ISBN 978-602-61467-0-0...2020/02/01 · INDESIGNATION 2016 - PROCEEDINGS ISBN 978-602-61467-0-0 Editorial board Dr. Andry Masri, M.Sn. Dr. Yannes Martinus Pasaribu, M.Sn. Guest editor

ISBN 978-602-61467-0-0

PROCEEDINGS of INDESIGNATION NATION IN DESIGN CULTURE – DESIGN IN NATION’S CULTURE

EDITOR

Andry Masri

Yannes Martinus Pasaribu

Diterbitkan oleh

Aliansi Desainer Produk Industri Indonesia (ADPII)

2 0 1 7

INDESIGNATION 2016 - PROCEEDINGS

ISBN 978-602-61467-0-0

Editorial board

Dr. Andry Masri, M.Sn.

Dr. Yannes Martinus Pasaribu, M.Sn.

Guest editor

Dr. Riama Maslan Sihombing, M.Sn.

Copy editor

Grace Marcelina Pasaribu

(British Council certified English translator)

© 2016 Indonesia Alliance of Industrial Designer, Indonesia

Published by:

Indonesia Alliance of Industrial Designer (ADPII), Indonesia

INDESIGNATION conference is endorsed event by the Indonesia Alliance of Industrial Designer (ADPII). Indonesia

Alliance of Industrial Designer (ADPII) is a non profit body, registered in Ministry of Law and Human Rights of the

Republic of Indonesia, number AHU-0001749.AH.01.07.year 2015.

Technical Support: ADPII (www.adpii.org)

Conference organizing team: PT. Radyatama

http://www.adpii.org/

Publication Guidelines

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UNDANG-UNDANG REPUBLIK INDONESIA NOMOR 19 TAHUN 2002 TENTANG HAK CIPTA

Pasal 72 Ketentuan Pidana

Sangsi Pelanggaran

1. Barangsiapa dengan sengaja dan tanpa hak mengumumkan atau memperbanyak suatu Ciptaan atau memberikan izin untuk itu, dipidana dengan pidana penjara paling singkat 1 (satu) bulan dan/ atau denda paling sedikit Rp1.000.000,00 (satu juta rupiah), atau pidana penjara paling lama 7 (tujuh) tahun dan/atau denda paling banyak Rp5.000.000.000,00 (lima miliar rupiah).

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ADPII | Aliansi Desainer Produk Industri Indonesia - Indonesian Alliance of Industrial Designers

i | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

PREFACE

Message from

M. Ridwan Kamil, ST, MUD Major of Bandung

Although it is a relatively new phenomenon, Creative Economy has actually lasted for quite some time in Bandung city. The fact that the younger generation dominates the proportion of the population of Bandung (68% of its 2.5 million people is under 40), and that there are more than 50 universities in Bandung, whose best reputation is in the arts, crafts, design, architecture and culture, becomes the biggest indicator of Bandung's strength: its creative human resources.

This creative human resources, which is one of the key elements in the Creative Economy Ecosystem, is also supported by the presence of other elements, namely Creation (karya), both of products and services; Market; and Research & Development, which are all available in Bandung. These factors have contributed to the economic growth and capacity building of the community, as well as providing its own color for the dynamics in Bandung.

The government of Bandung City seeks to accommodate the energy and ideas of its citizens through the spaces of expression and various facilities to support policies, which is the application of the concept of Bandung's development triangle, namely Innovation, Decentralization, and Collaboration. This concept encourages active participation of various elements of citizens and communities. The implementation of INDESIGNATION, initiated by the Alliance of Industrial Product Designers of Indonesia (ADPII), is one of the real manifestations of the initiative. Bandung City Government fully supports and also boasts this international event, which can also strengthen the position of Bandung as the City of World Design in Creative City Network UNESCO.

The consistency of INDESIGNATION, which has been planned to be an annual event, is expected to have a real impact, both for improving the welfare of Bandung residents through various activities and design works, as well as for capacity building of human resources, scientific fields, and professional organizations, which can also enhance its reputation in the field of global Creative Economics.

Bandung, April 30, 2017

M. Ridwan Kamil, ST, MUD


ii | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

Message from

Dr. Dwinita Larasati, MA Chairperson of Creative Economy Committee of Bandung City

The status of Bandung as a City of Design in UNESCO Creative Cities Network (UCCN) that was obtained in December 2015 has posed a challenge for Bandung to reinforce that predicate by verifying that design in particular and a variety of creative capacities in general are a great potential for improving people's welfare.

As a member of UCCN, Bandung City is obliged to fulfil its commitments in the proposal, such as holding international-scale design events, which also integrate with other sub-sectors in creative economy, and are expected to deliver positive impact to designers, lecturers, students, professionals, design production units, and all related stakeholders.

The Creative Economy Committee of Bandung City, a group that was formed to compose and ensure that creative economy programs of Bandung City are implemented according to plan, welcomes the commencement of INDESIGNATION, an initiative by the Alliance of Industrial Product Designers Indonesia (ADPII), which has become one among the many milestones of the existence of design profession in Bandung City, involving all stakeholders within the whole Creative Economy Ecosystem in this city. This event is expected to be held continuously and become a creative network platform for Bandung City and other cities, both at national and international levels.


Dr. Dwinita Larasati, MA


iii | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

Message from

Adhi Nugraha ADPII Chairperson

Design field, emerged briefly after the industrial revolution era, integrates the potentials of

technology with art to improve living quality. Design is a concrete manifestation of intellectual thinking; an act of collaboration between rationality, emotion, and ethic in either subjective or objective ways. It optimizes chances in finding solution that emerges even in limited conditions. Design gives also people a sense of cultural and national identity.

The result of design process is directly in touch with human as a part of society that holds certain values as behaviour guidance. At the same time, culture can be perceived as a series of consensual values acquired from varied factors, approved by the society to perform their activities. While a design work needs to correspondents with society‘s existing values, design will always bring new interpretation that naturally forms new value. A design work is accepted by society if it has corresponding values with existing values.

Thanks to the evolution of technology that has gifted possibilities to materialize human imagination, in order to fulfil human ‗needs, wants, and demands‘. As a result, society will always interact with design. Human is involuntarily surrounded by design as a medium of novel values from the creator.

Considering the wider possibility of acculturation, this conference took a theme ― Nation in Design Culture – Design in Nation‘s Culture‖

The levitated theme was trying to explore various thoughts on how the relationship between design, culture, and national identity viewed from different aspects and fields of design. In what way design can change culture, and correspondingly, in what way a certain culture can bring specific impact to design. How design is accepted by society with particular existing values; and how society form new values as a result of accepting design as a part of their life. Since social values always shift dynamically, then as a part of society, designer needs to be susceptible to the dynamic; for design and culture are always in constant change.

This proceedings is the collection of manuscripts from the conference organized by the Indonesian Alliance of Industrial Designers (ADPII), and hosted by the government of Bandung, held in Bandung, 10 – 11 November 2016. This proceedings provide the thoughts for researchers, academicians, practitioners, as well as industrial professionals from all over the world to present their research results and development activities in the fields of design and culture.

Hopefully this proceedings could provide valuable records of new ideas and application experiences, to develop the future mutual research relations and collaboration among all stakeholders.


Adhi Nugraha, PhD


iv | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

INDESIGNATION 2016 NATION IN DESIGN CULTURE – DESIGN IN NATION’S CULTURE

TABLE OF

CONTENTS

Group 1. Transportation, Culture, and Design

FELIZ- ELECTRIC URBAN BIKE FOR MIDDLE AND HIGH SCHOOL STUDENT WITH UNISEX CONCEPT

Bambang Tristiyono, Andhika Estiyono, Eri Naharani Ustazah, Thomas Ari Kristianto

2

SECURITY BY DESIGN FOR BIKE-SHARING SERVICES AS SUSTAINABLE PUBLIC FACILITY

Irfan Gani Purwanda, Dwinita Larasati, Intan Rizky Mutiaz

7

PERANCANGAN DESAIN GRAFIS BADAN BUS DENGAN ILUSTRASI KEARIFAN LOKAL KHAS INDONESIA

Bus Body Graphic Design with Indonesian Local Wisdom Illustration

Mazaya Muftiya Al Farabi

11

PENGEMBANGAN DESAIN FASILITAS KESELAMATAN WISATA BAHARI PADA PERAHU NELAYAN TRADISIONAL PANGANDARAN

Safety Facility Design Development of Marine Tourism in Pangandaran Traditional Fishing Boat

Edi Setiadi Putra, Aldrian Agusta

14

PENGEMBANGAN DESAIN PRODUK LOW DECK ELECTRIC BUS SEBAGAI TRANSPORTASI PUBLIK UNTUK KOTA METROPOLITAN

Low Floor Electric Bus Product Design Development for Metropolitan City Public Transport

Agus Windharto

18

IDENTIFICATION OF USER EXPERIENCE RESPONSES IN SEQUENTIAL INTERACTION OF A CAR

Slamet Riyadi

23

THIRD GENERATION OF DOCKING BIKE-SHARE IN BANDUNG TOURISM AREA (BANDUNG BIKE-SHARE, WEST JAVA, INDONESIA)

Ratriana Aminy, Anugrah Nurrewa

28

REDEFINING DESIRES, HOPES AND BEHAVIORS FOR THE FUTURE OF SMART URBAN TRANSPORTATION FOR THE CITY OF BANDUNG, CASE STUDY: MICROBUS EV-ITB PROTOTYPE

Freddy Chrisswantra, Yannes Martinus Pasaribu, Adhi Nugraha

33


v | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

Group 2. Small Industries and Culture

TRADITIONAL INDUSTRIES AND CREATIVITY MIE LETHEK PRODUCTION PROCESS TECHNOLOGY

Bertha Bintari W

43

MANIK-MANIK KACA JOMBANG INSPIRASI UNTUK PENGEMBANGAN MOTE BATIK JAWA TIMUR JOMBANG

Glass Beads Inspiration for the Development of “Mote Batik” From East Java

D. R. Amelia

47

PRELIMINARY MARKET RESEARCH FOR GETUK PISANG KEDIRI PACKAGING DESIGN WITH DATA MINING

Widi Sarinastiti, Dwi Susanto, Halimatus Sa'dyah, Viranita Dewi Noviyanti, Fauziza Yonas Sukma Putri, Reza Rahman Ramadhan

51

KAJIAN TENTANG INDUSTRI KREATIF – BUSANA MUSLIM BERBASIS KEARIFAN LOKAL DI INDONESIA SEBAGAI PELOPOR KIBLAT BUSANA MUSLIM DUNIA

The Study on Muslim Clothing's Creative Industry - Based on Indonesian Local Wisdom as a Pioneer of Global Muslim Clothing Center

Nurul Hidayati, Khozinatus Sadah

54

PENGEMBANGAN DESAIN PRODUK TAS BEGAL (BEBAS BERGAYA DAN LUWES) SEBAGAI UPAYA PEMBERDAYAAN PERAJIN TAS DAN KOPER DI DESA TANGGULANGIN SIDOARJO, PASKA BENCANA LUMPUR LAPINDO

The Development of 'BEGAL' (Free in Style and Flexible) Bags Product Design as an Effort to Empower Bag and Suitcase Craftsmen in Tanggulangin Village Sidoarjo, Post Lapindo Mud Disaster

Khozinatus Sadah, Arizka Rahma Sani, Rizna Eka Nursanti, Mazaya Mutia A. F

59

REVITALISASI DESAIN TUNGKU MASAK (DESA MERUPAKAN RAJUTAN KECERDASAN BAGI MASA DEPAN)

Revitalization of Cooking-Furnace Design (Village as an Intelligence Woven for the Future)

Winta Adhitia Guspara; Mahatmanto; Linda Octavia

62

INDONESIANS’ ATTITUDES TOWARD THE CHAIR MATERIAL AND MATERIAL COMBINATION Intan Prameswari, Haruo Hibino, Shinichi Koyama

66

VISCERAL DESIGN DALAM KAIN TENUN SUTERA GARUT

Visceral Design in Garut Silk Weaving

Nandang Setiawan, Achmad Syarief, Yanyan Sunarya

70

VISUAL CHARACTERISTIC OF BANANA STALK FIBER LAMINATION AS AN ALTERNATIVE MATERIAL FOR CRAFT PRODUCT

Christmastuti Nur

74

ADAPTATION OF TEAK WOOD SELECTION ON FURNITURE INDUSTRY TO OVERCOME THE LIMITATION OF WOODEN AMOUNT (CASE STUDY: MANGGALA FURNITURE, CENTRAL JAVA, INDONESIA)

Arianti Ayu Puspita, Jamaludin

78


vi | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

Group 3. Building a Creative Society and a Design City

REINTREPRETING THE LEGACY OF MAJAPAHIT VISUAL ART IN ORDER TO DEVELOP CREATIVE COMMUNITIES IN TROWULAN

Setyawan, Anung Studyanto, Kustiawan Arifin

89

PENGARUH KEGIATAN KARNAVAL TERHADAP PELESTARIAN BUDAYA DAN KREATIVITAS MASYARAKAT, STUDI KASUS MFC (MALANG FLOWER CARNIVAL)

The Effect of Carnival Activities on Cultural Preservation and the Society Creativity, Case Study Malang Flower Carnival

Agus Sunandar, Khozinatus Sadah

94

CRAFTSMEN VERSUS DESIGNERS: THE DIFFERENCE OF IN-DEPTH COGNITIVE LEVELS AT THE EARLY STAGE OF IDEA GENERATION

Deny Willy Junaidy, Yukari Nagai, Muhammad Ihsan

99

MAPPING SURABAYA CREATIVE INDUSTRY’S MOVEMENT

Kumara Sadana Putra, Ramok Lakoro, Muhammad Cahyo

105

THE FLEXIBLE BUILT-IN FURNITURES TO COPE WITH LIMITED SPACE

PROBLEM IN INDONESIA MODEST RENTED FLAT (RUSUNAWA) Soepono Sasongko, Silfia Mona Aryani

112

Group 4. Creativity in Education with a Global Vision

KELAHIRAN KAMERA GENGGAM YANG MEREVOLUSI SISTEM REPRODUKSI MEKANIK DALAM PERFILMAN, STUDI LITERATUR DIDASARKAN FILM DOKUMENTER “THE CAMERA THAT CHANGED THE WORLD”

