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Academic > Graduate Student > S3 Vis Art and Design

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  1. Yuni Maharani - 37009004 (Fakultas Seni Rupa dan Desain ITB), 2014, INTERIORITY AND ITS FUNCTION TOWARDS PLACE ATTACHMENT Case Study: Toko You, Bandung
    Abstract: Bandung is one of the biggest cities in Indonesia, which identical with culinary of food and snacks. Since 2001, the number of cafes in Bandung has rapidly increased. Eating out, especially at cafes becomes a culture in Bandung urban society. Innovation in a space atmosphere design is one way to keep the visitors coming back, and finally become costumers. Lots of café in Bandung designed their space by presenting certain themes according to their offered menu, or with unique themes thus provide new space experiences and beyond visitors imagination. either we realized or not, designing the interior architecture space aim to make users feel comfortable,attach like feel at home, and even can make possible the users loyal to that place. The aim of interior architecture space design is to give the visitors senses of comfortably and attachment, even create a sense of loyalty to its space. In reality, café type’s diversity created two different visitor characters. The firts types are adventurous visitors who come to taste new menus and new eating places. Second types are visitors who often come to the same place, then eventually become attached and loyal to that place. Nevertheless, from hundreds cafes in Bandung, there are only some cafés which established since long time ago and preserve their space atmosphere without changing into a new theme innovation. Those cafes have a long history and are able to established until today along with their loyal costumers. Among those cafes, there is Toko You, which is located in Dago area and known as the oldest noodle house in Bandung. Toko You that already established for 67 years in Bandung, has historical value and until today still has loyal costumers. This study intended to extend the existing concept of place attachment. The first objective of this study was to find out how the customer could feel at ease and stay faithful to Toko You with today conditions. The second objective of this study was to disclose attachment concept and content in public places through a cafe phenomenon that has established for a long time in Bandung. This research has the intention to develop the theory of the existing place attachment concept. The objectives of this research were also try to detect the space experience that the customers had with the result of their feeling attach and loyal, knowing the place attachment relation with the existing space. In order, this research aim to discover visitors’ experience of comfortability and loyalty to its space, finding the relation of place attachment with its related space elements, and discover the meaning and concept of place attachment through investigation in Toko You. Qualitative-phenomenology method was applied to understand the place attachment phenomenon, this method investigate visitors’ experiences without modifying the space original environment. Interviews and direct observation were applied to trail visitors’ experiences then interpreted through hermeneutic method to discover the meaning of place attachment. Based on observation and interview with 49 visitors who had come to Toko You for several times, and also Toko You‘s 41 loyal customers, experience of physical attributes, symbolic attributes, food, service and activities, all fused into an overall space experience. These space experiences are mixed with subjective feelings which related to images that had stayed long enough within inner-self and had strong association with objects, events, or someone in the past. Interiority is the meaning of space based on space experience and contribution of unconsciousness. Place attachment in the public place can be created by simple space experiences. which identically with user daily life's. Within this study case, place attachment is relate with tradition and history of the place’s identity. Visitors’ place attachment and loyalty also has a strong relationship with accessibility which result on visiting frequency, and the level of social interaction which positioning the place into their third place. Place attachment in public place is not firm, it depend on further contexts such as: type, scale, place character and social-culture background of its society.

