Lyon, a Tattooed City an Interactive Qualifying Project Report

Lyon, A Tattooed City An Interactive Qualifying Project Report

By Hélèna Cohen Danielle Felten

With faculty advisors Fabienne Miller and Peter Hansen

6/28/2019

Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science

This report represents the work of WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its website without editorial or peer review. For more information about the projects program at WPI, please see https://www.wpi.edu/project-based-learning/global-project-program

Abstract This project observed wall murals, or murs peints, in Lyon, France, with a focus on murals that have a significance to Lyon’s history. A mural could be historically significant for a variety of reasons, whether due to size, location, composition, or subject. In surveys, residents of Lyon identify murals with the city’s patrimoine, or heritage. Research, tours, and interviews examined the legal and financial context for wall murals. The importance of murals throughout Lyon give its people a sense of pride, and they view wall murals as more than just street art.

Executive Summary Culture, defined by Google as “the arts and other manifestations of human intellectual achievement regarded collectively, a refined understanding or appreciation of culture, customs, arts, social institutions, and achievements of a particular nation, people, or other social group, and the attitudes and behavior characteristic of a particular social group” can be interpreted in many ways (Dictionary, n. d). This definition Ph t Th Cit f L C dit could be seen as very vague, so understanding a new culture can be hard to determine what exactly should be categorized. Additionally, the opinion of what can be defined as culture is fluid and changing within the mind of each individual (Les Murs Pients, n. d). For this interactive qualifying project, the team looked at the culture of Lyon and how wall murals specifically fit within it. The city of Lyon, France is known for its many specialties and traditions. Although it is known mainly for its excellence in gastronomy, in recent years Lyon has proven to be an up and coming place for the arts as well. With its many performances and its vast amount of art museums, Lyon attracts new tourists and potential artists every day. One thing Lyon is becoming increasingly known for is its exceptional street art (Editors, 2011). Among the streets is a large variety of types of street art whether it be performing arts or visual art, there is always something to see every day. For the purposes of this interactive qualifying project, the team decided to focus its efforts specifically on the historical murals of the city. The main goal of this interactive qualifying project was to find, access, and study the wall murals found within the city of Lyon. To understand how these murals were created, the team needed to acknowledge why they were originally created and by who. After investigating, CitéCréation, a company invested in the production of murals, has helped create hundreds of murals in Lyon and Worldwide starting a new movement around the world. This company,

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specifically, sets aside six to nine months to create a piece of art making sure that everything is properly made to the expectation of their mission (CitéCréation, n. d) To achieve this they take precautions with the design, color scheme, and in making sure the finished product does not seem out of place within the neighborhood. As a result, they have established themselves as accomplished city contributors in their mission to add pride and beauty to each district that comes to Lyon. (CitéCréation, n. d).Even though many people consider art as an expression of free will. However, there are still some who believe that wall art is the defacing of a building, but this could stem from the fact that each culture is different from one another in terms of murals. In fact, Lyon‘s murals are protected from the public in fear they might get painted over or destroyed because they value them with such high dignity. In addition, there are also many laws pertaining to the rights of wall painting within France, but there is very little information given when differentiating between the types of street art within the city. Over the last forty years, there has been a long history of street art throughout the history of France, but the question of its legality was never really considered until recently. In more recent times, Lyon’s citizens have become more accepting to street art and sometimes even going as far as to commission murals on the side of their homes or office buildings. Presently, the people of Lyon also view wall murals as an important part of their culture and current students, both young and older, are becoming more and more interested in the subject matter Over the last forty years, the story of Lyon unfolds within its murals, captivating anyone who passes by. Thus, these murals have brought contrast and color to the city and will continue to do so. When determining the scope of this project, the murals chosen were to identify the historical context of Lyon’s history. This stems from a significant amount of background research and the knowledge that the team would not physically have been able to observe each and every mural in the time provided. Instead, the team decided to focus their efforts instead on how the murals represent Lyon’s history and will try to map these historical murals in order for them to be easier to find in the future. A lot of data needed to be acquired in order to successfully collect the data to accomplish objective one. The team completed archival research (printed and online) and participated in many tours of the painted walls. The team examined online websites as well as printed books at the Bibliotheque Municipale de Lyon. After research, the team traveled to different parts of the city to view that murals in person where they noted characteristics about each mural. Coincidently, the team saw more murals than they anticipated during their time in Lyon, as any murals with rather close to each other. To visit the murals, the team went on two guided tours and a dozen or so self-guided tours, gathering a vast collection of knowledge about the murals, their history, comparable data from initial research. The team took notes as to who they were painted by, what they depicted, and took down their GPS coordinates. While on a guided tour,

the team arrived prepared with specific questions for the tour guides and took note of their responses. To complete the second objective, the team created a database of the historical wall murals within Lyon. The database was used to categorize the murals based on physical and historical representation. Some of these categories the team decided on include: time period, historical figures, and historical significance. After viewing the murals for themselves and assessing any and all available resources on the specific mural, the team made an informed decision as to which category the mural would be placed under. The third objective was to analyze the data gathered by the team in order to understand the significance of wall murals to Lyon. The team decided to record interviews done on tours and take notes. The team also utilized some vital information from another group’s survey onsite this interactive qualifying project. The LABEX-IMU team sent out a survey which aimed to acquire insight on what the people of Lyon believe represents patrimoine in Lyon using a hashtag analysis system. The LABEX- IMU goal for the hashtag analysis was to gain insight on who uses the hashtags and why for their specific posts to social media. In terms of our project, we only concerned ourselves with the specific question that their survey asked on wall murals. Our team then decided that a mural could be historically significant for a multitude of reasons. Whether it be the first abstract mural in Lyon or famous due to its size, complexity, and/or importance to the city. When considering some of murals the team saw on their tours, self-guided or guided, they decided that some did not relate well enough to the historical subject they had previously chosen to focus on and decided to omit them from the database entirely. Aside from those murals, the team investigated the history that each mural as well as asking the tour guides for a professional opinion. When speaking to the tour guides, the results of the professional opinion seem to vary as some tour guides seemed to lack in experience or background knowledge on the murals themselves. Once gather the information was completed, the team began to analyze the data to link the murals with its significance to Lyon. The team also included the results to their joint survey with the LABEX-IMU team which surveyed groups of people they had previously identified through social media platforms and institutions that indicated patrimoine in Lyon using hashtag analysis. After the survey was sent to hundreds of people, the results came in. From the survey, twenty-nine total citizens response within

the duration of the time on site. Upon receiving the data, the team calculated that twenty-three out of twenty-nine survey-takers indicated that they felt wall murals should be considered part of the patrimoine in Lyon. This was a relatively high amount of positive responses, in such a short amount of time. Once the team calculated the percentage, it stated that 79.3% of the total respondents agreed. The team concluded that this was a relatively high number of responses within the short timeframe given and valuable as it yielded promising results. Thus, the team concluded that, on a small spectrum, the citizens of Lyon also feel that these wall murals are just as important to them as they are to the city.

