a first evaluation of what is happening in some neighborhoods of the metropolitan city of Naples is presented.

Keywords: street art; property market; urban regeneration; economic value

1. Introduction Many different definitions can be attributed to “Street Art”, a term which “cannot be defined conclusively since what it encompasses is constantly being negotiated”[1]. Ulrich Blanchè gave a working definition: “Street Art consists of self-authorized pictures, characters, and forms created in or applied to surfaces in the urban space that intentionally seek communication with a large circle of people. Street Art is done in a per formative and often site-specific, ephemeral, and participatory way”[2]. Public spaces, sidewalks, exterior building walls, highway or railway overpasses, and metro stations, are the most common places where this form of creative expression is developed. Concerning the built environment, Street Art can contribute to the “physical sustainability” or the “sustainability of the built environment”, one of the essential dimensions of the Urban Sustainability paradigm—together with economic, social, ecological, and political sustainability. In fact, as highlighted by Allen [3], physical sustainability concerns “ ... the capacity of an intervention to enhance the liveability of buildings and urban infrastructures for ‘all’ city dwellers without damaging or disrupting the urban region environment. It also includes a concern for the efficiency of the built environment to support the local economy”. The capacity of Street Art to contribute to the enhancement of urban places is demonstrated by several international experiences, with different spillover effects depending on the context where it has been developed. With specific reference to the context of Naples, in the Campania region (Italy), in accordance with Camorrino: “ ... certain distinctive works—which refer specifically to Street Art productions—are strong indicators of incipient changes ongoing in the city: the dynamics of re-signification that such practices and cultural products have established to cause episodes of urban regeneration”[4]. Widely recognized, urban regeneration is a key factor for the urban sustainability and, from this perspective, what it is currently happening in some contexts of Naples allows us to sustain this assumption (Ponticelli, Scampia, S.Giovanni a Teduccio, etc.). There, as in other Italian peripheral areas (Tourin, Rome, Milan, etc.) the regeneration processes, have frequently found efficacious ‘activators’ in spontaneous phenomena

Sustainability 2019, 11, 580; doi:10.3390/su11030580 www.mdpi.com/journal/sustainability Sustainability 2019, 11, 580 2 of 11 as Street Art practices rather than being governed by the public administration. Several cases have demonstrated in an empirical way how this form of urban art can activate artistic requalification and social regeneration and play a meaningful role in the ‘creative placemaking’ [5]. But is there a real association between Street Art and changes in the economic conditions of urban neighborhoods? And how much does it actually affect urban regeneration? Several international experiences demonstrate an increasing correlation between practices of Street Art and changes in socio-economic and urban dynamics. In the U.S.A., where the Street Art emerged in 1960s in New York City, one of the most successful examples is Philadelphia, nowadays recognizable as the City of Murals thanks to the Philadelphia’s Art Program, the U.S.A.’s largest public art program ever made. Since 1984, over 3,000 murals and works of public art have been created in Philadelphia. The Art Program employs approximately 250 artists and teaching artists every year, contributing about $2.7 million to Philadelphia’s creative economy. More than 12,000 visitors discover the neighborhoods of Philadelphia with their unique Street Artworks [6]. A first general attempt to assess the economic impacts of Philadelphia’s Mural Art Program was made in 2003. Among several impacts on Philadelphia Community, Stern and Seifert [7] also examined the relationship between the presence of murals and changes in property values, verifying a general positive effect on real estate sale prices. Other remarkable Street Art cities in U.S.A. are San Francisco, Los Angeles, and San Diego, the most relevant cultural hubs in California; Atlanta e Miami, also in U.S.A. Further examples include Toronto in Canada; the South American painting powerhouse cities of Sao Paulo and Buenos Aires [8]. In Europe, the development of Street Art is part of an old tradition of expression in public spaces [9]. It has a stronghold in London with the ‘Bansky effect’, in Berlin, considered the ‘art capital’ of Germany, in Lyon (France) where there is a very diversified tourist offering based on Street Art, or in Poland where murals in many cities have become touristic attractions [10]. In Italy, the phenomenon of Street Art mostly emerged on the outskirts of metropolitan cities, where meaningful impacts of a social nature and, sometimes, also economic have been found. Currently, more than 180 Italian municipalities are active in the enhancement of Street Art, with almost 300 art projects and 30 festivals across all the national territories [11]. From the perspective of recognizing a possible formulation of the economic value of Street Art, the paper aims to describe the impacts which Street Art is having in some urban contexts, where regeneration processes have found in this form of re-signification an innovative modality of intervention [12]. In Section2, on the basis of all available sources (scientific and media), an overview of the impacts of Street Art on the property market in several urban contexts is developed. In Section3, a first evaluation of what is happening in some neighborhoods of Naples is presented.