The Birth of Hand Held Cameras that Revolutionized the Mechanical Reproduction System in Film Industry, Literature Study Based on Documentary Film "The Camera that Changed the World"

Adi Surahman, Wawan Setiawan

121

STRUKTURASI DALAM NOVEL DAN FILM “PINTU TERLARANG”

Structuring the Novel and Movie "The Forbidden Door"

Celcillia Lisiane Halim, Alvanov Zpalanzani, Yasraf Amir Piliang

124

KAJIAN AWAL SKEMA WARNA KESUNDAAN (STUDI KASUS WARNA BEUREUM, KONENG DAN HEJO PAUL)

Initial Study on Sundanese Color Scheme (Case Study Beureum, Koneng and Hejo Paul Colors

129

DAMPAK ‘KOREAN WAVE’ TERHADAP INDUSTRI ALOE VERA (KASUS: ALOE VERA SEBAGAI KOMODITI UNGGULAN KOTA PONTIANAK)

The Impact of 'Korean Wave' on Aloe Vera Industry (Case: Aloe Vera as a Leading Commodity of Pontianak City)

Sheila Andita Putri; Alvanov Zpalanzani Mansoor

83


vii | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

Aurora Revianissa

CREATING UNIQUE AND CONTEXTUAL EDUCATIONAL GAME THROUGH COMMUNITY PARTICIPATION

Muhammad Hajid An Nur, Agus Sachari, Nedina Sari

135

REKOMENDASI DESAIN DIGITAL MEDIA KOLABORASI KELUARGA UNTUK ANAK USIA DINI

Digital Design Recommendations of Family Collaboration Media for Early Childhood

Ade Rahma Yuly, Hafiz Aziz Ahmad, Ary Setijadi Prihatmanto

139

DESAIN APLIKASI SUMBER PERMAINAN KEPRAMUKAAN “SUPERKA” SEBAGAI PENUNJANG PEMBELAJARAN EKSTRAKURIKULER PRAMUKA

Application Design of Scouting Source Game "Superka" to Support Extracurricular Scout Learning

Achmad Robeth, Khozinatus Sadah, Firman Turohmi

144

PENGEMBANGAN MEDIA AJAR PRAKTIKUM PEMBUATAN KEMEJA MOTIF SAMBUNG BERBASIS ADOBE AFTER EFFECT SEBAGAI MEDIA PENUNJANG PEMBELAJARAN PRODI TATA BUSANA UNIVERSITAS NEGERI MALANG

Media Development of Teaching Practicum in Shirt Making with Conjunction Motives Based on Adobe After Effect as a Learning Support Media Program Fashion Study of Universitas Negeri Malang

Idah Hadijah, Khozinatus Sadah, Septiana Safitri Puspitasari

148

TRILINGUAL DISCUSSION (INDONESIAN, ARABIC AND ENGLISH) AS THE ALTERNATIVE SOLUTION TO IMPROVE THE ABILITY OF DA'WAH IN GLOBALIZATION ERA

Khuzaimah, Khozinatus Sadah, Mufidatus Sholihah

153

GAGASAN PENGEMBANGAN DESAIN EDUKASI GEMBATRON “GAME LIMBAH ELEKTRONIK” BERBASIS ANDROID

The Idea to Develop Gembatron (Game of Electronic Waste) Design, Android Based Education Game

Sayyidul Kahfi, Khozinatus Sadah

157

DIGITALISASI TARI TRADISIONAL: TEROBOSAN BIDANG PENDIDIKAN SENI BUDAYA DI ERA GLOBAL

Digitalization of Traditional Dances: A Breakthrough for Cultural Arts Education in Global Era

Harry Nuriman, Setiawan Sabana, Intan Rizky Mutiaz, Nia Kurniasih

161

FROM “DEFINITION” TO “MEANING” THROUGH CREATIVE THINKING COURSE, EXPERIMENTAL RESEARCH OF CREATIVE THINKING COURSE APPROACH BASED ON EXPERIENTIAL LEARNING SCHEME AND MULTIPLE INTELLIGENCES IN DESIGN EDUCATION

Agustina Kusuma Dewi, Rully Darmawan

166

KLINIK KEKAYAAN INTELEKTUAL MAHASISWA FSRD UNTUK MENINGKATKAN PROGRAM PENGUATAN SISTEM INOVASI FAKULTAS

Intellectual property clinic for the students of fine arts and design faculty as strengthened program for the institution innovation system

170


viii | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

IF. Bambang Sulistyono SK

STRATEGI PENINGKATAN KECERDASAN INTERPERSONAL DENGAN PENDEKATAN AUDIO-VISUAL UNTUK SISWA AUTIS

Improvement Strategies of Interpersonal Intelligence with Audio-Visual Approach for Student with Autism

Nuril Kusuma Wardani, Shara Nurrahmi

176

”PASARAN”, LOCALITY EDUCATIONAL GAME OF EARLY AGE GIRLS IN JAVANESE CULTURE

Fidyani Samantha

181

THE APPLICATION OF ‘TALI AIR’ BATIK PRINT IN BATIK PRODUCT DESIGN

Ghaida Nasya, Khairu Zeta, Susi Susyanti

184

‘CRAFT’ DAN TRADISI AKADEMIK PENDIDIKAN DESAIN

Craft and Academic Tradition of Design Education

Andry Masri

188

Group 5. Entrepreneurship and Design

INFLUENCING PARTICIPATION BEHAVIOUR IN SHARING ECONOMY, A DESIGN STRATEGY FOR IMPROVING PARTICIPATION OF SHARING ECONOMY IN INDONESIA

Soma Wiraga Saniscara, John Boult

197

SOCIAL MEDIA MINING AS ADDED VALUE ON MARKET RESEARCH

Halimatus Sa‟dyah, Widi Sarinastiti, Citra Devi Murdaningtyas

202

CREATIVE DESIGN STRATEGY FOR ENGAGEMENT MODEL: CASE STUDY BUDGET HOTEL IN BANDUNG

Vanessa Catalina Fuadi, Sonny Rustiadi

205

PROPOSED BUSINESS STRATEGY INNOVATION THROUGH SYNERGY OF THREE MEDIA PLATFORMS IN KOMPAS GRAMEDIA CORPORATION

Viliny Lesmana

213

INDONESIA 2020 - INOVASI DESAIN DAN TANTANGANNYA

Indonesia 2020 – Design Innovation and the Challanges

Yannes Martinus Pasaribu

218

SIMULASI PENERIMAAN PASAR UNTUK PENGEMBANGAN PRODUK BARU MENGGUNAKAN PENDEKATAN PEMODELAN BERBASIS AGEN

Market Acceptance Simulation for New Product Development Using Agent Based Modeling [ABM] Approach

Damang Ch. Sarumpaet

224


87 | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION’S CULTURE - PROCEEDINGS

Group 3 Building a Creative Society and a

Design City



Group 3. Building a Creative Society and a Design City

REINTREPRETING THE LEGACY OF MAJAPAHIT VISUAL

ART IN ORDER TO DEVELOP CREATIVE COMMUNITIES

IN TROWULAN

Setyawan, Anung Studyanto, Kustiawan Arifin

89

PENGARUH KEGIATAN KARNAVAL TERHADAP

PELESTARIAN BUDAYA DAN KREATIVITAS

MASYARAKAT, STUDI KASUS MFC (MALANG FLOWER

CARNIVAL)

The Effect of Carnival Activities on Cultural Preservation and the Society Creativity, Case Study Malang Flower Carnival

Agus Sunandar, Khozinatus Sadah

94

CRAFTSMEN VERSUS DESIGNERS: THE DIFFERENCE OF

IN-DEPTH COGNITIVE LEVELS AT THE EARLY STAGE OF

IDEA GENERATION

Deny Willy Junaidy, Yukari Nagai, Muhammad Ihsan

99

MAPPING SURABAYA CREATIVE INDUSTRY’S

MOVEMENT

Kumara Sadana Putra, Ramok Lakoro, Muhammad Cahyo

105

THE FLEXIBLE BUILT-IN FURNITURES TO COPE WITH

LIMITED SPACE PROBLEM IN INDONESIA MODEST

RENTED FLAT (RUSUNAWA) Soepono Sasongko, Silfia Mona Aryani

112



Reinterpreting the Legacy of Majapahit

Visual Art in order to Develop Creative

Communities in Trowulan

Setyawan

Department of Crafts/Textile

Faculty of Arts and Design

Sebelas Maret University

Solo, Indonesia

e-mail: [email protected]

Anung Studyanto

Department of Interior Design



Solo, Indonesia


Kustiawan Arifin




Solo, Indonesia


Abstract—This article will discuss the outcome of the

research project "Reinterpreting the Legacy of Majapahit

Visual Art in order to Develop Creative Communities in

Trowulan". It is an applied research to develop the

reconstruction of cultural values and local society. In

particular, this research was set in motion out of a concern

about the legacy of Majapahit visual art in relation with the

creative communities supporting this legacy in Trowulan.

The research profited from the positive side of issues faced

by the creative industry by applying creativity, innovation

and cultural resources in order to increase economic

productivity and competitiveness. This project used the

method of qualitative research in the form of field research.

The form of action will be the creation of a model for the

development of design products based on the Majapahit

visual art legacy and the development of creative

communities in Trowulan to support the development of the

mentioned visual products. The research will be done at

Trowulan, Mojokerto, East Java.

Keywords—reinterpreting; legacy; visual art; creative

communities

I. INTRODUCTION

Majapahit is an icon of Javanese civilization that left us many cultural-artistic artifacts, including a legacy of visual art. The Majapahit visual art legacy comprises terra cotta objects which form the highlights of terra cotta creative art in Nusantara [2][15], architectural works like temples, graves and residential buildings from the 14th and 15th century with a strong local touch [12], Majapahit statues that became a sign of the appearance of local effigies (Javanese people) taking the place of Arian figures to represent gods [6], several visual art products that rely on workmanship and craftsmanship of a high level like creases, decorations, small coins (uang kepeng), ornaments used for buildings both from bricks, stone and metal [20], illustrative art in the form of special Majapahit temple reliefs [8] and several visual art legacies including clothing and batik [18].

The Majapahit visual art legacy contains an esthetic, iconographic, symbolic and philosophical potency and visual art of historical value. Until now, this visual art legacy has not been exhausted and developed to the end. Still these potencies offer an opportunity to be reinterpreted, to be re-explained and to be developed into visual products that could become cultural capital made out of the genius loci being visual products based on the Majapahit visual art legacy produced by a contemporary creative industry.

These potencies are available in abundancy in Trowulan. Trowulan itself is a village that is surrounded by vast archeological sites, covering approximately 100 square kilometers. This is a rich environment of cultural materials together with archeological findings of Majapahit remainders. This abundancy of findings of visual art artifacts with an admirable esthetic and artistic quality until now has not often been taken advantage of to produce contemporary products. Nevertheless, the artistic richness of these artifacts may become cultural capital that is useful in dealing with the present-day era of creative industry. If this approach well-managed, it could become the 21st century high value commodity [19].

To achieve this, a research and development regarding the Majapahit visual art legacy are needed. This research will have to reveal the Majapahit visual art that has survived time until now and will have to find at the same time visual art concept in the Majapahit tradition that will be used to develop contemporary visual art products. Managing the artistic expression of the Majapahit visual art legacy will open a space of innovation and will preserve what has been inherited from Majapahit. Cultural richness that is managed with creativity and innovation will become a creative industry, whereas creative industry becomes the spearhead of present-day economic forces [14].

This research becomes important since in Trowulan appeared several communities that are working on

mailto:[email protected]





managing the Majapahit culture and art legacy in a creative way. Besides this, this research is also important to answer Indonesian national problem in the field of visual art creativity (design and craftsmanship), as explained by Nugraha [13]. That is, as Adhi wrote, how to increase design and craftsmanship in a qualitative and quantitative way in the middle of the present-day tide of creative industries. And there is also the problem of how to enlarge creative human resources that are capable of becoming creators and motors of making appear different creative industries of the people economic system.

II. METHOD

This research has the character of "research and development". Research as such when it comes to study and reinterpret the Majapahit visual art legacy as a cultural product, to register a sketch of the socio-cultural context of creative communities based on visual art creativity from the remainders of Majapahit and to explore the possibilities of developing visual products and corresponding creative communities . There are two methods used in this research. Firstly, the ethnographic method, which is used to describe in detail and to analyze the Majapahit visual art legacy based on intensive Small Industries and Culture fieldwork. Secondly, the design method to identify, analyze and develop the Majapahit visual art legacy in such a way that it can be transformed into visual products of this time.

The research result in the form of an ethnographic registration will become the standard to draw up a working framework for the development of creative communities in Trowulan, for the development of visual design concepts, for the development of products and for a creative technology with which problems can be solved and challenges from the arrival of an era of creative industry can be answered. These problems and challenges are how to profit from concepts of traditional art (local skills) to develop current design.

III. RESULTS

A. Reinterpreting the Majapahit Visual Art Legacy

Although the Majapahit visual art legacy has a long history and an attractive potency of esthetic expression, it is not widely known. This is caused by the fact that there has not been a research and development that was sufficient yet. Studies related to Majapahit mostly focus on social-politic inquiries into the existence of Majapahit from its origin to its downfall. Whereas researching the Majapahit visual art legacy is also important since archeological excavations also found remnants of industrial activity, craftsmanship, art and design that led to different visual arts products.

The traces of Majapahit visual art may be followed using the result of fine arts (painting) using fabrics as medium. For instance, the Portuguese book Canstanheda, which was published in the middle of the 16th century, gives a report dated on 1511. It describes a painting (on fabric that is completely decorated) that together with other goods was sent by the "great king in Java", that is the King of Majapahit, as sing of respect to Alfonso d‘Albuquerque, the Portuguese captain-general that recently had taken his position in Malaka [21]. Similar report is found with Ma Huan, a Chinese who visited Majapahit on his journeys in the beginning of the 15th century, writing about a performance of Wayang Beber,

that is a sort of Wayang performance with sketches that are painted on a sheet of wooden skin (dlacang) or fabric as performing objects [11].