Table of Contents Abstract...... ii Executive Summary ...... iii Table of Contents ...... vii Authorship ...... viii Acknowledgements ...... ix 1. Introduction ...... 1 2. Background ...... 3 ...... 4 2.1 Painting the City ...... 5 2.2 Mural Policy ...... 6 3. Methodology ...... 9 3.1 To research and observe the wall murals found within Lyon and their significance to the city ...... 10 3.2 To organize information about the wall murals into a database of relevant categories .....11 3.3 To analyze the data gathered about the murals from various sources to explain their significance to Lyon ...... 11 4. Results ...... 13 4.1 The Database ...... 13 4.2 Analysis of Selected Murals ...... 17 4.2.1 Historical to Lyon ...... 17 4.2.2 Other Significance ...... 29 4.3 The Survey ...... 33 4.4 The Interview ...... 33 Conclusion ...... 36 Bibliography ...... 37 Appendices ...... 40 Appendix A: Category Database ...... 40 Appendix B: The subcategory Database ...... 41

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Authorship

Helena Danielle

Wrote Methodology Background 2 and 2.1 Introduction Bibliography Background 2 and 2.2 Appendix A Acknowledgements Abstract Results 4, 4.2, 4.3, and 4.4 Conclusion Executive Summary Results 4.1and 4.2 Table of Contents

Edited Introduction Introduction Methodology Methodology Background Background Results Results 4.1 - 4.4 Format Acknowledgements Executive Summary Format Abstract Bibliography

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Acknowledgements

In order to successfully and properly credit all of the sources we used throughout the course of this project, there are a few people we would like to acknowledge and give special thanks to. We would like to thank our advisors, Fabienne Miller and Peter Hansen, for always pushing us to improve our work in order for it to be of the highest quality possible. We would also like to thank the LABEX-IMU team for letting us use some of the information from their survey in our results. Lastly, a huge thank you to anyone else who may have helped above. The support we received for this project was tremendous and we would not have been able to complete this project without it. We would also like to include a special shout out to Frankie Ann Schripsema for all her help, both as a friend, mediator, and just an all-around amazing person!

1. Introduction Culture can be interpreted as a broad term. On Google dictionary, it is defined as “the arts and other manifestations of human intellectual achievement regarded collectively, a refined understanding or appreciation of culture, customs, arts, social institutions, and achievements of a particular nation, people, or other social group, and the attitudes and behavior characteristic of a particular social group.” Of course, when regarding this definition, there are a seemingly infinite number of things that could fall into the category of culture for a city, or more specifically, Lyon, France. The city of Lyon is full of life. As the third most-populous city in France and France’s largest economy besides Paris, Lyon boasts high rates of satisfaction, diversity, low cost of living, low tax rates, low crime rates, and distinguished higher education. Within France, Lyon is mainly known as the capital of gastronomy as well as its exceptional street art. There are multiple different types of street art - graffiti, murals, and posters are just a few examples. One can even find a multitude of types of performing arts within the city streets like singers, bands and dancers. When considering street art during this interactive qualifying project, the team would like to focus more specifically on the wall murals found within Lyon. There is usually a numerous amount of wall murals found within a city. Most can be easily seen, and some are sadly more hidden. Like all paintings, they are always being repainted, repaired, or replaced to keep up with modern times and demands of the people. Some murals will eventually be built over hidden by new buildings being built, but this does not lessen their importance to the city in the slightest bit. According to various resources, they advocate for wall murals in Lyon as an important foundation to the city, with many sites calling Lyon “the queen of street art” or “the city of wall murals”. Wall murals are important for any city as it gives it an identity, characteristics and pride for its people, as well as telling many stories without using many words. They let the people use their imagination to draw conclusions on what they are seeing until to resort to an actual source for the answer. Thus, wall murals are not only nice to look at but add a deeper meaning for the city and the district it’s in. The main goal of this interactive qualifying project is to is to find, access, and study the wall murals found within the city of Lyon. To do so, the team has identified three objectives in which they would like to focus on. We will research the significance of the wall murals within Lyon, observe and categorize the wall murals, and gather and analyze the professional opinions of wall art among the community. Essentially, what we aim to find out is the significance of the wall murals within the city of Lyon and if they have any cultural significance. This team has decided to focus on the wall murals that are of historical importance to Lyon or found in historically important areas of Lyon. We have come to

this conclusion because when performing research at the Bibliothèque Municipale de Lyon, many of the books we read stated how important these murals were to the culture of Lyon and how they aimed to represent important historical details within their artistry. The team thought that this was important to consider and will focus on these types of murals in the future.

2. Background Lyon is the third largest city in France by population. The city is extremely diverse, being the home to multiple regional dialects and people of many ethnicities and backgrounds. In 1998, Lyon was named a World Heritage site by the United Nations Educational, Scientific and Cultural Organization (UNESCO), deciding that Lyon was an exceptional example of a rising urban community with great significance. Located on the east coast of France’s border, about 300 miles south from Paris, Lyon is historically known for its significance in the production of silk establishing itself in the 16th century (Kayser, 2004). In the present day, however, the city is mainly known for its cuisine. It is also known for La Fête des Lumières, a four-day festival which earned Lyon the nickname “Capital of Lights”.

The quality of life in Lyon is quite above-average. The average cost of owning a small apartment is 840 dollars a month and the average daily cost of living is 19% less than popular US cities like San Francisco (Teleport, 2017). While Lyon has a 10% unemployment rate and salaries are lower than the French average, Lyon still ranks very highly by its inhabitants and the tax rate is also far below average (Teleport, 2017). The crime rate has been low for Photo: The City of Lyon, Credit: Google Images, Shape Edited by Hélèna the past decade, especially gun crime, as less than one third of Lyonnais own guns (Teleport, 2017). This is impressive when compared to other major cities, making Lyon one of the safest places to live (Teleport, 2017). Students have access to many educational systems within and around Lyon, including the revered Universite de Lyon. Nearly 80% of Lyonnais students report being satisfied with their education and perform better on average when compared to other cities (Teleport, 2017). Aside from having a good quality of life and delicious food, Lyon is also known for its street art and wall murals which paint the city in a new way. Street art usually classified as “artwork that is created in a public space, typically without official permission”; i.e graffiti (Dictionary, n. d). Whereas wall murals are large paintings that

are often bought by someone else to depict a story of a city (Dictionary, n.d). Wall murals themselves help decorate a plain wall with colors, symbols, and/or images that tell a story about a significant time, place, or people. Within Lyon, there are hundreds of wall murals that deal with abstract art, some with historical significance, and others that illustrate the ideal city of other countries and the future of Lyon. All murals can be seen from the streets from around the city and because of their variance in location, it gives each district of Lyon their own unique story (Kayser, 2004). For example, one famous wall, the Mur des Canuts, tells the story of the people who lived in the neighborhood during the past few decades. The wall is updated on a regular basis and incorporates real people who lived in the neighborhood during the time of its painting. Many of the people you can see on the wall are well known friendly citizens throughout the district that can be recognized by their family, friends, and other loved ones.

