Street art has become a powerful form of contemporary cultural expression, shaping public spaces and social dialogue in cities worldwide. Yet, these works often face a precarious existence, threatened by environmental factors, vandalism, and neglect. To address this, the University of Pisa has coordinated SuPerStAr – Sustainable Preservation Strategies for Street Art, a national research project aimed at developing innovative, science-based, and environmentally sustainable conservation strategies.
Funded by the Italian Ministry of University and Research under the PRIN2020 program, SuPerStAr brings together a wide network of institutions: five universities (Pisa, Turin, Bologna, Milan, Venice), three institutes of the National Research Council (CNR), and the Centro Conservazione e Restauro "La Venaria Reale", with the collaboration of local authorities, heritage professionals, and artists.
"The conservation of street art has long lacked clear frameworks and methodologies," says Prof. Francesca Modugno, project coordinator from the University of Pisa. "SuPerStAr represents a breakthrough by providing practical guidelines grounded in multidisciplinary scientific research."
Over three years, the SuPerStAr team has conducted in situ diagnostics, laboratory analyses, and field testing on several iconic case studies across Italy. These include:Keith Haring’s “Tuttomondo” (1989), on the wall of the Convent of Sant’Antonio in Pisa – one of his few permanent public artworks; “Necesse” by SMOE (2021), a large-scale mural in Milan created after the COVID-19 pandemic, where protective coatings were tested under real environmental conditions; a mural by Alessandro Caligaris and Mauro 149 (2013) at the MAU - Urban Art Museum in Turin, where spectroscopic techniques were used to assess surface degradation.
The project integrates advanced diagnostic tools – such as high-resolution photography, multispectral imaging, satellite data, and non-invasive spectroscopic methods – to monitor the condition of murals and identify early signs of decay, such as color fading or biological growth.
SuPerStAr has also developed environmentally responsible cleaning protocols, including the use of green solvents and selective laser cleaning to remove graffiti without harming the original artwork. Protective treatments were tested for their ability to shield surfaces from moisture and pollutants while preserving the appearance and breathability of the materials.
"One of our key goals is to ensure long-term preservation without compromising the identity or message of the artwork," explains Prof. Ilaria Degano, part of the Pisa research team. "This requires not just science, but also community engagement and collaboration with local stakeholders."
Based on the results of laboratory tests and real-world applications, the project has produced evidence-based guidelines for the documentation, cleaning, protection, and monitoring of urban artworks. These guidelines are tailored to the specific materials used in street art – such as acrylics, alkyds, and spray paints – and consider the unique challenges posed by outdoor public environments.
SuPerStAr also emphasizes the importance of knowledge transfer and policy development, encouraging dialogue between researchers, conservators, artists, and city administrations.
“Street art is living heritage,” says Prof. Modugno. “Our mission is to protect it not only as an artwork, but as a form of cultural expression embedded in the urban fabric.”
The research groups led by Professors Modugno and Degano have long been active in applying chemical sciences to cultural heritage conservation. The SuPerStAr project involved the Departments of Chemistry at the Universities of Turin, Bologna, Bari, and Venice, the Politecnico di Milano, three institutes of the CNR – SCITEC, ICCOM, and ISPC – and the Centro Conservazione e Restauro “La Venaria Reale”, in collaboration with the Istituto Centrale del Restauro, public institutions, restorers, and private companies.
(Translated with the assistance of ChatGPT-4o)