The Majapahit visual art legacy may also be traced from the richness of decorations and several sorts of ornaments that are to be found among the remaining Majapahit artifacts. In the Majapahit era, decoration styles were enriched with patterns developing and making perfect several geometric and floral patterns. Apart from that, organic and geometric decoration patterns that are visible on temple reliefs were reprocessed and applied to batik. Several patterns of plants and animals, together with symbolic patterns taken from the Hindu-Buddha religion, also appear in batik decoration styles [6].

The remainders of the Majapahit visual art can also be directed to findings of traces of the development of batik. Traces of Majapahit batik can be seen on temple reliefs of the Majapahit inheritance, like the reliefs of Panji and Ramayana. On these reliefs the use of batik fabric and kebaya worn by women can already be seen [6]. Traces of Majapahit batik are also seen on the statues representing kings and queens made by Majapahit artists; batik as palace clothing has already been painted on these statues [20]. The archeological finding of a statue in the temple Candi Nrgimbi near Jombang shows the representation of the person of Raden Wijaya, first king of Majapahit (governing 1294-1309), who is wearing fabric decorated with palm leaves (kawung). The decoration style of that fabric shows fine lines and dots from which it can be derived that the batik technique has been used to make this fabric. Traces of batik can also be read in the Serat Pararaton batik already put forward as material for clothing with a pattern of Gringsing and rosettes as batik decoration style. In this book it is told how Raden Wijaya distributes lancingan (kind of trousers) with a Gringsing pattern to his servants Sora, Rangga Lawe, Dangdi and Gajah [5].

These works of Majapahit visual art give an idea of the richness of Majapahit visual art products. It is interesting that the Majapahit visual art products take up local elements that are more secular than those used by the art of Middle Java, which is full of Indian scents and sacredness. The statues that express the official Majapahit religion, the gods, use symbols that are more local, have their faces shaped in a more individual way and actually look like Javanese people [6]. Take for instance the statue of Harirara, the connection between Wisnu and Siwa, a statue from the 13th century that has been found in the temple Candi Sumberjati, Desa Simping, East Java, which is nothing else than the materialization of the first Majapahit King, Raden Wijaya. The same is to be seen on pottery, terra cotta and small statuettes, which like other objects of the Majapahit inheritance offer a strong local color.

These artifacts of the Majapahit visual art legacy become a cultural text which when analyzed in several ways, with the help of written and oral sources as well as ethnographic analogies, can be studied and read to understand what is behind the mentioned artifacts, like their function, the meaning of the symbols et cetera [17]. As has been said by Baxandall, there is a "period eye" that pushes towards the stimulation of visual work. A visual work is sensitive with regard to forms of interpretative skills that are brought to them by reflection [3]. By



following the thought of Baxandall, the meaning of the artifacts of the Majapahit visual art legacy may be approached in accordance with a present-day context. This is caused by the fact that the meaning of a work does not take an end when its producer deceases. To the contrary, it is just at that moment that the interpretation of the work starts and new meanings start rolling out [4].

B. Creative Communities in Trowulan

In Indonesia [1], communities occupy a unique place, since they have difficulty to get access to government power, resulting from which there are many movements seeking to strengthen the voice and space of the community. And these movements at the basis of communities always become alternative. As regards creative communities, these indeed are developing in Indonesia already for a long time. But it is only after the demise of the regime of the Orde Baru (New Order) that creative communities came to the surface in a more open way and with more variation both as regards their form and their movement. Abidin Kusno explains that the downfall of the Orde Baru gave birth to a "leeway in the center", by which he meant that the power that was first managed in a centralistic way, by one single person, had collapsed. The collapse of the power of the Orde Baru was followed by a relaxation of control over lower levels [10]. This situation triggered the appearance of free space that was managed by citizens themselves, especially free spaces that were managed and stimulated by artists and art workers. These spaces intended by the art workers as spaces that are "relatively free" and organized in an independent way, aiming at facilitating artistic and related activities within them, of a participative, ideologically independent character, acting outside the formal institutions [7][9].

In the world of fine arts these spaces are better known by the term "alternative space". The development and appearance of alternative spaces allows important issues of the exchange of cultures ideas to be translated into different interpretations that do no longer consider the center of art (formal) as its own source of justification. Being aware of this, the alternative spaces acquired the right to interpret or even fight the interpretative power of leading views [16]. Following from the same awareness, the alternative spaces acquire a role in the hierarchy of cultural production levels. They build an idea of culture by creating separate spaces for an alternative vision and imagination of the way they understand and intend culture to be, so that distinct sociocultural dynamics are taking place within them.

What is written above gives an understanding a number of important factors of the of sociocultural spaces availability for the creative communities existence and development. There are two important points of departure for studying the creative communities of Trowulan. Firstly, from a conceptual point of view creative communities are on the same level as alternative spaces. This can be seen from the sameness of the spirit of these movements and the foundation of the way of working which is independent, self-controlled and stressing the part of the work that is collaborative or collective. The system of collective labor gives an opening to other possibilities outside the field of art.

Secondly, being an alternative space, the motors of the creative communities in Trowulan are the circles of

artists, experts of culture and creative craftsmen. They open a landscape of creativity which has unlimited opportunities in the managing of art by connecting it with a social practice and culture. They also have an awareness about organizing a creative community in a professional way and of building a local or global network by benefiting from new media like the internet and social media. These new media are not only used to give information about the activities of their community, but also as a road to the exchange of knowledge.

Fig. 1. Creative Communities activity in Trowulan A. craft stone sculptures, B. terracotta craft, C. crafts cast metal

These motors of creative communities in Trowulan are aware of the potency and force of the Majapahit cultural legacy that may become the glue and stimulator of the appearance of creative communities. These creative communities will be based on the skills and crafts that are practiced. Until now, the following products of culture and art are being developed in the Kecamatan Trowulan: wayang related art, gamelan music, performances of "kuda lumpingan-bantengan", "reok", "jatilan" (dancing horses), "ludruk"- theatre, dramatic theatre, Javanese poetry, Majapahit theatre, traditional music and special Majapahit food and drinks. In the field of creative industry the products based on visual art are: making of bronze statues, terra cotta statues, stone statues, Buginese wooden sailing boats, Majapahit batik, beads and wayang paintings.

The appearance of creative communities in Trowulan is a cultural phenomenon that shows the interwovenness of matters regarding the Majapahit legacy tradition, locality, creativity and the penetration of a creative industry based on traditional arts. The interrelatedness of these problems, when managed well, may become cultural capital made out of the genius loci for the Trowulan society, helping them to deal with the challenges of the era of creative industry. In this context, creative communities may become cultural crossroads that enable citizens to regain their identity, to revive the civil spirit and to reinforce a social cohesion of solidarity.



IV. DISCUSSION

―Reinterpreting the Majapahit Visual Art Legacy in order to Develop Creative Communities in Trowulan" is a research and development of visual present-day design that is a collaboration of the Majapahit visual art legacy with the creative communities of Trowulan. Reinterpreting the Majapahit visual art legacy takes place in order to bridge the gap between understanding visual art of past times and the "sophisticatedness" of modern ideas or concepts to make it acceptable to the present public. The result of this research will also be used to provide the Majapahit visual art legacy with a "good reputation" and to make this known to a wider public both by means of its visual products as by means of academic writings. Spreading these products and writings will have an important effect for the existence of Majapahit visual art and the creative communities that will be represented.

The existence of the Majapahit visual art legacy in itself contains an extraordinary potency. The artistic, conceptual and socio-historical richness that is included in it may become cultural capital for the creative industry of these times. Visual products based on Majapahit visual art has the opportunity to open a wider market (global market). As is well known, modern people (who are pragmatical and want everything to be fast and immediate and who sometimes lose their starting point in the past) keep a longing for things that are unique, traditional, rare or have a special value. The visuality of Majapahit has those identification marks. Visual products of the Majapahit visual art legacy may become a cultural phenomenon which shows the interwovenness of the tradition based legacy, locality, history and creativity. An interwoven structure like this could give color to the creative process which has a direct effect not only on the products that result from it, but also on the process and the people behind it.

By means of the development of the products meant above, the Majapahit visual art will not only become a tradition-based legacy, but also a source of economic profit for the region and it could even become a regional icon when well managed. To attain this it should be understood that the development of products based on Majapahit visual art is not only about creating from digging into inspiration, finding contents and shaping it in the form of an object. A process like that would keep it at a distance of the socio-cultural space that contains the creative process that takes place within it. To the contrary, the development of products in this case includes creative communities that indeed from the start have an intimate relationship with this visual art legacy.

The creative communities of Trowulan become a strategic meeting point for distinct elements of society that care about the Majapahit visual art legacy. The appearance and development of creative communities opens mutual awareness about the importance of the role of citizens and communities in the preservation of the tradition-based legacy and its development in a present-day context. The concern of citizen and community regarding this tradition-based legacy will glue them together and will increase their creative energy to open new possibilities in managing creative ideas together. The attitude of the community towards this creativity becomes important to give shape to a landscape of creativity that

will give life and will be given life together. This landscape of creativity may become a turning point of the Trowulan economy because it opens a field of employment and may employ manpower.

Those who are involved in a creative community move within a sector of industry that is not far away from matters of creativity like cast metal craft, handmade batik Majapahit, stone sculptures, terracotta, beads, wood waste material handicrafts, bamboo, and patchwork. By means of the creative communities that they have formed they will solve and debate together the problems that are related to their products, materials, marketing and business development.

The primary strength of creative communities is to be found in having the courage to bring about their own logic of "artistry" that is of a more participatory character. By means of this logic of artistry they create a space for their vision and imagination with regard to the way they understand and give meaning to art and different types of socio-cultural dynamics that take place around them. This logic of artistry also becomes a basis to manage creativity together and to fight for a shared space that is more egalitarian for the art they are embracing. With this awareness, the creative communities will be active on the level of cultural production in an indirect way, no longer as producing visual and artistic products only, but also by making the community as an agent of social change around them. They will create cultural production spaces that are oriented towards reinforcement of the surrounding society.

V. CONCLUSION

This article offers a new dimension to reinterpreting the Majapahit visual art legacy of reinterpreting the Majapahit visual art legacy or give it a new meaning in order to develop creative communities in Trowulan. There are two conclusion that can be drawn from this. Firstly, the Majapahit visual art legacy is something interesting to be developed towards design products remembering us of this visual art, since it contains extraordinary visual potencies from the point of view of expression, shape, symbolic, craftsman's technique end artistic achievements. These potencies deep-seated inside it and the existence of a legacy that is connected with the Majapahit civilization are exactly what can be exploited as a concept for the development of modern design products. These design products may create a bridge the between the artistic richness of the past era of Majapahit with present-day concepts and visuality.

Secondly, the creative communities that appear in Trowulan may be developed in order to benefit from the total of ideas communicated by the Majapahit visual art legacy. These ideas become important because they glue the creative communities together and can be used in a practical way to explore in-depth the potencies of creativity based on the local culture. By means of these ideas the creative communities of Trowulan may produce several types of visual products by means of symbols that relate to the existence of their community. By means of this development the creative communities will become communities that are directly involved with cultural activity by spreading the ideas of creativity and reinforcement of surrounding society.



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Pengaruh Kegiatan Karnaval terhadap Pelestarian

Budaya dan Kreativitas Masyarakat Studi Kasus Malang Flower Carnival

(The Effect of Carnival Event to Cultural Preservation and the Society Creativity,

Case Study Malang Flower)

Agus Sunandar

Jurusan Teknologi Industri

Fakultas Teknik

Universitas Negeri Malang (UM)

Malang, Indonesia


Khozinatus Sadah

Program Studi Magister Desain

Fakultas Seni Rupa dan Desain

Institut Teknologi Bandung (ITB)

Bandung, Indonesia


Abstract—A carnival has a specific purpose, lively, many

visitors and filled with a variety of entertainment treats.

Visitor density is an opportunity to increase the effort in

introducing the culture, the economy, and the community

creativity. Various parties and stakeholders from culture

and tourism departments from various regions in Indonesia

has aware of this potency. Such carnival events are

increasingly present in various cities in Indonesia, including

Jember Fashion, Carnival, Solo Carnival, Malang Flower

Carnival, and so on. Considering such potential it needs to

conduct a study of the carnival activities influence in terms

of cultural preservation, economy, and creativity of the

community, since it will help the stakeholders in carrying

out the carnival activities appropriately and with

standardized activities. The case study in this research is

about Malang Flower Carnival 2016 that is already global.

The method is analyzing the fashion function of a carnival

with an aesthetic qualitative approach. The theory used is

about the clothing function of Roland Barthes and art

theory of functionality from Edmund Burke Feldman. The

results obtained some benefits, namely: (1) attract domestic

and foreign visitors, (2) become a medium to revive Malang

as flower City, (3) motivate the community to take part and

be aware of cultural preservation, (4) as a medium of

entertainment, local cultural performances, and

introducing other Malang's potential, (5) improve the

economy through the sale of souvenirs for visitors and other

economic activities.

Keywords—carnival activities; cultural preservation;

community creativity; malang flower carnival

I. PENDAHULUAN

Menurut KBBI karnaval merupakan kegiatan pawai yang dilaksanakan berdasarkan perayaan tertentu. Dalam pelaksanaannya kegiatan karnaval dapat dimanfaatkan untuk beberapa hal terutama sebagai media pelestari kebudayaan. Salah satu komponen utama dalam karnaval adalah berupa kostum atau busana karnaval. Busana karnaval merupakan hasil dari perwujudan kreativitas seniman di bidang seni rupa yang dapat menghasilkan berbagai persepsi dari para penonton [4].

