1sticon-arccade 2017 - fsrd.itb.ac.id · this adapted film by joko anwar as a topic of this paper...

1stICON-ARCCADE2017

PARALLELSESSIONROOM1;September5th,2017;Theme:INTERANDTRANS-DISCIPLINENO. AUTHORS TITLE ABSTRACT1 ArdhanaRiswarie;IraAdriati;Tia

RosalinaA;NorieParamita.ar.riswarie@fsrd.itb.ac.id

ATTACHMENT-BASEDOPENSTUDIODYADICARTTHERAPYFORCHILDRENINCANCERTREATMENTANDTHEIRPARENTSINRUMAHCINTABANDUNG

Ina long-termtreatmentforchronic illness,suchascancer,themost importantthingforapatient istohaveagoodqualityof life(Andersen,Golden-Kreutz,DiLillo,2001).Parentsoftencare for them inastressfulwaythusreducestheefficacyof thetreatment(especially chemo/pharmacotherapy).This isdue toparents’ inability in creatingagoodattachment systemthatwouldeventuallybringdownchildren’squalityoflife(Moreira,2014).Thisstudyaimstoprovideatherapeuticspacewhereparentsandchildrencandevelopemotionalbondthatencouragessecureattachment.ItisbasedonamethodproposedbySusanMcDonough(1995)called‘interactionguidance’,wherebythecoreoftherapyisnotontheindividualbutonthetransactionalmodelbetweenparentandchild.ThismethodwasfurtherdevelopedbyLucilleProulx(2003)intoanarttherapymodalitythatisimplementedasadyadicmethodinasemi-clinical setting. Parent-Child Relationship Form developed by Center for Development of Human Services, Institute forCommunity Health Promotion, Buffalo State, New York is further used as an assessment tool tomeasure the bonding quality ofparticipating parents and children. Overall, there are 13 pairs of parent-child that participated in 3 sessions. Results show somepositivechangesintheassessedaspectsoftheparent-childinteractioninonepair,whiletheotherscannotbeproperlyassessed,dueto inconsistentparticipation.Reports showan increase in theabilityofparent toattend to child’sphysicalneeds, to immediatelyrespondtochild’scries,andtoproperlyaddresschild’snegativebehaviors.Visually,manyoftheartworksfeaturecommonthemes,suchasmountainsandlandscapes.Someartisticinterventionshaveproventoboostparents’confidencetojoininandexplorewiththeirchildren.Keywords:attachment-based,arttherapy,dyadic,parent-child,cancertreatment

2 GadisFebriani;PindiSetiawan;AgungEkoBudiwaspada.gadisfebr@gmail.com

ANALYZINGEXISTINGCROWDSOURCEDDISASTERALERTANDREPORTINGAPPSFORCILEUNCANGINBANDUNG

Ubiquity of Smartphonemeans thatmost of the Indonesian people had relied on this little gadget for awide range of activities.Variousappsinthemarketoffersconveniencesforoureverydaylivelikemessaging,contactmanaging,socialnetworking,andsoonbutitcanbeusedfurthermoreineventofdisaster.TherearealreadyfewdisasterrelatedappinIndonesiacategorizedasNews&AlertApps,Guides&EducationalApps,ToolAppsmadeforpreandpostdisasterevent.CrowdsourcedbasedApps isuniqueanduseful in emergency event as people spend lots of their time in socialmedia, and some of the app used crowd sourced to stayupdatedandactuallyusedby commonpeople, butnone ifmade for cileuncang.Cileuncang iswhatpeople inBandung called forurbanfloodingoftenhappenswhenthesewercouldnotcontainthewateranditsoverflowingtothecityroadswithheavycurrents.ThispaperanalyzesandreviewsomeofCrowdsourcedDisasterAlertandReportingAppsthatusedineventofFloodinglikeSiagaBanjir,Qlue,Waze,andZurich.Sincenoneofthoseappsspecificallymadeforurbanfloodinglikecileuncang,weanalyzedhoweachof this crowd sourced apps works and what’s not and adapt for the need of cileuncang and potential victim in Bandung usingdescriptivemethods.Comparingfourapplicationanduser’sneedcollectedfrominterviewingBandungcitizenaboutwhattheythinkintheeventofcileuncangAsforconclusion,someofthewhendesigningausercenteredappwehavetoconsidertheneedsofuserandthegoaloftheappitself.Someoftheappshowsgreatuseandfeaturethatcanbebenefitintheeventcileuncang,butwhenacrowdsourcedapploseits“crowd”they’rebecomeuselessandtheinformationcouldnotbedeliveredtothepeopleinneed.Keywords:MobileApp;disaster;cileuncang;crowdsourced.

3 WuriWidyaniHapsari;RiamaMaslanSihombing;ImamDamarDjati.wuri.widyani@gmail.com

SCHOOL-AGEDCHILDREN’STACTUALEXPERIENCEOFFINMOPOP-UPBOOK

Finemotor development is notable in a child’swhole development; particularly in their ability to control their finemotorwhichconsistofthreemainskills:visualmotorintegration,visionanocularmotorcontrol,andmanualdexterity.Theimplicationthisabilitycouldleadtolearningdifficultiesinschool-agedchildren.Thus,itisnecessarytopracticeinaformofstimulationsthatsupportthecontrol of their fine motor skills. Finmo Pop-up Book is an interactive book made using pop-up paper engineering technique toincreasetheperformanceofachild’sfinemotorcontrol.Pop-upbookisknowntohaveuniquenessinitspaperstructureandtactualparticipation intheformof interaction.This investigationwasconductedusingtheapproachof tactualexperience,which includestactualpropertiesandinteraction.‘Finmopop-upbook’wasexperimentedtoseven(7)school-agedchildrenaged6to7yearsoldinBandung,andobserveditseffectontheperformanceofthechildren’sfinemotorcontrol.TheresultofthisstudyindicatethatFinmoPop-upBookcanstimulatechildren’sfinemotorcontrolandboosttheirtactualexperience.Keywords:Pop-upbook;tactualexperience;finemotorcontrol;school-agedchildren

4 KikiRizkySoetisnaPutri;SetiawanSabana;IraAdriati;

IMPACTSOFPARADIGMSHIFTINCULTUREON

Themostcommondefinitionofcultureisa‘sharedpatternsoflearnedbehavior’,whichoccursduetohuman’sgeneticallyinheritedabilitytocommunicateinsymboliclevelthroughlanguageandthecapacitytocreatecomplexsocialorganization.Thisiswhatmainlyhappens inanurban life. Mostanthropologistsbelievethatculture is somethingconnectedtocognitiveandderivativeaspectsof

TjetjepRohendiRohidi.kimungmung@gmail.com

THEPROCESSOFARTCREATIONAMONGSTURBANARTISTS,(ACASESTUDYOFGENERATIONYARTISTSINBANDUNG)

humanactivities. This includes art,which is associatedwith creativity. Csikszentmihalyi views that creativity is always interrelatedwith a system that is formed from three aspects, which are ‘domain’ (procedure), ‘field’, and ‘person’. This research aims toinvestigatethecorrelationbuiltfromtheparadigmshiftintheconceptsofcultureandthetendenciesintheprocessofartcreationbyartistslivingincomplexurbansocialcommunities.Itappliesinterdisciplinaryapproaches,includingculturestudies,anthropology,andart creation in contemporary artists.Direct observation is practiced in contrast to study of relevant literature in order to achievecontextual analysis. Urban Artists, in this case is Bandung based Artist, have a specific behaviour through their art creation. Thisspecific behaviour including their tendencies to create community, or group of discussion in some particular space. TherewerePlatform3,OmuniuumSpaceorGaleriGerilyathathaveseveralrolebesidetheirbasicfunctionasartspace.Anyothergrowthactivitysuchasarttalk,discussion,workshop,artresidency,andmanymorewererelatedtothebehaviouroftheurbanartists.Thisactivitytheircreate,alsochangetheirperceptionandalsotheirmethodinartcreation.Keywords:Artcreation,urbanartists,creativity,culture,contemporaryart,Bandung

5 CelcilliaLisianeHalim;AlvanovZpalanzani;YasrafAmirPiliang.celcilliahalim@yahoo.com

THETRANSLATIONOFTHEFILMPINTUTERLARANGBYJOKOANWAR

ThisadaptedfilmbyJokoAnwarasatopicofthispaperoriginatedfromanovelbearingthesametitle,PintuTerlarangbySekarAyuAsmara.Thisfilmhasastorystructurewhichoverlapsandisnonlinear.Inspitetheconditionofmakingthefilmlookmysterious,thestructural overlapping caused by the translation process from a literaturemedia into a filmmedia,makes this film all themoreinteresting tobedissectedwith regards to the translationandoperationprocess. The trans-disciplineapproachand the structureanalysismethodutilizesatranslationtheory,whichinitselfexplainsthetransferoftextfromonemediatoanotherwithvariouskindsof operation, which prevail in it, so that it produces an adapted media with a new narration. The finding of this research is atranslationmodel,whichtakeplaceinthemediatransferfromthenoveltothefilm.Therearesomeoperationswhichoverlapcausedbythestorychangemadebythewriterofthisstory.Thechangeofthestorystructureismadesoastocompensatethemissedstoryduetoashortfilmduration,whichgenerateanoverlappedstructure.Withthisarguments,itcanbeconcludedthatthestorywhichundergoesatranslationprocessdoesnotalwayshasalinearstorystructure;itundergoesastoryextensionandnarrowing.Itseemsthatthe‘randomization’ofthestorystructure,whichmakesitoverlapisawaytomakethestoryshorter,butnotloseitsmysterioussidewhichconstitutesitssellingpoint.Keywords:narrative,translation,adaptation,structureanalysis,fabrication

6 EganingtyasVelaAgustina;AlvanovZpalanzani;G.PrasetyoAdhitama.evangel.vela@gmail.com

WAYFINDINGINTHEPUBLICAREAOFHUSEINSASTRANEGARAINTERNATIONALAIRPORT

Husein Sastranegara International Airport is one of the main access gate that connects Bandung nationally and internationally.Statistical data of PT. Angkasa Pura II (persero) showed a significant increase in passengers occurred on each year, resulting theterminal renovations tomeet theneedsofpassengersandvisitors.Terminal renovationwhichwascompleted in2016concerningexpansion,improvementsandtheadditionofsupportingfacilities,suchasshops,retails,facilitiesfordisabilityandotherfacilitiesinorder tomeet the standards of the international airport. Expansion and the addition of facilitiesmake the terminal environmentbecomemorecomplexthatcancausethewayfindingproblems.Wayfindingprocessisaprocessofproblem-solvingthatisaffectedbyexternalandinternalfactors.Togetcomprehensiveresults,thisresearchusingmixedmethods.Quantitativemethodswereusedtoanalyzetheexternalvariablessuchastheenvironmentandspace,whilequalitativemethodswereusedtoexaminetheinternalvariablesthatcomefromwithinone'sselfsuchasthedecisiontochoose,andtheabilitytounderstand.Thedatawascollectedbyconducting observations in the location and questionnaires. All data that has been collected is analyzed using the method tomeasuring the quality of wayfinding (visibility index). This research was conducted in the public area of Husein SastranegaraInternationalAirport(HSIA)asthemainfocusand73localcitizens(Indonesians)whoevercametopublicareasasrespondents.Theresults of data analysis using visibility index method indicates that the visibility index for public area of Husein Sastranegarainternationalairportonly0.361.AccordingtothelevelofserviceIt isequivalenttoLOSCwhichis“average”.LOSC isdeemednotgoodenoughtomeetthestandardsoftheinternationalairportthathavebusytrafficswhereLOSB(aboveaverage)orLOSA(wellaboveaverage)morerecommended.Keywords:Airport;Levelofservice;Visibilityindex;Wayfinding

7 LalitaGilang;RiamaMaslanSihombing;NedinaSari.lalitagilang@yahoo.co.id

THEIMPACTOFCONTEXTONILLUSTRATIONOFCHILDREN’SPICTUREBOOKSONDISCIPLINEBEHAVIOROFEARLYCHILDHOOD

Picturebookscanbeaneducationalmediumforearlychildhoodbecauseitiseffectiveandefficient.However,abookthatappealstoyoungchildrenisabookinwhichthereareadequatecontextandillustration.Thecontextintheillustrationspresentedinthepicturebookswillaffectthepowerofearlychildhoodcognitioninreceivingmessages.Itiswherecharactereducationisprimarilydisciplinarybehavior,canbetaughtsmoothlyandquicklyacceptedbyyoungchildren.Picturebookscanbeaneffectivelearningresource.Picturebooks forearly childhoodcan take the formofa storybook, anactivitybook, anda comparativeactivitybook.This studyaims todescribeandexplainthesignificantinfluenceofdifferencesintheearlyagechildrendisciplinebehaviorwhichfollowslearningusingpicturebooksintheformofstorybooks,activitybooks,andcomparativeactivitybooks.Theresearchconductedbytheexperimentalquantitativemethod.Beforetheexperiment,firstofall,theanalysisofthecontentsofthepicturebooksinwhichthereisconformityof context and illustration is done, then followed by the determination of the proper book. This decision refers to the experts’opinion.Theexpertsarethespecialistsinthefieldofearlyagechildrenpsychologydevelopment,authorofbooksforchildren,andteachersatkindergarten(TK).Thedatacollectedbyusinginstruments, interviews,andobservations.TheInstrumentsandthedata

validatedbyusing triangulation theoryand content. The resultof this research concludes that there is a significant influence frompicturebook,whichcontainsconformityofcontextand illustrationtothebehaviorofearlyagechildrendiscipline inkindergarten.Themostpowerfulinfluenceonthethreeformsofbookscontainingcontextualconformityandillustrationisthecomparativeactivitybook.Theresultsofthisstudyareusefulforthedevelopmentofdesignscience,educators,designers,andchildren'sbookpublishers.Keywords:Context,illustration,children'sbook,discipline

