Graffiti and Color Matching in Historic Districts

Graffiti and Color Matching in Historic Districts
Anthony DelRosario Historic Preservation Law Seminar Professor Lloyd Shields Master in Preservation Studies Tulane School of Architecture
4LAW 4930 - Historic Preservation Law Seminar - Lloyd N. Shields November 9, 2010
Graffiti Background
Modern graffiti has existed for over one hundred years ranging from rail riders marking boxcars to World War II soldiers writing Kilroy was here to gangs establishing territory to youth in New York City during the 1970s and 1980s creating a new street culture. When one thinks about graffiti today, one usually pictures the spray paint designs that the street culture of New York City made famous. These pieces were often designs of the graffiti writers name in large elaborate letters. However, not all graffiti is self-promotion nor created with aerosol paint. Some graffiti is used to make a political statement or an intimidating statement. Graffiti can be created with numerous materials including stencils, markers, stickers, wheatpastes, glass etchers, and tile. In recent years, a new term, street art, has been used to describe graffiti with a broader artistic appeal. Whatever the message and whatever the material, graffiti is usually unwanted by the owner of the property upon which the graffiti is found and thus considered vandalism. Currently, graffiti is found in almost all large urban areas. Industrial or commercial buildings are often targets in cities. However, the problem of graffiti is no longer limited to inner cities nor limited to non-residential buildings. One may find graffiti along sound walls found along highways in the suburbs or on a house in a historic neighborhood of an old city such as Boston, Philadelphia, St. Augustine, Savannah, or Charleston. Some graffiti can be attributed to gangs marking their territory, but most is due to youths tagging their names.
Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture
Locally, graffiti could be found on electrical boxes to garbage cans to sound walls and barriers along the interstates. Since Katrina, there has been a rise in graffiti that has followed the rise in empty buildings. Two buildings on Canal Street, the Texaco building and the Grand Palace Hotel, are large empty structures that have very prominent graffiti seen from Interstate 10. Graffiti has been making news in New Orleans since at least 1997 when Operation Clean Sweep was first created by former United States Marine Fred Radtke as a crime reduction program. According at an article in The Times-Picayune from 1997, Radkte stated that that if graffiti is ignored, it can lead to a sense of lawlessness, destroy property and a neighborhood's morale, and invite more serious crime. (Pompilio). Another article from The Time-Picayune from 2008 states that: Radtke is an adherent to the well-known "broken window" theory, the notion that small neighborhood blemishes must be set right or they will lead to more blemishes and, eventually, blight. The theory was famously applied to the runaway graffiti in New York subways in the 1980s. Stripping the Big Apple's passenger cars of graffiti was an early step, many believe, in New York City's vaunted economic and social recovery in the past two decades. (MacCash) Radkte formed Operation Clean Sweep in 1997 when weeks of commuting past graffiticovered cemetery walls at Canal Street and Metairie Road spurred him to contact City Hall. From there, he was referred to the New Orleans Police Department whose usual response to graffiti was only to file reports. Radkte invested $20,000 to establish the non-profit organization and to take matters into his own hands. (www.operationcleansweepnola.com)
Graffiti, Historic Districts, and Community Involvement