Fungsi dari busana karnaval antara lain (a) dapat menghasilkan persepsi yang bebas diinterpretasikan oleh

para penonton, (b) berfungsi sebagai ilmu pengetahuan yang membawa pesan-pesan yang dibawa pakaian, (c) fungsi seni berupa fungsi pokok atau dasar, dan fungsi sosial fisik) [4]. Berdasarkan atas dasar fungsi dari busana karnaval tersebut maka dibutuhkan sebuah kajian antara pengaruh pelaksanaan kegiatan karnaval dalam pelestarian budaya, perekonomian dan kreativitas masyarakat. Karnaval juga merupakan kegiatan tahunan yang dilaksanakan hampir di seluruh daerah di Indonesia. Setiap karnaval daerah tersebut memiliki perbedaan signifikan akan makna yang terkandung dalam busana karnaval yang ditampilkan. Sejatinya pengadaan busana karnaval juga dapat mempengaruhi dan mendorong kreativitas masyarakat, terutama masyarakat yang berpartisipasi sebagai peserta karnaval.

Salah satu dari puluhan kegiatan karnaval yang terkenal di Indonesia adalah karnaval yang berada di kota Malang, yaitu Malang Flower Carnival (MFC). Berbeda dengan busana karnaval yang lain, busana karnaval di kota Malang selalu mengusung tema bunga dan memiliki fungsi yang sama yaitu sebagai media pengenalan identitas Malang sebagai kota Bunga. MFC dipilih karena telah berkembang dari tahun ke tahun dan telah banyak memotivasi masyarakat untuk turut serta berpartisipasi dalam pembuatan kostum karnaval berbentuk bunga.

MFC merupakan salah karnaval terbesar di Indonesia dan memiliki ciri khusus berupa parade berkostum bunga. Karnaval ini diselenggarakan setiap tahun oleh komunitas MFC, pemerintah kota Malang, penggiat kesenian dan kebudayaan, mahasiswa Tata Busana Universitas Negeri Malang (UM) dan peran serta masyarakat luas [5]. Kostum-kostum yang hadir dalam karnaval biasanya berukuran besar-besar, glamour, dan berasal dari bahan limbah dan barang sisa pakai. Kegiatan ini telah mampu menarik minat penonton dari lokal hingga turis mancanegara. Selain itu, kegiatan ini telah menjadi agenda rutin pariwisata kota Malang bahkan Jawa Timur. Kehadirannya telah mengharumkan nama bangsa hingga tingkat internasional. Penyelenggaraan yang selalu menggabungkan antara fashion, tari-tarian dan musik perkusi menjadi penunjang tampilan penyelenggaraan MFC.





Secara umum tujuan dari penyelenggaraan MFC adalah (a) sebagai identitas akan melimpahnya komoditas bunga di kota Malang, (b) untuk menghidupkan kembali kejayaan Malang sebagai Malang kota Bunga (Makobu), (c) manfaat perekonomian, meningkatkan penjualan bunga, dan memperkenalkan dan meningkatkan identitas Malang sebagai kota bunga.

Pemaparan akan tujuan dari MFC yang berkaitan dengan pengaruhnya terhadap pelestarian budaya, perekonomian, dan kreativitas masyarakat akan dibahas secara terperinci dalam bagian hasil. hal ini perlu dibahas secara terperinci agar pelaksanaan karnaval tidak hanya menjadi event tahunan yang bersifat komersial semata namun juga dapat dijadikan fungsi sosial yang dapat membangun masyarakat.

II. METODE

Metode penulisan dalam artikel review ini adalah berupa analisis fungsi busana karnaval dengan pendekatan estetika dan menghasilkan data kualitatif. Adapun teori analisis yang digunakan adalah teori fungsi pakaian Roland Barthes dan teori fungsi seni Edmund Burke Feldman [4]. Teori analisis tersebut digunakan untuk mendeskripsikan nilai fungsi busana karnaval MFC sebagai media pelestarian kebudayaan dan peningkatan kreativitas masyarakat.

Adapun instrumen yang digunakan adalah berupa wawancara dan kajian literatur. Narasumber yang dipilih dalam wawancara adalah presiden MFC yaitu Bapak Agus Sunandar. Tahapan penyusunan data antara lain: (a) pengumpulan data melalui wawancara dan kajian literatur dan (b) analisa busana karnaval MFC menggunakan pendekatan fungsi busana Roland Barthes dan teori fungsi seni Edmund Burke Feldman.

III. HASIL

A. Dampak pelestarian budaya yang dihasilkan

Pada tahun 2016 ini MFC mengusung tema yang berbeda dari tahun sebelumnya yaitu berupa Archipelago Cultural Festival atau Festival Budaya Nusantara. Hasil yang didapatkan dari artikel review ini adalah berupa pemaparan analisis busana MFC yang menggunakan pendekatan fungsi busana Roland Barthes dan teori fungsi seni Edmund Burke Feldman. Adapun analisa tersebut digunakan dalam salah satu busana karya peserta MFC yang telah menjadi juara kesatu (Gbr.1). Analisa tersebut digunakan sebagai perwujudan akan pelestarian budaya yang telah dihasilkan melalui penyelenggaraan MFC.

Analisa fungsi busana karnaval menurut Roland Barthes, antara lain:

1) Busana karnaval, menghasilkan suatu

interpretasi bagi para penonton berupa eksplorasi budaya

Indonesia yang melimpah, salah satunya Bali.

2) Eksplorasi ilmu pengetahuan, dalam busana

karnaval tersebut terdapat pengetahuan yang melatar

belakangi pembuatan meliputi, teknik pembuatan busana,

identitas yang dibawa dari bahan dan warna yang ada,

dan ragam hias yang digunakan. Dalam analisa tersebut

juga dikemukakan unsur-unsur yang membangun sebuah

busana karnaval yaitu berupa unsur pengetahuan fisik

dan unsur pemaknaan kebudayaan.

3) Fungsi eksplorasi dan identifikasi, yaitu

eksplorasi ide pembuatan busana dan identifikasi nilai-

nilai budaya yang terdapat dari detail busana yang telah

dibuat.

4) Memiliki fungsi komunikasi, secara tidak

langsung busana karnaval tersebut berkomunikasi kepada

penonton atau orang yang melihat dan lingkungan

sekitar. Karena busana tersebut hadir di suatu

kesempatan, memberikan suatu data, bahwa pakaian

karnaval yang dihasilkan merupakan alat komunikasi,

sarana berinteraksi dengan lingkungan sosial (perancang,

konsumen), menunjukkan nilai-nilai tertentu yang

terkandung di dalamnya. Komunikasi yang hadir dalam

busana karnaval ini termasuk komunikasi non-verbal,

dimana dapat berinteraksi dan mempengaruhi penonton.

Baik berupa motivasi atau adanya semangat dan

kekaguman dalam unsur visual.

Gbr. 1. Juara 1 MFC 2016 bertemakan Bali

Analisa fungsi budaya karnaval menurut teori fungsi seni Edmund Burke Feldman, yaitu berupa alam pikiran manusia dan konsep-konsep yang tertata dan dikemas sebagai sarana penyampai pesan kepada orang lain [4]. Komunikasi tersebut adalah seperangkat alat yang tidak dimaksudkan untuk mengatur kenapa seniman berkarya, tetapi lebih melihat pada hasil dan nilai kegunaan atas karya seni yang diciptakan. Pada akhirnya, karya seni sebagai produk dan alat komunikasi seniman terus diciptakan dalam gagasan yang senantiasa berkembang, seiring dengan evolusi yang terjadi di dunia seni itu sendiri. Ketiga fungsi seni menurut Feldman, yaitu: fungsi pokok atau dasar, fungsi sosial, dan fungsi fisik (Setiawan, dkk. 2010: 424). Adapun analisa ketiga fungsi tersebut dijelaskan sebagai berikut:

1) Fungsi pokok atau dasar, fungsi pokok atau

dasar yaitu sebuah fungsi yang menekankan pada unsur

kemampuan seseorang dalam berkreasi. Kreativitas ini

erat kaitannya dengan peran perancang busana karnaval

dalam menghasilkan karya yang bervariasi. Dalam

busana karnaval MFC dapat dianalisis bahwa terdapat



proses kreativitas yang tinggi, dan desainer dituntut agar

dapat menterjemahkan berbagai kebudayaan yang ada

menjadi suatu bentuk busana karnaval yang estetik tanpa

meninggalkan nilai-nilai yang terkandung dalam

kebudayaan tersebut.

2) Fungsi sosial, suatu busana karnaval dikatakan

telah berfungsi sosial jika busana tersebut mampu

berdialog dengan para penonton, sehingga dapat

mempengaruhi penonton dalam situasi umum dan

menggambarkan aspek kehidupan bersama. Sehingga

busana karnaval akan dikatakan berfungsi sosial jika

busana tersebut sering dijadikan topik pembicaraan

mengindikasikan bahwa busana tersebut dapat menarik

minat penonton agar dapat menonton busana secara

langsung.

3) Fungsi fisik, memiliki nilai fungsi pakai dari

sebuah busana yaitu dapat memenuhi kebutuhan fisik

manusia. Dalam hal ini adalah nilai keterpakaian busana

yaitu sebagai busana karnaval serta penggunaan ragam

hias yang ada. Sehingga dari fungsi fisik tersebut akan

menghasilkan fungsi psikis yaitu pemenuhan kepuasan

penonton terhadap pengalaman estetis.

TABEL 1. PERKEMBANGAN JUMLAH PESERTA DAN PENGUNJUNG MFC

No Tema

MFC

Penjelasan

tema

Ta

hun

Jumlah

peserta

Kisaran Jumlah

pengunjung

1 Bunga Malang kota

bunga

2010 156 50-70 ribu

2 Bunga Malang kota

bunga

2011 140 50-70 ribu

3 Bunga Malang kota

bunga

2012 163 50-70 ribu

4 Bunga Malang kota

bunga

2013 145 Di atas seratus

ribu

5 Bunga Malang kota

bunga

2014 152 120-150 ribu

6 Bunga Malang kota

bunga

2015 134 120-150 ribu

7 Archipela-

go cultural

festival

Budaya

nusantara,

perwujudan

berupa bunga

2016 200 120-150 ribu

Kesimpulan dari hasil analisa tersebut adalah busana karnaval tersebut memiliki konsep kebudayaan Bali, tercermin dari bentuk rambut seperti pura di Bali, hiasan warna emas, unsur ornamen, dan bentuk gestur tubuh yang melambangkan keelokan tarian di Bali. Dapat dikatakan bahwa busana karnval tersebut berfungsi sebagai representasi kebudayaan Bali dan memiliki unsur-unsur kesenian khas Bali.

B. Dampak kreativitas masyarakat yang dihasilkan

Sejalan dengan adanya penyelenggaraan MFC dari tahun ke tahun menghasilkan sebuah konstruksi kreativitas yang ditekankan kepada konsep bunga, sebagai perlambangan Malang kota Bunga. Tinggi rendahnya kreativitas yang ada dapat diketahui dari kuantitas jumlah peserta sebagai pembuat busana karnaval dan penonton sebagai penilai busana tersebut. Penyelenggaraan MFC dalam setiap tahunnya telah mengusung beberapa tema budaya yang berbeda salah satunya adalah Archipelago cultural festival. Serangkaian kegiatan MFC, antara lain

lomba desain busana karnaval, produksi busana karnaval, dan fashion show. Tentunya dari berbagai kegiatan tersebut telah menarik antusiasme dari warga Malang dan warga di luar Malang. Hingga tahun 2016 kegiatan MFC telah ditonton sedikitnya ratusan ribu penonton. Berikut paparan data perkembangan MFC berdasarkan jumlah peserta dan kisaran pengunjung. Data tersebut disajikan dalam Tabel 1.

MFC merupakan karnaval fenomenal yang telah dikenal tidak hanya di Indonesia bahkan di luar negeri. Setiap tahunnya hampir MFC menjelajahi berbagai belahan dunia guna memenuhi undangan dalam pameran kebudayaan. Selama memenuhi undangan tersebut, MFC pun berproses dalam meningkatkan kreativitasnya, terutama dalam penciptaan dan pengembangan busana karnaval. Undangan tampil di luar negeri juga dapat dijadikan sebagai media pengenalan kebudayaan dan pencitraan Indonesia di mata dunia.

Dalam setiap tahunnya MFC memiliki agenda untuk melakukan fashion show di berbagai belahan dunia, dari kunjungan tersebut MFC telah mengunjungi sebanyak 15 negara dan telah keluar negeri sebanyak 22 kali. Berikut paparan nama negara dan jumlah kunjungannya, antara lain Tokyo 3 kali, London 3 kali, USA 2 kali, Hong Kong 3 kali, Berlin, China, Taiwan, Korea, Swiss, Johannesburg Afrika, Malaysia 2 kali, Singapura, Papua New Guinea, Melbourne, Mumbai-India, dan Port Moresby.

Kesuksesan yang diraih MFC melalui beberapa tahapan proses kreatif selama pembuatan busana karnaval. Tahapan tersebut antara lain:

Penentuan tema,

Membuat moodboard desain berdasarkan tema

yang sudah dipilih,

Membuat desain berdasarkan moodboard yang

telah dibuat,

Pemilihan bahan yang sesuai dengan desain yang

telah dibuat,

Pemilihan bahan sesuai dengan desain yang telah

dibuat,

Membuat pola berdasarkan desain yang telah

dibuat,

Memotong bahan sesuai dengan pola yang telah

dibuat,

Menghias bahan yang sesuai dengan pola,

Merangkai pola-pola bahan yang sudah dihias

berdasarkan desain yang telah dibuat,

Menyusun dan menggabungkan berbagai

rangkaian kostum yang telah dibuat sehingga

menjadi kostum karnaval yang utuh,

Fitting dan latihan pemakaian kostum oleh model

yang akan menggunakan.

Selain proses kreatif tersebut, kesuksesan MFC tidak bisa dilepaskan dari kepanitiaan MFC sendiri yang berasal dari mahasiswa, siswa, karyawan dan masyarakat umum. Adapun susunan kepanitiaan antara lain dijelaskan pada Gambar 2.



Gbr. 2. Struktur Kepengurusan Panitia MFC

Secara garis besar, keterangan bagan di atas adalah sebagai berikut (Gbr.2):

1) Ketua, bertanggung jawab dan memimpin semua

anggota kepengurusan.

2) Sekretaris, berfungsi sebagai inventory kegiatan

serta mengelola keluar masuknya surat.

3) Bendahara, mengatur keuangan.