8 TezarTantular;BanungGrahita;ChandraTresnadi.kerismaker@gmail.com

MOBILEAPPLICATION"MAIWAK"ASMEDIATOINCREASESFISHCONSUMPTIONINYOGYAKARTA

Currently, Yogyakarta is the region with the lowest fish consumption in Indonesia. This fact is in contradiction to Indonesiangovernment’s campaign to increase fish consumption thathasbeenconducted since2004.Tounderstand the factors causing lowconsumption of fish, a research to study community behaviorwas conducted in Yogyakarta. As the result, two primary factors isfounded.Thefirstfactor ismissperceptiontowardfishoccurredinthecommunity.Themajorityofpeople inYogyakarathinkthatfishessmellbadandbringintestinalworms,sotheyarebadforhealth.ThesecondfactoristhedifficultyexperiencedbypeopleingettingaccesstobuyfishYogyakarta.Moreinformationonlocation,typesoffishandtheirpriceareneededandhowtheycooked.Fish isoneoffoodsourcewithhighnutrition.Eatingfisheverydaywillboost immunitytoavoidvariousdiseases.Protein infish ismuchhigher than inotheranimals.FishalsocontainsOmega3which isverybeneficial for thechildren’sbrain. Informationaboutthese benefits should be delivered to the people in Yogyakarta to change their bad perception of fish. Information can be easilydisseminated through smartphonedevices.Currently, Smartphonesareeverywhere,hasbecomean integral aspect inhuman life.When used properly, smartphones can improve the quality of human life through healthy habits to create relationships amongothers, educate, and increase productivity. Maiwak application design will use the method of design thinking through stages ofempathy, define, ideate, prototype and test. Maiwak applications will use the communication network based social-commercebetweenuserstoshareinformationaboutfishproductsandhowtocookit.UseractivityusingMaiwakappscantriggerotherusers'interesttotrytoeatandincreasingtheirfishconsumption.Keywords:Inter-Discipline,DigitalMedia,MobileApplication,FishConsumption.

9 NiNyomanSriNatihS;SitiChadijah.nyoman.srinatih@gmail.com

DESIGNFORIMPACT:ETHNOGRAPHICDESIGNAPPROACHASCOLLABORATIVEDESIGNMODELINNGADAREGENCY,EASTNUSATENGGARA

This study describes the collaborative designmodel by using ethnographic design approach in three traditional villages in NgadaRegency,MiddleFlores,EastNusaTenggara.WakeWadhoasoneoftheinter-disciplinarycollaborationandtrans–sectoral,whichcombinedesignthinkingandrapidethnographyapproach.Theexistenceofpopulardesigniswidelyknownasaestheticalfunction.However,Ngada regency needs thewider action that involves facilitation and activity inwhich it can an activate the sustainable,creativeecosystem,reviewedfromthesocial,cultural,economic,andgeopoliticsaspect.Thispaperaimstoportraytheexistenceofdesign as a tool for creating changes impacting sustainable livelihoods. As the continuation of IKKON Program (Innovation andCreativitythroughCollaborationacrosstheArchipelago)initiatedbyIndonesiaCreativeEconomyAgency(BEKRAF),thecollaborationprocess involved various disciplines from design and anthropology field, in which it produces service design as the “ExperienceJourney”andcontemporaryproducts.Thisholisticoutputisdedicatedtoactualizingempathyinthetouchofdesign,consideringthesocio–culturalview,andimplementedineverydaylife.Thesynthesisprocessisbeingakeyofcollaborationwithspecificoutcomeidentities of human – centred design, interiority and experiential, and local values meet contemporary spirit product. It createsvariety of products that can be experienced, by the tourist as well as the indigenous people in the traditional villages and alsoproductswithauthenticandinspiringstorybehind.Keywords:Designanthropology;designcollaborativemodel;“ExperienceJourney”;inter–disciplinarycollaboration;responsiblelifestyleproduct

10 Trihasdianto;BanungGrahita;HafizAzizAhmad.hasdianto.tri@gmail.com

INFLUENCEOFUSEREXPERIENCE(UX)ONPERCEIVEDUSEFULNESSINMULTIMEDIATOUCHSCREENASINFORMATIONMEDIAATTHEARCHIVEMUSEUM

In context ofmuseummanagement, archiving practices basedon traditionalway cannot be longer to keepupwith evolution ofmedia that occur in society. Regional ArchiveOffice of Purwakarta has built twomuseum, those are Bale PanyawanganDioramaPurwakarta(BPDP)andBalePanyawanganDioramaNusantara(BPDN).BPDPandBPDNofferanapproachtopresentdigitalarchiveas public information throughmultimedia devices in amuseum.However, the information should be delivered effectively so thecontentcanbeproperlyunderstood.Inthisresearch,designofthemultimediadevicescontentatthosetwomuseumsarestudied.Theyareevaluatedbasedon theirusefulnesswhich is related toeffectivenessof informationdelivery. Thereare twoapproachesusedinthisstudy.First,e-learningisusedtoanalyzetheeffectivenessofinformationdelivery.Second,userexperience(UX)isusedtoevaluatethedesign.Thisresearchmethodisusingquantitativeapproachwhichisappliestwoquestionnaires,UEQandperceivedusefulness-MBLS variable. The sampling used in this research are 90 respondents divided into three groups. For this study,multimedia devices based on touchscreen technology at the twomuseums are selected. Then those devices are categorized intothreetypesbasedonthedesignoftheinformationdelivery,thoseare:text-basedmultimedia,visual-basedmultimediaandaudio-basedmultimedia.Thedesignofthreetypesofdevicearecomparedandanalyzetounderstandwhichdesignhasbetterusefulness.Astheresult,text-basedmultimediaismostunsatisfactoryintermsofeffectivenessforthedeliveryofinformationandpreferenceoftheuserontheaspectsofUX.Thevisual-basedmultimediaisabetterwaytopresenttheinformationproperlyratherthannarration-basedmultimedia. At the end, it is known that pragmatic quality of theUX hasmore influence and positive contribution on thereceivingofinformation.

Keywords:Multimedia;touchscreen;e-learning;userexperience

11 RahayuBudhiHandayani.rahayu.handayani@ciputra.co.id

STUDYINGFASHIONUSINGINTERDISCIPLINARYAPPROACHTOCONTRIBUTETOWARDSTHEDEVELOPMENTOFINDONESIANCREATIVEECONOMY

Thispaperdiscovershowtoseefashionasaninterdisciplinaryareaofstudy.TherapiddevelopmentofIndonesianfashionindustryand its huge contribution towards Indonesian creative economy in fact, arenot balancedwith the research and studyof fashion.Fashionisoriginallyawesterncultureandtheterminologyitselfhasbeenusedsince16th

century.Therearenumerouspublications

about fashionusingpsychological, social, or cultural approach.Mainstream fashion industry inwestern countryhasbeengrowingenormously and came with several innovations, meanwhile, Indonesia is merely known as consumers and manufacturer workerdespiteitrichnessinculture,textile,andcraftsmanship.Thereisconfusionbetweenclothingandfashionthatmightbethecauseofwhy fashion education in Indonesiamostly evolved in vocational area andmerely focusing on hard skills development, whereasfashionissupposedtobemorecomplex.However,basedonstatisticdatafromIndonesianCreativeIndustryCouncil,fashionindustryisthesecondlargestGDPcontributorandthehighestamountofexporterwithincreativeindustry,whileoneofthebiggestobstaclesin developing it is in the research and development. Author believes that to study fashion using interdisciplinary approachacademically might be able to become solution to contribute towards the development of Indonesian creative economy. Usingdescriptive qualitativemethod, this paper tries to cultivate the issues through empirical studies based on literature research andpurposivesamplingonseveralcasestudies.

Keywords:CreativeEconomy;Fashion;FashionStudies;Inter-discipline12 RizkyNoviasri;TriasWidha

Andari.rizky.noviasri@uisi.ac.id

VIDEOBLOGGERCELEBRITIES:COMMODIFICATIONANDCONSTRUCTIONOFSELFIDENTITIES

Videoblogisaweb-basedjournalingofbloggingwiththemultimediacontent.Itstechnologywillalloweveryonetopublishtheirownchannel.TherearemanypeopleturnintocelebritiesthroughvideoblogssuchasRadityaDika.Thegrowthofnewmediacreatesnewmeans for representing, consuming, andproducing celebrities.Oneof them is a videoblog. This study aims at findingout howapersoncanbecomeacelebrityviavlog.Thisresearchuseddiscourseapproachwiththeconstructivistparadigm.Themethodsusedwerecontentanalysisandcodeanalysis.Intheend,theappearanceofvlogcelebritiesiscertainlysupportedbytheabilityofvloggerto build self-identity in accordancewith the social, economic, and cultural context. The identity can bemaintained by constantlyembeddingthesamecodesineveryvlogpost.Beingacelebritymeansbeingacommodity,whichmeanseverythinginthemcanbesold,startingfrompersonallife,speech,behavior,totheproductsused.Keywords:Videoblogs,celebrities,commodification,construction,self-identity

13 MadeGdeAghesSaktiasherTotok;BanungGrahita;ArySetijadi.made_aghes@yahoo.com

DESIGNINGGAMIFICATIONMOBILEAPPSFORPROJECTBASEDLEARNINGJUNIORHIGHSCHOOLCASE:RUMAHBELAJARSEMIPALAR

Project Based Learningis amodel that organizes learning around projects [9]. Inmost cases, PBL could bring positive impacts onstudent’s productivity and behaviour [4], however, PBL still suffers from common learning obstacles such as lack of trackingmechanism,unevenstudyworkload,andlackofquantitativemetrictoevaluatestudent’sperformance.TheseobstaclescouldhinderPBL schools from achieving their desired results. The obstacles mentioned above could be solved using Gamification theory.Gamification is the use of game design elements in non-game contexts [2]. The obstacles is analyzed through guideline “APracticioner’sGuideToGamificationOfEducation” [3],which in turnprovidesuswithamoreconcrete formofsolution,amobileapps.ThepurposeofthisresearchistofindoutwhetherPBLandGamification,twointer-disciplinetheories,couldbemixedtogetherand create a synergy for better education system. The experimentwould be conducted at Rumah Belajar Semi Palar Junior HighSchool.Bytheendofthisresearch,amobileappsprototypeisdesignedandimplementedinoneofRumahBelajarSemiPalarJuniorHighSchoollearningcoursesnamed“ProyekTematik”.TheexperimentwouldbeevaluatedquantitativelyusingPainPointsasmetric.PainPointsisalistofobstaclesfoundincommonGamificationimplementationineducation,namelyFocus,Motivation,Skills,Pride,MultipleFactors,andLearningEnvironment [3].Aquestionnaire is spreadamong thestudents inRumahBelajarSemiPalar JuniorHighSchoolbeforeandafterresearcher’sinterventiontofindoutifthereisasignificantdifferencebetweeneachmetricused.Keywords:Gamification;projectbasedlearning;inter-discipline;mobileapps;experiment

14 AdelliaParamithasaria.paramithasari@stu.kanazawa-u.ac.jp

SOCIALWRAPPINGSINBLOKKUPAT:COMMUNITIESOFPRACTICEINTHEURUNGPRODUCTIONACTIVITY

This paper aims to investigate the embodied practice between human and material environments in Blok Kupat, throughcommunitiesofpracticetheory(Wenger,1998).BlokKupatisacenterofkupat'scase(urung)production,locatedinBabakanCiparayVillagebehindCaringinmarket,thatproducesurungdaily,anddistributeittotraditionalmarketandstreetvendoralloverBandung;andkupat isaricecakewrappedinwovencoconutleaveswhichoftenassociatedwithIslamicfestivity.Itwillanalyzethelayersofdomain,community,andpracticeofBlokKupatinthescopeofurungproductionanditslearningprocesswithinBlokKupat'ssociety.By investigating the engagement of urung production activity in Blok Kupat, it can help shed light on communities of practiceutilizationasculturalresources.Thisresearchaddressestwocentralquestions:whatkindofcommunityofpracticethatdevelopsinBlokKupatandhowtherelationshipthatevolvesbetweenpeople-peopleandpeople-objectactassocialwrappings(theboundarybetweenthememberofthecommunityandtheothers)?Wrappingdescribedas,"theactofcovering,enclosing,andcontainingwitha wide range of materials, patterns, and metaphysical or conceptual devices" (Harris, 2008). This action creates a relationshipbetween thewrappingmaterials (orwrappers)and their contents (bodies,objects,orplaces) (Hendry,1993).Thecommunitiesof

practicearegroupsofpeoplewhoshareaconcernorapassionforsomethingtheydoandlearnhowtodoitbetterastheyregularlyinteract(Wenger,1998).ThistheorywillbeusedasaconceptualtoolforanalyzingthesocialenvironmentsandasaframeworktoexplainlearningasasocialpracticetorevealthecharacteristicsofaspecificcommunityofpracticeinBlokKupat,Bandung.Keywords:CommunitiesofPractice;BlokKupat;urungproduction;SocialWrappings