2. Street Art and Impacts on the Property Market: an Overview

2.1. Street Art and the Property Market The capacity of Street Art to revalue and regenerate degraded areas and buildings, as well as its influence on real estate market values, are issues that are only now beginning to be studied in some geographical areas. As well evidenced by Kauko [13,14], because real estate is an integral dimension of urban sustainability, it is necessary to better integrate social, cultural, and economic dimensions into the real estate sustainability agenda. In Italy, the correlation between Street Art and real estate is difficult to verify, because many Street Art interventions involve public housing complexes. More meaningful impacts relate to the social sustainability to which Street Art contributes as part of ‘cultural branding and consumption issues’ [13]. From the perspective of urban regeneration and social sustainability, according to Colantonio and Dixon [15], the inclusion of newer and ‘softer’ themes occur, such as happiness, social mixing, sense of place, participation, needs, and social capital, Sustainability 2019, 11, 580 3 of 11 etc. Such themes are closely related to Street Art practices. Moreover, there are a few scientific studies in the literature that specifically deal with them. Markusen and Gadwa [16] reviewed, in general terms, the state of knowledge about arts and culture as an urban or regional development tool, exploring norms, reviewing evidence for causal relationships, and analyzing stakeholders, bureaucratic fragmentation, and citizen participation in cultural planning. Again, Vicario and Martinez Monje [17] examined the relation between urban regeneration policies designed to restructure urban cores and the gentrification of deprived inner-city neighborhoods via the example of Bilbao. Cameron and Coaffee [18] focused on the role of art and the artist in the main established theories of gentrification, looking respectively at culture and capital as key drivers. In particular, cultural analyses of gentrification have identified the individual artist as an important agent in the initiation of gentrification processes in old working-class neighborhoods. The paper examines the arts-led regeneration strategy adopted in Gateshead (north-east England), it also critiques whether the linking of art, regeneration, and gentrification as public policy can be extended and generalized to others urban contexts, playing play a role in the transformation of unpopular and stigmatized urban neighborhoods and the renewal of urban housing markets. An interesting study by Grodach et Al. [19] examined the conflict between recent creative placemaking policies intended to promote positive neighborhood development through the arts and the fact that the arts have long been considered as relevant to contributing to gentrification and the displacement of lower-income residents. They statistically tested how two different groups of arts activities (fine arts and commercial art industries) are associated with conditions indicative of revitalization and gentrification in 100 large U.S. metropolitan areas. The results showed that art activities are associated with different types and levels of neighborhood change. Commercial art industries show the strongest association with gentrification in rapidly changing areas, while the fine arts are associated with stable, slow-growth neighborhoods. In the Warhol Economy [20], Currid argued that creative industries like fashion, art, and music drive the economy of New York as much as, if not more than, finance, real estate, and law. The implications of Currid’s argument are far-reaching, and not just for New York. Urban policymakers often underestimate the importance of the cultural economy, or they fail to recognize the social, cultural, and economic mix that some economists call the Warhol Economy. However, all the above studies focus more on broader issues of gentrification or cultural economy. Specific reference to the relationship between Street Art and real estate values is a topic that only in the last few years has become the object of specific studies. In the U.K., a recent study conducted by scholars of Warwick University [21], has demonstrated, as in London, the districts which presented the highest percentage of urban and Street Art have registered an increase in the real estate prices. Starting from the pictures posted on Flickr about the Street Art interventions in the different urban districts examined [22], the variations in the real estate market prices in the period 2003 to 2014 were compared and verified. It is obvious, in accordance with the authors of the study, there are different potential reasons for the real estate price increases, among which Street Art as certainly an indicator of district quality improvement and real estate demand increase, as well as an attractor for resources and economic activities. In 2017, a specific U.K. property report highlighted the stakeholders would be willing to pay more for the property if the building is ‘tagged’ with the artworks of Bansky (the most famous British street artist, Figure1): on average more than 5% and up to 30% of the property price [23]. In New York, the pioneer city of Street Art in its several evolutions, the once popular neighborhoods of Chelsea, Lower East Side, and Harlem show a high percentage of murals nowadays and are subject to an intense gentrification phenomenon. In these neighborhoods, as well as in others, the requests for new murals are numerous, because the building owners understand these interventions can attract new tenants with a higher income capacity. An emblematic example of this phenomenon Sustainability 2019, 11, 580 4 of 11 occurs in Chelsea, where a building which exhibits two murals of Brazilian artist Eduardo Kobra painted in 2012, recorded an increase in market value of $880,000 to $2,075,000. Media reports indicate that in New York City neighborhoods enhanced by ‘street writers’ the property prices increased by 10