Aside from stories, the physical murals expand on some rather large spaces; some more than 2000m2. This kind of layout allows the artist to completely transform a large canvas into a beautiful work of art. As a result of the hard work achieved, about 2 million tourists from all over the world come to see these murals for themselves (Citécréation, n.d.) Before we talk more about the significance of each mural, we will need to give an overview on why and how these murals came to be and how they are protected.

Photo: Radiant Flowers Overlook Lyon, Credit: Google Images, Edited by Hélèna An example of one of the most currently famous

2.1 Painting the City To later understand how these murals were created, we first need to acknowledge why they were originally created and by who. From this, an understanding of why the murals were needed in the first place can give us an indication to what life in Lyon used to be. In the early 1970s to 1980s, Lyon used to be referred to as a “dark city” full of drugs, violence and pollution (Editors, 2011). However, with the help of some local and global artists, the streets would be painted to add color and pride back to the city. Before the murals could paint the streets of Lyon, we’ll need to explain how this new mural movement in Lyon started. Dating back to the early 1970s, a small group of ten college students living in Lyon, who studied modern arts, found that regular art was only confined to galleries or museums (Editors, 2011). While continuing with their studies, the group of students found themselves wanting to create art that everyone could have direct access to, while also illustrating a larger picture por story. After some research about a modern wall painting happening in Mexico, the group traveled to Mexico to see for themselves (Editors, 2011). When they arrived, they stumbled upon some beautiful works by Diego Rivera in the early 1920s, and their new inspiration was born (Editors, 2011). This stemmed from the group noticing that people were taking a liking to Rivera’s new take on art which dealt with “a series of powerful, storytelling murals that modified Renaissance techniques to convey modern political messages” (Editors, 2011). Once the group found their inspiration, they wanted to recreate similar concepts in the city of Lyon. Over the next few years, his small group had fully established themselves within Lyon and formed the company known as Citécréation in 1978 (Editors, 2011). After Citécréation was established, its founders received an old school building that was donated to the city in the 1800s from François Barthélemy Arlès-Dufour, a humanist, businessman, leading member of the Saint-Simoniens ideological movement and a co- founder of the French bank Crédit Lyonnais, now known as LCL (Editors, 2011). This building would become the hub of Citécréation in the suburb of Oullins south of Lyon. Through trial and error, the artists at Citécréation had found the right paints to create these everlastings outside murals. Once they perfected their paint palette of siloxane, acrylic and minerals, the mayor at the time, Michel Noir, had reached out about brightening up the city of Lyon with these murals (Citécréation, n.d.). With their first work being that of “"The Wall of the Canuts" in 1986, this mural alone has brought millions of people to the city of Lyon over the years and will continue to do so (Citécréation, n.d.). From then on, they created more than 100 murals in Lyon and over 400 worldwide. A fun fact about Citécréation is that over 80% of their artists are women since women have more patience than men in this large-scale work and attention to detail (Citécréation, n.d.).

Photo: CitéCréation Company Logo, Credit: CitéCréation Website

The company takes 6 to 9 months to create these beautiful artworks as each one goes through careful inspection and consideration. They believe that good art takes time and approval of clients (building owners or the city mainly), as well as working with their contractors so the layout of mural is in harmony with the building and setting of each location (Citécréation, n.d.). Because of CitéCréation careful and articulated work, their foundation has won many awards for their murals in Lyon over the past 40 years. Some include winning from Lyon’s senate for "Corporate Citizen of the Year”, “Best Practices Concertation", "Social Solidarity Company (ESUS)", and more (Citécréation, n.d.). Therefore, painting the city is how Citécréation adds pride to each district within Lyon and people from all over the world have come to admire it too.

2.2 Mural Policy Though art is an expression of free will, sometimes as people walk by the murals they might consider wall art as defacing of a building. These pieces are important, not just to the artist or commissioner, but to the public as well (Fieni, n.d). Sometimes murals need to be protected from being painted over or destroyed as well as the artist needing protection from potential lawsuits involving or dealing with the right to paint on these walls. Policies are important because they implement pertinent issues, such as what might be acceptable or unacceptable behavior in an others professional situation. Though there is limited policy available on wall art within Lyon, the team’s findings have proven to be very helpful. There is a very little information given when differentiating the many types of street art, a liberating fact that inspires many street artists to create whatever they please (Fieni, n.d). Though there has been a long history of street art throughout the history of France, the question of its legality was never really considered until recently. In Paris, the government decided that all art done with paint or spray paint on the side of buildings, metro platforms, or even under a bridge is considered an illegal work of art (Fieni, n.d). They then imposed Le Code Pénal which stated that a street artist in France is susceptible to a fine of thirty thousand euros (Code Pénal, n.d). However, officials then decided to reduce that fine to 3,750 euros for just a simple act of graffiti as 6

vandalism (Code Pénal, n.d). Most recently, the 15th of July 2008, the fine was readjusted to forty-five thousand euros and three years in prison (Fieni, n.d). However, the public has become more accepting to street art (CitéCréation, 2018), even going as far as to commission murals on the side of their homes, office buildings (Font, 1998), or train cars and calling in “un musee en plein air” (an outdoor museum) (Garnier, 1999). In Lyon, the people even view murals as an important part of the culture. The act of viewing murals as an important part of one's culture, brings some more acceptance to the world of street art within the city (Garnier, 1999). The current generation of students studying art at the local art school in Lyon, L’Ecole des Beaux Arts, is formed mostly of a generation of street artists and the Museum of Contemporary Art in Lyon works with the local school children to incorporate extremely modernized forms of art and dance in their work (Kayser, 2004). Some artistic spaces these days are even encouraging interaction with the artists as they work. The popularity of modern art and hip hop in modern day big cities like New York City, USA and Lyon, France has helped popularize street art across France (Poirieux & Bissonnette, 2009).