15 NanangRizali;BaniSudardi.nanangkriya@yahoo.co.id

THEVALUESOFISLAMINNUSANTARABATIK

Batiktodayhasgrowninthearchipelagoandcreatedavarietyofbatik.Eachregionhasitsowncharacteristicsasaresultofcontactwiththelocalculture.BatikoriginallywastheclothesoftheMuslimsultansinMataram.InsidebatikalreadycontainedelementsofIslam,whichdoesnotdescribetheanimalsanimatewithstylirstyle.Butaftercomingoutofthepalace,batikalsometwithotherIslamic influences in variousplaces in thearchipelago. This studyaims to reveal the influenceof Islam inbatikmotifsoutside thepalaceofMataram-Java.Themethodusedisdescriptiveinterpretivemethod.VariousmotivesinfluencedbyIslamareinterpretedinrelation to Islamic values. The location of this research took from various sites such as Solo, Pekalongan, Jambi, and Bengkulu.ResearchshowsthatthereisinfluenceoflocalcultureandIslamiccultureinbatik.BatikJambiandbatikbesurekBengkuluverylargeinfluenceofIslaminit.ThevalueofIslamhasbecomeareferenceinbatik.ThevariousIslamicreferencesare:(1)doesnotdescribelivingthingswithreal,(2)usesQur'anicversesasasourceofinspiration,(3)containshopeandprayersonthosemotives.SocietythatdevelopsIslamicvalues inbatikmotif isMuslimsociety. Inthissociety IslamisexpressedinbatikmotifsadaptedtoIslamicvalues.Batkisalsousedasameansofda'wahandtheexpressionofbeauty.Islamiccultureinbatikmotifhasalsomixedwithlocalculture.Local floraand faunasuchas fish, scales, shrimp,plants,grasseshavebecomethecornerstoneof thebatik.Batik thenhasanewvaluewithnewmeaning.Forexample,themachetemotifinthepalacebecomesasacredmotif,withintheMuslimcommunitythemotifismodifiedsothatitisnotsacredandgivenanewmeaning.Ifinthepalacethemotiveisonlyfortheking,thenamongIslamicsocietythemotivebecomesfreetouseascoverofaurat.Keywords:Batik,Islam,motive,andinfluence

16 AgungHujatnika;DanuhTyasPradipta;PatriotMukmin;YacobusAriRespati.agung.hujatnikajennong@gmail.com

STUDIESOFARTEXHIBITIONSINTHEINDONESIA’SEARLYNEWORDERPERIOD

TheNewOrderisaveryspecificperiodintheIndonesianhistorythatischaracterizedbyashiftinpatronagesystemofart.Asaresultoftheshiftinthepoliticalandeconomicparadigm,Indonesianmodernartbegantoundergomanymajorchanges,especiallyintheearlyeraoftheEarlyNewOrder(late1960s-1970s).TheconstructionofTamanIsmailMarzukiunderauspicesofDewanKesenianJakarta(JakartaArtCouncil)inJakartaandthedevelopmentofacommercialgallerysysteminmajorcitiesinIndonesiareflectedonlyafewofthemanysymptomsinthechanges.NotonlydidtheaestheticidiomofIndonesianartevolveprogressively,thetopographyoftheIndonesianartworldbegantochangegraduallywiththeriseofemergingyoungartists’initiativesandcollectives.ThisresearchisanattempttoanalyzethelinksbetweenpoliticaleconomyaspectsofartexhibitionsandartisticpracticethatuseapproachesintheCuratorialStudies(CS)andExhibitionHistories(EH).BothCSandEHaretwonewareasofinterdisciplinarystudythathaveevolvedfollowing the great changes in the development of contemporary art of the 21st century, and regarded as the latest (as well asalternative)developmentoftheclassicalapproachinArtHistory,whichfocusonartworkandartists.Inadditiontobeingtwofieldsofworkdealingwiththeproceduresorproceduresforpresentingtheexhibition,bothCSandEHprovidekey-concepts,methodologiesandapproachestoanalyzetheimplicationsofthepresenceofworksofartinthepublicsphereatanygiventime,whichderivefromacombinationofdiversetheoreticaldisciplinessuchassociology,politics,aestheticsandArtHistory.Keywords:ArtExhibitions;CuratorialStudy;EarlyNewOrder;ExhibitionHistories;IndonesianArtHistory

17 RiamaMaslanSihombing;TeguhVickyAndrew.fleur2ria@yahoo.com

ACADEMICSPECIALIZATIONINFINEARTSEDUCATIONATBANDUNGINSTITUTEOFTECHNOLOGY:ILLUSTRATIONCOURSECASESTUDY(1947-2017)

Illustration isoneof thecoursesgivensince1947,whenBalaiPendidikanUniversiterGuruGambarbecame the forerunnerof theFacultyofArtandDesign(FSRD)atBandungInstituteofTechnology.Fromthebeginning,asadrawingteacherschool,attentiontochildrenhasbeenseen,includinginillustrationcourses.Thetrendcontinuedtoincrease,whentheillustrationcoursewasintegratedspecificallyinGraphicsStudio(1967)until itbecametheVisualCommunicationDesignStudyprogram(2006).Inthattimeframe,asshownintheCurriculumof2013-2018,illustrativematerialisnotonlydividedintothegeneralandcompulsoryBasicIllustrationandApplicativecourses,butalsointochildren’sIllustrationsandBookDesignswhicharethespecificandcloselyrelatedelectivescoursesto the interest and the final task that the students are trying towork on. This research aims to trace the illustrated educationaljourney to specialize in the course of Illustration andDesign of Children's Books. In addition, this research also focuses on visualreview of children illustration works produced for the purposes of the course and final assignment, in the context of suchdevelopment and specialization. This study uses the Historical Method, which consists of Heuristics (source collection), Criticism(source testing), Interpretation, and Historiography (research writing) with educational studies approach by using academicspecializationconcept tosharpentheanalysiswith the intention to reconstruct illustrationeducation.This researchcontributes toenrichingvisualculturalstudies intherealmofchildren's literacy,especiallychildren'sbook illustrations. Inaddition,theresultsofthisstudycanserveasahistoricalarchiveintheroleofeducationalinstitutionsofArtandDesigninITBinparticular,andillustratedchildren'sbooksinIndonesia.Keywords:childrenbookillustration,illustration,education,art,history

PARALLELSESSIONROOM2;September5th,2017;Theme:SUSTAINABILITYNO. AUTHORS TITLE ABSTRACT1 SilviaHonsa;Imron

Rosidin.silvia93_vivi@yahoo.co.id

‘MANAJEMENBAROKAH';THESUSTAINABLEIMPLICATIONOFTHECRAFTINGSPIRITUALVALUEINKAMPUNGBATIKPESINDON-PEKALONGAN;ANACTOR-NETWORKTHEORYPERSPECTIVE

Thispaperfollowsupthethesisentitled"TheOpportunityforadoptionof 'CreativeCity' inKampungBatikPesindoninPekalongan:AnActor-NetworkTheory"writtenbySilviaHonsaat theMaster'sDegreeProgram inDevelopmentStudies,Bandung InstituteofTechnology,2015.The findingsof thethesis indicate theexistenceof relationpatterns thatprovide various implications inKampungPesindonandhispeople in the ideasdevelopmentofKampung Batik on the theme of Creative City. As a researchmethodology, an Actor-Network Theory (ANT) states that in a heterogeneous networkanalysis, human entities and non-human entities are symmetrically (Latour, 2005). Ontologically, ANT understands network and action are in twoseparable things.Anactiongets its sources fromthenetworksandviceversa (Actor-Network).TheepistemologicalprincipleofANTunderstands theactivityofscientificresearchthroughtheprocessofnetworktracing, implicatingtheexpansionofresearchnetworks(Yuliar,2009).Thismetaphoricalimplication initiates theauthor to tracingandconcludingbasedonthethesisbydiscussing facts (actualconditions), revisitingPesindon,conductingaseriesofinterviews,coding,re-verificationandwritingdowntherecordsencounteredduring2015-2017.Thefindingsoffurtherresearchshowthatthevalues of 'manajemen barokah' serve as a guide to the prevailing relationship between employers and batik workers in producing batik creativityproducts.Thepracticeof'manajemenbarokah'becomesafactortomaintainthestabilityofcreativity,activityandproductivityofbatikbusinesswhichultimatelybecomestheguaranteeofeconomicsustainabilityandpeople'scrafting.Inthecontextoftheadoptionofcreativecity,'manajemenbarokah'maybeinvolvedtoinitiatetheprogram,stimulatestakeholderinvolvement,aswellastomobilizejointactionsoftheparties.Keywords:KampungBatik;Creative;Sustainability;ManajemenBarokah

2 MariniYunitaTanzil;B.Com.Des;M.Fashion.marini.yunita@ciputra-ac.id

THESUSTAINABLEPRACTICESOFINDONESIANFASHIONBRANDS

In the recent years, sustainabilityhasbeenmoreprominent andperformingas an influential attribute in the fashion industry.As fashion consumersbecomemoreconsciousandinformedonthecomplicationscausedbytheprevailingfashionsystemandindustrytotheenvironment,theslowfashionmovement has emerged as the more recent sustainable notion in the fashion industry. More fashion retailers and emerging entrepreneurs haveattempted to create values through sustainable initiatives and practices, including Indonesian fashion brands. However, as a result of ‘greenconsumerism’and‘greewashing’,manyofthesustainableapproachesbyfashionretailerssuchasH&MandZaraarewidelyquestioned.Theknowledgeandunderstandingonsustainablefashionpracticesarevariedacrossdiversedemographicsandcultures.Usingdescriptivequalitativeapproachthroughliterature studies, observation and non-probability sampling, this paper discusses sustainable fashion and slow fashion theories, investigates theprogressionofthesustainablepracticesofIndonesianfashionbrandsandidentifiestheopportunitiesofslowfashionincontributiontothedevelopmentofcreativeeconomyinIndonesia.Keywords:Sustainability;Sustainablefashion;Slowfashion;Fashionindustry

3 ChristmastutiNur;ImamDamarDjati;DianWidiawati.christmastuti@gmail.com

ANALTERNATIVEOFECO-FRIENDLYMATERIALFROMBANANAPEDUNCLEWASTE

Adesigner’sdecisiontodeterminematerialofaproductactuallyreflectshisawarenesstowardanypossibleimpact,includingecologyconsequencesthatmayoccur.Duetothisissue,aconsiderationtouseaneco-friendlymaterialbecomesmoreseriousprioritynowadays.Analternativeofthismaterialcanbe obtained through utilisation of banana peduncle. Banana peduncles are waste from food processing industries that use bananas as the mainingredient. As a study case, a local SMEof banana chip and cakebusiness in Central Java, Indonesia, produces approximately 10-50 kg ofwastes ofpedunclesperday.Thebananapedunclewastesusuallyareheapedonthegroundinthebackyardordirectlydumpedalongtheriver.Itcausesnotonlyenvironmentalpollutionbutalsoendangerspeople’shealthandsustainabilityaround.Thisresearchaimstoutilisetheworthlessbananapedunclewasteasavaluableproductmaterial.Besidesitshugesupply,bananapeduncleisalsoknownasarenewableandbiodegradablematerial.Moreover,theropesfrom banana peduncle fibres had a comparable tensile strength to coco husk fibre ropes and almost equal to abaca fibre ropes. Therefore, theopportunitytousebananapedunclewastefordesigningfunctionalproductswithcommercialvaluecanbemoredeveloped.Themethodused inthisresearch is structuralandvisualexplorationofbananapeduncle fibre throughvariousplainplaiting techniques.Theresultsof this researcharesomecertain plaiting patterns that expose the strength of structure and attractive visual appearance of banana peduncle fibre. Then, a plaiting pattern isappliedonamodularmultifunctionalshelfasadesignrecommendation.Thedesignconceptofthisproductisbasedonsomeofeco-designprinciplesandstrategiessoitwillgiveminimumecologicalimpact.Furthermore,thisresearchisexpectedtoofferanotherpreferencetoresolvethewasteproblemaroundthefoodprocessingindustriesandtogiveanalternativeadditionalincomeforlocalpeople.Accordingly,byutilisinglocalnaturalmaterials,theydonotneedtorelyonthesupplyofrawmaterialsfromtheotherregions,whichwillincreasetheprice,theuseoffuel,andtheamountofairpollution.Keywords:Bananapeduncle;fibre;waste;productmaterial;eco-design