Historic districts in cities are commonly heavily trafficked tourist destinations. These areas are also often vulnerable to graffiti and vandalism. Thus, municipal agencies are very involved with the removal and prevention of graffiti. However, careful steps should be taken to insure that the historic buildings of these districts are not further damaged in the graffiti removal process. One of the first cities to produce information for citizens was Providence, Rhode Island. In 1986 with a grant from the Rhode Island Historic Preservation Commission, the Keep Providence Beautiful group created Graffiti Removal Manual (Figure 1) after a 12-month in-depth study on the problems and solutions of graffiti removal and prevention. (Keep Providence Beautiful, 1) Even in 1986, the Graffiti Removal Manual states that graffiti is not a new problem and has spread to all sections of large and small communities marring building surfaces, roadways, parks, and recreational areas. (3) The manual begins with these graffiti facts and a list of graffiti agents and removal ease. The manual also provides descriptions of the most commonly affected surfaces and materials.
Figure 1: Graffiti Removal Manual, Keep Providence Beautiful
The historic preservation guidelines of the Graffiti Removal Manual state that the integrity of a building before and after graffiti removal is of prime consideration and that the concerns become more complex when dealing with a building of historic value. (9) The historic preservation guidelines give a very short synopsis of Standards of Rehabilitation and Guidelines for Rehabilitating Historic Buildings from the Secretary of the Interior. Interestingly, a decade later in 1995, Graffiti Removal Manual was cited as selected reading of Preservation Brief 38: Removing Graffiti from Historic Masonry from the Secretary of the Interior. The bulk of Graffiti Removal Manual is comparisons of removal products and surface protectants. The guide compares three chemical removers, three mechanical removers, and three chemical surface protectants on twelve different surfaces. Water and detergent or poultices are suggested as first steps before moving on to the products in the comparison charts and abrasive cleaning like sand blasting are discouraged as methods that can jeopardize the integrity of the building. City departments or programs that remove graffiti can be found in cities such as Savannah, Georgia and Charleston, South Carolina. In 2000, the city of Savannah, Keep Savannah Beautiful and Savannah Development and Renewal Authority began an effort called the Graffiti Abatement Program. (Rossiter) Through funding from the city and with help from Keep Savannah Beautiful, the program works directly with property owners in downtown Savannah who want to remove graffiti on their property themselves and reimburses them up to $200 for materials. (Savannah Morning News)
In Charleston, the Livability Division within the Department of Design, Development and Preservation is responsible for graffiti removal. According to Dan Riccio, Director of Livability, property owners are responsible for removing graffiti but if the owner signs a liability waiver our Livability Division will paint over or remove the graffiti. According to The Post and Courier, Charleston's graffiti removal program began in April 2007. (Coley) In other cities, community members take action when needed in addition to or in lieu of local government efforts. The more responsibility the neighborhood shoulder, in fact, the more progress can be made in graffiti control. (Moss, 2) While graffiti cleanup campaigns can be a positive experience for a neighborhood, technical expertise is necessary to reap the full rewards of residents labor. (Moss, 3) Community groups often employ or seek advice from professionals to protect members from toxic substances and to prevent damage to buildings from methods and solvents. (Moss, 3) The Downtown Development District of New Orleans, an assessment-based business improvement district, not long ago created a Graffiti Removal Program to fight graffiti on private and public property in the area bounded by Iberville Street, the Pontchartrain Expressway, Claiborne Avenue and the Mississippi River. To combat graffiti on public property, Block-by-Block Cleaning Ambassadors identify and remove all graffiti, decals, flyers, paint, posters, and stickers from public surfaces such as sidewalk surfaces, light poles, traffic signals and electrical boxes, news box corrals, trash receptacles, planters, phone booths, benches and art pieces. (DDD) To combat graffiti on private property, the Downtown Development District has instituted a Graffiti Removal Program where private property owners can receive 50% with a maximum of
$1,000 to offset the expense of graffiti removal from their property, including repainting costs. (DDD) A community group in New Orleans, the French Quarter Business Association, has recently started a graffiti program because graffiti adversely affects public perception, architectural significance and the general quality of life in the French Quarter. (FQBA) According to CityBusiness, the effort known as the Vieux Carr Graffiti Abatement Program is a collaboration between the French Quarter Business Association, the Vieux Carr Property Owners and Residents Association, French Quarter Citizens and the French Market Corp and is taking steps to remove graffiti, and not just paint over it, using products that are safe for the districts historic buildings. French Quarter Resident Chad Boutte caught the Business Association's attention with products that would remove graffiti, and be acceptable for use even in historic areas. (Capo) Dubbed the World's Best Graffiti Removal System, the cleaners were allnatural and meant to preserve the historical integrity of buildings. (Hirsch) As a result, Boutte has formed his own company Eraser Man Graffiti Removal Services (Figure 2) as the French Quarters first completely mobile Graffiti Removal Company working passionately toward removing graffiti and blight in our community. (Boutte) Removal methods have been approved by the Vieux Carr Architectural Commission for use on historical surfaces according to Boutte. On their website, the French Quarter Business Association suggests first using soap and water to remove graffiti then move on to Vieux Carr Commission approved removal products such as World's Best Graffiti Removal System and to acquire a permit from the Vieux Carr Commission to use chemicals or paint as last option to remove graffiti.
Figure 2: Eraser Man Graffiti Removal Services logo
Since the summer, the French Quarter Business Association has hosted two Vieux Carr Graffiti Abatement Program graffiti cleanup events. During the first event in mid-July, volunteers photographed and removed graffiti from city-owned metal structures such as street signs, parking meters and trash receptacles. Other structures would require permission to clean, so organizers targeted only publicly owned structures. (Hirsch)
Color Guidelines