  2. Yan Yan Sunarya - 37009006 (Fakultas Seni Rupa dan Desain ITB), 2014, VISUAL ADAPTATION STRATEGY IN THE SUNDANESE BATIK ORNAMENT
    Abstract: The Batik ornament has been studied in various aspects, but in the context of the Sundanese aesthetic concept, it needs to be studied in-depth in the aesthetic aspect and the identity aspect. Based on the intensity of the events during ‘the revitalization’ of a decade in the field of batik, especially those related to the existence of Sundanese cultural artifacts, the Sundanese Batik is considered important from the aspects of aesthetic and identity. The problem of this research lies in : (a) The clarity of aesthetic concept of batik fabrics is due to the lack of aesthetic Sundanese concepts clearly arranged and are applied to objects in Sundanese Batik; (b) The relationship between aesthetic form derived from the assessment results and aesthetic elements applied in the form of aesthetics found in the Sundanese Batik. The identity of the Sundanese community that requires explanation, in the form of a search for intra-aesthetic factor and extra-aesthetic factor, local wisdom within it as a form of visual (cultural) adaptation of the Sundanese. The purpose of this study defined in : (a) The form of the aesthetic of Sundanese Batik, such as ornaments : form, colors, composition, and naming in the context of the Sundanese aesthetic that can be used as a reference in the research and design of Sundanese Batik; (b) Being a creative visual (cultural) adaptation strategy based on the relationship between identity with ornament Batik of Sumedang, Garut / Garutan, Tasikmalaya, and Ciamis which is a form of visual (cultural) adaptation of the Sundanese community. The novelties are : (a) To reseat the Sundanese Batik in the context of developments in the Indonesian Batik; (b) Enabling the form of ornament aesthetic in Sundanese Batik can be used as a reference in the domain of scientific research of craft; (c) Making the Sundanese Batik database in the form of visual (cultural) adaptation strategy based on the relationship between identity with the ornament. In conclusion : (a) There is the Sundanese aesthetic concept in batik ornaments; (b) The relationship between aesthetic form derived from the assessment results and aesthetic elements applied in the form of ornament found in the Sundanese Batik, the identity of the Sundanese community can be explained by the search for intra-aesthetic factor and extra-aesthetic factor, then became indicator of visual (culural) adaptation among the Sundanese community.

  3. Yannes Martinus Pasaribu - 37009002 (Fakultas Seni Rupa dan Desain ITB), 2014, THE PARADIGM OF INNOVATION BASED FAMILY CAR DESIGN IN INDONESIA
    Abstract: The growth of a city marked and built by high mobility and dynamics of the community characterizes the course of a modern life. The concept of physical structuring and spatial elements of a city will condition the model of artificial human relationship with the city environment based non cultural aspects of efficiency and effectiveness that places human in terms of their physiological responses, mechanisms of perception, and interpretation process. Transportation, which is one of the main points in the sustainability of a city, becomes the key of all points in that city. The conditions above shape the socio-cultural model of utilitarian society which puts cars into one of the icons in the growth of the city itself. Car as one of urban cultural artifacts cannot be separated from these factors. The research in this dissertation was conducted on the design of the car with a case study of Indonesian family car. Family van multipurpose vehicle (MPV) was chosen to be the topic of the research because it has the highest sales rate than the car sales of pickup, minibus, microbus, SUVs, sedans, trucks and buses. In Indonesia, the average sales of MPV in 2008-2012 reached 52.76% of the total sales of all car types. This indicates that the Indonesian people place family as an important element in the selection of cars they would buy. The study focused on the design of four types of the most sold MPV car type in Indonesia, namely: Toyota Innova, Toyota Avanza, Suzuki APV and Nissan Grand Livina to examine how the paradigm and pattern design innovations were applied on the four types of MPVs manufactured in 1998-2009. This study examined the shifts in macro and micro paradigm associated with the development of MPV car design for family. The shifts in macro paradigm reviewed include: government policy, industrial systems, and trade; while the micro paradigm was examined by elaborating the growth of values that make up the ideal concept of a family car. Then, analyzing the extent to which these values are translated into a family car, especially the extent to how the relationship between the design efforts conducted by the manufacturers on family cars can meet the values of the target groups. The goal is to formulate the paradigm and pattern design innovation that take place in the automotive industry in Indonesia. After that, evaluating real implementations of the family car design concept marketed by ATPM in Indonesia. Furthermore, examining how users make sense the results of design innovation offered by the industry. The final