4 DettyFitriany;YantiHeriyawati;RetnoDwimarwati.detty_ft@itenas.ac.id

SYMBOLICREPRESENTATIONOFTRIHITAKARANAINBATURGEOPARKMUSEUM

TriHitaKaranaisthephilosophyoflifefromHindu(Majapahit)peopleinBalitakingthreeanglepointsofharmonylifeconcept.Ithasmeaningtokeeptheharmonyaswellasbalancebetweenhuman-to-God,human-to-humanandhuman-to-environment.ThisconceptraisedintheMuseumofGeoparkBaturexhibition,especiallyincultural-diversityexhibitionareawhichpresentsthediversityoftheformofculturalexpressionofsocietyinBaturGeoparkregionbasedonTriHitaKaranaconcept.Thisconceptinexhibitionneedstobeinterpretedfrommuseumcollectionsandartefactsandtransformedintosignsthatcanbereadandunderstoodbyvariousmuseumvisitors,sothatitsvaluesandmeaningscanbelivedandruninthecontextofmodernsocietytoday.ThispaperdescribestheprocessofsemiosistoprovethatTriHitaKarana'sconceptsymbolicallyhasbeenrepresentedinthemuseumexhibition.ThisresearchisadescriptiveresearchwithqualitativeapproachfocusingTriHitaKarana’ssemiosisprocessinsidethesetraari-ari(placentagraveyard)ofBayungGedetraditionalvillagedioramawhichwasexaminedusingCharlesSandersPeirce'smodernsemioticstheoryinpragmatismviewpoint.Inthis

research,theresearcherpositioneditselfasadistantinterpretantwithindigenousvillageofBayungGede,thereforetheresearchwasdonefromethicalpointofview.Datacollectionwasdonebyobservation,documentationandstudyofliterature.Thesignsinsidethesetraari-aridioramaarecollectedandgroupedintothree,namelysign-sign,sign-objectandsign-interpretanastheymentionedinthePeirce’ssemioticstriadicmodel.ThesedataarethenanalyzedbyusingteninterpretationsignsalternativeaccordingtoPeirce’s.TheresultsshowedthatTriHitaKarana’sconceptinsidethesetraari-ariofBayungGedetraditionalvillagediorama isacosmological representationofGod,manandnatureasapartof formofculturalexpressionofGeoparkBatursociety.Keywords:Symbolic;Representation;TriHitaKarana;MuseumGeoparkBatur

5 AriantiAyuPuspita.ariantiayu@fsrd.itb.ac.id

METHODOFWOODSELECTIONINFURNITUREINDUSTRYASSUSTAINABILITYSTRATEGYINCENTRALJAVA

Prior to the19thcentury,guides in selecting teakwoodhadbeencomposedby theKratonSurakartabasedon theexperienceof thecarpenter.Theguidesareorganizedintoancientmanuscript,aspartoflocalwisdominCentralJava.Theaimistolimittheexploitationofexcessteakwoodatthetime.Afterthe19thcentury,woodfurniture industrybegantogrowandPerhutaniwasformedasgovernment institutions inmanagingtimberproduction.Materialselectionisalsoconductedwithintheindustryanddesigner,inaccordancewithmarketneeds.Thedynamicsofsocial,economicandculturalconditionsledtochangesintheselectionmethodofteakselectionfrompasttopresent,withthesamegoalofmaintainingthesustainabilityoftimberresources.Thisstudyusedhistoricalmethodtoseetheroleofeachstakeholderatdifferenttimedimension.Thisresearchusedculturalecologyasmaintheory of culture&material selection concept fromAshby as second theory. A key element in the perspective of cultural ecology is the behavioralpatterns,namelyworkandtechnologyusedintheprocessofenvironmentalmanagementorutilization.Theinitialassumptionismaterialselectioncanbeusedasamethodtomaintainsustainabilityofwood,fromdifferentperspectiveuser(government,furniturindustryanddesigner).Keywords:materialselection,wood,furniture,sustainability,industry

5 M.Y.AliefSamboro;AndarBagusSriwarno;ImamDamarDjati.yomyomayom@yahoo.com

MATERIALEFFICIENCYOFWOODWASTEINDUSTRIESTODESIGNBYUSINGLASERCUTTINGTECHNOLOGY(PINE,SUNGKAI,SENGON,ANDKAMPERWOOD)

Furniture industryactivitiesproduceswaste intheformofsmallpiecesofwoodcontinuallythatstillhasnotbeenutilizedoptimally.Thesmallsizeofwoodwastemakesitdifficulttoprocessintoproduct.Ittakesarecenttechnologyapplicationthatcanprocesssolidwoodpieceswithhighlevelofdetail.Thealternativesolutionisusinglasercuttingmachine.Theutilizationoflasercuttingtechnologyinwoodmaterialcuttingisconsideredmoreeffectiveandefficientwithvariousadvantagespossessedsuchas fast cutting,highaccuracy,andnotproducecuttingwaste. It’s cuttingcharacteristicmake itpossibletoprocesssmallwoodpiecewithfastandhighprecisionthatcanbeusedtomassproduceproductcomponents.Thisresearchgeneratethedesignrecommendationbyoptimizingtheuseof lasercuttingmachine inprocessingwastewoodfurniture industrythroughexperimentationprocessusingTrotecSpeedy300machinetocutthematerialwith90%powerand0.38%speedsettings.

Keywords:Materialengineering,woodwaste,lasercutting

6 DwinitaLarasati;Tb.FikiC.Satari.titalarasati@gmail.com

“SENDAL”CREATIVEBOTTOM-UPSOLUTIONSFORURBANISSUESATDISTRICTLEVEL

ItiscompulsoryforeachfacultyatITBtohaveasubjectonenvironmentalissues,thereforetheFacultyofArt&Designestablishedacoursesince2013calledSeni,Desain,Lingkungan(Art,Design,Environment) -abbreviated into“SENDAL”, taughtbyall5 lecturers fromeachprogramwithintheArt&Design Faculty (Industrial Product Design, Interior Design, Visual Communication Design, Craft, and Visual Art); and is attended each semester byapproximately200studentsfromthewholefaculty.Themainaimofthiscourseistoraiseawarenessoftheimpactsofart,design,andallcreativeworks,totheenvironment.Consideringtheamountofstudentsandthetargetitbrings,aparticularmethodisappliedtothisclassroomwithmassivecreativepotentials:byhavingadifferent theme ineachsemester, toberespondedtobythestudents, ingroups,onhowcreativitycouldsolverealproblemswithinanurbanscope.Inthelastterm,thisclasscollaboratedwithKarangTaruna,anarea-basedsocialyouthorganisation,whobroughtrealissuesorproblematadistrictorsub-district level.Thispaperdiscussesanexperimentalformofpartnershipbetweenacademiaandacommunityorganisation,workingonrealchallengeswithina(sub-)districtlevel,andcreatingprototypesofsolutionsbasedonthecapacitiesofallinvolvedstakeholders.Duringthe process, the students learned to apply their knowledge by also considering the impacts on the environment and the social dimension. As aconclusion,thispaperpresentsanevaluationofsuchpartnership,whilealsodeliversthebestresultsthatcameouttothisactivity.Keywords:Creativity;KarangTaruna;environmentalissues;course;urbanissues

7 RamisRauf;Laxmi.ramis.rauf@mail.ugm.ac.id

STRENGTHENINGOFKELOMPOKKERJAPEMBANGUNANDESA(K2PD)FORTHEMANAGEMENTOFNATURAL

Thisstudywillbefocusedondeterminingwomen'saccessandcontrolinthemanagementofnaturalresources,describingtheindependenceofwomen,andknowingthe formsofempowermentby theoilpalmcompanyto transformfunctionsof forests.Thescopeof thisstudywaswomenwho joinedK2PD in District of Anggaberi, Konawe Regency. This study used a qualitative research by applying the techniques of observation, participation ofobservation,anddeepinterview.Determinationofinformantsusedsnowballingtechniques.Todeepenthisstudy,thestudyalsousedliteraturereviewandsecondarydatacollectionwithreferencetoSpradlay.TheresultofstudyfoundthatwomenwhojoinedK2PDhavelimitationsinthemanagementofnaturalresourcesafteraninfluxoftheoilpalmcompany.However, itwasapositive impactforthereductionofunemployment inthevillagewhohadworkedasanemployeeoftheofficeorasafieldworker.Afteroperatingforfiveyears,theoilpalmcompanyhadnotempoweringtothecommunity,

RESOURCESONGENDERPERSPECTIVE

especiallyintheruraldevelopmentworkinggroupsandthegeneralpublic.Socialaidsprovidedintheformofthephysicalfacilities.

Keywords:Strengthening,Management,Resources,WomenandK2PD,Gender

8 AugustinaIkaWidyani;NoeratriAndanwerti;MaitriWidyaMutiara.augustinaw@fsrd.untar.ac.id

THESUSTAINABLEINDUSTRYDEVELOPMENTOFSEMOYOCONSERVATIONAREAVILLAGE,GUNUNGKIDUL,YOGYAKARTA

SemoyoVillageisapioneerofgreeningareadesignatedasConservationAreaVillage(DesaKawasanKonservasi,DKK)bytheRegentofGunungKidul,in2007.ThePeople'sForestwhichhasanareaof251.38hahasbeenmanaged independently, legallyandsustainablyby local communitygroups. Thecommunityhasnotdevelopedmanyendproductsofwood,duetoseveralconstraints.Theindustryisstillclassifiedasasmallscaleindustry,butithasgreatpotentialtobedevelopedandintheenditwouldimprovethecommunitylivingstandard.Therefore,researchconductedbyFSRDUntarteamisaimedatfindingobstaclesthathinderthedevelopmentoftheindustry,andtoproposeideasforthedevelopmentofsustainableindustryatSemoyo.The research method applied for this research is triangulation method. Triangulation of methods and data sources is done through photosdocumentation and researcher personal note written at location, interview method, and literature study. Triangulation among researchers wasconductedinateamof3(three)researcherstogainawiderperspective.Qualitativeanalysisofthedatareferstotheconclusionthattheconstraintsfacedby thecommunity indeveloping industriesbesidecapital limitationsare the limitationsof: technical capability;designknowledge;andproductmarketing.Triangulationtheoryisdonebystudyingotherstudiesrelatedtothetopic.ResearchofsustainableindustrydonebyBarabel(2007)comestothe conclusion that government regulation has to support initiation from community. Researchers found that the spatial plan (RTRW) of Kab.Gunungkidulmightneedtoreconsiderthedeterminationofminingindustrythatwoulddestructtheconservationarea.Skillstrainingofgovernmentanddesign involvement of FSRD Untar should be followed up and supported by product marketing. Conclusion from our research is the necessity ofinvolvementfromallpartiessuchasgovernment,industry,universities,andothersforthedevelopmentofsustainableindustry.Keywords:SustainableIndustry,TechnicalAbility,DesignKnowledge,MarketingSupport

9 DwinitaLarasati.titalarasati@gmail.com

FASHIONVILLAGELABPILOTINGACIRCULARFASHIONINDUSTRYECOSYSTEMINCIGONDEWAH,BANDUNG

AlthoughknownasacitythatsetsthetrendforfashionsinceitsGoldenErainthe30s,andasapopularshoppingdestinationforclothingandgarmentuptotoday,littleisknownabouttheindustryitselfinBandung.In2014aresearchwasinitiatedtofocusonthehousingconditionoftextilefactoryworkers,particularlyinCigondewaharea,whereaprominentgarmentfactoryislocated.Itturnedoutthatpeopleinthat area,mostly ofmid- and low-income levels, are living in inferior qualities, with pollutedwaters and soil, and inadequate facilities. These earlyfindingsleadtowideranddeeperissues,andtheresearchgraduallytouchesuponthesubjectofthewholeecosystemofcreativeindustryinthefieldoffashion.Themainchallengeistoretaintheproductivityofthefashionindustryinthatarea,whileimprovingthewell-beingofitsinhabitants.Thismulti-yearresearchimplementsdesignthinkingandexperimentationmethods,andacommunitydevelopmentroadmap;identifyingallstakeholderswithinthetriple-C phase (Connect-Collaborate-Commerce/Celebrate). As a highlight, a pilot for a circular creative economy ecosystem for fashion industry iscreated in this area; consisting of human resources/ creators, goods (products and services, includingmaterial supplies, capital funds, etc.),market(including distribution, delivery, etc.), and research & development, all of which aim for innovative products and real solutions for the involvedstakeholders.Thestate-ofthe-artofthisresearchconstitutesanestablishmentofalocalco-operation,aplantointervenewiththephysicalfacilitiesofthearea(murals,publicfurniture,etc.),andaprogramforentrepreneurshipandconnectinglocalsmallbusinessestotheirmarkets.Asaconclusion,thisresearchoffersamodelforacircularfashionindustryecosystemthatcanbeadjustedandduplicatedinotherareas.Keywords:Creativeeconomy;ecosystem;fashionindustry.