“Lyon est une ville tatouée” (Lyon is a tattooed city) (Fieni, n.d). For the last few decades, hundreds of people have decided to impose their art on the city (CitéCréation, 2018). The city and its people continue living no matter if they have seen the works or not (Gambier & Leroy, 2004). In fact, recognition of the imminent potential destruction of street art as only aided it its success (Gambier & Leroy, 2004). Most works of street art that were not commissioned by the building owner are removed within two weeks (Fieni, n.d). Of course, an artist may get lucky with where he decides to place his work, as it is always possible that the art stays months or even years (Garnier, 1999). Some articles compare the act of painting on a wall as a “high”. The rush of doing something illegal, excites many French adolescents and peer pressure encourages

them to join in on the activity (Fieni, n.d). If caught painting on a non-approved public surface, the previous mentioned fines and jail times will apply (Code Pénal, n.d). There are a few specific laws concerning street art. The right of the author is the right that the artist has on his works exclusively. The artiste has the right to his work. Le Code de la Propriété Intellectuelle (le CPI) (Code Pénal, n.d), created in 1992, protects the artist and his property from having his work stolen or copied. The CPI is split into two main branches. The right of the author protects his work, the environment his work is found in, and any proceeds that may come out of his work (Fieni, n.d). The right of reproduction, however, is defined as creating a safe way to replicate the artist’s work to share it with the public, without removing any credit that is rightfully the author’s (Fieni, n.d). The ways in which the art can be reproduced are vast, including but not limited to drawings and photographs, are allowed if they retain the correct references to the work and do not obstruct the signature in anyway (CitéCréation, 2018). When speaking of murals, the rights of the author depends on the contract signed with those who commissioned said piece of work (Fieni, n, d) (CitéCréation, 2010). The artists may be given written consent to whomever he desires when giving away the rights to the work. The art will remain his and his signature may not be obstructed, unless the commissioner, who would need to have written consent that he may do as he pleases, decides to repaint or destroy the wall that the mural can be found. Without written consent from the original owner of the work, all destruction is illegal and can result in a fine (CitéCréation, 2010). From having completed extensive research, it is the team’s understanding that anyone can commission a mural if they go about doing so in a legal manner.

3. Methodology The overall goal of this project was to identify, organize, and analyze the significance of the wall murals to the city of Lyon. To properly complete this goal, the project was divided into the three objectives listed below: 1. To research and observe the wall murals found within Lyon 2. To organize information about the wall murals into a database of relevant categories 3. To analyze the data gathered about the murals from various sources to explain their significance to Lyon To accomplish this project, the team has conducted in depth research on the wall murals of Lyon and went on various wall mural tours (self-guided or otherwise) and observed the murals for themselves. The team had to partake in various outings to see multiple murals in various locations and spend time in the library to gather proper literary research. Upon completion of this project, the team was able to identify the significance of the wall murals that are unique to Lyon. In addition, we learned more about the history and culture of the city and how the murals are connected. We anticipated speaking with companies that promote the creation of these city murals, like CitéCréation, as well as informed tour guides for more information. As previously mentioned, the team performed a significant amount of research through a wide variety of methods to efficiently complete the objectives outlined above. Once the gathering of information was completed, the team organized the research and findings based on the murals historical content to quickly sort through the data while referencing. Once we collected this information and the data was organized, we began analyzing the various responses, findings and observations to fully understand the significance of the murals on the walls of Lyon. All information is included in the team’s appendix located in the final report. The scope of this project was to identify the wall murals found within Lyon that depict historical context of Lyon’s history (i.e., murs peints). This stems from the team knowing that with Lyon having many murals around its city, that the team would not be able to observe each mural. Instead, the team decided to focus on how some of the murals represent Lyon’s history and tried to connect and map the murals together based on their historical value. At the end of this report, we were better able to understand why the citizens of Lyon believe the murals are significant to Lyon, France. In relation, the team has also chosen this approach to ensure a good quality report can

be written in the timeframe provided, to successfully complete their Interdisciplinary Qualifying Project for WPI.

3.1 To research and observe the wall murals found within Lyon and their significance to the city To fulfill objective one, multiple steps were taken to successfully collect the data to obtain this goal. These steps included archival research (printed and online), personal observation, and participation in tours of the murs peints. Initially, we had to complete the large amount of research, both online and through reading textbooks, that helped identify what the murals we have found/located represent and if they are historically significant to Lyon. Archival research in the library, may also help with objective three but was crucial for objective one. Thus, we examined the online and printed sources at Bibliothèque municipale de Lyon (BML) to find the needed background information on the murals we would wanted to observe. Our second step was to travel to different parts of the city and view the wall murals for ourselves, note who they were painted by, what they depict, and pin exactly where they are for other purposes. After having completed some initial research, we decided to focus mainly on the wall murals that are of historical importance or are found in the historically important areas of Lyon. This information will be in our database (described in objective 2). Lastly, the team took guided and self-guided tours in Lyon. To make the most out of viewing these murals, the team members recorded where the mural is, what the mural depicted, and who it was created by; both companies and artists. The information gathered can be found in our database (described in objective 2). Before going on a self-guided tour, the team had conducted research online about the different historical murals and recorded any information they might’ve found useful for categorizing, as well as the information specified previously above. At each mural site, the team paid close attention to the environment the mural is found in (i.e. architecture, landscaping, color, themes, etc.) and if any information regarding the mural is provided on site. While on a guided tour, the team learned information from the tour guide, if they were knowledgeable and reliable resource for the team. The team attended each guided tour prepared with specific questions they would like to ask the tour guide and ready to make any further observations based on the guide's responses. As a result, the team was able to compare the research we have gathered prior to the tours and the in- person conversations.

3.2 To organize information about the wall murals into a database of relevant categories To complete objective two, the team created a database of wall murals in Lyon. This database was used to categorize the murals based on physical and historical representation. Some of these categories are: time period, historical figures, color scheme, theme, etc. The following database can be found in the appendices. Upon viewing the murals, the team used this database to capture their key characteristics. Although the team can access the mural’s information online, it will be most beneficial and interesting to view them in person to see if there is anything in the mural not found within initial research. In order to make the most out of viewing these murals, the team members have recorded where the mural is, what the mural depicts, who it was created by and when it was created. The team has also paid special attention to potential categories not originally outlined that the walls could be organized into; given any new information based on the guided tours. The team has also been careful not to overinterpret the metaphorical meaning behind these works of art and depict them by stating simple what they observe to be on the wall. All findings can be found in the “Data and Results” chapter.

