Using Palimpsest to Understand the City’s Cultural Re-appropriation of Graffiti and Street Art and the Impact it has on its Representational and Socio- Political Function

Abstract Having worked for renowned street artist Banksy’s press relations team for the past few summers, including throughout his critically-acclaimed exhibition ‘Dismaland’ in Weston- Super-Mare in 2015, I have been conditioned to celebrate street-art; appraising its satirical socio-political commentary and commending the voice it gives the minority. However, living in Shoreditch for the past two

How and why does the historic Ronnie Scott’s Jazz Club utilise the Age of Jazz’s (1919 – 1929) distinct social, racial and spatial conditions to attract new consumers?

Introduction ‘The Original Dixieland Jazz Band has landed in London’ says an evening paper. We are grateful for the warning”.  Punch, 16 April 1919 The arrival of the Original Dixieland Jazz Band (ODJB) in 1919 provides a convenient starting point for the ‘Age of Jazz’ in London and, specifically, Soho (Parsonage, 2002). Almost 100 years

The Elgin Marbles: Imperial Artefact

Culture is a concept that is difficult to define due to its abstract nature, despite its significance in our everyday lives. Inglis (1993) identifies culture as contested values, and Mitchell furthers this through discussion about culture wars, whereby there is a “struggle between acceptable cultural expression” (2000, 71). This struggle is underpinned through power relations

Nelson’s Column: Imperial Artefact

In the late 19th and early 20th centuries urbanism within London and London’s architecture was shaped by the actions of imperialism, with the cultural implications of this still being experienced today (Gilbert and Driver, 2000). Constructed in 1843, Nelson’s column as an artefact reflects the decadence of the British Empire. Today, the column itself and

Covent Garden as a Palimpsest

Considering Covent Garden as a palimpsest in London Covent Garden and specifically its central piazza and market halls form clear examples of a palimpsest in London. The closure and relocation of Covent Garden’s wholesale market trade in the 1970s catalysed Covent Garden’s transition from being an eminently localised space to a globally connected space. This