10 HendyHertiasa.pixelhendy@gmail.com

DIGITALVISUALCULTUREHERITAGE:INTERACTIVEMEDIABOROBUDURRELIEFBASEDAUGMENTEDREALITY(AR)

Culturalartifactsneedtobepreservedbytakingintoaccountthecharacteristicsoftoday'sconpempersociety.OnesuchconservationeffortisknownasDigital Cultural Heritage, which critically analyzes and elicits theories aboutmuseum themes and cultural heritage in relation to '' digital culture ''.Consideringhowimportantdigitaltechnologyhasexistedandevolvedinourlives,howisitutilizedfortheneedsofsustainabledevelopmentbetweenthetheoryandpracticeofDigitalCulturalHeritage,theextenttowhichdigitaltechnologyisabletobuildcultureandhowtheycanbeusedtotransformtheirculture,methodsandrelationshipswithaudiencesinfuture.OneofUNESCOrecognizedworldculturalheritagesitesisBorobudurTemple.Kromresearchersmanagedto identify thenarrative reliefscarvedonBorobudur,namelyKarmawibhanga, Jatakamala,Lalitavistara,Awadana,GandawyuhaandBhadracari.Altogether1460scenesare located in three levelsof the temple,namely:Kamadhatu,Rupadhatu,Arupadhatu.BorobudurTemple isvaluedbymanypeople,abletoinspire,andimagination,likealibraryisendlesstoread.Butthefactthatalmostover1200yearsofthesereliefscannotbeseen,observed,andstudiedeasilybyvisitors,itresultsinalackofexperienceandempathytovisit,intheendasidefromnotrecognizingtheshapeandlikenessoftherelief,norunderstandingthemeaningNarrativeseriesoftherelief.Ittakesawayormethodofreadingtherelief.Bydevelopingthe"WimbaWay"languagemethodandthroughinteractivemultimediatechnologysupportedbydigital-basedinterfacedesignitisexpectedthatthewholeBorobudurTemplereliefscanbeunderstoodandunderstoodbythevisitors.Theexplorationofdigital interactiveinformationcanberealizedthroughthecreationofvirtualexperience, so that it cancomplete the information repertoire,especiallyon the relief sequence thatencircles the templesitemorethan2kilometers.ThedesignofaninteractiveinterfaceusingAugmentedReality(AR)technologyhasthepotentialtoapproachtherealitythatvisitors can experience. The above provides a more immersive visual communication alternative in interacting as a visual relief reading model ofBorobudurTemple.Keywords:DigitalVisualCultureHeritage,ReliefBorobudur,CaraWimba,InteractiveMedia,AugmentedReality(AR)

PARALLELSESSIONROOM3;September5th,2017;Theme:CREATIVEECONOMYNO. AUTHORS TITLE ABSTRACT1 IndahYurikaYusuf;AlvanovZ.

Mansoor.indah.yurika@gmail.com

INDONESIABOARDGAME’SECOSYSTEMMAPPING

IndonesiaBoardgameIndustryreachitstippingpointin2015,thankstoBoardgameCompetitionwhichisheldbyGramediaPublishing group. In end of 2016, there aremore than 10 new boardgames introduced to Indonesiamarket and one ofsignificant part of developing creative industry in game and application subsector in BEKRAF’s strategy. Although thesignificant rise in quantity, Indonesia boardgame industry hasmanyobstacles to overcome. This is a descriptive researchwhichwillmap the theecosystemofBoardgame industry in Indonesiabasedonbusinessecosystemandstrategy theory.Thispaperwillgiveacertainperpectivestowardstheboardgameindustryparticipants,researchers,andplannerinordertocreatea strategyaswell as closing thegapsamongecosystementity inorder tobuild a sustainable creativeeconomy ingamesandapplicationsubsectorinIndonesia.Keywords:Boardgame,IndonesiaBoardgame,GameandApplication,CreativeEconomy,EcosystemMapping

2 IrmaRussanti;Yulistiana.irmarussanti@unesa.ac.id

SUSTAINABLEHIJAB:DEVELOPINGDESIGNSBASEDONCONSUMERS’INTERESTS

Gresik city, in East Java Province, is one of the SmallMedium Enterprise (SME) centers whichmajorly produces hijab, afemale Moslem headgear. Unfortunately, it is very ironic that this center cannot produce authentic product, rather,duplicatingotherhijabbrands. This studyaimsat investigatinganddevelopinghijabdesignwhich ismostly interestedbyconsumers, ofwhich further canempowerGresik SMEs. This development studyusesdescriptive analysis of percentagesobtained fromquestionnairesaddressed to50 female respondentsaged18-25yearsold.Results showmost respondentsprefertohijab’squalitywithsimpledesign,attractivemotivesandcolorswhichimplementfaunapatternsintheedgeofthefabrics.Bydevelopingthistypeofhijab interestedbyconsumers, it isexpectedthathijabproducedbySMEscanbemorecompetitiveinitsmarketandbecomesthetrendsetterofhijabdevelopment.Keywords:hijab,design,development,consumers’interest

3 NanangYulianto;NingYuliastuti;EdyTriSulistyo.nanangfirel@yahoo.co.id

RECYCLEART:CHANGINGWASTETOBEAFRIENDLY-ENVIRONMENTALARTWORKS

Artistsshouldhaveanawarenessofthesocio-culturalenvironmentwheretheylive.Theartworkscreatedshouldbebasedoncontextual issues in theirenvironment.Thedirtyenvironmentby the residualwasteofpeople's consumption is foundeverywhere, including in Surakarta. The condition encourages artists to manifest it into creative solutions by creatingartworksthatcareabouttheenvironment.Thecreationofrecycle-basedpaintingisoneoftheanswerstotheproblem.Theresearchaimstocreatepaintingartthatapplyrecycleartapproachusingpaperwastematerial,metal,cloth.TheresearchwasconductedatNNStudio,Rt04/07Kismorejo,Jaten,Karanganyar,SurakartaonMay-July2017.Theworkapproachwasapplying brainstorming and explorative method. The results show that there are various factors behind the creation ofrecycleart-basedpainting,including:buildingpublicawarenessabouttheimportanceofcleanandhealthyenvironment,theimportanceofdevelopingnewandcontextualaestheticvalues,realizingsolutionstotheproblemofwasteinsocietythroughinnovativecreation,synergizingthespiritofartistsandthecommunityincreatingafriendlyenvironment..Differenttypesofwaste have different characteristics and artistic potential, thus they demand the application of different techniques. Theprocessofbrainstormingisdonetoproducetheconceptofcreationasbaseintheprocessofvisualizationofthecreation.The exploration carried out produces visual surprises that are capable of contributing to the aesthetic enrichment ofpaintings. The aesthetics offered start from the honesty of the characteristics of each material. The differences of thecharacterofeachmaterialbecometheaestheticpowerofthecreatedpainting.Thepriorityofusingmaterialsthatarenotenvironmentallyfriendlymakethepaintingasacreativesolutiontothedirtyenvironmentbywaste.Theresultingpaintworkisplacedasamediumofreflectiontobuildapresian’sawarenessabouttheimportanceofacleanandfriendlyenvironment.Keyword:recycleart,painting,waste,environment

4 AdamWahida;EndangS.Handayani;FigurRFuad.adamwahida@staff.uns.ac.id

CERAMICCRAFTATMELIKANVILLAGE:DEVELOPMENTOFPRODUCTSTHROUGHMOLDINGANDFINISHINGTECHNIQUES

Thisarticle is the resultof researchat ceramicscraft center inMelikanVillage,WediSub-district,KlatenRegency,CentralJava.Theresearchaimstoimprovetheskillsandcreativityofcraftsmen,especiallyto:1)developthedesignofceramicthatmore varied forms, 2) develop the ornament design, 3) develop the capability of making ceramics through moldingtechnique,and4)developthecapabilitiesoffinishingtechnique.Thisresearchmethodincludesthreemaincomponents:(1)modelofdevelopment,(2)procedureofdevelopment,and(3)producttesting.Theresearchproceduresare:1)conductingapreliminary study togathering the informationand identifyingproblemsencounteredby the craftsmen.2)Makingaplan(identification of skills, formulation of objectives, determining the order of development, testing on a small scale. 3)Developingaproductdesignthatincludes:theshapesdesign,ornamentdesign,formingtechniqueandfinishingtechnique.4)Conductingfieldtrials.5)Revisingthedesignbasedonfeedbackandsuggestionsfromtheresultsofthefieldtest.Throughthisresearch,theproducedceramiccraftproductsaremorevaried.Thecraftsmencandeveloptheproductforsouvenirs,such as: jars, vases, candle holder, ashtray, and plate, with ornaments that are varied. Throughmolding technique, thecraftsmenhaveproducedanon-cylindricalceramicproductsandcanacceleratetheprocessofmassproduction.Throughthe

application of finishing techniques using paint, the craftsmen can produce ceramic products that are visually moreinteresting.Keywords:ceramics,molding,ornament,finishing

5 MutiaHanifah.mutia.hanifah@gmail.com

VISUALREPRESENTATIONOFSCENT:ILLUSTRATIONONFRAGRANCEPACKAGING

Visual stimulation plays important role for optimizing the product experience in the moment of choosing and buyingdecision.Especiallyfragrance,whichdon’thaveastronglydifferentiatedofferingthe‘pleasant’scentthroughtheolfactoryexperience.Toaddelementsthatwillsupportemotionalapproachtoitsconsumer,packagingmusthasacompletesensoryconnection,includearoma,visual,andtactileelements.ThispaperseektodiscusstheneedtounderstandthetendencyofseveralfragrancebrandinIndonesiavisualizetheirproducttomeetthedesirepositioninthemindsofconsumer.Howtheyrepresent the fragrance in formof visual cues. The first step is conductingamarket survey todetermine thevariationofexistingillustrationonfragrancepackaging.Then,specifyingthetypicalofrepresentationtoproposeabasicassociationinfragrancepackaging.Thisstudy’sobjectiveistoexaminehowfragrancematerialcanbepresentednicelyintwodimensionalspace.Furthermore,thestudywillestablishaguidelineofskill,techniqueandstrategiestosupportdesigner’svisualizationofaroma.Whileongoingafewcontrolledexperiment,authorwill identifyclassificationofvisualrepresentation infragrancepackagingexistedinBandung,Indonesia.Keywords:Fragrance,VisualRepresentation,Illustration,Packaging,EmotionalDesign

6 AndrianWikayanto.wikayanto@gmail.com

ANALYSISOFTHEPOTENTIALDEVELOPMENTOFTECHNOPARKFORFILM,GAMEANDANIMATIONINDUSTRYININDONESIA

Film,gameandanimationarebranchesofcreativeindustriesthathavecapital-intensiveandlabor-intensive.ThesuccessofdevelopedanddevelopingcountriessuchasJapan,SouthKorea,UnitedStates,MalaysiaandIndiatodeveloptheirindustryhavemany positive impacts on the economic, political, social and cultural growth of the country. Indonesiawith its richpotential and cultural diversity-owned has the chance to compete with those countries. The purpose of this study is toidentifyhowbigthepotentialofcitiesinIndonesiatodevelopaTechnoparkforcreativeindustriesespeciallyinfilm,gameandanimation industries.Thedevelopmentmodel isbasedon theavailabilityof supply chains that shapeandsupply thecreativeindustrybyusingindustrialclustertheory.TheresultoftheanalysisisnotobtainedtoallmajorcitiesinIndonesiasincethereareonlysomecitieswhichhavepotentialtoserveasamodelinthedevelopmentoftheTechnoparkforcreativeindustries. However, there are various other big cities that could potentially serve as a Centre for Creative IndustriesincludingMalang,Bandung,YogyakartaandsomeothermajorcitiesinIndonesia.Keywords:Technopark,Creativeindustries,Supplychains,Filmgameandanimation

7 CahyaningU.C.Nursyifani;AlvanovZ.Mansoor;DianingRatri.cahyaning.umul@gmail.com

BOARDGAMEASMEDIAFORTHEINDEPENDENCECHARACTERDEVELOPMENTOFPRESCHOOL(4-6YEARSOLD)CHILDRENININDONESIA

Oneofthepsychologicaldevelopmentsthatoccurwhenthepreschoolchild(4-6years)istheemergenceofadesiretotakecareofhimselforthesocalledindependent.Changesinlifefromtimetotimealsochangetheenvironmentandbehaviorofchildren.Childrenoftengetfacilitiesexcessfromparentssothatchildrenarelessindependentinsolvingaproblem.Excessfacility isoften referred toasahelicopterparenting,where thechildalwaysgets thebest fromparents.Childrenarenotgiventheopportunitytosolvetheirownproblems.ThisconditionisoftenfoundinsomechildreninIndonesia,especiallyinurban areas. Learning independence of children who have the potential to be developed in Indonesia is through theboardgamemedia.BoardgameinIndonesiabegantobefavoredbythecommunity,butthelevelofenthusiasmofsocietyisstill lacking. Meanwhile, boardgame about develop of attitude for pre-school children is still rarely be found. But theboardgame in Indonesia is increasingly growing lately, so it is h potential to serve as medium for the developmentindependenceofchildself-reliance.Basedontheresultsoftheresearch,childrenaged4-6yearsimplementanindependentattitudethroughdailyactivities,bothatschoolandathome.Therefore,theconceptofboardgamedesignisthethemeofdaily activities of children. In addition to training child self-reliance, the design of this boardgame also trains thedevelopmentofothercharacters.Themethodinresearchthisboardgameusesandescriptivemethod,whichdonethroughsearchprocessofarticles,news,observation,andinterview.Theresultofthisresearchistoknowtheextentofindependenceandtostimulatethedevelopmentofpreschoolerself-reliancethroughboardgamemedia.Keywords:Independence;preschool;boardgame