Historic district commissions across the country have various levels of regulations regarding exterior paint colors. In an email, Debbi Rhoad Hopkins, Senior Preservation Planner in the Department of Design, Development and Preservation of Charleston, South Carolina, states that we review colors on buildings in the historic district here; however, with few exceptions, its not a big deal to change a color. Were more concerned about what color is proposed and the placement if there are multiple colors, than whether its the same one as existing. Also, the General Guidelines for Rehabilitation and New Construction within the Jurisdiction of the Board of Architectural Review for Charleston states:
There is no specific palette of approved colors. Paint color approval is given on a case-by-case basis depending upon the style of architecture, the character of the adjacent buildings, and the neighborhood. Garish colors in general are to be avoided. A paint sample on the building may be required prior to final approval being granted. According to an email from Dan Riccio, the Director of Livability in the Department of Design, Development and Preservation, the Livability Division is responsible for graffiti removal and we make every attempt to match the existing paint color throughout all parts of the city. The Chatham County Historic Preservation Commission in Savannah, Georgia has similar regulations as Charleston, South Carolina. Their manual, Material Treatment Guidelines for Rehabilitation in Savannahs Historic District, states: Color is a very personal statement. It is not the intent of the guidelines to dictate personal taste through a set palette of colors. Furthermore, incompatible choices and combinations can be made even from an approved historic color charts. The intent of this chapter is to provide guidance as to the traditional placement of color in the Historic District based on local historical descriptions, views and photographs. A primary concern is that 1) the painted structure read as a cohesive whole and that 2) the structure blend with and complement surrounding structures. The Historic Preservation Officer of the Chatham County Historic Preservation Commission did not respond to email inquiries regarding graffiti and color matching in Savannah.
In New Orleans, the Vieux Carr Commission has much stricter regulations regarding colors than the commissions in Charleston and Savannah. Vieux Carr Commission Design Guidelines Policy of Historic Paint Colors (1820-1920) states: One of the most exciting aspects of renovation/restoration is the choice and placement of exterior paint colors. These colors and their placement should parallel the different tastes associated with the period of a particular building. Basically, there are four major color phases for buildings from 1820 to 1920 in the Vieux Carr: c.1820-1840, c.1840-1870, c.1870-1900, and c.1900-1920. In general, these four periods have fairly definable colors and placements of colors - from the early use of pastels and white, then in the Victorian period a darkening and broadening of not only color ranges but color placements and, finally, a return to pastels and white after 1900. The fascination with rich colors and emphasis on architectural details begins in the 1840's and increases toward the end of the century. After 1900, one finds a gradual return to the pastels and white of the Colonial period, there being no coincidence that this period is often called Colonial Revival. The guidelines provide a detailed breakdown of what colors can be used on what architectural elements from what period. The guidelines go on to say: Color can enhance or mutilate form and detail. Careful color selection and coordination are essential to the architectural integrity of a building. Garish color schemes are inappropriate to the character of the Vieux Carr. Colors shall be toned-down hues that harmonize with each other and unify architectural features. Colors may highlight important features, not unimportant ones, and should not fragment facade elements or create a spotty effect. According to the Vieux Carr Commission website, these guidelines were formulated in 1984, nearly fifty years after the creation of the Vieux Carr Commission, to propose specific guidelines for preservation, restoration and development and to not only relate
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to standards for insuring the historic and architectural integrity of buildings, but also for protecting the aesthetic quality of the district as a whole. In the early 1970s the Sherwin-Williams Paint Company created a color chart representing the palette of the French Quarter. According to an article in CityBusiness, Sherwin Williams reintroduced the 30-year-old New Orleans color chart in 2003 to give names to the historic colors of the French Quarter. Mike Harville, district manager for the New Orleans region at the time, said that reintroducing the chart is an effort to give everyone a common language when talking about New Orleans colors. (Giusti) The company currently promotes the selections as the Vieux Carr Exterior Colors, Reflections of New Orleans Historic French Quarter with brochures (Figure 3) that have been printed after the Sherwin-Williams French Quarter location opened in 2004. The brochure states: The exterior colors elected to recapture the distinctive visual appeal that is so much a part of this historic gem were developed with the assistance of the Vieux Carr Commission many years ago. That body has been chartered by the State of Louisiana to preserve not only the physical appearance of the area, but also the lifestyle it represents. Vieux Carr Colors are not "historic" in the sense that they completely repeat the colors of an earlier day. Rather, they interpret the past in terms of today. This is in keeping with the Commission's avowed purpose of fostering appreciation for the past while encouraging the full use of an area as an interesting place to visit - and to live in - today. The brochure has samples of 24 colors with interesting names: Pontalba Rose, Creole Pink, Ursuline St. Rose, North Rampart St. Brown, St. Louis St. Peach, Toulouse St. Cream, Pirates Gold, Dumaine St. Ivory, Royalle Orleans Gold, St. Ann St. Yellow,
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Esplanade St Gold, Barracks St. Gray, Dauphine St. Beige, Conti St. Antique, Chartres Green, New Orleans Olive, Cabildo Olive, St. Phillip St. Green, Decatur St. Aqua, Bienville Green, Gov Nicholls St. Green, French Market Blue, Cathedral Gray, Bourbon St. Blue.
Figure 3: Vieux Carr Exterior Colors from Sherwin-Williams
Hilary S. Irvin, Architectural Historian at the Vieux Carr Commission, related the Commissions opinion via email: The Sherwin Williams brochure does not represent the VCC approved colors. The color chart was used in the early 1970s but does not differentiate what is correct for buildings with various construction dates. In addition, there is not enough variety of colors; and the chart does not indicate what color is for what portion of a building (walls. Trim, shutters). Therefore in the 1980s the written guidelines were formulated after paint analysis studies had been made and additional research done. Unfortunately, Sherwin Williams decided to reprint the brochure without our authorization. The colors are not necessarily inappropriate but many more colors are also acceptable. And the dark greens are not wall colors, for example.
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Graffiti Removal and Color Matching