stage of this research is trying to develop a visualization model of family car design innovation based on the users’ needs in Indonesia. Data collection is done through focus group discussions to understand the paradigm shift in the design and innovation patterns of family car in Indonesia today. Review of the literature conducted to map the innovation design paradigm that occurs in the world automotive industry. Furthermore, direct observation, interviews with informants and the informants related to a variety of development (design and technology) that performed by the four brands tested car that became a case study to determine the pattern of innovation that is done. Explorative and descriptive study carried out to explore and mapping (1) the aspects family values in the car as a cultural attribute, (2) design innovation that is takes place in the automotive industry, (3) to understand how users conduct family car 'sensemaking' to the design innovation offered by the automotive industry. Then do design experiments to develop a model of ideal car design for families and people of Indonesia based on the synthesis of various factors study that is need to be considered in the development of a family car design. At the macro level, the results showed that the state policy related to national automobile industry has been running inconsistently. The impact of such inconsistencies is chaotic development of superstructure and infrastructure to the readiness of the national automobile industry. Hence, the idea of a national car industry has lost its objectives. The government has increasingly become powerless in facing pressures from developed countries with which Indonesia has committed itself to the international and regional trade pacts. In the end, these factors have increasingly eliminated the chance of the emergence of a national car industry in Indonesia. The policy of the sophisticated cabinet supporting the development of trade through various regulations that support the establishment of a multinational automobile industry with the theme of "environmentally friendly cheap cars' so called Low Cost Green Cars (LCGC) is no more than a closing phase of Indonesia's national car story. The results of the study indicate that, in the micro context, the pattern of the design innovation on the four types of family cars sold in Indonesia is a gradual innovation. It shows that people prefer new cars that meet the needs of their function on a daily basis as compared to the ones that are technologically advanced. The concept of novelty is to be crucial for the community in the decision to buy a new car. The desired novelty is not the new technology-based one. Novelty is important; however, it will be regarded as a problem if the new technology forces people to change their habit pattern. People want novelty other than the one that forces them to change their habits. They tend to prefer novelty in design patterns that can adjust to their customs. The innovation pattern conducted by most of automotive industry in creating a new car design is incremental innovation. Design-driven innovation is in the second position, while radical innovations in the last position. The automotive industry in Indonesia in developing car design innovation facing the challenges of a variety of paradigms that lasts and keeps changing at the same time. Various paradigms that influence each other in the sequence are (1) the government's policy paradigm, because all government regulations become a reference point for the entire automotive industry in Indonesia. A direct result of government policies perceived by the industry and users of the car is the buying and selling price of the car, (2) social paradigm, in terms of the representation of the family values that need to be implemented in car design innovation for family users and must be able to deliver the message that someone has prioritizing family values in his or her life, yet still has an attractive exterior visual appearance and interior design which can delight the users, (3) technological paradigm, as an important element of novelty, but rather leads to the sophistication of the car interface system that can be directly felt by its users sense, and (4) economic paradigm, as the constraints that should be handled in the development of the designers creativity in the innovation yet still affordable to the prospective users. The dynamics of the development of family values become an important thing that needs to be represented through a car. This resulted from the fact that the Indonesian people see a family car as a 'dynamic space' of a family when interacting with the urban traffic and the complexity of their social attributes when interacting with the urban environment. The family car is a cultural attribute binding emotional ties between individuals, families, and the urban environment. The representation of perception and identity, comfort zone, physical and emotional experiences of the urban family car becomes a more decisive factor in the success of car design rather than just a brand. The disparity of the purchase price of a car is the marker of their social class in their social environment. The higher the purchase price, the more exclusive one's social position in the environment.