4) Divisi humas dan kerjasama, berfungsi menjalin

kerjasama dan mengajukan kerjasama dengan instansi

atau perusahan yang potensial dan dapat dijadikan

sponsor. Selain itu, divisi ini juga berfungsi membantu

penyampaian surat perijinan kepada pihak-pihak terkait.

5) Divisi pengembangan acara dan program,

berfungsi mengatur jalannya acara serta program-

program acara yang hendak disajikan dalam run-down

kegiatan. Divisi ini juga termasuk dalam team kreatif

acara. Agar kegiatan berjalan tepat waktu dan tidak

monoton.

6) Divisi pengembangan desain dan produksi,

bertugas mengembangkan desain busana MFC dan

mengkoordinasikan jalannya produksi, baik dalam

pengadaan bahan, revisi, maupun quality control.

7) Divisi workshop dan pelatihan, berfungsi dalam

pengadaan program pelatihan dan kerjasama ke kota-kota

atau sekolah sebagai wujud sumbangsih dan peran MFC

dalam membantu memajukan kreativitas masyarakat

terkait dengan pembuatan busana karnaval maupun

kegiatan-kegiatan serupa lainnya. Masing-masing

anggota dalam divisi terdiri dari dua sampai empat orang

menyesuaiakan dengan jumlah deskripsi pekerjaan yang

perlu dilaksanakan, sehingga masing-masing divisi dapat

berjalan sesuai dengan tanggung jawabnya.

IV. DISKUSI

Pembahasan diskusi pada artikel ini akan membahas perbedaan BEC (Banyuwangi Ethno Carnival) dengan MFC (Malang Flower carnival). Berdasarkan sejarah lahirnya, MFC lahir lebih dahulu dibandingkan dengan BEC. BEC lahir setelah JFC, SBC, dan MFC. Adapun tema-tema yang diusung dalam BEC adalah berbasis tema-tema lokal khas Banyuwangi. Banyuwangi merupakan salah satu kabupaten yang memiliki objek pariwisata yang tinggi [3]. Menunjang hal tersebut, BEC adalah karnaval tahunan Banyuwangi yang unik dan menampilkan adat dan kesenian tradisional khas Banyuwangi. Sehingga setiap tahunnya BEC hadir dengan tema yang berbeda-beda. Berikut pemaparan tema yang diusung BEC yang dijelaskan dalam Tabel 2.

TABEL 2 PERKEMBANGAN TEMA BEC DALAM SETIAP TAHUNNYA [6][7]

No Tema BEC Penjelasan Tema Pelaksanaan

1 Gandrung,

Damarwulan,

dan Kundaran

Gandrung dan Kundaran

adalah jenis tarian Kesenian

tradisional khas Banyuwangi,

sedangkan Damarwulan

merupakan jenis teater rakyat

22 Oktober

2011

2 Re Barong

Using (bukan

Barong biasa

dan berbeda

dengan

aslinya)

Kostum pernak pernik Barong

khas Using Banyuwangi dan

terbagi menjadi 3 defile, yaitu

Barong merah, Barong

kuning, dan Barong hijau.

18 November

2012

3 The Legend of

Kebo-keboan

Budaya Kebo-keboan yang

berasal dari desa Alas Malang,

Banyuwangi dan termasuk

perwujudan doa dan harapan agar hasil

panen bisa melimpah

7 September

2013

4 The Mystic

Dance of

Seblang

Termasuk ritual upacara adat

suku Using Banyuwangi

sebagai wujud ras syukur atas

melimpahnya rejeki. Bentuk

ritual ini berupa tari

Seblang

22 November

2014

5 The Usingnese

Royal Wedding

Mengangkat Konsep Pengantin di Suku

Using. Dibagi menjadi 3

defile yakni Mupus Braen

Blambangan, Sembur

Kemuning, dan Sekar Kedaton

Wetan

17 Oktober

2015

6 The Legend of

Sritanjung

Sidopakso

Kisah sumpah pati Sritanjung 12 November

2016

Berbeda dengan BEC, MFC merupakan kegiatan karnaval tahunan yang konsisten dengan tema bunga, dan segala bentuk busana yang diciptakan tentu tidak meninggalkan soul busana karnaval yaitu berupa bunga. Jika pelestarian dan pengenalan budaya khas Banyuwangi adalah melalui kegiatan karnaval yang dilakukan dengan totalitas, maka dalam MFC pengenalan budaya itu diwujudkan dalam bentuk serangkaian kegiatan MFC dan ditunjang dengan kegiatan-kegiatan lain yaitu MFM (Malang fashion Movement) dengan pengangkatan tema topeng Malang dll. Baru sejak tahun 2016 ini, MFC mengusung tema baru yaitu Archipelago Cultural Festival atau Festival Budaya Nusantara. Sehingga dalam kegiatan MFC disuguhkan berbagai kebudayaan yang ada di Nusantara.

Berkaitan dengan kedua jenis karnaval tersebut MFC dan BEC masing-masing memiliki cara sendiri dalam melestarikan budaya daerah. Perbedaan tersebut menjadikan setiap kegiatan karnaval yang ada di daerah menjadi bervariasi dan memiliki identitas masing-masing.

V. KESIMPULAN

MFC merupakan kegiatan karnaval tahunan yang bekerjasama dengan berbagai pihak baik mahasiswa, pelajar, hingga masyarakat umum. Penyelenggaraan sejenis dapat dijadikan sebagai media pengenalan kebudayaan dan dapat meningkatkan kreativitas dalam pembuatan busana karnaval, baik melalui partisipasi atau pelatihan pembuatan busana karnaval. Sedangkan BEC merupakan kegiatan karnaval tahunan yang mengusung tema budaya khas Banyuwangi. Dari kedua jenis karnaval tersebut memiliki cara tersendiri dalam melestarikan budaya lokal.



PERNYATAAN

Artikel ini dibuat penulis yang juga presiden MFC sejak awal berdiri hingga kini dan bertujuan untuk mengulas sekilas perjalanan MFC dan Membandingkan-nya dengan kegiatan karnaval lain sebagai bahan diskusi akan beberapa cara pelestarian budaya.

REFERENSI

[1] Karnaval banyuwangi ethno carnival. Online: http://www. Banyuwangi bagus. com- /2014- /09/ k arnaval-banyuwang i-ethno-carnival.html. Diakses 1 November 2016

[2] KBBI. Online: http://kbbi.web.id/karnaval

[3] Kholifah, Ma‘rifatul (2014). Pengetahuan, Sikap dan Partisipasi Masyarakat Lokal Dalam Upaya Pengembangan Pariwisata di Kabupaten Banyuwangi. Online: http://ejournal. unesa.ac.id/

index.php/swara-bhumi/article/view/9233. Diakses 3 November 2016

[4] Setiawan, Deni, dkk. (2010). Analisis Fungsi Pakaian Karnaval di Yogyakarta Menurut Roland Barthes dan Fungsi Seni Edmund Berke Felmand. Online: researchdashboard. binus.ac.id/.../ 15_DKV_Deni_Analisis%20Fungsi%20Pakaian%2.... Diakses 1 November 2016

[5] Sunandar, Agus (2016). Proposal Kegiatan Malang Flower Carnival Archipelago Cultural Festival.

[6] The Legend of Sritanjung Sidapeksa. Online:

[7] http://www.banyuwangibagus.com/2016-/08/banyuwangi-ethno-carnival-2016- legend-sritanjung-sidopekso.html. Diakses 1 November 2016

[8] http://www.banyuwangibagus.com/2014 /09/ karnaval- banyuwa ngi- ethno-carnival.html

http://kbbi.web.id/karnaval

http://ejournal.unesa.ac.id/index.php/swara-bhumi/article/view/9233

http://ejournal.unesa.ac.id/index.php/swara-bhumi/article/view/9233

http://research-dashboard.binus.ac.id/.../15_DKV_Deni_Analisis%20Fungsi%20Pakaian%252...

http://research-dashboard.binus.ac.id/.../15_DKV_Deni_Analisis%20Fungsi%20Pakaian%252...

http://www.banyuwangibagus.com/2016-/08/banyuwangi-ethno-carnival-2016-

http://www.banyuwangibagus.com/2016-/08/banyuwangi-ethno-carnival-2016-

http://www.banyuwangibagus.com/2014%1f%20/09/%20karnaval-%20banyuwa%20ngi-%20ethno-carnival.html

http://www.banyuwangibagus.com/2014%1f%20/09/%20karnaval-%20banyuwa%20ngi-%20ethno-carnival.html



Craftsmen Versus Designers:

The Difference of In-Depth Cognitive Levels at

the Early Stage of Idea Generation

Deny Willy Junaidy

Faculty of Architecture and Ekistics

University of Malaysia Kelantan (UMK)

Kelantan, Malaysia


Yukari Nagai

School of Knowledge Science

Japan Advanced Institute of Science & Technology

Ishikawa Prefecture, Japan

e-mail: [email protected].

Muhammad Ihsan

Man and Industrial Design Research Group

Bandung Institute of Technology

Bandung, Indonesia


Abstract—This paper investigates the in-depth cognitive

levels at the early stage of idea generation for craftsmen and

designers. Examining this early stage may explain the

fundamental thoughts in observing and defining design

problems. We conducted an experiment using think-aloud

protocol, where verbalized thoughts were analyzed using a

concept network method based on Associative Concept

Network Analysis (ACNA). Furthermore, we identified

semantic relationships based on Factor Analysis. The

findings showed that craftsmen tended to activate low-

weighted associative concepts at in-depth cognitive level

with a smaller number of polysemous features, thus

explaining their concerns about tangible-related issues, such

as proportion and shape. Designers, however, activated

highly weighted associative concepts with more polysemous

features, and they were typically concerned with intangible

issues, such as surroundings context (i.e., eating culture)

and users‘ affective preferences (i.e., companion, appeal).

Keywords—In-depth cognitive level; early stage of idea

generation; designers; craftsmen

I. INTRODUCTION This study focuses on the early stage of idea

generation to capture the associative concepts at the in-depth cognitive levels of craftsmen and designers. Examining the early stage of idea generation may explain the fundamental thoughts in observing and reframing design problems. Many attempts have been made to capture users‘ affective preferences based on users as subjects. However, we examined the in-depth cognitive levels of the creators (craftsmen and designers), who attempt to grasp users‘ feelings when producing successful impressions of products (Cross, 2006; Nagai, et al., 2011). We conducted an experiment using think-aloud protocol, where verbalized thoughts were analyzed using a conceptual network based on associative concepts and semantic relation analysis.

A. Early Stage of Idea Generation Idea generation, which consists of observation and

ideation, is the essential step in the design thinking process. It is the interplay of cognitive and affective skills

that lead to the resolution of a recognized difficulty (Houtz & Patricola, 1999). Following are general steps of design thinking; the early stage of idea generation is the step mainly discussed:

1. Early stage of idea generation: the stage to

observe and reframe the design problem.

2. Later stage of idea generation: the stage

employing sketches, graphs, or paper models to generate

ideas visually.

The early stage of idea generation is one of observation by craftsmen and designers through first-hand experiences. This stage is associated with greater diversity of ideas (Leijnen & Gabora, 2010); therefore, it is reasonable to assume that one‘s fundamental thoughts are captured fairly at this point.

Fig. 1. Focus of this research: capturing the in-depth cognitive level

B. In-depth Cognitive Level It is generally known that designers cannot express

their thoughts explicitly; their latent sensitivity is widely researched in cognitive psychology. It is known as implicit cognition, which is understood to be that which is not explicitly recognized or verbalized (Reingold & Colleen, 2003). Explicit expression, which is presumably a shallow analysis, is referred to as surface-level cognition, and underlying cognition that is difficult to express is referred to as in-depth cognitive level (e.g., feeling, taste, impression) (Nagai et al., 2011; Georgiev &




Nagai, 2011, Taura, et al., 2010) (see, Fig. 1).

Taura et al. (2010) explain that implicit impressions could exist in the feelings and are implied underneath explicit impressions that are related to deep impressions. Humans establish extremely rich metaphorical concepts (within in-depth impression) as key features of cognition in creative design; thus, a designer is able to capture a profound understanding of an object (Nagai et al., 2011). Previous studies have focused on capturing in-depth cognitive levels (impressions) of users based on created artifacts, but our study focuses on the creators of the artifacts (craftsmen and designers).

C. Verbalized Thoughts and Associative Concept

Analysis To examine the structure of thoughts from

subjective experiences, a think-aloud, as a part of protocol analysis was employed to produce verbal reports of the thinking process (Ericsson & Simon, 2010). Subjects were instructed to describe their thoughts and observations and reframe design problems through verbal expression. Verbalized thoughts reflect some aspects of the regular cognitive process; for this study, they were reconstructed using a computational model to reproduce observable aspects of the in-depth cognitive level (Junaidy, et al., 2015).

Associative concept analysis captures concepts of an expression associated with the individual‘s mental state. The associative concept is comprised of six sub-types: connotative, collocative, social, affective, reflected, and thematic (Mwihaki, 2004). It is latent within implicit cognition. Therefore, a conceptual network is suitable as an associative analysis tool for exploring the latent links among concepts. In the field of psychology, the conceptual networks depict human memory as an associative system, where a single idea can contain multiple meanings (polysemous). The concept dictionary utilized in conceptual network is from the University of South Florida free association, rhyme, and word fragment norms database (USF norms database) (Nelson, et al., 2003; Maki & Buchanan, 2008).

II. AIM The aim of this research is to capture the differences

in associative concepts at in-depth cognitive levels of craftsmen and designers at the early stage of idea generation in design thinking. Thus, we conducted an experimental study using think-aloud protocol, where designers and craftsmen freely expressed their ideas verbally.

III. METHOD In this study, we used a concept network method

based on the associative concept dictionary to extract verbalized thoughts. The framework of this research was comprised of the following steps (see, Fig. 2):

1. Four craftsmen and four product designers conducted a think-aloud protocol. They were instructed to imagine designing a fruit basket/container and freely express their ideas verbally without necessarily drawing or observing the object. Verbal data were recorded, and the sorted verbal expressions were then transcribed into English.

2. The verbal data, which consisted of explicit

words, were transferred onto vector graphs (conceptual network on the basis of the USF norms database) to obtain extraction of highly weighted associative words indicated by the out-degree centrality score (ODC).