In addition to using various solvents and removal methods, paint is another option in countering graffiti. Painting is the easiest and quickest method to removing the nuisance of graffiti. This method is commonly known as bufffing and usually involves covering the graffiti with a neutral paint color such as tan or grey. For over a decade, Fred Radtke and Operation Clean Sweep have used grey paint to buff graffiti which has earned him the nickname, The Grey Ghost. According to Radtke in a 1997 TimesPicayune article, the grey blotches tell the graffiti writers that "there's a force out here, working against them. The article goes on to say that once the graffiti artist seems to have left the area, Operation Clean Sweep works with the property owner to bring the building back to its original color. This process is one form of a method called color matching. Operation Clean Sweep may have claimed over ten years ago that color matching was part of their graffiti removal process. In 2001, Fred Radtke said, We have a historic city and some of the most beautiful architecture in the country, but a lot of these building are being ruined by graffiti." (Perlstein) However, in recent years Radtke has not stayed true to the commitment of color matching. In addition to not color matching, Radtke has also been known to paint over graffiti on private property. Radtke is considered to be one that slathers gray paint on whatever doodles or obscenities vandals have scrawled on public or private property, including street signs. (Figure 4) (CityBusiness March 2008) City Councilwoman Jackie Clarkson said, "We want graffiti removed but we want it authorized and controlled as to when, where and
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how he can do it. I know the city would never give (Radtke) authorization to do any of what he is doing including going on someone's private property. (Webster)
Figure 4: buffed stop sign on Elysian Fields at Chartres
Figures 5 & 6: buffing in French Quarter
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In 2008, Mark Wilson, president of the French Quarter Business Association, said, "This is a world-class destination. Graffiti and gray paint over graffiti (Figures 5 & 6) are both blights on the French Quarter and its natural ambiance." (MacCash) So he arranged for paint companies to provide Radtke with paint of Vieux Carr palette. Also Radtke would still need the permission of property owners to alter their buildings and work permit from the Vieux Carr Commission to ensure that the alterations would be in keeping with the colonial tout ensemble. (MacCash) "He may think what he's doing is a corrective measure, but it's unauthorized in many cases and doesn't correct the graffiti, but just camouflages it with another color of paint. That's the same thing," said Larry Hesdorffer, Vieux Carr Commission director. "It may be with better intent but that doesn't make it right." (CityBusiness March 2008) Hilary S. Irvin, Architectural Historian at the Vieux Carr Commission, states the commissions current opinion of Radtke: The VCC does not participate in Fred Radtkes program & in fact does not condone covering graffiti with a non-matching color and the painting of a property without the property owners consent. The VCC, however, does issue permits to cover graffiti, who ever the applicant is, if the owner consents to the work.
Graffiti as Art, Buffing as Art