3.3 To analyze the data gathered about the murals from various sources to explain their significance to Lyon For the responses from the interviews we conducted on the guided tours, we will have to record the answers ourselves. The team came up with a list of questions beforehand. In this situation, because only one of us speaks French, it would probably be best if that member of the team took written notes on the subject while the other recorded the process if possible. The answers will be kept completely anonymous, but we asked the tour guide for consent when on the tour and before asking the questions. For the responses stemming from the LABEX-IMU team’s survey, we sorted through the responses and the types of people the responses are coming from with aid from the other team. The LABXIMU team has already created broad categories of what the different types of people they sent the survey out to are. Once all data had been collected, we analyzed their responses in order to fully understand and evaluate their professional opinion on the matter. Based on previous conversations with the LABEX-IMU team, the group included a question about murs peints on their survey that will be important to our project as well. The LABEX-IMU survey’s goal is to get insight on what people think patrimoine is and what they believe represents patrimoine in Lyon. This survey was then sent to people their team had identified through social media platforms and institutions of patrimoine in 11

Lyon using hashtag analysis. In terms of our project, we only wanted to concern ourselves with the question that the LABEX-IMU team asks about wall painting and patrimoine in Lyon. Specifically, the survey asked what elements would the survey-taker consider a part of patrimoine in lyon? Among the multiple-choice responses, we were interested in the percentage of people that checked wall murals as a representation of patrimoine in Lyon. Once all the data was collected and organized, we began to analyze it. We looked for response patterns across all the questions we have provided, historical findings relating to Lyon and how the information given to us by the LABEX-IMU team was related. These response patterns helped us understand how multiple people view the wall murals in Lyon and if they feel they are a significant portion of Lyon’s culture. Once all data is sorted and analyzed, the team developed charts and graphs based on the responses. For example, if the team received fifty-eight responses from the LABXIMU survey and twenty-four of them responded confirming that they believe wall murals are a part of patrimoine in Lyon, then the graph would represent those who believe and those who disagree through percentages corresponding to each group. All findings can be found in the appendices and results chapter. Ultimately, the information we received in results to this project allowed us to gauge a public and more professional opinion about the wall art within Lyon and to determine if wall art holds an important significance in regard to the culture of Lyon in order to catalogue the art and evaluate its impact for the city of Lyon.

4. Results The primary goal of this Interactive Qualifying Project was to identify, organize, and analyze the significance of the wall murals to the city of Lyon. In order to properly complete this goal, the project was divided into three objectives; to research and observe the wall murals found within Lyon, organize information about the wall murals into a database of relevant categories, and to analyze the data gathered about the murals from various sources to explain their significance to Lyon. Considering there are so many murals within the city, the team decided to focus specifically on murals that seemed historically important such as a famous figure, time periods, or events. In addition, historically important places were also noted city within Lyon, murals in the Croix Rousse district, on the buildings in Etats Unis, in Vieux Lyon, and the confluence area. The team did this by examining the significance of the story that the mural told and looking at what it depicted. In addition, the team also used the knowledge acquired from the previously completed research from various resources at the main library of Lyon or online. The team had decided that a mural could be historically important for a variety of reasons; more than what could be found in a history textbook. Whether it be the first abstract mural in Lyon or famous due to its size, complexity, and/or importance to the city. When considering some of murals the team saw on their tours, self-guided or guided, they decided that some did not relate well enough to the historical subject they had previously chosen to focus on. Aside from this, the team looked into the murals that were chosen below and the history each one holds, as well as asking the tour guides for their seemingly more professional opinion. The team saw more murals than they anticipated during their time in Lyon. The team went on two guided tours and a dozen or so self-guided tours, gathering a vast collection of knowledge about the murals, their history, and much more information about them are outlined in the following sections below. The following sections will consist of the team presenting the database, an analysis of each mural, a summary of the interview with CitéCréation, and the findings from the joint survey with the LABEX-IMU team.

4.1 The Database As previously discussed in the methodology, the database was designed to categorize the murals selected by associating their significance to Lyon, France. The database includes the murals that represent historical values, to ensure a more thorough analysis of each mural. 13

These historical values included famous figures, representations of a time period, being historically important to the Lyon, and other miscellaneous significance that needed to be noted. The full-size database tables can be found under Appendix A. The team chose two ways to present the database, in both a simple categorical chart and a more thorough descriptive category and subcategory chart. The simple chart is representing which murals belong to which category for quick reference to the data that can be concluded about a mural’s significance. The linking chart is to give more description based on what the team noticed while observing the murals. The purpose of these databases is to organize the murals into their selective groups and relate them back to Lyon.

Figure 4.1 Simple Categorical Chart

In Figure 4.1, it can be noted that the lists of murals selected is on the left going down, and the categories chosen are at the top going to the right. The murals in this chart are in no particular order but instead are marked with an (X) if it falls under the category that's associates best with that specific mural. From this chart, it can be concluded that the team chose 26 murals to be the focus on for this project. The titles of each mural can be found in figure 4.1 above, as well as in section 4.2. When reading the chart, it is important to note that of the twenty-six murals the team viewed, twenty-two murals (84.6%) were historically significant to Lyon specifically. The next highest category was the murals that had unique design concepts, having eighteen murals (69.2%) had artistic techniques that added dynamics and contrast to each mural location. It is also important to note that six (23.1%) murals represent specific time period, and eight (30.7%) have miscellaneous significance. In terms of size, thirteen (50%) murals are smaller than 500m2, two (7.7%) are greater than 500 m2 but less than 1000m2, two (7.7) are larger than 1000m2, and nine (34.6%) are inclusive. The following graph displays these statistics:

Figure 4.2 Visual representation of the Simple Categorical Chart

The next database that was designed was the more thorough descriptive category and subcategory chart. In this chart, the murals are split into subcategories of the categories listed above in figures 4.1 and 4.2. These subcategories include the century they represent, a series of different design techniques, if the mural was historical to lyon, famous figures, and cultural inclusion. The purpose of this chart is to further describe what they murals actually represent within their larger category. This chart allowed the team to take what they observed and organize it, to analyze each mural more consistently. The following figures represent these subcategories:

Figure 4.3.1 Subcategory Time Period

Figure 4.3.2 Subcategory Design Concepts

Figure 4.3.3 Subcategory Historically Important

Figure 4.3.1 Subcategory Miscellaneous Significance

With these two versions of the database a thorough analysis can be concluded in the following section. Not only do the databases help organize but it also helps gather what important information should be included in each mural’s analysis. Again, note that all full-size databases can be found under Appendix A.