    Abstract: This research discusses the visual representation of 19th century Priangan's natural landscapes in several images created by Franz Wilhelm Junghuhn (1809- 1864) as illustrations in his books. Franz Junghuhn was German-born Dutch researcher, traveller, and colonial official living and working in Dutch East Indies for some 13 years. Priangan was a plateau in western region of Java, which was also important part of Junghuhn's area of research that covered some parts of Sumatra and the whole part of Java, and a place where he lived and worked until his death. Previous researches on the visualization of Dutch East Indies' natural landscapes in colonial era tend to focus their interests on the works of illustrators and painters or those whose professions were within the art world, and didn't pay much attention to the works of naturalists that demonstrated a sort of artistic inclination, whereas researches on the life and works of naturalists in colonial time Dutch East Indies didn't pay much attentions to the visual aspects of theirworks. Meanwhile, previous researches on the history of Priangan tend to be limited by textual data, i.e. within the framework of political and economic history, and didn't pay much attentions to visual data, which more or less help reflect the complexity of political and economic circumstances. By examining how the natural landscapes of Priangan were represented in scholarly works in natural sciences, this research reevaluates the relationship between art and natural science within the historical framework of European colonialism in Dutch East Indies. Following the categorization made by early 20th century Dutch scholar Herman F.C. Ten Kate, this research places Franz Junghuhn as 'painter-illustratorwriter' (schilder-teekenaar-schrijvers) and sees his works as 'artistic-scientificiconography' (artistich-wetenschappelijke iconographie). It finds various images resulted from Junghuhn's scholarly researches, which comprise, among others, topographical maps and 'height maps' (hoogte karten), sketches of natural landscapes, picturesque lithographical prints (pittoreske gezichten), and photographs as well. These visual images were created through three activities, namely 'actual mapping' in order to represent the land, 'figurative depiction' in order to meditate the nature, and photography in order to record the panorama. All of them couldn't be separated from Junghuhn's travelogue, scientific findings, and philosophical reflection. These visual images are analysed by the researcher in line with analytical procedure that is common in art discipline, from formal description to interpretation, before further analysed within their relationship with the narration attached to them. These visual images are firstly grouped due to their types as well as their functions in the texts, and are analysed due to their details in the representation of natural landscapes as well as their relationship with the texts, and in turn are interpreted within the relationship between visual art and natural science. In turn this research emphasizes that natural landscapes of 19th century Priangan provided a sort of visual setting for the thought and reflections of Franz Junghuhn in his endeavours to build scientific knowledge in natural sciences, as a fundamental part of the realization of naturalism, and also to formulate philosophical and theological reflections that challenged fundamental beliefs of European society. The visual images of 19th century Priangan's natural landscapes have become a sort of allegory of the ideas of human life that are based on the enchantment of natural grandeurs.

  5. Riama Maslan Sihombing - 37009003 (Fakultas Seni Rupa dan Desain), 2014, THE SHIFTS OF MOTHER FIGURE VISUALIZATION IN INDONESIAN CHILDREN BOOK ILLUSTRATIONS OF 1980-2013
    Abstract: Throughout human civilization, mother has always been a central figure for her role in the birth of a new generation of humans. Various myths and stereotypes of a mother figure has always come up to mark her presence. Changes in the depictions of the mother were initially represented as a noble person; however, now in modern day, mothers become more humane. It can be seen at the depiction of a mother figure in modern life displayed in a variety of visual media, including the books for children that have been known to play an important role in a child’s development. Visual narrative in picture books can shape a child's social behavior model because illustration is a form of information that can involve the readers into the story line and escort them to the real experience The problem is that in the 1970s the social role of the mother figure who was traditionally considered to be in the domestic space has been extended to public spaces, so it is important to observe and perform an in-depth analysis of the explicitor implicit meanings of the depiction of mothers in children's books. This study aims to visually identify the mother figure representation in children's books; to determine what factors influence the shifts: and to know the meaning of the shifts of the mother in children's book from 1973-2013 using the Content Analysis in sorting the visual data and Social Semiotics in understanding its meanings. The findings indicate a shifting map of mother and child interaction: at the beginning of the period (1970s) the mother was described as the source of life that 'nurture', in the transitional period (1980s-1990’s) it was changed into 'caring' mothers, and then at the end of the period (2000s) it changed into a 'parenting' mother role. In terms of ideology: in the early period of the state ideology the New Order made mothers become passive; in the transition period of the Reformation Era and ideology of equality mothers were more active and flexible, and religious ideology was identified with the use of a covered religious clothing and the urban ideology/culture features the use of commercial product commodities. Thus, the representation used in the illustrations in children's picture books can be a ’hint’ of socio-cultural conditions and can be used on a reciprocal basis in building the nation