Sustainabilityto 15%, depending 2019, 11, x onFOR the PEER reputation REVIEW of the artist involved [24]. 4 of 12

FigureFigure 1. 1. London,London, “Yellow “Yellow Lines Flower Painter” (Bansky artist) artist)..

Obviously, inin thethe aboveabove urban urban contexts, contexts, the the dynamics dynamics and and consistency consistency of theof the property property market market are arevery very different different from from Italy, Italy, where where the correlation the correlation between between Street Street Art and Art property and property market market is not, is as not, yet, as a yet,phenomenon a phenomenon under under observation. observation. Among thethe few few references, references, an articlean article in 2012 in in2012 the businessin the business daily “Il Soledaily 24Ore” “Il Sole [25 ]24Ore” highlighted [25] highlightedhow in few how years in the few Street years Art the phenomenonStreet Art phenomen in the cityon in of the Turin city (specificallyof Turin (specifically in the San in Salvariothe San Salvariodistrict) asdistrict) contributed as contributed to an increase to an in propertyincrease valuesin property of 25 tovalues 30%. Whileof 25 into the 30%. metropolitan While in citythe metropolitanof Milan, despite city theof majorityMilan, desp of projectsite the majority of Street Artof projects being sustained of Street byArt the being public sustained administration, by the publicseveral administration, private operators several are choosing private operators to invest inare these choosing valorization to invest works. in these valorization works. Analyzing thethe datadata of of the the O.M.I. O.M.I. (Observatory (Observatory of Real of Real Estate Estate Market Market Values Values of the Italianof the AgencyItalian Agencyof Revenue), of Revenue), from 2014 from (a year2014 before (a year the before realization the realization of some Streetof some Art Street interventions) Art interventions) to 2017, it to is 2017,possible it is topossible register to an register increase an increase in the residential in the residential property property values invalues some in neighborhoods some neighborhoods of Milan of Milan(Lambrate (Lambrate and Bovisa) and Bovisa) [26]. [26]. In addition,addition, inin the the metropolitan metropolitan city city of of Rome Rome Street Street Art Art is widespread, is widespread, and sinceand since 2015 a2015 map a with map a withtour includinga tour including 13 of the 13 15 of districts the 15 districts of the Italian of the capital Italian has capital been available.has been available. In particular, In particular, the peripheral the peripheralneighborhoods neighborhoods of Rome have of Rome found have a new found touristic a new vocation touristic with vocation this form with of this art form (Figure of art2). (Figure One of 2).the One most of meaningful the most meaningful examples is theexamples Tor Marancia is the Tor neighborhood, Marancia neighborhood, where the cultural where association the cultural 999 associationContemporary 999 promotedContemporary the Big promoted City Life the project Big withCity Life the realizationproject with of 21the murals realization (each of of 21 14 murals square (eachmeter) of on 14 façades square of meter) the City on Hall. façades The overallof the City cost ofHall. this The project overall was aboutcost of 168,000,00 this project euro, was financed about 168,000,00for the 56% euro, by 999 financed Contemporary for the association,56% by 999 26% Contemporary by Roma Museo association, Foundation 26% andby 18%Roma by Museo Roma FoundationCapitale Public and Authority18% by Roma [27]. Capitale Public Authority [27]. However, this last Street Art experience in a very popular neighborh neighborhoodood does not make an observable meaningfulmeaningful contributioncontribution by by Street Street Art Art to neighborhoodto neighborhood regeneration regeneration from from the pointthe point of view of viewof the of real the estate real estate market. market. Sustainability 2019, 11, 580 5 of 11 Sustainability 2019, 11, x FOR PEER REVIEW 5 of 12

Figure 2. Rome,Rome, Big Big City City Life Life in in Tor Tor Marancia Marancia neighb neighborhoodorhood (999 Contemporary, Contemporary, www.bigcitylife.itwww.bigcitylife.it).).