4.2 Analysis of Selected Murals The following murals are listed with pictures to better understand the analysis of each mural chosen. This section is organized by describing the murals under the Historical to Lyon subcategory (20 murals) first and then the remaining six murals, which are grouped together, to avoid repetition while still providing their significance. Similarly, the murals under these two sections will also be sorted by the year they were created to see the story, or progression, of the mural movement within Lyon. Please note that, some pictures were not taken by the team as the team couldn’t locate the mural, but included the mural based on information gathered from objective one. All information regarding street address and size, unless specified, is located in Appendix B.

4.2.1 Historical to Lyon

4.2.1.1 Le mur des canuts

The Mur des Canuts is notable as one of the oldest wall murals in Lyon. Originally created in 1987, by a few commissioned painters, who were signed by CitéCréation created this mural to play tribute to the Croix-Rousse district. Croix-Rousse is known for its silk weavers, or canuts, which is historically significant to Lyon’s silk weaving industry that established in the 16th century (Kayser, 2004). Note at the top of the stairs is the area where the silk weavers wove, and the stairs represent the passage ways from street to street; or traboules (Poirieux, 2009). In addition, there are a few companies who were sponsored within the mural which are periodically updated about every ten years. In the current version, some key sponsors are ONLYLYON, Banque Populaire, EDF (an electric company), and the Guignol marionette show. These sponsors can be seen upon viewing the mural in person. Now known for this realistic feature, CitéCréation has countless murals that also use this artistic technique within the city and around the world.

4.2.1.2 Le mur de « La cour des loges »

Le mur de “la cour des loges” was created in 1988 by Mur’Art and is historically significant to Lyon based on the building it represents. This building is a five-star hotel that uses building from the 14th century. Like most building, this hotel was restored in the 16th and 17th century, making it one of the oldest buildings to be a hotel in Lyon. (Kayser, n.d)

4.2.1.3 Le Musée urbain Tony-Garnier

Le Musée urbain Tony-Garnier is seen as a sort of outdoor museum commemorating Tony Garnier, his life and his works. Tony Garnier was a notable architect in the twentieth century. In fact, he is considered one of the main French architects in the time. His ideas inspired the foundation of many other cities as well as different housing opportunities within Lyon. (Garnier, 1999)

4.2.1.4 Le mur des transports en commun lyonnais

This mural represents the history of the TCL (Public Transportation within Lyon) from the 19th century to present day. It was created by CiteCreation in 1989 and consists of a series of seven wall murals in order to properly explain the history of the TCL. (CitéCréation, 1978)

4.2.1.5 La fresque de Montluc

This mural is significant to Lyon because it is painted on the back of Prison Montluc. This mural, also created by CitéCréation, is to represent a dark time in Lyon’s history when the Germans had invaded France in 1942. According to sources, this prison had conditions not fit for today’s codes and violation and at the time had over 7000 inmates due to the power the Germans had at the time. Aside from having overcrowding issues, the inmates were beaten, murdered individually, or massacred out in the military field. Aside from the deplorable conditions of the prison, what is more historically important is the man that is painted on the back of the wall, Jean Moulin. Apart of a secret army, called the “Nation Council of Resistance”. From this, Moulin tries to stop the Germans by separating military and political action to regain control using this newly developed army. Throughout his lifetime, Moulin went by a few names to remain secretive throughout his missions and 20

with the help of the secret military all was possible. Alast on June 9,1943, General Delestraint, head of the secret army, arrested by the Germans. Taking matters into his own hands, Moulin gather the leaders of the resistance but was unfortunately betrayed and captured. Brought to the gestapo, Moulin was no longer safe hidden behind his fake identity, instead he was identified as the leader of the French Resistance. After his death, he was acknowledged as a hero to those not only in the prison but to the people as well. (Photographes, n.d)

4.2.1.6 La Fresque des Lyonnais

Les Fresque des Lyonnais is one of Lyon’s most notable murals. Standing at 800 square meters, it’ll walks you through the history of Lyon by depicting thirty famous Lyonnais figures from the beginning of the 1st century (Font, n.d). Les Fresque is split into levels with the thirty figures dispersed amongst the wall. Older figures from early centuries and displayed at the higher levels, showing them as being a part of Lyon’s past. Newer, more contemporary figures are displayed in the lower levels and street level to show how these historical figures still have influence and are interacting with present-day Lyon society and culture. (Kayser, 2004)

4.2.1.7 La porte de la soie Not too far from the Mur des Canuts, the team found this mural, known as La porte de la soie. This mural is to represent how the silk industry came to be in Lyon. Lyon is now famous for its traditional 16th century silk weaving. Though there have been many advances to the process now, in the 16th century, Lyon held a monopoly over the importing of raw silk products to France. Although today automatic looms and silk machines have replaced the silk weavers, the Canuts of Lyon are still used for their highly specialized skills such as restoring historical fabrics or in haute-couture. (Kayser, 2004)

4.2.1.8 Le mur du cinéma

This mural is significant as Lyon is known for its significant history and contributions to the invention of the cinema. Lyon is credited as the birthplace of Cinema. The Lumiere Brothers, Aguste and Louis, patented their first version of the cinematograph in 1896. Within the same year, they created their first movie and thus cinema was born. (Kayser, 2004)

4.2.1.9 La Bibliothèque de la cité des écrivains en Rhône-Alpes

This mural is important to this project based on the fact that within the shelves of the mural are famous literary works from authors found in Lyon and around the world. Some of these authors include Louise Labé, Frédéric Dard, Jean Reverzy, Louis Calaferte, poet Roger Kowalski and many more. Some literary works including in the mural is “The Little Prince” by Saint- Exupery, “Loude” by Jean-Yves, “Calixte” by Jean Dufourt, and many more, also note at the bottom of the mural are two entryways to the library itself and the cafe located next to it. In addition, throughout the mural are symbols, people reading and other images to indicate what authors and readers use to read or write books. (Kayser, 2004).

4.2.1.10 La Résidence de la Sarra

The team chose to include this mural, La Residence de la Sarra, as significantly important to history because at the time of its creation, it was the biggest visual illusion in all of Europe. At three thousand meters squared, this wall mural is still quite impressive in size today even though it may not necessarily still hold its title. (Kayser, 2004).

4.2.1.11 Sans titre 14

This untitled mural was included as historically important as it is the first abstract mural that was created among all of the painted walls within Lyon. Many appreciate it for its color and seemingly random assortment of shapes. (Photographes, n.d)

4.2.1.12 Espace Diego Rivera

This mural is important to include due to the fact that the artist it pays tribute to is the sole reason why Lyon has murals around its city today. That artist being Diego Rivera. Rivera was a prominent Mexican painter who created many large murals throughout his lifetime in Mexico. Many of his works were exhibited in the Museum of Modern Art in New York City and he is also famous for having been married to artist Frida Kahlo. It is said that Diego Rivera was one of the founding members of the Mexican mural movement. Alongside this, CitéCréation in their early stages of establishing their company, use Rivera’s work as inspiration to bring to the city of Lyon. From this, CitéCréation has created this work and others around the world based on Rivera’s mural movement. (Kayser, 2004).