  6. Nedina Sari - 37008004 (Fakultas Seni Rupa dan Desain ITB), 2014, INTERSUBJECTIVITY IN LEARNING PROCESS OF THREE DIMENSIONAL VISUAL BASIC FORM AND ITS EFFECT ON FORM Case Study on Three Dimensional Learning Visual Basic in Visual Art and Design Faculty of Bandung Institute of Technology
    Abstract: Three Dimensional Visual Basic implemented on Basic Education Program of Art and Design is a learning that is implicit (tacit knowledge), which is knowledge that can not be formulated in the form of short narrative. Understanding on the purpose of learning about things that are in normative basis for designing this form of learning can only be achieved by continuous practice on the material, exercises under the supervision and guidance of educators, learners acquire their understanding up on the learning objectives In the implementation of learning, each student has her/his own shape objects which are different from each other. so it requires intensive coaching that is very personal. The process requires a lot of time for the total process of supervision for all students in the class. Adapting Tabarani’s concept that humans have a total potential in learning, combined with the concept of Gestalt and Csikszentmihalyi learning environment involving the learning process, and design methods supported by Jones shows that the creative process in this learning process is done through a repeated and continuous process of a learner. This study intends to explain the researcher’s assumptions on how to learn intersubjective involves more parties in addition to individual learners with educators. The process involves several intersubjective learners as subjects and objects that are in the quest to understanding. Involved in the process is an intrinsic element of a visual experience of each learner acquired as a result of the development of information and communication technology. Each element of this intersubjective process continuously exchanged and intertwined functions as subject and object leaded and forth to ultimately complementary ( horizontalization ) thus create the understanding. This process thus becomes a process of understanding the excavation is constructivist because learners explore independently hie/her understanding in learning activities ii together . Intersubjective learning process is a bid to achieve optimization in the learning process the Three Dimensional Visual Basic in the current circumstances. This study is a qualitative study using a phenomenological approach. Data collection was conducted through participatory observation. In summarizing the activities carried out observations of the collaborative classroom setting and implementation of research experience in the implementation of learning undergo in order to see the relation between the learners and their content as an intrinsic element of conscious subjects to objects in the learning process. Interviews were conducted in-depth unstructurally with Arts and Design educators, learners, as well as several senior educators/faculty member who have been involved in the Visual Basic Three Dimensions learning process. Implementation of intersubjective learning was empirically conducted on twenty- three students, selected randomly from regular classes which are divided into several working groups. Learners of the test group showed a good quality evaluation results. Out of twenty-three students, three people get excellent values as the highest value of the average grade (230 people), eight people get very good value, well worth the seven people, two people valued enough, and three members fall due not follow the process of collaboration within the group. With the good quality outcomes in participants intersubjective work, then the learning techniques in Three-Dimensional Visual Basic Form with many learners can be an offer to achieve efficiencies of time and energy. And the other meaning is also showing a possible implementation of intersubjective work on learning Three-Dimensional Visual Basic Form which has previously been done in a way that is both tacit personal intensive. Another possibility is the presence of symptoms obtained in the form of changes in the results of the exercise are influenced by the way of learning. Implementation of intersubjective learning was empirically conducted on twenty- three students, selected randomly from regular classes which are divided into several working groups. Learners of the test group showed a good quality evaluation results. Out of twenty-three students, three people get excellent values as the highest value of the average grade (230 people), eight people get very good value, well worth the seven people, two people valued enough, and three members fall due not follow the process of collaboration within the group. With the good quality outcomes in participants intersubjective work, then the learning techniques in Three-Dimensional Visual Basic Form with many learners can be an offer to achieve efficiencies of time and energy. And the other meaning is also showing a possibility of implementation of intersubjective work on learning Three-Dimensional Visual Basic Form which has tacit nature has been done by way of intensive personal. Another acquisition is a symptom of a change in the form of exercise that results are influenced by the way of learning.