3. Differences in the concept network structures were identified by analyzing the following:

a. Density of connection, which exhibits the

property of idea within the associative concept network.

b. Semantic relation, which finds the

characteristics of the associative concepts at the in-depth

cognitive levels using an orthogonal semantic map based

on factor analysis.

Fig. 2. Research framework: capturing craftsmen‘s and designers‘

associative concept at in-depth cognitive levels at the early

stage of idea generation

IV. EXPERIMENT

A. Subjects Eight subjects (four Indonesian craftsmen and

four Indonesian designers in the age range of 27–51 years) participated in this experiment. The four designers were university graduates with experience in craft design and concern for natural material utilization. Each of the four craftsmen, known as master craftsmen, who has acquired special skills in artistry and apprehends design as an artistic or decorative creation. They gained their special expertise, passed down from one generation to another in the local village‘s traditional bamboo crafts.

B. Procedure The experiment was set up simply; the subjects

(craftsmen and designers) were not required to engage in specific activities, such as drawing or observing stimuli. They were deliberately conditioned with minimum instruction to be able to capture fundamental associative concepts. Rigid instructions about determining design theme, market segmentation, or design function were avoided since they might provide excessive information that would be unfair and misleading. Minimum instruction maintains a fair stage for noting craftsmen‘s and designers‘ first-hand experiences in observing and reframing design problems. There were no constraints on the subjects for expressing their ideas verbally and engaging in spontaneous thinking. All procedures were recorded as verbal data and transcribed word by word.

Grammatical rules were followed for connecting words, such as prepositions, a few general verbs, articles, and pronouns; also, other less relevant explanations were omitted (Georgiev & Nagai, 2011). Finally, the sorted verbal data consisting only of nouns, adjectives, adverbs, and verbs were translated into English and further



analyzed according to the concept network method on the basis of the USF norms database (also visualized as graphs using Pajek 2.05 with the algorithm of Fruchterman Reingold (Batagelj, 2003).

Fig. 3. Associative concept networks of craftsmen‘s and designers‘

before reduction (words and scores not shown due to

complexity)

C. Concept Network Analysis At the first stage of analysis, 107 sorted verbal

expressions (nouns, adjectives, adverbs, and verbs) were obtained from craftsmen; 102 were sorted from designers. Expressions of craftsmen tended to focus on tangible aspects, such as technique, material, and production (bold text). Designers, however, paid more attention to intangible-related issues, such as users‘ affective preferences and the environment (bold text) (Table 1).

TABLE 1. SORTED VERBAL EXPRESSIONS

Category List of sorted verbal expressions (partly shown)

Craftsmen capacity, dimension, measure, standard, super, big, count, size, leg, height, thin, shape, square, position, part, head, stack, body, solid, base, width, top, long, oval, three-dimensional, thick, centimeter, box, design, container, fruit, duck, salt, egg, adjust, buyer, function, capable, form, set, color, supply, bamboo, scar, spot, glue, mark, sandpaper, etc.

Designers place, kitchen, pluck, tree, shop, sensation, reap, pick, preservation, tropical, rotten, fresh, delicious, interaction, inform, remind, children, invite, accommodate, people, way, salad, commercial, habit, crowd, appeal, appreciate, attractive, dignity, snack, put, table, hang, fruit, wood, appear, stand, durian, banana, apple, orange, watermelon, grape, etc.

The sorted verbal data were further visualized as graphs of conceptual network analysis (see, Fig. 3). Craftsmen‘s conceptual networks generated 1941 vertices (nodes), and designers‘ networks generated 1662 vertices (nodes). The networks were too dense and complex for analysis; therefore, it was necessary to simplify the created networks by a reduction method. Systematic reduction was based on considerations that not all the words from verbalized protocols contribute to an in-depth cognitive level, and surface-level cognition is overemphasized. The following indicate low scores associated with explicit words/surface-level cognition (bold).

Craftsmen (total: 1941 words): 0.000–0.010 = 1462 words; 0.020 = 352 words; 0.030 = 94 words; 0.040 = 27 words; 0.051 = 6 words

Designers (1662 words): 0.000–0.010 = 1259 words; 0.021 = 293 words; 0.032 = 77 words; 0.043 = 23 words; 0.054 = 8 words; 0.065 = 1 word; 0.076 = 1 word

V. ANALYSIS AND RESULTS

A. Conceptual Network Analysis (After Reduction)

Application of the simplified concept reduced the words that were less important to the networks so that the extraction of the associative concept within the in-depth cognitive level was apprehensible (Figures 4a & 4b). The reduction omitted <50% words with lower ODC scores to get an observable network diameter (Leskovec, 2008), (i.e., craftsmen: 50% × 0.051 ODC = >0.025ODC score ; designers: 50% × 0.076 ODC = >0.038 ODC score).

The reduction was applied independently to each group where the highly weighted associative words were identified at the in-depth cognitive level with ODC scores as follows (bold text) (see, Table 2a and 2b):

Craftsmen (total: 202 words): 0.000 = 75 words;

0.040 = 94 words; 0.053 = 27 words; 0.067 = 6

words

Designers (total: 81 words): 0.000 = 48 words;

0.083 = 23 words; 0.104 = 8 words; 0.125 = 1

word; 0.146 = 1 word

Hereafter, we selected the top 10 highly weighted associative words from each group for further analysis.



Fig 4a. Simplified concept networks of craftsmen‘s in-depth cognitive

level

TABLE 2A. EXTRACTED VERBAL EXPRESSIONS OF IN-DEPTH COGNITIVE

LEVEL (AFTER REDUCTION)

Category List of 202 extracted verbal expressions (ordered by the

highest ODC score)

Craftsmen body, clothes, idea, length, shape, waist, broad, butt,

chest, corner, creativity, exercise, fresh, great, grow,

grown, growth, ideal, impression, inch, oval, plaid,

portion, replace, sample, size, slender, stripe,

suggestion, tall, tight, weigh, wide, advice, bag, etc.

TABLE 2B . EXTRACTED VERBAL EXPRESSIONS OF IN-DEPTH COGNITIVE

LEVEL (AFTER REDUCTION)

Category List of 81 extracted verbal expressions (ordered by the

highest ODC score)

Designers fruit, produce, apple, basket, booth, orange, peel,

silverware, style, Tupperware, banana, carrot, cherry,

common, computer, fig, grape, green, juice, lemon,

market, olive, orchard, pear, position, process, public,

rot, sale, soup, store, wait, etc.

Up to this stage, data extraction according to the

associative model suggested that craftsmen tended to activate low-weighted associative concepts, as demonstrated by the surface-level cognitive score of 169/202 (83.6%). Designers, however, activated more highly weighted associative concepts concerning issues linked to the presence of the fruit basket/container, as significantly demonstrated by a high ODC score and lower surface-level cognitive score of 48/81 (59.2%). Following are identified characteristics of craftsmen‘s and designers‘ associative concepts after reduction:

Fig. 4b. Simplified concept networks of designers‘ in-depth cognitive

level

TABLE 3. IDENTIFIED CHARACTERISTICS OF CRAFTSMEN‘S AND

DESIGNERS‘ ASSOCIATIVE CONCEPTS LIST OF IDENTIFIED

CHARACTERISTICS

List of identified characteristics

(Proportion) length, inch, oval, portion, size, tall, tight, wide,

centimeter, width, thin, thick, form, rectangle, measurement,

narrow, weight, etc.

(Shape) body, shape, waist, butt, chest, corner, round, leg, hip,

giant, cube, prism, etc.

(Operation) exercise, grow, replace, advice, bold, blend, bond, decision, firm, fit, perfect, stain, form, combine, cover, tie, trace,

use, etc.

(Companion) fruit, apple, orange, peel, banana, carrot, cherry, fig,

grape, green, lemon, olive, orchard, pear, etc.

(Appeal) salad, peel, juice, soup, process, produce, display,

method, rotten, put, save, buy, shop, stand, fresh, etc.

(Scene) booth, silverware, tupperware, market, public, store, crowd, leaf, tree, wood, etc.

B. Analysis of Semantic Relation Based on Factor

Analysis

We distributed 120 associative words corresponding to identified characteristics of associative conceptual structures; ODC scores ranged from highest to lowest (Table 3). Identified characteristics were proportion, shape, operation, companion, appeal, and scene—six variables used in factor analysis. Furthermore, the correlation among variables was extracted into two factors; the KMO score of 0,571 was significant. The factor matrix and corresponding names are as follows:



TABLE 4. ROTATED FACTOR MATRIX

Adjectives (+) Adjectives (-) F1 F2

Scene Less Scene ,942 ,009

Appeal Less Appeal ,932 ,193

Companion Less Companion ,891 -,199

Proportion Less Proportion -,757 ,613

Shape Less Shape -,722 ,636

Operation Less Operation ,140 ,912

Eigenvalue (After rot): 3,66 1,6

KMO:

0,571

TABLE 5. CORRESPONDING NAME

Factor Adjectives Eigenvalue Factor Name

F1

Scene,

Appeal,

Companion,

Less

Proportion,

Less Shape,

3,66 SURROUND-

INGS

F2 Operation 1,6 OBJECT-

ORIENTED

For Factor 1, Scene, Appeal, and Companion, Less Proportion, Less Shape, hereafter referred to as Surroundings, were associated with the presence of the fruit basket/container. For Factor 2, Operation, hereafter referred to as Object-Oriented, concerned technical aspects of the fruit basket/container. Furthermore, factors were displayed on an orthogonal map to investigate the semantic relationships of the identified characteristics of craftsmen‘s and designers‘ associative concepts (see, Fig. 5).

VI. DISCUSSION

From the initial stage, the sorted verbal expressions showed that craftsmen paid attention to appearance and technical aspects of the fruit basket/container. They described such features as height, length, stack, capacity, standard, coating, and form (e.g., duck, heron). The extracted word obtained from concept network analysis were identified, as well as the characteristic of operation. In contrast, designers‘ sorted verbal expressions concerned issues pertaining to the presence of the fruit basket/container. Descriptive words included place, kitchen, hang, pluck, tree, wood, inform, remind, children, salad, and dignity. Some interesting comments were, ―I don‘t want to put it on the table; I want to hang it,‖ “I want it to be inviting so the children will reap its fruits,” “How attractive to serve a salad in a fruit container,” and “It‟s like a traditional banana-leaf container with prestige.” The extracted words were identified along with the characteristics of Scene, Appeal, Companion, Less Proportion and Less Shape.

We identified that craftsmen tended to activate low-weighted associative concepts, as demonstrated by the high surface-level cognitive score of 169/202 (83.6%). Designers activated more highly weighted associative concepts, as demonstrated by the high ODC score and lower surface-level cognitive score of 48/81 (59.2%). We referred to the Associative Gradient Theory, which proposes that the more closely associated or ―stereotypical‖ representations may lead to less creativity. The greater the number of associations, the greater the probability of reaching a creative solution, because remote associations (highly weighted associative concept) are best suited to such solutions (Baer, 1993; Eysenck,

1997; Martindale, 1995). We also found that approximately 24% of 202 extracted words derived from craftsmen and 35% derived from designers were highly polysemous. As Yamamoto et al. (2009) argue, the polysemy of a design idea has significant correlation with its originality. It indicates that designers‘ in-depth cognitive levels have greater probability of reaching creative solutions.

Fig. 5. Semantic relation map

The findings of this research suggest that the roles of closely and remotely associated concepts at the in-depth cognitive level during the early stage of idea generation are different for craftsmen and designers as they observe and define design problems. Craftsmen‘s in-depth cognitive levels, with fewer polysemous features, explain their concerns about tangible-related issues, such as proportion and shape. Designers‘ in-depth cognitive levels, with more polysemous features, concern intangible issues, such as surroundings context (i.e., eating culture) and users‘ affective preferences (i.e., companion, appeal). The semantic relation map confirms that craftsmen focus on the physical properties of an artifact instead of the surroundings and the user‘s affective preferences. Designers, on the contrary, are much more concerned about issues pertaining to the presence of the artifact and less attentive to physical properties (see, Fig. 6).

Fig. 6. Craftsmen and Designers



VII. CONCLUSION

In general, we can easily differentiate between artifacts created by craftsmen and designers by describing their appearance. However, it is difficult to describe the nature of creative cognition that influences the respective design thinking processes. This study has revealed the differences between in-depth cognitive levels of craftsmen and designers at the early stage of idea generation. Further, these findings can be developed as a reference for a co-created educational program (design training) that suits craftsmen‘s creative cognition.

REFERENCES

[1] Baer, J. (1993). Creativity and Divergent Thinking: A Task Specific Approach. Lawrence Erlbaum Associates, Hillsdale NJ, 1993.

[2] Batagelj, V., Mrvar, A., (2003). Pajek – Analysis and Visualization of Large Networks. In: Jünger M, Mutzel P, editors. Graph drawing software. Berlin: Springer, p. 77–103.

[3] Cross, N. (2006). Designerly Ways of Knowing, Birkhauser.

[4] Ericsson, K. A., Simon, H. A., (1993). Protocol Analysis: Verbal Reports as Data, MIT Press, Cambridge.

[5] Eysenck, H. J. (1997). Creativity and Personality. In Creativity Research Handbook, edited by Mark A. Runco, Hampton Press. Cresskill NJ, 1, 41-66.

[6] Georgiev, G. V. and Nagai, Y., (2011). A Conceptual Network Analysis of User Impressions and Meanings of Product Materials in Design. Materials and Design, Vol. 32, No. 8-9, pp 4230-42.

[7] Houtz, J. C. and Patricola, C. (1999). Imagery, In Mark A. Runco; Steven R. Pritzker (Eds.), Encyclopedia of Creativity, Vol.2.

[8] Junaidy, D. W., Kaner, J., Ioras, F., Nagai, Y. (2015). Capturing Characteristics of the Conceptual Ideation Process of Master

Craftspersons to Inform Design Education: A Comparative Study of Rural Craft Practitioners in Indonesia and in the UK. Journal of Design Research, 13(4), 395–423.

[9] J. Leskovec, J. (2008). Dynamics of Large Networks, PhD thesis, Carnegie Mellon University, September 2008.