2.2.2.2 How How Can Can the the Impacts Impacts of of Street Street Art Art on on Real Real Estate Estate Prices Prices be be Measured? Measured? In the economic field,field, the term externality refers to the effecteffect thatthat occursoccurs outsideoutside an economiceconomic activity (costs or benefitsbenefits imposed onon othersothers notnot directlydirectly involvedinvolved oror benefitingbenefiting fromfrom thethe activity).activity). Generally, forfor real real estate estate markets, markets, the monetary the monetary valuation valuat methodsion ofmethods environmental of environmental externalities areexternalities based on theare econometricbased on the analysis econometric of property analysis market of property prices, starting market from prices, the starting principle from that the priceprinciple of the that property the price market of the is property affected, market among otheris affected, things, among by the other quality things of the, by environment. the quality of the environment.From this perspective, Street Art can be understood as a positive externality for its capacity to re-evaluateFrom this degraded perspective, areas andStreet buildings Art can and,be underst therefore,ood is as able a positive to affect externality the property for market.its capacity to re-evaluateFor these degraded reasons, areas real and estate buildings properties and, ther canefore, be understood is able to affect as receptors the property of environmentalmarket. externalities,For these which, reasons, in thereal same estate way properties as positional can be rents, understood are incorporated as receptors into theof environmental market prices. Thisexternalities, makes it which, possible in tothe estimate same way the valueas positional of environmental rents, are externalitiesincorporated asinto equal the tomarket the measure prices. ofThis the makes change it possible in housing to estimate prices resulting the value from of envi environmentalronmental externalities change. The as estimation equal to the can measure be carried of outthe change using statistical in housing pluriparametric prices resultingmodels from environmental (e.g., multiple change. regression The estimation or semiparametric can be carried models), out whichusing statistical are able to pluriparametric define the market models price as(e.g., a function multiple of regression the variables or semiparametric corresponding to models), the property’s which characteristics,are able to define including the market those price relating as toa function the environmental of the variables qualification corresponding of the territory to the [property’s28,29]. characteristics,Real estate including price analysis those relating leads to to the the evaluation environmental of environmental qualification of externalities the territory through [28,29]. an articulatedReal estate operational price analysis scheme. leads to the evaluation of environmental externalities through an articulatedOnce theoperational area under scheme. study has been defined, one which is affected by environmental change, differentOnce homogeneous the area under categories study has of propertiesbeen defined, can on bee identified which is (houses,affected agriculturalby environmental land, buildingchange, soils,different industrial, homogeneous and commercial categories buildings,of properties etc.). can Forbe identified each category (houses, (j = agricultural 1, 2, ..., n) anland, adequately building representativesoils, industrial, sample and commercial is defined (c jbuil); thedings, phases etc.). are: For each category (j = 1, 2, ..., n) an adequately •representativea determination sample of is the defined pricechange (cj); the ( ∆phasesPK = are: 1, 2, ..., c0 ) that produces environmental modification • ji j ona determination the properties ofof thethe sample; price change (ΔPKji = 1, 2, ..., c′j) that produces environmental

• themodification aggregation on ofthe the properties price change of the (∆ sample;Pj) in each property category; • • the determinationaggregation of ofthe the price monetary change value (ΔPj) ofin environmentaleach property category; externalities (We).

• the determination of the monetary value of environmental externalities (We).

The implementation of the first phase involves the search of Gj function such that [28]: Sustainability 2019, 11, 580 6 of 11

The implementation of the first phase involves the search of Gj function such that [28]:

∆PKji = Gj(∆xv) (1)

In this function, ∆xv represents the variation in the quantity (or the degree of manifestation) of the variables (xv, v = 1, 2, ..., r) that express the (extrinsic) characteristics of the property regarding the environmental qualification within the territory under study (Street Art, presence of spaces designed for public parks and gardens, people-friendliness, aesthetic and visual conditions of the landscape, etc.). The ∆xv variance, evidently, is derived by comparing the state of the area in the previous situation with the state of the area in the situation after the environmental change. The variables are given by the environmental characteristics that are influenced, positively and/or negatively by the interventions on the territory. The calculation of the APj price change (second phase), in turn, may be based on the average value (µj) of changes in the price of real estate, pj. This value must be determined by an 0 estimate, by range, conducted on the arithmetic mean (mj = ∑j ∆PKji/c j) of changes in the price of real estate, cj sample. This may be achieved through the following relation [26]:

0 1/2 µj = mj ± Zs/(c j) , (2) where Z represents the stochastic variable resulting from the variable Vj (vj = ∆PKji) through the following report: z = (vj − µj)/s; s is the standard deviation of changes in the price of real estate sample, cj. In this way, the calculation of ∆Pj may conservatively be made on the basis of the minimum value µj resulting from the estimate by range:

∆Pj = µj min·pj. (3)

Lastly, in the final phase, the monetary value of environmental externalities can be determined as the sum of ∆Pj changes extended to the various populations of properties located in the study area: We = ∑j ∆Pj. The practical applicability of the outlined operational framework is obviously subject to the ability to determine the changes in real estate prices, produced by environmental change. Formally, the calculation could be done using the Gj function that relates the price of real estate with the environmental variables (Fj). The application of econometric models in search of Fj function is, however, conditioned by the data collection mode, implying the construction of an estimate-statistical sample, the determination of market prices and the environmental characteristics of the buildings, both in the situation with and in the situation without intervention [28,29].

3. Street Art and Socio-Economic Dynamics in the Metropolitan City of Naples The attention of several Italian municipalities in recognizing the value of street art becomes evident where this form of art has been inserted into institutional programs, often also with resource investments. More than governed by the public administration, frequently in Naples the processes of regeneration have found efficacious activators in spontaneous phenomena, among which is Street Art. Recognizing the street art phenomenon as a powerful vector to launch great messages of modernity, the Municipality of Naples is equipped with a pact for the street art as the common good to regulate the use of urban spaces destined for these artworks (Figure3). The pact of authorization is based on the regeneration principle of urban contexts (above all other peripherals), recognizing Street Art as an innovative art and as a social aggregation moment of high cultural depth [30]. Particularly interesting results have occurred in the Ponticelli district (on the eastern outskirt of the metropolitan city of Naples). This district is characterized by a very high level of unemployment and early school-leaving. In the 2015 in the Merola Park, a public housing complex built in the 1990s, where some buildings were characterized severely by both physical and social degradation (deteriorated concrete, repetitive modules, widespread anonymity, absence of common services and Sustainability 2019, 11, 580 7 of 11 Sustainability 2019, 11, x FOR PEER REVIEW 7 of 12 facilities, etc.) have gained an identity through the social powerful charge of street art [31] thanks to the initiatives of the Arteteca Association and Inward Project (International Network on Writing Art

ResearchSustainability and 2019 Development)., 11, x FOR PEER REVIEW 7 of 12

Figure 3. Main Street Art interventions in the metropolitan city of Naples (modified by Google Maps).