  7. Irfansyah - 37010014 (Fakultas Seni Rupa dan Desain ITB), 2014, ADAPTATION OF VISUAL CODES OF WAYANG GOLEK PERFORMANCES TO TELEVISION
    Abstract: The wayang golek (wooden puppet) play is a form of art and a cultural product of the Sundanese people that has been passed on from generation to generation, while adhering to its pakem (canon). The pakem consists of a set of rules or code governing the process of making or performing the wooden puppet. However, the emergence of current popular media, particularly the television, influences the decline of appreciation, on behalf of the Sundanese, in watching wooden puppet plays. This eventually leads to the televised performances of wayang golek plays. The transition of wayang golek to television represents a performance pattern different from that of the traditional wayang golek performances. The difference is evident in the transformation of the visual codes, marked by an intertextual process between the wayang golek performances and the medium of television. This process results in visual codes that touches upon the role of the long-standing pakem in wayang golek performances. This situation marks also the a change in the Sundanese ideology, influenced by the situation of cultural environment or “cultural ecology.” The environmental factors embodied in the “technological system”, “economic system” and “ideological system” trigger the changes in the performances of Sundanese wayang golek on television. With regards to the changes in the visual codes of wayang golek performances on television, this study is approached through ethnographic methodology, which is divided into analyses of domain, taxonomy and components. This study aims at understanding the emergence of changes in visual codes represented through Sundanese wayang golek performances on television as well as the influencing internal and external factors. The findings of this study comprise “visual codes of digital stage design”, “visual codes of digital scenes”, “visual codes of iconic golek mimic” and “visual codes of digital watching”, indicative of the adaptation of Sundanese wayang golek performances to television. This condition indicates the process of acculturation between Sundanese people and their modern surroundings, which in turn causes the concept “adaptive code” to emerge.

    Abstract: Folklore and legend are a part of Malay tradition culture that has spread and passed on from one generation to generation, now been represent into new forms, which involves visual and other human senses. This study discusses the condition of the understanding and the imagination of a new generation are still the same as the early centuries and how human acceptance, preserves tradition and culture customs but in the process of adaptation and upgrade of maturity and decent with civilization maturity. This research aims to understand the overall shape, symbolism and meaning contained in local folklore and translated in the animation based on the culture theory, a phenomenon that is closely related to the cultural system, the system of signs and meanings and symbolic narrative. This research has been implemented using qualitative approach. Discussion of this research was an animated film Putih 2001, adapted from the classic Malay literature, considered significant to represent all of the animated film. The cultural approach used in this study as a concept for understanding the art of animation in the context of Malaysia which became the basis in carrying out research in the field, beyond the symbolic transformation of explanations that apply from verbal storytelling and text to the visual form of animation, based on narrative structure, character, behaviour and background/setting. Data analysis is done through the intraesthetics and ekstraesthetics analysis, in the form of two mutually inter-related stages and at the same time. The analysis of intraesthetics is the surgery on the internal aspects of the animation. While the analysis of the ekstraesthetics with regard to the interpretation and surgical aspects outside of artwork, the factors that enclosing them, among others, the social aspects of Malay culture. Conceptualization of the structure and pattern of the symbolic transformation of folklore into animated form above is the result of an analysis of the animated film Putih. Symbolic transformations that take place from verbal narrative form of Malay folklore to visual narrative form of animation film in Malaysia, based on the cultural knowledge of Malay values-oriented cultures and is based on the understanding that happened against and in the form of technology and modern aesthetics. The symbolic transformation is indicated by his account and processing, techniques and procedures, as well as the affirmation of the sphere of culture.



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