4.2.1.13 Fresque des Roses Series The four wall murals listed below stem from a collection of wall murals featuring roses and other flowers. These are very important to Lyon’s history because in the 1800’s, the city was known for having many blooming flowers. As a result, these flowers served as inspiration to the silk manufactures during the 16th century till today. CiteCreation, perfume and cosmetic industries, played tribute to these flowers through these series of murals and their products. At this time, it is said that Lyon could be known as the city of roses and that can be seen throughout the following murals. (Kayser, 2004).

4.2.1.13.1 Fresque des Roses Lyon États-Unis

4.2.1.13.2 Fresque des Roses Saint-Priest

4.2.1.13.3 Fresque des Roses Vénissieux

4.2.1.13.4 Fresque des roses Champagne-au-mont-d'or

4.1.2.14 Fresque Paul Bocuse

This mural was chosen as historically important due to the person it is tribute too. Paul Bocuse was a very famous French chef based in Lyon. He made many contributions to French gastronomy, through his own works in the kitchen and in the legacy that he passed down to his many culinary students. He has several restaurants, including L’Auberge du Pont de Collonges. This restaurant is significant as it is one of only twenty- seven restaurants to receive a three-star Michelin guide rating, making it a distinguished restaurant of high quality. (Kayser, 2004).

4.1.2.15 Fresque du confluent

This mural is important for its location, Lyon’s Confluence district. The word confluence means the merging of two rivers that are approximately equal in width. Lyon is surrounded by two bodies of water, The Rhone and The Saune, and the confluence district is where both bodies of water combine into one. The rivers are an integral part of Lyon and the Confluence district is working to become an innovative part of Lyon. The Confluence district does not resemble anywhere else in France and is home to an extraordinary museum. (Kayser, 2004).

4.2.1.15 Le stade de gerland

This mural is significant to not only Lyon but to France itself. This mural depicts when France won the World Cup Soccer in 1998. After winning the World Cup, the nation was proud, and this mural pays tribute to that. If you ask citizens about the day they won the cup, most can recall that day with a since of pride, since soccer is extremely valued in France by its people. Aside from this mural playing tribute to the Cup, it also marked CitéCréation’s 40th anniversary of when it was designed in 2018. So not only was it a mural for the Cup but also had a deeper meaning to the artists that had painted it. (Kayser, 2004).

4.2.1.16 Les basiliques de Saint-Just

This mural is historically important to Lyon as it represents the church of Saint-Just. Throughout Lyon’s history, religion is a factor to be considered when the Romans were in power, until they were overthrown. This is significantly important to not only to Lyon, but also to the people who inhabit the city currently. (Photographes, n.d)

4.2.2 Other Significance

4.2.2.1 Fresque des fourchettes

The Fresque des Fourchettes, a mural by Gérard Gasquet, was chosen because of its artist. Gérard Gasquet is an established surrealist painter within Lyon, painting women in a way that depicts violence and tenderness. Known for painting these women in nudes is to help capture the realness behind the body; the soul. Gasquet works pushes the boundaries between attractive and disturbing, his work allows to be interpreted upon viewing. Though he is more known for his paintings on canvas, this mural was commissioned by the city when they were building the metro station Charpennes. Thus, with his unique techniques, he encaptures his viewer with the surrealism of his works. (Gérard, n.d)

4.2.2.2 Tony garnier, le visionnaire

Tony Garnier is a noted architect and city planner. He has created many buildings within Lyon and is considered one of the main architects of the 20th century within France. This mural commemorates all that he has envisioned for the city and how his ideas have helped aid the city into becoming what it is today. (Kayser, 2004).

4.2.2.3 Fresque des noirettes « Mur de la cascade »

This mural was included because represents surrealist art. This mural was created in partnership with the city, to aid in creating a more dynamic and appealing zone of this portion of the city. The level of detail on this mural is quite impressive, adding a mix between real life and alternate universe (i.e. a fairytale). This can be noted by the architecture of the buildings, the swirls of the sky, and the color scheme chosen to represent this mural. Thus, this mural creates a whole new world for this district. (Kayser, 2004).

4.2.2.4 Fresque Tony Tollet

Tony Tollet was a distinguished French painter in Lyon. He studied at the best schools in Lyon as well as under famous painters, including Michel Dumas, Alexandre Cabanel, and Albert Maignan. He received many distinguished awards during his career and became the president of the academy of the 30

sciences and arts of Lyon. In France, he is known most famously for his work on the chapelle of the Sacre-Coeur. This mural commemorates him as well as his art work and that is why the team felt it was historically important to include these murals. (Kayser, 2004).

4.2.2.5 Rue des grands chefs

This mural was also chosen as historically important due to the person it is tribute too. As previously mentioned, Paul Bocuse was a very famous French chef based in Lyon and he made many contributions to French gastronomy, through his own works in the kitchen and in the legacy that he passed down to his many culinary students. He has several restaurants, including L’Auberge du Pont de Collonges. This restaurant is significant as it is one of only twenty-seven restaurants to receive a three-star Michelin guide rating, making it a distinguished restaurant of high quality. (Photographes, n.d)

4.2.2.6 Les annees 1900

This mural was deemed historically important by the team as it is a part of the outdoor museum murals in tribute due Tony Garnier. The mural also includes postings that could be seen throughout the city at the time, like the Lumiere brother advertisements. This mural is also pretty self-explanatory as to why it is historically important as it represents Lyon in the 1900s which is history. (Garnier, 1999)

4.3 The Survey

A second approach the team used was to survey the citizens to find out if the wall murals were significant to them and not just the city. To gather this information, the team used a joint survey with the LABEX-IMU team, which surveyed groups of people they had previously identified through social media platforms and institutions of patrimoine in Lyon using hashtag analysis. The main focal point for our project was to see if people thought wall murals were something they included when describing Lyon’s patrimoine. After the survey was sent to the individuals, the LABEX-IMU team received twenty-nine total responses within the duration of the last three weeks of the IQP. Upon sharing their received data, there was twenty-nine responses total and of that twenty- three had indicated that they felt that wall murals were a part of the patrimoine in Lyon. This was a relatively high number of responses within the short timeframe given and yielded promising results. So, when the team converted that information into a percentage, it states that of the people who were surveyed and responded, 79.3% agreed that wall murals were a representation of patrimoine in lyon. Thus, concluding on a small spectrum the citizens of Lyon also feel that these wall murals are just as important to them as they are to the city.