Particularly interesting results have occurred in the Ponticelli district (on the eastern outskirt of the metropolitanFigure 3. Main city Street of ArtNaples). interventionsinterventions This district inin thethe metropolitanismetropolitan characterized city city of byof Naples Naplesa very (modified (modifiedhigh level by by of Google Google unemployment Maps). and earlyMaps). school-leaving. In the 2015 in the Merola Park, a public housing complex built in the 1990s, whereThe some first muralbuildings painted were in thecharacterized park was realized severely in 2015by (title:both Aelphysical, tutt’egual and song’e social creature degradation) by the Neapolitan(deterioratedParticularly artist concrete, Joritinteresting Agoch, repetitive results which modules, have was inspiredoccurred widesp by readin athe fire anonymity, Ponticelli in a Gipsy district absence camp that(on of thecommon happened eastern services someoutskirt years and of agofacilities,the metropolitan in the etc.) area have (Figure city gained of4). Naples). 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The third by muralboth physicalChi è vuluto and bene, social nun sodegradation scorda was realized(deterioratedThe byfirst Sicilian concrete,mural streetpainted repetitive artists in the (Roskmodules, park and was widesp Loste) realizedread and in isanonymity, 2015 a tribute (title: to absence Ael, the tutt’egual football of common game;song’e services thecreature title )and is by a quotethefacilities, Neapolitan from etc.) the have famousartist gained Jorit football Agoch, an identity player which Maradona through was inspired the and so itcial by means apowerful fire ”who in a Gipsycharge is well-cared camp of street that for art willhappened [31] never thanks forgetsome to it”yearsthe (Figureinitiatives ago 6in). the The of areathe fourth Arteteca (Figure mural 4).AssociationLo The trattenemiento second and mural Inwa de peccerillirdA’ Projectpazziellawas (International n’man realized è criature by Network Mattia was Camporealized on Writingdell’Orto, (in 2015) Art whichResearchby Zed1 develops and and is Development). about the theme toys and of storytelling childhood; andit was the born importance from the of consideration reading a story of the together “strummolo”, (Figure7 ).a Theclassic mostThe old first recent game mural muralsunknown painted are: to’A in the mamm’the young park ‘e generation tutt’was ‘erealized mamm’ (Figure inby 2015 La 5). Fille (title:The Bertha, third Ael, tutt’egualmuralJe sto vicinoChi song’e è vuluto a te creatureby bene, Daniele )nun by Hopetheso scorda Neapolitan Nitti was and realized artist “’O sciore Jorit by Sicilian cchiAgoch,ù felic street whichby Fabio artists was Petani inspired (Rosk [ 32and by]. Loste)a fire in and a Gipsy is a tribute camp tothat the happened football game; some yearsthe titleAll ago theis ina murals quotethe area from realized (Figure the byfamous 4). artists The footballsecond were inspired muralplayer A’ byMaradona pazziella the suggestions n’man and it è meanscriature and participation ”who was realizedis well-cared ofPonticelli (in 2015) for residentswillby Zed1 never and and forget is tell about theit” (Figure histories toys and 6). of childhood;The the Merolafourth itmural Park was and bornLo trattenemiento children from the living consideration de there. peccerilli The was coloredof the realized “strummolo”, facades by endowMattia a theCampoclassic park old dell’Orto, with game a strong, unknown which distinctive develops to the signature.young the theme generation The of artstoryt assumes(Figureelling 5). a and measure, The the third importance a weightmural Chi in of theè readingvuluto urban bene, context,a story nun contributingtogetherso scorda was(Figure bothrealized 7). to The the by physicalmost Sicilian recent andstreet murals social artists sustainability. are: (Rosk ’A mamm’and Loste) ‘e tutt’ and ‘e ismamm’ a tribute by Lato theFille football Bertha, game; Je sto vicinothe titleIt a is te is not by a quote possibleDaniele from Hope to verify the Nitti famous the and correlation football“’O sciore betweenplay cchiùer Maradonafelic art by murals Fabio and and Petani it increasing means [32]. ”who of residential is well-cared market for valueswill neverAll in the the forget realmurals estateit” (Figure realized market 6). by ofThe Ponticelliartists fourth were mural district, inspired Lo mainlytrattenemiento by because the suggestionsde the peccerilli properties was and arerealized participation in an by economic Mattia of andPonticelliCampo popular dell’Orto, residents precinct which and and tell ondevelops publicthe histories buildings.the theme of the However,of Merola storytelling morePark meaningfulandand thechildren importance impacts living regarding there.of reading The the coloreda socialstory andfacadestogether physical endow (Figure sustainability the 7). park The withmost to a whichrecent strong, Streetmurals distinctive Art are: is ’A contributing si gnature.mamm’ ‘e The tutt’ (sense art ‘e assumesmamm’ of place, by a identity, measure,La Fille socialBertha, a weight capital, Je sto in commonthevicino urban a tegoods, bycontext, Daniele etc.) contributing Hope can be Nitti determined. both and to“’O the sciore physical cchiù andfelic socialby Fabio sustainability. Petani [32]. All the murals realized by artists were inspired by the suggestions and participation of Ponticelli residents and tell the histories of the Merola Park and children living there. The colored facades endow the park with a strong, distinctive signature. The art assumes a measure, a weight in the urban context, contributing both to the physical and social sustainability.

Figure 4. Ael, tutt’egual song’e creature.