2007 and 2008 were years with local news filled with stories of graffiti and the Gray Ghost. In 2007, Fred Radtke and local artist Michael Dingler of NOLA Rising, both former Marines, clashed in a much-publicized battle. Dingler had installed hand-painted signs with positive messages on utility poles around town and Radtke made a point to buff these small pieces of street art. The confrontation escalated to the point that
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Radtke made a personal mission of trying to have Dingler fined hundreds of dollars for every instance of his signs on a pole. A court hearing in 2008 led to only a fine of $200 for Dingler. (MacCash) In May 2008, a reader of nola.com, with tongue firmly in cheek, posted a story entitled Radtke Reconsidered: Artistic legitimacy. He writes: The grey overlapping squares which Radtke paints on every available surface are not as obvious or eye-catching as the candy-colored nonsense and fanciful lettering most of us think of when we think "graffiti artist." Radtke is an artist in a different league, and the furor his work has generated is proof enough of its power. When is the last time an argument over a painter has lasted this long and involved as many members of the New Orleans public? (Weaver) The writer categorizes Radtke as Abstract Expressionism and compares his work (Figure 8) to artists such as Mark Rothko (Figure 7). He goes on to say: That he is a driven, emotionally intense man none can deny, and as for self-denial, he is an artist against art, an artist whose very creations are both canvas (for subsequent artists) and denials of art-as-aim: his work perpetuates, on many levels, that which it seeks to destroy. (Weaver)
Figure 7: Untitled, Mark Rothko
Figure 8: Untitled, Fred Radtke
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In August 2008, world-famous graffiti artist Banksy stenciled several pieces of street art around the city as a tribute to the third anniversary of Hurricane Katrina. Several pieces featured a man in a white suit buffing something (Figures 9, 11 & 12), a stab at Radtke The Gray Ghost. On one piece, Banksy even came back a couple of days later to add a realistic buffing to part of the piece (Figure 10). Radkte buffed one of the stencils (Figures 13 & 14).
Figures 9 & 10: Bansky stencil of Gray Ghost before and after
Figures 11 & 12: Bansky stencils of Gray Ghost
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Figures 13 & 14: Bansky stencil before and after
In October 2008, Radtke was stopped and cited by National Guardsmen when he was buffing a mural on Press Street without the owners consent. In March 2009, municipal Judge Paul Sens ordered Radtke to cease buffing graffiti without permission from the property owner. As a result, fewer gray blotches dot the landscape including the French Quarter.
Laws
In 2010 the Legislature of Louisiana passed House Bill No. 1264 to create Act No. 990 to enact R.S. 14:56.5 which defines criminal damage to historic buildings or landmarks by defacing with graffiti as a crime with penalties of up to $1000 in fines, up to 64 hours of community service, and up to two years in prison. The act defines historic building or landmark as: (a) Any building or landmark specifically designated as historically significant by the state historic preservation office, historic preservation district commission, landmarks commission, the planning or zoning commission of a governing authority, or by official action of a local political subdivision.
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(b) Any structure located within a National Register Historic District, a local historic district, a Main Street District, a cultural products district, or a downtown development district.
Conclusion
Graffiti will continue to be a problem on the visual landscape. Proper methods of graffiti removal should always be exercised especially in architecturally sensitive areas such as historic districts. Following guidelines of the historic districts commissions will help keep the integrity of these unique neighborhoods.
Sources
Board of Architectural Review. General Guidelines for Rehabilitation and New Construction within the Jurisdiction of the Board of Architectural Review. Department of Design, Development and Preservation, City of Charleston. <http://charlestonsc.gov/shared/docs/0/general%20guidelines%20for%20historic%20properties.pdf>