[10] Leijnen, S. and Gabora, L. (2010). An Agent-based Simulation of the Effectiveness of Creative Leadership. Proceedings of the Annual Meeting of the Cognitive Science Society, Portland, Oregon. Pp. 5.

[11] Maki, W. S., Buchanan, E., (2008). Latent Structure in Measures of Associative, Semantic and Thematic Knowledge, Psychon Bull Rev, 15(3), 598–603.

[12] Martindale, C. (1995). Creativity and Connectionism. In The Creative Cognition Approach, Edited by S. M. Steven, T. B. Ward, and R. F. Finke, The MIT Press, Cambridge, MA, 249-268.

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[15] Nelson, D. L., McEvoy, C.L., Schreiber, T.A., (2004). The University of South Florida free association, rhyme, and word fragment norms, Behav Res Methods, 36:402–7.

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[19] ASME2009. California, USA, 2009.



Mapping Surabaya Creative Industry‘s Movement

Kumara Sadana Putra. Product Design

University of Surabaya (UBAYA)

Surabaya, Indonesia


Ramok Lakoro

Product Design

Institut Teknologi Sepuluh November

Surabaya, Indonesia


Muhammad Cahyo

Institut Teknologi Sepuluh November

Surabaya, Indonesia


Abstract—Surabaya claim to be the capital of East

Indonesia, is now stretching the industrial economy and

trade developed rapidly. So it is with the creative industry,

a sector that is predicted able to support the economy of

Indonesia since announce by President 6th Indonesia. But

150 years ago the city of Surabaya is a city-based sugar

industry, steel, machinery, ships, automotive and others.

Until the third decade after Indonesia became independent

state in Surabaya stagnant industry. In the mid-1970s the

establishment of Surabaya Industrial Estate Rungkut

(SEER) marks the beginning of the era industrialization.

Within the last 10 years, Surabaya showed symptoms of

growth in the sectors of the creative economy that leads to

economic independence. Led by young people aged 15-45

years, the creative sectors can generate optimism that the

people of Surabaya, with all its potential to strengthen the

knowledge-based sector and this creativity. In order to

realize gradual independence and the actualization of the

perpetrators of the creative economy need to design a road

map (roadmap) in the short term, medium term and long

term to accommodate the development and produce a

competitive climate both at the level of the city of Surabaya,

East Java regional and national. Ease of current

technologies open up opportunities to access creative

economic actors and speak in the global competition.

Development Plan of Creative Economy for of Surabaya is

structured for short-term 2014-2015 is an early view to

providing recommendations for the creation of a

comprehensive road map and is expected to run all

stakeholders from the perpetrators creative economy,

academia and government as a facilitator and regulator.

Furthermore, it can be developed into an action plan for

each element of Surabaya. Then proceed with the Creative

Economy Development Plan Surabaya medium term 2015-

2019. The five-year medium-term Plan of the creative

economy Surabaya This is the translation of creative

economic development master plan that includes an action

plan stakeholders to develop the creative economy 2015-

2019.

Keywords—creative economy, mapping, program

recommendation, Surabaya

I. INTRODUCTION

A. Era of the Creative Economy in Surabaya:

Surabaya city 150 years ago is a city-based sugar industry, which later developed into a base of heavy

industry such as steel, machinery, ships, automotive and others. Until the third decade after Indonesia independent, Surabaya still in stagnant industry. In the mid-1970s the establishment of Surabaya Industrial Estate Rungkut (SIER) marked the start of a new era in the city of Surabaya industrialization. Stand up and development of the SIER as well as with the increasing decline of the role of industrial center Ngagel which has stood since 1915 because it does not correspond with the development of the city.

After the monetary crisis that hit Indonesia in 1997-1998 became one important marker for the city of Surabaya were based services and trade. Once our economy is centered on the conglomerate, after the monetary crisis marked the birth of a new generation in the economy, namely the SME sector which turned out to be one of the main support and essential in supporting the country economies. The outbreak of the SME sector is increasingly gaining a place and its role as the movement of creative industries and creative economy began to spread throughout the world in the last decade. Nowadays every city even in every village has immediate opportunities in direct contact with the outside world without having to go through the role of the state.

Surabaya‘s economic profile has shifted and significant growth after the financial crisis of 1997, one of which is called the creative economy sector. However it is the lack of statistical data that can describe the profile of the creative economy is making this sector to be 'important presence but not legible' so that when the government wants to have the right policies to this sector in a comprehensive and sustainable it is necessary to begin a program that deals with profiling The creative economy sector first.

Global changes in terms of management requires each local authority area to divert the orientation of the local orientation to become a global-cosmopolitan. This brings further competition for every region, not only to the surrounding areas, but also in other regions on a global scale. Introduction of Law No. 32/2004 on Regional Government and Law No. 25/2004 on National Development Planning System provides a sign of the shifting pattern of the previous government management centralized to decentralized and demanding more participatory management. The condition can be seen as






an opportunity for each region to develop themselves to their potential.

These conditions prompted the government needs to change the paradigm to one that observant and always accommodating in reading and taking advantage of opportunities for prosperity and improved quality of life in society [2]. It needs to be supported by the urge to compete in providing the best possible public services (entrepreneurial-competitive government). Other changes are the need for more customer oriented and stakeholders in the development scenario of investment in the region (customer-driven government).

B. Creative Economy Overview

Edna dos Santos [6] describes the development of the definition of the Creative Economy since expressed by the Working Group on Creative Industries UK Government (1997) adapted the Ministry of Trade as: "The industry derived from the use of creativity, skill and talent of individuals to create wealth and jobs through the creation and the use of creativity and inventiveness of the people "evolved into a creative city as a tool for urban innovation, where the creative sector is positioned as the sector that brings vitality of the city [3] ; entered into the era of the creative economy in which people earn income from the idea [4]. Dos Santos [6] and then went on these ideas to define the Creative Economy as: a set of knowledge-based economic activities with cultural values and connectedness that intersect with other economic sectors. In the creative economic activity is driven by the creative industries, namely: the goods and services that have creative content, economic value and marketing purposes.

Fig. 1 UNCTAD Classification

In contrast to the Working Group on Creative Industries UK Government that charted the creative economy sector into 14 sub-sectors include: Advertising, Film and Video, Architecture, Music, Art Market and Antiques, Performing Arts, Computer and video games, Publishing, Craft, Devices software, Design, Television and radio, fashion design, currently some countries like Italy developed the concept of the different sub-sectors. In practice, subsector above are considered less accommodating in some ways, namely (1) Less can strengthen aspects of the uniqueness of the culture symbolic, (2) is so extensive that less can be united with one another, (3) raises exclusivity on some sectors, (4) definition is national in the country concerned, not all can

be adapted.

David Throsby [7] introduced a classification model 'Concentric Circles' where the core sectors of the creative economy is an original idea of a creative product

C. Surabaya Creative Economy Profile

Creative economy that stands in Surabaya [8] is a sub-sector (1) Design (32%), (2) Fashion and Crafts (15%) and (3) Publishing and Printing (12%). The perpetrators of the creative economy quite intensively interact with fellow community and meet with other communities, only needs to be pursued more comprehensive description of the type, magnitude, extent and distribution of creative business networks in which they live. Most profile creative economy based on personnel and capital involved in the category of SMEs but not all SMEs belonging to the creative economy.

II. METHOD

Surabaya is preparing the creative economy roadmap. Surabaya through City Development Planning Board (Bappeko) initiated a development program of creative economic development in the city of Surabaya more thorough, gradual and sustainable. Aim was placed on the Creative Economy Development Team Surabaya in cooperation with various stakeholders such as the creative economy: the entrepreneurs, SMEs, academia, practitioners, communities and municipalities. This program has been initiated by the Bappeko which was followed by the Focus Group Discussion (FGD). Thus, the Creative Economy Development Team Surabaya formulate the purpose of this report is as follows:

• Mapping the potential of the creative economy and core strength Surabaya

• Describe the challenges to be faced

• Identify opportunities to strengthen and develop the core strength of the creative economy Surabaya

• Program recommendation

• Development of supporting infrastructure recommendation

To fulfill those aim, the author use several methods to develop the Roadmap

• Literature study

• Qualitative methods using observation to compare the literature study and data with the real condition

• Qualitative methods using Focus Group Discussion to gather ideation from Surabaya Creative Economy Stakeholder

III. RESULT

A. Strategy Platform

Although there are no data that can be referenced quantitatively, the preparation of a road map seeks to base the creative economy is better for the city of Surabaya. Several aspects need to be considered as a framework for understanding it is an aspect of Insan (creative person), aspects of Wirausaha (Creativepreneur, diversity sub



creative sector growing), aspects of the Wahana (space, the infrastructure that supports the creative activities that impact the economy) as well as aspects of Sambung (network, activity carried out both individually and collaboratively between creative economic actors). These aspects will be the glasses in an attempt to understand the economic landscape of creative Surabaya

Fig. .2 Platform of applied strategy

1) Wirausaha (Creativepreneur), when national

creative entrepreneurial sector that provides the highest

contribution to the national economy is the sector of

fashion, craft and advertising, creative entrepreneurial

sector in Surabaya, the data cannot be presented in a

precise figure. The entire sub-sector grew in the city of

Surabaya, but there is no adequate record keeping to be

analyzed more comprehensively. Research last recorded

on this subject held in 2009 by Indrojarwo, et al. One of

the things that surfaced is the position of Surabaya as a

brand in the public perception is not in the same quadrant

with Jakarta and Bandung, but are in the same quadrant

with Solo, Yogyakarta and Bali. This perception is

measured based branding Surabaya today "Sparkling

Surabaya". Creative sectors in the field of media such as

television, radio, film, photography, printing and

publishing companies are still controlled by Jakarta and

have not been able to emulate the effect of exposure

nationally. Opportunities to compete there in the same

quadrant with the city of Bandung by lifting the benefits of

research and development. In the media sector, Surabaya

has several television stations operating regionally East

Java, among other television media JTV, SBO, TV9.

Network media news publishing among others Jawa Pos

News Network, Surya, Radar Surabaya but have not been

able to rival the dominance of national media networks.

2) Wahana (Creative Space), Surabaya city has

many rides as physical infrastructure with high potential.

Bungkul Park for example, since the park has been named

as one of the best cities in the world, can give an incentive

when associated with a variety of activities that led to the

economic interaction in the community in various layers.

Additionally you view the number of vocational schools

and universities supporting the creative economy, can be

mapped many rides that has been used internally

institution concerned can be utilized more widely for

collaborative activities with the community or investor

(sponsor, head hunter, etc.). As a supporter of creative

economic activity, it can be assumed every college and

vocational associated with it have the infrastructure

showrooms (both permanent and temporary) and

performance areas that can support a variety of creative

activities. The initiator of this activity can be raised by the

institution concerned as well as events in cooperation with

the city government.

3) Sambung (Creative Network), the activity of

creative entity community, government and academia

participated in turning the wheels of the creative economy

Surabaya underway with the idea come from each party

who became the initiator simultaneously executing.

Organizing community activities to harness the power of

social ties among its members. Told social ties as there are

many communities that have a legal entity, more to the

needs between individuals within it to create activity,

which was originally a self-actualization, pursue a

particular hobby and later transformed into activities that

can generate economic value. Activity may be events such

as festivals, fairs, markets, conferences, seminars or

competitions. Thus the event can be connect (continued)

some communities with other communities, academia, or

government with investors, sponsors, organizers up to

tourists.

4) INSAN, drive Surabaya creative economy can be

viewed from a variety of backgrounds. The creative

industry consists of creative workers in the field of: arts

and crafts, product design, interior design, visual

communication design, animated film producer, producer

of software, media workers television, radio and print

media. It could be divided into some sources, like

vocational and higher education that supports the

availability of human resources beside community and

government, the details are as follows:

(a) Insan: SMK (Sekolah Menengah Kejuruan),

Vocational School, at the secondary school level

vocational contained 11 SMK public school and more than

a hundred private school in Surabaya, and all have

departments in accordance with the 15 subsectors of

Creative Industries, among others majors animation,

broadcast, graphic design, multimedia, software

engineering, engineering construction, dressmaking,

cookery, ICT and craft. The availability of agency data

supporting creative people (creative pool) at the level of

vocational education over vocational concluded that: 1)

from 11 vocational public school, all of them have majors

related to the creative economy; 2) equitable has become

a trend since 2009 when the President declared in the

creative industries in Indonesia, 3) uptake of the vocational

graduates to fill many small and medium industries in

Surabaya and surrounding areas, while some also went to

college concerned. The distribution details require further

research, 4) concentrations of the main department /

specialization is a multimedia, design (visual

communication design, interior design, product design).

Concentration of specialization are many sub-sectors

contributed to the multimedia, design

(b) Insan: Universities, In higher education,

college education provides based on creativity, among

others, State University of Surabaya, 10th November

Institute of Technology, Petra Christian University,

University of Surabaya, Veterans National Development

University, the University of Ciputra. The universities



have departments of Visual Communication Design,

Interior Design, Industrial Design, Fine Arts and Crafts.

Sector projects, performing and culinary arts are supported

by the development of the sectors that support tourism and

travel. It can be said that the creative human factor in

Surabaya has (1) Creative Participation: many (but

sporadic militant) spread has not formed a big movement;

(2) Creative Workers: empirically large yet been mapped

yet comprehensive manner; (3) Institution: vocational

schools and colleges with the majors in the subsector

creative economy; (4) Creative Communities: moving

sporadically, the expression of a community of special

interest, activity aimed at non-profit and social.

(c) Insan: Community, Surabaya has so many

creative community developed by individuals, social

institutions and business-based. These communities do not

often make the collaboration if related activities in their

communities. Initiator of even this diverse communities

ranging from businesses, practitioners, academics and

even community activists often is a freelance investigator

who works with social motives. Although there has been

no comprehensive enough data about the presence of the

creative community in Surabaya, some of which can be

identified based on data collected between the players in

the creative community. While no such data began to be

collected through a community ayorek, an initiative to

build knowledge about the city of Surabaya-based creative

activities.

(d) Insan: Government, besides the parties

above, there are also government agencies related either

directly or indirectly help strengthen the creative people of

Surabaya through facilitation programs and policies that

support.