8 AlvanovZ.Mansoor;I.Aditya;HazmiM.Thariq;NarendraB.Adi;F.Narita.alvanov.mansoor@itb.ac.id

PRESERVINGCULTURALARTIFACTSANDKNOWLEDGETHROUGHINTELLECTUALPROPERTYRE-DESIGN;AYODYAEPICBATTLECARDGAMECASESTUDY

Indonesiaisrichwithculturalartifactsandvalueswithsignificantvisuals.Theknowledgeandvaluesoftheseartifactsneedtobehanddowntothenextgeneration,despiteitsunpopularamongteenagers.In2017,thetrendamongIndonesiateensarepopularmediasuchjapaneseanimationandmangaintermsofvisualstyleanditsvisualstorytelling.ThispaperdepictsthecreativeprocessinAyodya,EpicBattleCardGame.ACardGamewhichdevelopedandre-designedfromvisualcultureartifacts and values into popular media, visual style, and visual storytelling genre. The process may be formulated intomethodswhichmayappliedinothervisualcultureartifacts.Keywords:CulturalArtifacts,intellectualproperty,creativeprocess,cardgame

9 AlvanovZ.Mansoor;S.Sayogo;CahyaningM.Ulum.alvanov.mansoor@itb.ac.id

TAPPINGINDIGITALCONTENTSTREAM,GATOTKACAIPINMOBILELEGENDSGAMES

ThereareseveralestablisheddigitalcontentswhichareaccessedbymillionsofusersworldwideandMobileLegendsisoneamongothers.IntheendofJuly2017,oneofIndonesia’scontentdevelopersmanagedtotapintothegameandpublishaindigenous character from abundant Indonesia’s epic folktales which is known as Gatotkaca. This paper is depicting thereseachoncreativeprocessofelaboratinggatotkacacharacterdesignthroughvisual language,mangamatrix,andframinganalysis.Emphasizeonvisualanduniquegesturewithsignificantmove isoneof theappealingaspectswithoverallexoticapperancethatusersfindinGatotkaca.ThispaperprovidestheykeyaspectsofsuccessfulltappinginglobaldigitalcontentthroughcontemporarytraditionalIPdevelopment.Keywords:Digitalcontent,mobilegames,framinganalysis,visuallanguage,intellectualproperty

10 RachmatArsyadi.aarlont@icloud.com

THEEFFECTIVENESSOFHUMAN-CENTEREDDESIGNONEARLYCHILDHOODEDUCATIONALPLAY–CASESTUDYOFDOMESTICWASTEMANAGEMENTONEARLYCHILDHOODEDUCATIONATBUMIMALAKAASRIDISTRICTJAKARTATIMUR

This research focuses and elaborates the human-centered approach on Early Childhood Educational Play used by earlychildhood education. The result of this Early Childhood Educational Play is designed by maximizing domestic wastemanagementatBumiMalakaAsriareainJakartaTimur.TheresultofthisEarlyChildhoodEducationalPlayisalsohopedtostrengthen the awareness of domestic waste management by the residents, including kids. The method applied in thisresearchisaninterdisciplinarymethodandsupportedbythehuman-centeredapproach.TheresultofthisEarlyChildhoodEducationalPlayhas3aspects.Thefirstaspectisaffordance;whichenablesuserstointeractwiththeresultedobjecteasily.Thesecondaspectissignifier;whichenablesuserstodospecificactionswiththeresultedobjecteasily.Thefinalaspectisthechildrengrowthwhichsupportsphysical,cognitiveandartaspects.Keywords:Earlychildhoodeducationalplay,earlychildhoodeducation,human-centered,design,domesticwaste

11 AloysiusBaskoroJunianto.aloysius.baskoro@podomorouniversity.ac.id

THENEWFACEOFINDONESIANCRAFTANDDESIGNTOCOMPETEINGLOBALMARKET

This article will identify what kind of potential aspects of Indonesian contemporary craft to compete in global market.Indonesiahaswellheritageofdistinctivecraftsmanship.Moderninterventionhadevolvedthetraditionalcraftintonewface.Theyhavechangedtowardcontemporarystyle,butstillemploy thecraftsmanship technique.Thisuniquenessof thenewfaceshouldbeexhibitedinglobalmarketthroughseveralprominentinternationaleventsinordertobemorerecognizedandacceptedinglobalmarkettoboostnationaleconomy.ThebigimportanteventsuchasSalonedelMobileinMilan,Ambientein Frankfurt and NYNow in New York City were selected to attempt the competitiveness of new design. Those eventsrepresent specific regional market share and orientation. The Indonesian Agency of Creative Economy (BEKRAF) hadfacilitatedtheparticipationoftheseevents.Thispaperwouldalsoliketopresentwhatkindofproductscharacteristicthatlikelyhavepotentialsaccordingtopotentialsbuyers’responseduringtheshowincorrelationwithcertainissues.Theissuesrelated to following aspects such as; product quality, craftsmanship,material, aesthetic look/styling, standardization andbusiness strategy. The result of the exhibition was quite promising for new Indonesian craft and design in the future.However, there are still some issues concerning on those aspects to be done tomake it better competitive product andbusinesstogrow.Thispaperwillfocusonhomedecorationandfurniturerelatedproduct.Theresultofthestudyhopefullycouldbeuseful asnecessarydirection inorder togivemoreuseful information todesignerandartisans inorder tohavebettercompetitiveproductinglobalmarket.Keywords:Craft;Craftsmanship;Trend;GlobalMarket

PARALLELSESSIONROOM4;September5th,2017;Theme:CULTURENO. AUTHORS TITLE ABSTRACT1 PatriotMukmin;

AsmujoJonoIrianto;TisnaSanjaya.patriot.mukmin@gmail.com

OPTICALILLUSIONPAINTINGSINCONTEMPORARYARTSENSE

Incontemporaryart,issueofparadigmaticpaintingisnolongerconsideredimportant.Therearemanyartistswhousepaintingsassimpleasamediumofexpression.Onedoesnothavetotellareasonwhyhechosepaintingbecausehewasnotquestioningorcriticizingthenatureofpainting itself. The main issue is the subject matter, to use painting as a medium of expression is only a matter of choice. However, thedevelopmentofcontemporarypaintingcouldnotbedetached from itsglobalhistory.Contemporarypainting retains from itsModernistandConceptualist background the belief that every artist‘swork should stake out a position—that a painting is not only a painting but also therepresentationofan ideaaboutpainting.Thisnotionwasusedbytheauthorto inquire if thereanypossibilities forcontemporarypaintertocreateparadigmaticpaintings.Inordertodothisworks,authorwereusingContemporaryPaintingparadigmasasourceofideaaboutpaintingisalsoanobject.Because it isanobject,authorcouldmodify thephysicalityof thepainting intodifferent formsanddisplay them inanon-conventionalway.Apersonaltechniccalledasillusivethree-sidedpaintings.Thismethodsisananamorphosisillusion,adistortedimagewhichonly canbe seen from specific pointof views. Furthermore, author alsodid an appropriationmethods inspiredby seriesofReneMagritte’simages.Bydepictingsomeofhisfamouspaintingsintothepersonalworks,author’saimwastoenrichthevisualityandtoensurethestatement‘paintingsaboutpainting’.Thefullpresentationoftheworksreplicatedapainter’sstudioinanallwhitecolortogiveattentiontothecolorfulpaintings.Bydoingthisproject,authorfoundthefactthatitisposibleforcontemporarypaintertoexploretheideaofparadigmaticpaintingsfurtherbyapplyingmethodsspeciallydesignforthatpurpose.Keywords:paintings,paintingasanobject,illusion,anamorphosis,appropriation,paintinginstallation

2 IraAdriati;IrmaDamajanti;WillyHimawan;PatriotMukmin;KikiRizkyS.P.ira.adriati@gmail.com

MAPPINGOFARTGALLERYMANAGEMENTSYSTEMSININDONESIAASPLATFORMSFORYOUNGARTISTS’SELF-ACTUALIZATIONINTHEARTWORLDS

CurrentIndonesia’svisualartsceneisdynamicwiththeincreasingnumberofyoungartistswhoaregraduatedfromartschoolsinIndonesiaandabroad.Consequently,competitiveatmospherethickensforyoungIndonesianartiststobeabletoself-actualizethroughtheirartworksinthecontemporaryartfield.Anartworkundergoesthreeeconomicstagesofproduction–distribution–consumptionthattakeplaceintheartfield.Thisprocessinevitablyincludesotherelementsalongsideartistsasproducers,suchascurators,artcritics,gallerists,artdealers,auctionhouses,and collectors. Correspondingly, this research aims to investigate and compare different management systems applied in art galleries inIndonesia. In the long run, its results are expected to aid young Indonesian artists in their effort to self-actualize. This research usesinterdisciplinaryapproach,which includesartmanagement,aesthetics,andpsychologymainly theoriesconcerningself-actualization.Samplesare selected from a range of art galleries in Indonesia,mainly due to their consistent effort in holding events and exhibitions. The selectedgalleriesareGaleriSumardja,LawangwangiArtSpace,andGaleriGerilyainBandung;aswellasSudakaraArtSpaceandBentaraBudayaBaliinBali.Theanalysisshowsthattherearethreetypesofdifferentmanagementsystemsfromthepointofviewofactivityplanning;firstly,somegalleries focuson invitingself-actualizedartists in theart field toexhibitandmerelyhold incidentalevents foryoungartists.Secondly, somegallerieshavepolicies toholdspecialandsustainableevents foryoungartists to self-actualizealongside their seniors.Thirdly, somegalleriesfocus on holding events for young artists. In the selection process to determine which artist merits an exhibition, all the sample gallerieshighlight the aesthetic values of the artworks created.Moreover, personal motivation holds an important key to an artist’s ability to self-actualize.Keywords:Gallery,YoungArtists,Management,Self-Actualization,AestheticValues

3 DiniHariPertiwi;YasermiSyahrul.dheeneei@gmail.com

MOTIONGRAPHICPRE-PRODUCTIONDESIGNCONCEPTSOFMASJIDAGUNGPALEMBANGASPALEMBANGCITYTOURISMPROMOTIONMEDIA

PalembangisahistoricalcityinIndonesia.Palembangcityhasthepotencyofnatural,socialandculturalresourcesthatcanbeusedastourismobject.ThecityofPalembanghasahistoricmosquebuildingduringthespreadingofIslamicreligionnamelyMasjidAgungPalembang.MasjidAgungPalembangisaculturalheritagethathasaveryhighhistoricalvaluefromitsinception.However,duetotheshiftofculturalheritageinlinewiththepaceofmodernizationandglobalizationthatthreatenthepreservationofcultureandsomehistoricareasitisnecessarytobuildamediacampaignthatcontainsthehistoryofabuilding,place,cultureandotherancestralheritage.Tobuildamediacampaignitisnecessarytohaveamaturepre-production concept that is inaccordancewith theoriginalhistoryof the culturalheritage, inorder toachieve it then it isrequiredtohaveconceptsthatcontainstoriesinsequence.Theconceptofmotiongraphicsischosenasamediacampaignbecauseitcanmakethemediacampaignbecomemorecreativewiththematurationofconcepts,inspiration,characteristicandexpressiveattitude.Keywords:PromotionMedia;MotionGraphic;InformationMedia;Pre-ProductionDesignConcept

4 IrmaDamajanti;SetiawanSabana;YasrafAmirPiliang;TjetjepRohendiRohidi.irmadamajanti23@gmail.com

HERIDONO’SARTISTICCREATIVITY:ANINTERPRETATIONINSOCIALANDCULTURALDIMENSIONS

Anartwork,asaculturalproduct,alwaysrepresentsthespaceandtimewheretheartistinteractswithhis/herrealm.Everyartistisbornwithinacertainsocietythatholdsaparticularartistictradition.Thisresearchaimstosystematicallydescribeandinterprettheintegrationofindividualuniqueness and its sociocultural dimensions. The object of this study isHeriDono’s installation andperformance artworks, namelyWayangLegenda (1998), Kuda Binal (1992), and Trojan Horse (2007). Heri Dono is one of Indonesian contemporary artists whose stable career inIndonesiancontemporaryartsceneandalsohis internationalendeavorhasbeenrecognized,primarilysincetheyear1990.Thisart researchemploys a qualitative method with an interdisciplinary approach. Psychoanalytical interpretation method will be applied to explain andunderstandtheartist’screativity.Artcritiquemethodwillbeusedtodeciphertheartworksandtheirrelationstotheintra-subjectivedimension.Additionally, hermeneutic method and the discipline of cultural studies will be put forth to interpret the sociocultural dimensions of the

researchedartisticcreativity.BasedontheobservationofHeriDono’sartisticcreativity, it isconcludedthat indeedcreativity isboundtothesocioculturaldimensionswheretheartistincorporatesandrespondstotheinfluencesfromhis/hersurround.Thestudyofhiscreativity,whichisconsideredtobecommunalandcollectiveinitsprocess,givesarepresentationofaparadigmatictendencyofartisticcreationthatcanengendernewunderstandingsofcreativity.ThroughtheanalyticalprocessandinterpretationofHeriDono’swork,anewparadigmthatisuniquetolocalartist creative processes in a global contemporary context is discovered: the reinstatement of cultural elements using new methods, theappropriationofsymbolsfromdifferenttimeandculturalcontexts,andtheuseofmetaphorandhumortocreateartworksasmeansofsocialcritique.Keywords:Creativity,HeriDono,Interpretation,Social,Culture