Boutte, Chad. email. Eraser Man Graffiti Removal Services. October 2010.
Capo, Bill. Group Launches Anti-graffiti Campaign in French Quarter. wwltv.com July 6, 2010. <http://www.wwltv.com/news/Anti-Graffiti-Campaign-In-French-Quarter97886629.html>.
Coley, Jill. Graffiti Mars Historic Building. The Post and Courier July 31, 2008. <http://archives.postandcourier.com/archive/arch08/0708/arc07316618485.shtml>.
Downtown Development District. <http://www.neworleansdowntown.com>.
French Quarter Business Association. <http://www.fqba.org>.
Giusti, Michael. "Sherwin Williams to Reintroduce 30-Year-Old New Orleans Color Chart for Homeowners." CityBusiness December 1, 2003 <http://www.allbusiness.com/north-america/united-states-louisiana/11219761.html>.
ii
Hirsch, Masako. "Volunteers Tackle Graffiti Marring French Quarter - Neighborhood Groups Plan Ongoing Campaign." The Times-Picayune July 15, 2010. <http://www.nola.com/business/index.ssf/2010/07/volunteers_tackle_graffiti_mar.ht ml>.
Hopkins, Debbi Rhoad. email. Department of Design, Development and Preservation, City of Charleston. September 2010.
Irvin, Hilary. email. Vieux Carr Commission. September 2010.
Keep Providence Beautiful. Graffiti Removal Manual. Rhode Island Historic Preservation Commission 1986.
LOUISIANA REVISED STATUTES; TITLE 14.CRIMINAL LAW; CHAPTER 1.CRIMINAL CODE. Trans. Chapter 1.Criminal Code. Vol. TITLE 14.CRIMINAL LAW., 2010.
MacCash, Doug. "Vandalism Or Art? - The Decades-Old Struggle Between Graffiti Producers and Those Who Seek to Prevent It Has Flared Again." The TimesPicayune July 13, 2008. <http://blog.nola.com/dougmaccash/2008/07/vandalism_or_art.html>.
Moss, Elizabeth. "Graffiti: Neighborhoods Fight Urban Scrawl." Conserve Neighborhoods Nov.-Dec., no.53 (1985).
Office of Historic Review Board. Material Treatment Guidelines for Rehabilitation in Savannahs Historic District. Chatham County-Savannah Metropolitan Planning Commission 1990.
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<http://www.thempc.org/documents/HistoricPreservation/DesignManuals/Historic% 20District%20Manual.pdf>.
Operation Clean Sweep. <http://www.operationcleansweepnola.com>.
Perlstein, Michael. "Prosecutors Turn Tough on City's Graffiti Offenders - Cases Now Being Sent to Criminal Court." The Times-Picayune June 4, 2001.
Pompilio, Natalie. "Graffiti Volunteers Erase The Writing on the Wall - Paint Program Spreads Into Jeff." The Times-Picayune April 30, 1997.
Riccio, Dan. email. Department of Design, Development and Preservation, City of Charleston. September 2010.
Rossiter, Erin. Savannah Aims to Erase Marks of Vandalism. Morris News Service June 14, 2000. <http://www.onlineathens.com/stories/061400/new_0614000013.shtml>.
Sherwin-Williams Company, The. Vieux Carr Exterior Colors, Reflections of New Orleans Historic French Quarter.
Staff. "Commentary: Gray Ghost Graffiti Solution Has Problems." CityBusiness March 11, 2008.
Staff. Gutting Graffiti. Savannah Morning News. <http://savannahnow.com/stories/110602/LOCGRAFFITI.shtml>.
iv
Vieux Carr Commission. <http://www.nola.gov/RESIDENTS/Vieux-CarreCommission>. Vieux Carr Commission. Design Guidelines Policy of Historic Paint Colors (18201920).
Weaver, D. Radtke Reconsidered: Artistic Legitimacy. nola.com May 26, 2008. <http://blog.nola.com/vandalismtoday/2008/05/radtke_reconsidered_part_one_a.ht ml>.
Webster, Richard A. "Founder of Operation Clean Sweet Launches Offensive at New Orleans Cafe." CityBusiness April 28 2008.
Image Credits
Figure 1 Keep Providence Beautiful. Graffiti Removal Manual. Rhode Island Historic Preservation Commission 1986. Figure 2 French Quarter Business Association. <http://www.fqba.org>. Figure 3 Sherwin-Williams Company, The. Vieux Carr Exterior Colors, Reflections of New Orleans Historic French Quarter. Figure 4 photo by the author Figure 5 Michael Rex Dingler, <http://www.flickr.com/photos/nolarisingproject> Figure 6 Michael Rex Dingler, <http://www.flickr.com/photos/nolarisingproject> Figure 7 Mark Rothko, Untitled, 1969 Figure 8 Michael Rex Dingler, <http://www.flickr.com/photos/nolarisingproject> Figure 9 photo by the author Figure 10 photo by the author Figure 11 photo by the author Figure 12 Michael Rex Dingler, <http://www.flickr.com/photos/nolarisingproject> Figure 13 photo by the author Figure 14 photo by the author