Figure 4. Ael, tutt’egual song’e creature. Sustainability 2019, 11, x FOR PEER REVIEW 8 of 12 Sustainability 2019, 11, x FOR PEER REVIEW 8 of 12 Sustainability 2019, 11, 580 8 of 11 Sustainability 2019, 11, x FOR PEER REVIEW 8 of 12

Figure 5. A’ pazziella n’man è criature. Figure 5. A’ pazziella n’man è criature. Figure 5. A’ pazziella n’man è criature. Figure 5. A’ pazziella n’man è criature.

Figure 6. Chi è vuluto bene, nun s’o scorda. Figure 6. Chi è vuluto bene, nun s’o scorda . Figure 6. Chi è vuluto bene, nun s’o scorda. Figure 6. Chi è vuluto bene, nun s’o scorda.

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Local The administration International became Airport more of Naples sensitiv listede to Merolathe needs Park of amongthe neighborhood the touristic approving, attraction ofin famousa varied football offering player of Street Maradona Art tours (Figure was8) thankslaunch toed the together patronage with of several the municipality television of and Naples. film 2015,the city. the Local functional administration recovery ofbecame the football more sensitiv field. Ate tothe the same needs time, of theurban neighborhood creative workshops approving, were in Evenproductions. in the historical The International center of NaplesAirport there of Naples are Street listed Artworks, Merola Park some among of which the havetouristic also attraction led to micro of activated2015, the functionalin the park, recovery together of thewith football a project field. entitled At the Andronisame time, Colorati urban creative(or Coloured workshops Entrances) were activitiesthe city. Local of merchandising. administration As became example, more in the sensitiv Forcellae to district, the needs in 2015 of the the neighborhood artist Jorit realized approving, the iconic in activated in the park, together with a project entitled Androni Colorati (or Coloured Entrances) mural2015, the of Sanfunctional Gennaro recovery Operaio of(Figure the football9), an officialfield. At print the productionsame time, urban of the creative work was workshops implemented were activated in the park, together with a project entitled Androni Colorati (or Coloured Entrances) Sustainability 2019, 11, x FOR PEER REVIEW 9 of 12 Sustainability 2019, 11, x FOR PEER REVIEW 9 of 12 involving youngsters in the requalification of the common spaces of the residential buildings inside involvingthe park. youngsters in the requalification of the common spaces of the residential buildings inside the park.Further interventions of street art have been carried out in San Giovanni a Teduccio, another neighborhoodFurther interventions on the outskirt of streetof Naples, art have where been Jorit carried Agoch out has in realized San Giova Diosnni Umano a Teduccio, dedicated another to the neighborhoodfamous football on player the outskirt Maradona of Naples, (Figure where 8) thanks Jorit Agochto the patronagehas realized of Diosthe municipalityUmano dedicated of Naples. to the famous football player Maradona (Figure 8) thanks to the patronage of the municipality of Naples. EvenSustainability in the2019 historical, 11, 580 center of Naples there are Street Artworks, some of which have also led9 of to 11 Evenmicro inactivities the historical of merchandising. center of Naples As example, there are in theStreet Forcella Artworks, district some, in 2015 of which the artist have Jorit also realized led to microthe iconic activities mural of ofmerchandising. San Gennaro OperaioAs example, (Figure in the9), Forcellaan official district print, inproduction 2015 the artist of the Jorit work realized was theimplementedunder iconic the supervisionmural under of San the of Gennaro thesupervision author, Operaio together of (Figure the with auth 9), other or,an officialtogether gadgets print whichwith production areother appreciated gadgets of the bywhichwork tourists. wasare implementedappreciatedSeveral new by touristic under tourists. servicesthe Several supervision opened new touristic up of here the servic (such authes asor, opened restaurants together up here andwith (such bars). other as restaurantsgadgets which and bars). are appreciated by tourists. Several new touristic services opened up here (such as restaurants and bars).

Figure 8. “Dios umano”. Figure 8. “Dios umano” umano”..