5 OliviaGondoputranto.olivia.gondoputranto@ciputra.ac.id

FOLKLOREFUSIONINFASHION:EMBEDDEDINDONESIANFOLKLORETHROUGHCONTEMPORARYILLUSTRATIONINTOFASHIONPRODUCTS

DiversityisonethingthatreflectsthebeautyofIndonesianArchipelago.AlthoughIndonesiaisveryrichintraditionsandcultures,yetnoteveryoneofthemhadthechancetobeexplored.AndoneaspectthatreflectscultureandethnicsinIndonesiaisIndonesianfolklore.Thestorieshasbeentoldfromtimetotime, fromgenerationtogeneration,butnowadaysmostofthemwerealreadyforgottenbytheyoungergeneration,mostlikelybythemillennials.Toreachthepurposeofintroducingthefolkloretothemillennials,somemethodscouldbeused,suchasinfusingthe folklore into fashionproducts.Byusingcontemporary illustration to translate the folklore intomore fashionableadaptation, itwouldbeeasiertobedigestedbythemillennialsthenpiquedtheirinterestonIndonesianfolklore.Thepurposeofthispaperistoexploretheeffectsofcontemporary illustrations that are embedded into fashion products by using observation and inductive approach in qualitative researchmethods.Andeventuallyitwouldreachitsgoaltointroducingthefolkloretothemillennialgeneration.Keywords:Illustration;ContemporaryIllustration;IndonesianCulture;IndonesianFolklore;FashionProducts

6 MochammadCharis;Muh.IhsanDRSAS;ImamDamarDjati.mochammad.charis@gmail.com

REVITALIZATIONOFTRADITIONALJAVANESEFOOTWEARCASESTUDY:TARUMPAHOFTASIKMALAYA

SeveralpreviousresearchhavesuggestedthattheremustbetheuseofsimpleandtraditionalfootwearinJava.PreviousresearchclaimedthatsimplesandalsmustbethefirstoffootwearthateverexistedinJavaisland.Fromthisresearch,ithasbeenfoundthatTarumpahFootwearfromwestjavacultureisthesimplesandalsthateverexistedinJavawhichwastheresultsofacculturationwithSouthernAsiasince9thcentury.TheuseofTarumpahitselfhasbeendeclinedbecauseofmanyseveralproblemsandthisresearchintendedtoidentifythepreferences,desire,andfactors based on the market user from variable ages for modern society. The purposes of this research is focus on how to revitalize thetarumpah footwear so its not going to be extinct. This research used quantitative method,by doingobservationsand market studies,Thedataobtainedthenanalyzedto get theresearch results in the form of design recommendations guidance for small industries of TarumpahTasikmalaya.Theresultsshownthatconsumeragesbetween15until24preferredmoderntarumpahdesignsoitcanbeusedformanyoccasionandfarfromthetraditionalvalueandoriginaltarumpah.Thisresultsisdifferentfromagesupto45whicharepreferredtheoriginaltarumpahdesignthanthemodernone.Keywords:Footwear;Tarumpah;Revitalization;ConsumerPreference;DesignGuidance

7 PratiwiKusumowardhani.pratiwi.polimedia@gmail.

APPLICATIONOFMOTIFBATIKMEGAMENDUNGVISUALELEMENTSONDESIGNOFGLOWINTHEDARKRAINCOAT

MotifBatikMegaMendungcomesfromthewordmegaorcloudstylehasameaninglikearoofthatsymbolizestheskyasahighlyappreciatednatural phenomenon in the Trusmi Cirebon area. The uniqueness of the motif and the color has its own characteristic because it is theexpression of the people's sense of need for the preservation of culture and tradition. These needs are transformed into tradition throughobjects,customs,culturewithdistinctivecolorandshapewithsymboliccontent.TheresultisatraditionalbatikTrusmiMasinathathasastyle,motifandcharacterCirebonan.FrompreviousresearchtherearethreebasicformsthatoftenappearonthesixBatikTrusmiMasinaCirebon,namely;Clouds,wingsandleaves.CloudshapeisaspecialformfoundinbatikMegaMendung.Inthispaper,authorapplythevisualelements,especiallytheshapeandcolorofbatikmotifMegaMendungonfashionproductsthatareusedduringtherainyseasonwhichisaraincoat,withtheapplicationofcoloringglowinthedark,withtheaimthatwhentheraincoatisusedatnight,themotifappliedtotheraincoatisglowing.Methodology used in this research is experimental quantitativemethodology. Themain requirement of experimentalmethod is controllingactivity,manipulationactivity,andobservation.Theexperimentalmethodwasperformedonglowinthedarkwhilethequantitativedatawastakenbyspreadingthequestionnaireonraincoatusers,so itcancomeupwithadesignofrain jacketwithMegaMendungmotifapplicationwhichputforwardvisualelementasmentionedbyMarvinBartel.TheoutputproducedinthisresearchisthedesignofGlowinTheDarkraincoat.Keyword:Visualelement,MotifbatikMegamendung,raincoat,glowinthedark

8 AniendyaChristianna.aniendya@petra.ac.id

THEROLEOFDAMARKURUNGLANTERNASATIMESIGNALOFGRESIKSOCIETY

Damar Kurung Craft is one of the typical Gresik cultural products that have beenwidely recorded the civilization and life of Gresik peoplethroughitshandiwork.TheexistenceofDamarKurunghasbeenaroundsincetheHindu-Buddhistera.ItisalanternthatmadeofbamboopaperwithpaintingembeddedthatbecomeJavanese’ssymboloflife.Thisresearchisqualitativeresearchwithdescriptiveapproach.TheobjectofthisresearchisontheuseofvisualmetaphorthatdescribedbyMasmundariaboutDamarKurung.ThepurposeofthisresearchistounderstandthemeaningofsymbolsthatembeddedonDamarKurungbyMasmundari.Atthesametime,thiswritingismadetounderstandtheenvironmentalcontextwheredecorationofDamarKurungismade,inordertoestablishtheidentityandidentificationofJavanesepeople.Keywords:Culture,ArtandCraft,andDamarKurung

9 EljihadiAlfin;Widihardjo;YuniMaharani.ddeljihadi@gmail.com

ARCHITECTUREANDINTERIORELEMENTSTRANSFORMATIONOFUMAMENTAWAI(COMMUNALHOUSESOFMENTAWAITRIBE)(CASESTUDY:MATOTONANVILLAGE,DISTRICTOFSOUTHSIBERUT)

IfwelookattheMentawaipeopleoftheEmileDurkheimandKoentjaraningrattheory,peopleexperienceachangeinthelevelofsolidaritythatpropagates intheritesandtheclassification.Butnotuntilthesacredvalues.Thismakestheformofartifactsandbehavioralchange,butthemanifestationoftheideastillremainsguarded.Thissocietalchangeisthebasisofthetransformationofthearchitecturalelementsandinterioron UmaMentawai. This study aimed to obtain data and information in order to learn, answered, and explains the transformation of theelementsoftheinterioratUmaMentawai.Thisstudyincludedresearchintothecaseandafieldbelongingtothefieldofsocialresearchinthestudyofarchitectureandinteriordesignwithaqualitativeapproach.DatacollectiontechniquesthatusedwasMixedMethod,whichcombinesseveral techniques,which are fieldobservations, literature review, interviews, internet browsing, and FocusGroupDiscussion (FGD).After acomparative analysis against thepriorUma,Uma conditions arenowexperiencing some changes to the architectural elements and interior.Thesechangesoccurasaresultoftheinfluxofoutsideinfluencesbroughtbyimmigrants,andtheindigenousofMatotonanoftenleft.Besidesthechangesarealsocausedbystrongregulationthatmakesthecultureisgettingstronger,andthegrowingneedthatisnotavailableinnature.SomeelementsarechangedatUma:1)Changesinthelayout,2)Additionofthebench(tobbongan),3)Theuseboardonthewall,4)Additionrailingonthestairs,5)Theuseofthe"tukang”door,and6)Theuseofironnails.TheimpactofthistransformationaretheemergenceofanewparadigmthatdiscussionsaboutthefamilyshouldnotbedoneatUma.Umajustbeaceremonialplace, isnolongeraplacetostay.Andthehabitgatheringinthefireplacebereplacedbysittingonthebench.Keywords:transformation,architecture,interior,elements,culture

10 KukuhSatriaji.kukuh.satriaji@gmail.com

TYPOLOGYANDORIENTATIONSTUDYOFHOUSEFAÇADEINDENSELYPOPULATEDAREA

Thefacadeorthefaceofthebuildingispartofthebuildingthatusuallyfacesthestreet.Thefacadeofthebuildingcandescribethebackground,condition and cultural situation that occurred at the time the buildingwas built. A facade can also tell the characteristics of the individualinhabitants within it, as well as the collective identity of a community that makes it a representation of its inhabitants to the public. Thecompositionof a façade, despiteof all its functional requirements (windows, dooropenings, roof planes, eaves) is essentially related to thecreationofaharmoniousunitybetweengoodproportions,comprisingthepreparationofverticalandhorizontalelements,materials,colorsanddecorativeelements.Thefacadeofthebuildingisalsoinfluencedbyenvironmentalconditions.Thedistancebetweenonehousetoanother,thewidthoftheroad,theboundariesaroundthebuildingbecomesoneoftheimportantfactorsthatwilldeterminetheshapeandorientationofthebuilding.Incontrasttotheintegratedresidentialareasthathavebeenwell-regulatedformandorientationofbuildings,denselypopulatedareaswillhaveadiversityofshapesandorientationsdependingonthelocationwherethehouseislocated.TheareaofAstanaAnyar,Tegallegabecomesoneofthemostinterestingdenselypopulatedareastostudybecauseitconsistsofacombinationofopenarea(node)andcirculation(path).Thisresearchmethodwasconductedusingatypologyapproachandreferstothefaçadeelements.Thepurposeofthisstudyistofindoutthetypeandorientationofbuildingfacadesinthisarea.Keywords:Typology;orientation;house;densepopulation

11 LaviniaD.W.Araminta;Atmadewita.lavinia.disa@gmail.com

HYBRIDITY,CREATIVITY,ANDSUSTAINABILITYOFPATROLMUSICINJEMBER,EASTJAVA

Theaimofthisstudywastofindouthowpatrolmusichasbeendeveloping inJemberandwhatchallengeswerefacedby localmusicians insustainingthelifecycleofpatrolmusic.Informedbytheliteratureandbasedontheresultsofsemi-structuredinterviews,thisstudyfoundthatpatrolmusicservesasnotonlyamusicalbutalsoasocialinstrumentthathaschangingfunctionsamongthesocietyinJember.Movementsoflocalpeople fromand to Jemberhadmadepatrol evolve in itsmusical elements, suchasadditionofmusical instrumentsand the choiceofcontemporarysongstobeperformed.Despitecriticismsaddressedbyearliergenerationsofmusicians, thishybridityofthistraditionalmusicindicatedcreativityofyounger localmusicianswho intendedtoshowthatpatrolmusiccanadapttonewculturesbroughtbynewcomers inJember. However, the sustainability of patrolmusic has been impeded by lack of funds, insufficient support from the regional government,limitedcommunicationamongmusicians,andproblemsinregenerationofpatrolmusicians.Respondingtothesechallenges,recommendationsforthelocalgovernmentandmusiciansarediscussed.Keywords:Patrol;music;Jember;hybridity;sustainability

12

AlmiraBelindaZainsjah.zauberer.matar@gmail.com

ASTUDYOFARCHETYPALSYMBOLSIN‘THEBOOKOFRAINBOW’AND‘BHINEKA’

Humans create language as a means of communication. In addition to spoken and written language, there is also a visual language thatdevelopedintheformofsymbol.WhenexaminedthroughCarlJung'stheory,thereareseveralsymbolsthathaveasimilarformandmeaning.This symbols present in all human civilizations and believed to be existed before humanswere born. This study examines the existence ofarchetypalsymbolsof‘TheWiseOldMan'and'Self'incomicsaswellasgamescreatedby2groupsfromdifferentbackgrounds.Thisanalysisisperformedbyreflectingthemeaningofarchetypesymbolsintothecharacters.ThetheoryusedbythisresearcharethecombinationofJung'sarchetypaltheoryforarchetypalreferencesandFeldman'stheoryforanalyzingtheworks.Theauthorsoftheseworksmaybeunawareoftheappearanceof archetypal symbols in theirworksbecause theuniversal symbols (archetype) arebelieved to reside in the realmof collectiveunconscious.TheBookofRainbow(2014)and'Bhineka'(2014)showtheappearanceofthesamearchetypalsymbolsinadifferentvisualsandcharacters,andinaccordancewiththebackgroundandeducationoftheauthors.Thediscoveryofasamesymboliccharacteristic indifferentvisualssignifiesthateachpersonhastheirownrepresentationofarchetypes,buttheyalwayshavesomekindofpatternthatareincommon.Keywords:Archetype;symbol;comic;game;character