Graffiti and Color Matching in Historic Districts

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Graffiti and Color Matching in Historic Districts

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Graffiti, Historic Districts, and Community Involvement

Figure 1: Graffiti Removal Manual, Keep Providence Beautiful

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Figure 2: Eraser Man Graffiti Removal Services logo

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Figure 3: Vieux Carr Exterior Colors from Sherwin-Williams

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Graffiti Removal and Color Matching

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Figure 4: buffed stop sign on Elysian Fields at Chartres

Figures 5 & 6: buffing in French Quarter

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Graffiti as Art, Buffing as Art

Figure 7: Untitled, Mark Rothko

Figure 8: Untitled, Fred Radtke

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Figures 11 & 12: Bansky stencils of Gray Ghost

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Figures 13 & 14: Bansky stencil before and after

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Downtown Development District. <http://www.neworleansdowntown.com>.

French Quarter Business Association. <http://www.fqba.org>.

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Irvin, Hilary. email. Vieux Carr Commission. September 2010.

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Operation Clean Sweep. <http://www.operationcleansweepnola.com>.

Staff. Gutting Graffiti. Savannah Morning News. <http://savannahnow.com/stories/110602/LOCGRAFFITI.shtml>.

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

Anthony DelRosario Master in Preservation Studies - Tulane School of Architecture

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