4.4 The Interview

While onsite in Lyon, the team had the opportunity to attend an interview featuring wall murals in conjunction with the LABEX-IMU team. The LABEX-IMU team worked with two graduate students who were focused on conducting interviews relating to build patrimoine. Yvann Pralong, one of the graduate students working in conjunction with the LABEX-IMU team, scheduled an interview with Le Bureau Archéo’Mur. L’Association Archeéo’Mur was created in 1901 in the ninth arrondissement of Lyon. L’Archéo’Mur is a company focused on patrimoine commissioned by the counsel of the Vaise-Industrie-Rochecardon district. Their mission is to render the patrimoine of the district accessible to all. They want to try and incorporate more history and patrimoine into their everyday lives. Their main goals are to create a wall mural in the industrial district of Lyon that represents the six biggest historical periods of the district

and to organize various events with inhabitants and workers of the district in order to properly tell their communal story. During the interview, the team met with three important members of the company; President Phillipe Namour, Secretary Pascal Decanter, and Treasurer Elisabeth Bandin. After some introductions from each member and the team, the group launched into a discussion led by Yvan Pralong about wall murals. During the discussion the team received some insightful information to their project. Secretary Decanter began the discussion by telling us that although they were not the origin of wall paintings, they had recently learned a lot about the subject due to the fact that they are hoping to create their own wall in the very near future. Decanter told us he believed that wall murals stemmed from two main categories: graphic novels and prehistoric murals in ancient times. He believed that many artists today took inspiration from pyroglyphics found in ancient times as a method of communication, or telling a story, with one another. He also believed they had become more realistic, colorful, and dynamic due to the heavy presence of comic books within the city of lyon. His coworker, Treasurer Bandin pointed out that in present times there are now schools in order to learn how to create a “trompe l'oeil”, or a mural so realistic it tricks the eye into thinking the two-dimensional image is actually three dimensional. She also told us about how she once saw firsthand the artists painting these murals and how they used a three-meter-long paint brush in order to achieve the size they desired. She described how she watched the artists work on the mural at La Gare de Vaise and recorded that it took them about two months to complete the mural, working only after dark.

Photo: Mur Peint de la Gare de Vaise à Lyon

This launched into a more in-depth discussion about how long it takes to make a mural in total. Treasurer Bandin pointed out that the most time-consuming process was actually raising the money in order to paint the mural itself. In their budget, L’Archéo’Mur estimated that it would take them about 20,000 euros in order to fully complete their project. They broke down their budget into 4,600 euros towards conception, 10,000 murals towards the realisation of the mural, and a budget of 5,400 euros for materials. They estimate that it would take about seven months to complete a mural of the size in which they have chosen. Having already selected a wall to place their mural on and having a proposed budget, L’Archéo’Mur set aside three of those months to fundraise alone. Though they admitted that it would be faster to receive funding if they were to agree to place their sponsor largely in the mural, as some of the other murals do, L’Archéo’Mur has decided that it is against their beliefs to include modern sponsors in a mural that is supposed to represent patrimoine. The President of L’Archéo’Mur, Monsieur Philippe Namour brought up an interesting point about the funding of these murals. He noted that while some big companies do sponsor the creation of these murals, it may actually be beneficial for them to do so. Namour brought up the possibility of receiving compensation from having donated to such an organization. Specifically, he spoke of how companies who are not already relating to patrimoine, history, or the arts may be able eligible to receive a tax break. He stated that this was most likely the city council’s idea in order to incentivize people towards being more interested in their culture. During this interview, we also spoke a lot about patrimoine (due to its relationship with the LABEX-IMU team). It is worth mentioning that, during the interview, we discussed the definition of patrimoine, whether that be in a personal opinion, an online definition, or its translation to the English language. They spoke of the difficulties they faced with bringing patrimoine into contemporary art (like wall murals). In one of the examples that Secretary Decanter brought up, a choreographer was having trouble finding support when he wanted to turn Romeo and Juliet into a modern dance. Many of the people the choreographer spoke to believed that because it was such an old piece it should remain as a classic ballet or straight play and that the choreographer should not mess with a literary classic. Mainly Treasurer Bandin stated that it was important to remember who the audience we are trying to reach with these examples of patrimoine. As, for many, an interest in patrimoine stems from childhood and a solid implementation from their family.

Conclusion Wall murals are important to every city that they’re located within. How the murals are viewed by the city and its citizens gives insight to a city or country's culture. Wall murals can tell the story of the past, present or future without actually having to read words or listen to someone speak. Murals convey their messages by adding contrast, color, and dynamics to an ordinary building. When thinking about why a mural could be important to a city and its people, it was concluded that wall murals had to be considered as patrimoine, or heritage. Heritage of a city depicts how the citizens view their town, traditions, festivals, etc. For Lyon, some citizens noted that wall murals fit with this category of heritage. In comparison, some cities could view wall murals as vandalism or unwanted art around the city. Thus, it can be concluded at this stage that in different cities, culture and heritage are the key factors for acceptance and admiration of these murals. To restate results of the joint-survey question outlined in chapter four, more than half the respondents associated wall murals in Lyon’s patrimoine. Having wall murals throughout Lyon can give its people a sense of pride; should they view wall murals as more than just street art. When thinking of how about this sense of pride, it could stem from many different directions; an important event, time period, famous figures, or other mentionable details listed under section 4.2 that associate specifically to Lyon and/or its people. Upon interviewing the company that started the mural movement in Lyon, L’Association Archeéo’Mur, they spoke about why they enrich their murals with roots tied to Lyon’s patrimoine. This interview was crucial for the team to understand how and why murals came to be in Lyon and are significant to the city. After thorough research was conducted, completed, analyzed and compared, it can be concluded that not all wall murals have to be straightforward with their story to be historically significant. Many of the murals in Lyon today happen to be more than just a physical representation of what life in Lyon was like. As a tourist, these murals are interpreted in many ways, so unless the person viewing is researching the mural beforehand or after, they might miss out on its true historical context. This is because at each mural site, there isn’t always a description box stating what the murals is about or what the title of the mural is. Upon completion of this project, it is suggested that if a tourist wants to know more about these murals, that going on guided tours, conducting a small online and/or paper copy research, and speaking with the locals could help the tourists grasp the bigger picture. Similarly, if tourists are looking to book guided tours, it is recommended that they plan them ahead

of time as our team had difficulty booking tours during the months of May and June due to low traffic of tourists.

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Appendices The following sections are the appendices for the database that is referred to previously in the report.

Ap pen dix A: Cat ego ry Dat aba se

Appendix B: The subcategory Database