13 RulyDarmawan;JulyHidayat.ruly.darmawan@itb.ac.id

THETHREEMILLIMETERS:ATECHNOCULTURALPERSPECTIVEINBAMBOOWEAVINGCRAFTDEVELOPMENT

Thispaperfocusesonthereflectionofaresearchfindingonthecraftdevelopmentprocesswhichappliesbambooweavingtechniquefromatechnoculturalperspective.ThisisahybridcraftdevelopmentwhichcombinestheweavingtechniquesofBantul,YogyakartaandBeppu,Japan.Theweavingtechniquewasactually inspiredbytheJapaneseartisanwhodeliveredaworkshoptolocalartisansinBantul. Quitesimilarwithworkshop’sintention,thisresearchwasaimedtoenhancelocalcapacityincraftproduction,especiallyforthecraftthathaveanidentitywithsomeidiosyncraticformalcharacter.Duringsomeinteractionwithlocals,therearesomeideasthatcanbehighlightedasthinkingpoles.Oneofthosepolesistheexistenceof‘three-millimeters’.The‘three-millimeters’isastandarddimensionofbamboostripthatshouldbemetupbeforeabetterqualityofbambooweavingcraftmightbeachieved.Fromtechnoculturalperspective,thisexactdimensionof‘three-millimeters’isapromising issue. It does not only dealwith the exact physicalmeasurement of amaterial, but itmay also dealwith the horizon of thoughttowards real-world situation. The discursive reflection employs a phenomenological approach. With ‘the ‘three-millimeters’ as the chosensubject in this interpretation, this technocultually-relatedreflectionexplores theexistenceof thismeasurement;how itbecomessignificanceand could possibly define the quality of object. Understanding on such intertwining entitieswill provide a better perspective on how craftdevelopmentshouldhavebeentreated.Theexplorationwillendupwithfindingthatelaboratessomethoughtonwhatthe'true'qualityofacraftcouldbe.Further, thediscussiononsuch findingwillbenarrowedto thecontextofdevelopingan identicalhandicraft thatmayattractpotentialmarketandgainsomeeconomicalbenefits.Itishopethatthispaperwillsetitsvalueinsupportinglocalempowermentfornationaldevelopment.Keywords:BambooWeavingCraft;Subjective;Objective;CulturalTranslation;Technoculture

14 FretaOktarina.fretalium@gmail.com

SHAREDSPACE:ATOLERANCEANDADAPTABILITYCULTURE

Currently,somecitiesinIndonesiaaredevelopingtowardsamoderncity.Changesoccurnotonlyinthecityspacesbutalsointheculturalvaluesthatexistinsociety.Societygrowsalongwiththecityjourney.Insidethespacesofthecitystoredthelayersofthejourneyofsocietymorphedfromtimetotime.TheresearchwasconductedtohighlightthekampongsofJakartathatnowhavebeenlargelydestroyed.LookingbackintheearlydaysofJakartaasthecapitalbegantodevelopintoametropolitancity,thekampongsweretheonesthatfillthecityspacesandapartoftheidentityofthecity.ThestudywasahistoricalsearchandtriedtoappointoneofthedenselypopulatedkampongslocatedintheheartofJakarta.Througharchivesstudyanddocumentarymethodstorevealthejourneyofthecitybroughtchangestothepatternofsettlementsandledtotheformationofsocialspacesinthecommunity.Findingsshowinthekampongcontainshouseswithlimitedspaceandsmallalleys,thealleysnotonly serve as a connecting corridoror a barrier between thehouses and theoutsidebuthasbecomeanadditional space for thecommunity. An alleywas interpreted as an extensionof thehomeand a part of people's personal space.Unwritten agreements havebeendeclaredthatitwasasharedspace.Spaceblursbetweenpublicandprivateboundaries.Thisultimatelycreatesacultureoftolerancewithinthesettlementsandpatternofpeople'sadaptabilitytospace.Keywords:history;city;space;culture;tolerance

15 BaniSudardi;NanangRizali.banisudardi@yahoo.co.id

THEBLENDINGOFLOCALCULTUREANDCHINESEVALUESINCREATINGLASEMBATIK

LocalcultureisgenerallygivennewIslamicvalues.LocalcultureandIslamicvalueshavebecomeareferenceinthecreationofworksofartthatbreatheIslam.Islamicvaluesthatgivenewvalues,suchastheprohibitionofdrawinglivingcreatures.Therefore,batikthatmeetswithIslamicvalueswillshowpicturesoftreesorflowers.Batikwillbringoutbeingslikeanimals,butcomposedofleafornaments.ThetouchoflocalcultureandIslamicvaluesintraditionalbatikmotifsarosewithnewmeanings.ThevalueofIslamisneverseparatedfromtheArabicwritingsbecausetheQur'an iswritten inArabic letters; therefore Islamicvaluesarethenmanifested in the formofcalligraphyorArabic-like formsofwriting.Batikalsoappearswithanew interpretation.As is thecase in someother Islamic countries in thearchipelago there isa cultural interactionbetweenlocalculturaltraditionsandIslamicvalues.SomeoftheornamentalartintheHinduperiod(Majapahit)whichisthenprocessedintotheprinciplesofunderstandingthebreathofIslam.IftheexistenceofIslamicvisualartisconsideredaphysicaldimension,itwillberelatedtotheideaandsocialsystemthatdevelopsinpre-Islamsocietiesthatfavorceremonies.Keywords:batikNusantara,valuesofIslam,interpretation

16 Jamaludin;AnwarSubkiman.mangjamal@gmail.com

THEAESTHETICOFMISERY:DESIGNASANEXPRESSIONOFURBANSOCIALENVIRONMENT,ANINTERPRETATIONININTERIORDESIGN

Thetopicofthispaperisculture.ThepaperexplainstheexperimentalworkscalledtheAestheticofMisery,presentedinMilanFurnitureFair,April2015.Thisnewapproachtodesign launchedbyAndreaBranziandMicheleDeLucchi, twoprominentdesigners inMilan.They present“socialenvironment”basedontheconceptofmisery.Theseexperimentalworksinvestigatetheconceptofdeprivation,re-establishingitsvalueas a historical and cultural category of crucial relevance, generative of bothmisery and nobility. The exhibition presented sixteen projectsdevelopedby thestudentsof InteriorDesignMasterProgramofPolitecnicodiMilano ItalyundersupervisionofFrancescaBalenaAristaandMarcodeSanti.Miserycanbefoundasanexpressioninartssuchaspainting,cinemadanliteraturebutseemsomethingdeliberatelyhiddenindesignparticularyininteriordesign.Theaestheticofmiseryistheexperimentalworkstoexposeorpresentthemiseryindesignculture.Thisprojectseemasanappreciationtothewayofhowpoorpeoplesurviveinthematterofoccupancyordwelling.Analiticaldescriptivemethodusedtoexplainthebackgroundandaimofaestheticofmisery.Observation incontemporaryofthethe InteriorDesignandarchtecturestyleused to find and to compare the similarity or concurrent with the concept of aesthetic of misery. This aim is to understood as theimplementation or has a the samedirection of the aesthetic ofmisery. WhatAndrea Branzi andMicheleDe Lucchi called theAesthetic ofMiseryisapartofrealsocialenvironmentthatalsoexistininteriordesignandarchitecture.Keywords:aesthetic;aestheticofmisery;AndreaBranzi,MiccheledeLucchi,InteriorDesign

17 FriskaAmalia;ImamSantosa;G.PrasetyoAdhitama.friskamalia@yahoo.com

INCULTURATIONRESEARCHOFHENRYMACLAINEPONTWORKSININDONESIAFROM1918-1936

MostofDutch’sarchitectwhomadearchitecturalworkinIndonesiawereeventuallydidsomeexplorationincreatingvaryarchitecturestyleinIndonesiancolonialismera.OneofDutch’sarchitectwhoalsoan Indonesiandescendanthadsucceedtomixthe localheritageof IndonesiantraditionalbuildingtowardshisworkinIndonesiawasHenryMaclainePont.Pontwasindicateddidaninculturationapproachondesignprocessofhiswork.BeginwiththefascinatedfeelingtowardsIndonesiantraditionalarchitectureespeciallyinJavaIslandandalsoaspecialmotivesduetomanifestanobsessionofethicalpoliticsonarchitecturefieldinIndonesiahasmadehisworkbecameanaestheticmasterpiece.ThisresearchintendedtoelaboratePont’sideaofarchitecturalworkwhichindicatestheusageofinculturationapproachonthedesignprocess.ItisalsousingaqualitativemethodthatenhancetheresearchwithcasestudytowardsthePont’sworkthatrepresenttheinculturationapproach.TheyareAulaBaratInstitutTeknologiBandungandCatholicChurchofPuhsarang,Kediri.Establishmentduetoassumptionoftheinculturationapproachhaddoneby identificationof architectureand interiordesignelementsonPont’swork in Indonesiawhichalso gives some results. Theyareresultsoftransformationinalongprocessofinculturationafterassimilationstageandacculturationstage.Theyarejuxtapose,superimposing,andinterlocked.AulaBaratInstitutTeknologiBandungshowsthestageofjuxtaposeandsuperimposingonly.PuhsarangChurchshowsallofthestageresultsoftransformation.Keywords:HenryMaclainePont,ColonialArchitecture,andInculturation

18 Moh.Sutrisno;SudaryonoSastrosasmito;AchmadSarwadi.moh.sutrisno@mail.ugm.ac.id

TEXTDESIGNASICONANDCULTUREREPRESENTATION

Culturaltextshowedtheidentityofanobjectwidely,itwasusedincontemporarydesign.Palopoasanancientcityhasheritageofarchitecturalmasterpieces.The text "toddo'puli temmalara"writtenon the statueof theLuwupeople's struggleand locatedwithin theareaof theLuwuunity palace as a visual cultural code in theontological reality of thehistoric city landscape. This study explored the existenceof hand-heldmonumentsandmediamonumentdesignasavisualcommunicationculture.Theproliferationofgiantwritingasnew icons insomecities inIndonesia tended to be a new icon for design results. The series of letters were made frommodern materials filling one of space designcreations. Such place, buildings, objects names were communicated through writings in a certain proportion. Issues which based on thephilosophyofcontemporarynihilismthatitwasaboutminimumformandminimummeaninginthedesignworksbecomesproblemforworksofartthatwereunabletocommunicatethemeaningfromaform.Thisstudyaimedtoexplorethemeaningofsemioticsinterpretivelyfromthetextwhichbecamedesignelements.Semioticsasresearchparadigmwithetnometodologymethod.Ethnometodologyasaresearchmethodinordertoidentifythesignscontainedinthecultureofsociety.Themeaningofthedesignwasbasedonthepublicwhousedthesigns.Theresultsshowedthattextcultureasanelementofdesigncompositioncanberepresentamenoffunction,formandmeaningofadesign.Architectsandartists use Malay texts to label urban building functions and urban landscape. Textual significance becomes one of the alternative visualcommunicationandaffirmationfunctionofbuildingamongtheuniformityofdesignform.Thetextapplicationoflocaldistinctivelanguagehasbeenleftinthecreationofposmodernismeradesignelements.Keywords:Design;semiotics;culture;text;visualcommunication

19 YacobusAriRespati;Yustiono;ArdhanaRiswarie;AlmiraBelindaZainsjah.yacobusarirespati@gmail.com

THETENTOONSTELLINGANDSTELENG,EXHIBITIONHISTORIESINTHECOLONIAL20THCENTURYINDONESIA

Thecultureofexhibitingartcametoforein20thcenturyIndonesiaasapraxisintroduced.TheprivateinstitutionmodelofKunstkringortheArtCircle–firstemergedin1902–becameadrivingforcewhereexhibitingwasexercised.By1916theyhadgrownintoanetworkwith26KunstkringsinthewholecolonywithBataviaschenKunstkring(1914)asthemostpremierandbecamethemainstageforartexhibitions.YettheKunsktringneverreallyhadaclearordistinctorientationotherthantheirinitialprosaicmotiveofpromotingthearts,andcraftsofthecolony.Thosewhoexhibitedwereacompositeofvisitingforeigntravellers,emigratedpainters,andafewdedicatedartistsofmixedheritage.Thetentoonstelling,orexhibitions,hadalmostexistedasanasymptomaticillustrationoflatecoloniallife,withrarelyasenseofbeinggroundorrooted,stemmingoffaquasi-elitistculturerelatedtothedevelopmentofacolonialmiddleclass.Captivatedintheculturalclimateofthetropicsasashadowintheperiphery,artexhibitionshoweverweresettogothroughchangeinculturalmomentum.Inthe1930s,amidstthegreatdebateofPolemikKebudayaan and the emergence of the avant-garde such as in Pudjangga Baroe, artistic awakenings emerges amidst struggle for self-identification.Inthenewfoundatmosphere,Indonesianartistswerealsoeagertodisseminatetheirvision,whichcameintoseveralpioneeringexhibitionsculminatinginPersagi.Thenowmotivated,progressiveattemptinproducingexhibitions–thenSteleng–suggestsafurtherprocessoftranslationandadaptationofartisticandexhibitionpractice,whichpresentsidentifiablesymptomsofabreakorruptureinthediscourse.Thisresearchutilise the approachof exhibitionhistories, a recently emerging area in curatorial studies. The study emphasise focus on regardingexhibitionas text,evolving from latest researchdevelopmentsoncontemporaryart&criticalvariablesoncurating.Themethodprovidesanunderstandingon the social context and constitutionof theoperatingartworld; aswell asprovidingalternative, complementary, and latestnarrativeovertheclassicalconcepts&canonsofarthistorythroughinterdisciplinaryapproachofarthistory,sociologyofart,culturalstudies,&criticaltheory.Keywords:ArtExhibitions;ExhibitionHistory;IndonesianArtHistory;Colonial;Steleng