Figure 9. San Gennaro Operaio. Figure 9. San Gennaro Operaio. Figure 9. San Gennaro Operaio. These cases, as with many others in Naples, demonstrate empirically, how the Street Art These cases, as with many others in Naples, demonstrate empirically, how the Street Art phenomenon is able to activate artistic requalification and social regeneration process, contributing to phenomenonThese cases, is able as towith activate many artistic others requalific in Naplesation, demonstrate and social regeneration empirically, process, how the contributing Street Art the urban sustainability of places traditionally characterized by degradation. phenomenonto the urban sustainability is able to activate of places artistic traditionally requalific ationcharacterized and social by regeneration degradation. process, contributing to the urban sustainability of places traditionally characterized by degradation. 4. Conclusions 4. Conclusions 4. ConclusionsUrbanization processes have generated metropolitan areas with heterogeneous urban systems (realUrbanization estate values, demography,processes have environmental, generated metropolitan and socio-economical areas with factors, heterogeneous building types,urban etc.)systems [33]. (real Urbanizationestate values, processes demography, have environmental, generated metropolitan and socio-economical areas with heterogeneous factors, building urban types, systems etc.) (realIt is increasingly estate values, recognized demography, that Street environmental, Art can represent and socio-economical an added value and factors, is able building to contribute types, to etc.) the [33].aesthetic It is and increasingly ethical enrichment recognized of the that urban Street places Art thankscan represent to its extraordinary an added communicativevalue and is able power. to [33].contribute It is increasinglyto the aesthetic recogn andized ethical that enrichment Street Art ofcan the represent urban places an added thanks value to its and extraordinary is able to Worldwide,contribute to it isthe possible aesthetic to findand aethical correspondence enrichment between of the Street urban Art places practices thanks and to cities’ its extraordinary new concerns: communicativeinsertion of cultural power. programming Worldwide, into it ais strategy possible for to attracting find a tourism,correspondence institutional between communication Street Art communicativepractices and cities’ power. new Worldwide, concerns: insertion it is possible of cultural to find programming a correspondence into a strategy between for Streetattracting Art practicesof social actionand cities’ in disadvantaged new concerns: neighborhoods, insertion of cultural and the programming redynamizing into of local a strategy economies for attracting [34]. tourism,However, institutional more accurate communication and appropriate of social methodological action in disadvantaged approaches areneighborhoods, necessary to verifyingand the tourism,redynamizing institutional of local economiescommunication [34]. of social action in disadvantaged neighborhoods, and the redynamizingthese assumptions. of local From economies an evaluative [34]. point of view, the question of how to capture, measure and qualifyHowever, the added more value accurate of Street and Art appropriate in its multiple methodological dimensions (economicapproaches but are also necessary social and to verifying cultural) theseHowever, assumptions. more accurate From an andevaluative appropriate point methodologicalof view, the question approaches of how are to necessarycapture, measure to verifying and theseis an openassumptions. and current From issue an [34 evaluative,35]. point of view, the question of how to capture, measure and While deterministic approaches based on statistic inference are theoretically very reliable, the lack of information and real estate data is often a considerable and difficult limitation to overcome. From this perspective, a very particular approach by the IXIA Institute with the aim to promote and implement the art public policies [36] was developed. It consists of a system able to estimate the impacts of artistic practices in the public sphere involving several stakeholders as artists, inhabitants, Sustainability 2019, 11, 580 10 of 11 public institutions, third sector associations, etc. The value categories used in the impact matrix are: artistic value (visual and aesthetic fruition; drawing quality, etc.); social value (community development, social inclusion; acquisition of skills and competences, etc.); environmental value (enhancement of the physical environment; care of the common spaces, etc.), and economic value (territorial marketing; economic investments, employment, property market, etc.). As in every evaluating process, the interpretation of the results taking into account the specificity of the urban context is particularly crucial. Certainly, the IXIA approach, together with the Assessment of Community Impact of the Philadelphia Department of Recreation Mural Art Program [8], represent a cue for reflection and a useful starting point to develop, in a systematic and rigorous way, the analysis of the several impacts of the Street Artworks under realization in the metropolitan city of Naples. In this context, as in other Italian cities, more often the Street Art phenomenon has become part of institutional programs aimed at promoting urban sustainability, and it is certainly an issue to examine in greater depth in further scientific researches activities. Finally, according to Haedicke [37], Street Art interventions invade a public space, shake it up and disappear, but the memory of the disruption haunts the place for audiences who experience it. The imagination of street artists re-frames, re-interprets, confuses and often tries to subvert or challenge notions of the real. This imagination and the everyday world created by a Street Art intervention works is like a collage juxtaposing incongruous images, ideas or logic to construct new interpretations, and it uses the city as its medium and passers-by as its found objects.

Author Contributions: This paper is to be attributed in equal parts to the authors. Funding: This research not received any public or private funding. Conflicts of Interest: The authors declare no conflict of interest.

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