B. Potential Analysis

1) Conceptual framework

This report is the result of the findings of the various studies that have been done other cities both in Indonesia and in other countries and a special study of the creative economy in Surabaya and the results of discussions with the various stakeholders of the creative economy that is centered on the power of quarto helix is: (1) entrepreneurs, SMEs, practitioners, (2) academia, (3) community and (4) the city government. To achieve the objectives of this report, we divided into four categories: personnel; entrepreneurship; rides; and Connect. Furthermore, each category will be framed by the four objectives above can be illustrated by the following diagram.

Fig. 3 The analytical framework of every aspect assessed on creative

economic activities in the city of Surabaya

It is expected of each category will be mapped and the potential of its core strengths, challenges and solutions elusive, chances are identified and appropriate recommendations for each category. The profile that has been disclosed in the previous section is the current state and needs to be deepened with a quantitative assessment.

(a) Insan:

Challenges o Based on the profiles creative people in

the previous section, the creative resources of Surabaya abundant but not being managed and developed properly. Labor absorption in the creative sector is not comparable with the availability of labor every year so of them choose to work in the city that favor the development of her like Jakarta or Denpasar

o To provide economic and social benefits need creative people need more opportunities for wider participation, should be provided opportunities together for creative production and consumption sectors.

o Combining and organizing enormous creative potential of human resources in a movement / joint program of massive so that they can have an impact on the economic development of urban society in general and in particular the development of creative economy Surabaya

Opportunities

o Full creative initiative to empower themselves well to join a company (media, software developers, home design, consultants and planners design), work independently (freelance) or establish a business with several colleagues with minimal capital.

o The sector that can create collaborative opportunities such as tourism events can trigger the development of the performing arts sector, culinary, music and craft a sustainable and solid between subsectors

o Creative HR militants tend to be able to actualize the creative impulse of himself and the community. When responded appropriately will produce valuable economic activity

(b) Wirausaha

Challenges

o Actors creative business require incentives (licensing, access and capital) to strengthen the reason attain global competitiveness on the basis of Surabaya. Entrepreneurial and



companies interested in the market that are more specific and sophisticated need incentives.

o A successful creative sector and emerging needs to be appreciated and supported strategically as it needs handling differently between SMEs based, SMEs based creative with non-creative.

o There are no adequate data on the map around the creative economy in Surabaya, both sectors were seeded, the culprit groups, field / creative sector, data on products, etc. marketing reach.

o The absence of a forum / network that synergize quadrohelix (Business, Intellectual Property, Government and Community) in the field of creative industries in Surabaya

Opportunities

o Received the title of the most efficient cities in Asia, the cost of living in the metropolitan city of Surabaya as cost friendly classified into a potential attraction for entrepreneurs to strive in this town especially among business practitioners starter (start-up business).

o Government through Bappeko has initiated and opening up the creative economy stakeholders to design a program of short-term, intermediate and long for entrepreneurial development based creative Surabaya and global competitiveness

o One-stop service system (Surabaya Single Window), which has begun to be applied in Surabaya is expected to become the driving force for ease of administration and bureaucracy, especially the creative entrepreneurial world. Data on creative entrepreneurs will help determine policy

Challenges

o Some financial assets and buildings belonging to the Surabaya City Government designated cultural arts activities is not maximized in the role and utilization both in terms of quantity, quality and target activities or programs.

o The number of MICE facilities in the field did not necessarily make it accessible for the creative community.

o Public space is also available (parks) are still aimed at the community do not travel on the creation of productive culture of the city.

o The lack of space or building that is managed for the arts, culture and creative can be used for free or cost friendly for the creative community.

o Some old and historic building that is not functioning optimally.

o Construction of new buildings as a creative center.

Opportunities

o Government through Bappeko along with relevant agencies have started to open up to the stakeholders entrepreneurs and the creative community to maximize the role and utilization of assets and buildings belonging to the city government to support the development of creative activities and programs both in terms of quantity, quality and objectives.

o There have been several non-governmental parties that provide space or building that is managed for the arts, culture and creative can be used for free or cost friendly for the creative community.

o There have been several non-government parties that are specifically and consistently provide assistance and facilitate the activities for community arts, culture and creative with their assets

o Some shopping centers have started opening up to activities for young people in the context of the creative economy in an activity that is quite massive with the response from the community are quite massive as well.

o Several private companies entrust the implementation of its CSR program run by the City of Surabaya and for the benefit of residents of the city of Surabaya.

o Surabaya City Government already since nearly three decades of attention to infrastructure development for the villages of the city.

(c) Sambung

Challenges

o Creative community has been quite often initiate collaborative activities to produce an independent knowledge of the city but not yet accommodated to be in contact with a wider public

o Creative activities in Surabaya recorded quantitatively quite a lot but have not arranged to comprehensively roadmap have a clear direction for the development of creative economy sectors. It takes focus to strengthen the advantages of

o The activities are still sporadic and not ready to integrate and link the whole potential of the city. It takes a mutually reinforcing activities among actors and



the creative economy in the long term can build branding Surabaya as a city that also has particularly excellence in the creative sector.

Opportunities

o The physical assets Surabaya City can begin to be used to bring together communities more massive. Several activities have been implemented are working to integrate though still limited to only a few communities

o Several activities have been organized regularly by the community, practitioners, academics and government. By mapping this agenda can be obtained an activity that has a massive impact on the opportunities for the development of the creative economy sector.

o There have been several non-government parties that are specifically and consistently continue to develop programs to facilitate community activities for the arts, culture and creative.

C. Recommendation

In the short and medium term recommended some idea of creative economic development in the city of Surabaya

1) Recommendation for Insan o Develop creative culture in the productive age

group of Surabaya through community empowerment, development of joint events, education and organization. Some are already running regular eg. DIY Festival or Sunday Market

o The budget allocation for the education sector also accommodate the needs of human resource development of the creative economy sector, for example, funding for the development of creative business incubators at vocational level

o The development of creative business incubators in various levels, ranging from micro, small to medium-sized. These activities may involve practitioners and academics to the selection process, mentoring and evaluation

o Providing incentives held within a certain period to initiate and trigger creative human achievement Surabaya at the municipal level, the provincial, national or global, for example, through the grace of creative people yearly. Incentives can also be the licensing and access to capital.

o Facilitation of publishing newsletters and directories to update the data and the business development of creative economic actors Surabaya

2) Recommendation for Wirausaha

o Mapping of creative entrepreneurs in the city of Surabaya to know the status, visibility on employment, labor availability and the economic potential of the creative sector owned. Data were extracted in the form of the name and the business owner / creative agencies, legal status, field of creative effort involved in, capital, turnover, range of marketing, promotion strategy and business development, copyrights owned, linkages third parties (investors, partners, clients, etc.). This data can be used also to determine the seed sector and policy development

o Promote creative programs for creative businesses, middle schools / vocational and college level, for example through the exhibition of creative products that can accommodate vocational existing sectors as widely as possible by displaying a featured from each sector

o To provide economic and social benefits, creative people need more opportunities to interact and work together more widely, should be organized special activities for the creative sector entrepreneurs. Is expected to open opportunities together for creative production and consumption sectors. Government can facilitate a business meeting activities with partners and stakeholders Surabaya

o Combining and organizing enormous creative potential of human resources in a movement / joint program of massive so that they can have an impact on the economic development of urban society in general and in particular the development of creative economy Surabaya, such as creative weeks or months of creative, such as Surabaya Creative Week

3) Recommendation for Wahana o Required intermediary institutions that

represent a variety of creative community in Surabaya to communicate with municipalities and stakeholders in bridging the aspirations and ideas of the various sub sectors of the creative cluster. These institutions can also play a role in organizing collaborative activities between the communities with other communities in Surabaya

o Required Co-Working Place for intermediary institutions that can manage the needs of the entire creative community, as well as a place of intensive interaction between communities. Co-working place can serve as a meeting place and creative community interaction. Examples of this kind of vehicle is owned Bandung (Bandung Digital Valley, Bandung Creative Center), Jakarta (Code Margonda, Comma), Yogyakarta (Jogja Digital Valley, hackerspace YK) and Bali (Hubud)

o Development of Surabaya Creative District to become storefronts all creative activities in



various sectors which are the advantages, as well as provide space to promote new sectors develop. As an initial step, city officials can facilitate through buildings Surabaya assets untapped be temporary storefront

4) Recommendation for Sambung o Develop activities that can be part of

Surabaya‘s branding as a creative city through collaborative activities among all of the business, academic and government sub-sectors. Activities that functioned as a liaison owner of creative products to the market (creative marketplace)

o Develop the Surabaya Creative District to become the storefronts of all creative activities in various sectors which are the advantages, as well as provide space to promote new sectors develop. As an initial step, city officials can facilitate through buildings Surabaya assets untapped as a temporary storefront.

IV. CONCLUSION

Based on the recommendations in the previous section, arranged Creative Economy Development Surabaya 2014-2015 Roadmap which can be described as follows:

1) Phase 1, an important stage in building the

foundation of the development of the creative economy in

the city of Surabaya is the identification of the full

potential of both aspects of Insan, Entrepreneur, rides and

Connect to obtain a complete picture of the sectors that are

the hallmark and sectors that can support the strengthening

of key sectors the. The results are compiled as a profile

and an inventory of assets that can be used to strengthen

this sector.

2) Phase 2, the next important stage is socio-

cohesiveness or glue social actors in various collective

activities that strengthen the collaborative networking of

the entire sector. This stage is the stage of vital and

requires a great effort from all parties involved in both

practitioners, communities, academia and the government

as a facilitator in the domain of Surabaya. Ideally, the

government as a patron city can put together a program

with a group that is considered the representation of the

creative community in Surabaya. A joint program is

expected to be a shared responsibility of both

professionally and socially.

3) Phase 3, along the formation of increasingly

creative economic climate is good, a strong network and a

number of ideas and business initiation and activity, can

develop programs that support facilitation. The

management functions can be executed by providing

sufficient access to individuals and communities that have

specific activities related to the assets of the city. As it is

well developed policy products that can build public

appreciation of creative products, such socialization IPR

awareness, capacity development of creative economic

players through forums that facilitated the city government

and so on.

Fig. 4 Surabaya Creative Economy Roadmap

REFERENCE

[1] Cahyo, M., Lakoro, R., Sadana, K. (2013), Rencana Pengembangan Ekonomi Kreatif Kota Surabaya 2014-2015. Surabaya, Bapeko

[2] Kartajaya, H. (2005) Winning The Mom Market in Indonesia, Jakarta, MarkPlus & Co.

[3] Landry, C. (2010), The Creative City: A Toolkit for Urban Innovators., Earthscan

[4] Hawkins, J. (2001), The Creative Economy, London, Penguin Books Ltd.

[5] http://unctad.org/

[6] Edna dos Santos (2010), The Challenge of Assessing the Creative: towards Informed Policy-making, Economy http://www.interarts.net/descargas/interarts538.pdf.

[7] David Throsby (2007), Modelling the Creative/Cultural Industries, Macquarie University, Seminar on ―New Directions in Research: Substance, Method and Critique‖, held at Royal Society of Edinburgh, Scotland, 11–12 January 2007. http://www.acpcultures.eu/_upload/ocr_document/LSE_CreaIndSeminar_DavidThrosby_2007.pdf

[8] Indrojarwo et al, 2009, .....



The Flexible Built-In Furnitures to Cope with

Limited Space Problem in Indonesia Modest

Rented Flat (RUSUNAWA)

Soepono Sasongko



Solo, Indonesia


Silfia Mona Aryani



Solo, Indonesia


Abstract—Indonesia modest rented flat (RUSUNAWA)

is a program from the Ministry of Public Works and Local

Government, addressed for people with low income. The

space in every unit of RUSUNAWA can be considered as

limited dimension. When a resident rent a unit in

RUSUNAWA, he will get an empty one without any

furnishing. He must buy new furniture that might not be

easy for him, considering to his income. If a tenant is

capable to buy furnitures, most of the furniture are too big

for a small rooms in RUSUNAWA. This research is

purposed to explain the design process of the furnishings

that are suitable to cope the limited spatial problem but

still maintain the ergonomical aspect. The research is

conducted through an exploratory study to find a

furnishing invention. The research strategies are done in

some surveys and experiments. Survey collect data about

perception tendency from the residents on the

spaciousness of a unit and the atmosphere in rented flat.

Experiment was carried out to determine the value. In the

analysis, the research studies the requirements of a room

for every activity with a minimal standard for a room in

each rented flat to see the quality of a housing. The result

is flexobility as a recommended strategy to overcome the

problem of a small room in rented flat, thus avoiding the

crowding of the house. The result is expected to be a

reference for designing prototype of furniture for rented

flat in Indonesia.

Keywords—built-in furniture, narrow space, simple

rented flat

I. INTRODUCTION

A house is a basic need for human beings, beside food and clothes. It also functions as a centre of culture and education for a family, as well as a manifestation of identity. From the ecological point of view, it is clear that in the future the quality of human ressources will be highly influenced by the quality of their residence.

For people in Indonesia, especially those who live with low income, a house is a part of capital goods. It is a place to support their lives by doing economic activites in their house. Hence, we can not overlook problems related to a house or residence. This is a complex situation that affects all parts of human‘s life (Kirmanto, 2002.).

Indonesian modest rented flat (known as Rumah Susun Sederhana Sewa or RUSUNAWA) is a program from Indonesian government. This project is under the

control of Directorate General of Human Settlements, the Ministry of Public Works, in collaboration with Local Government. The aim of the program is to overcome problems of slum areas in many cities of Indonesia.

Law no.20/2011 about flat defines flat as a multi-storey building, built in an area which is functionally designed in horizontal and vertical direction, also the only place used for a shared residence. Most of the flat built by the Ministry of Public Works are public and special flats, under the authority of Ministry of Public Works. RUSUNAWA is built and rent for people with low income (rented flat: 22). It has the same shape and design in every city and town of Indonesia. The goverment has already made a standard of the design of the housing, the rule to build that housing, and how to operate it. Every unit in RUSUNAWA provides limited space to live in. Thus it is difficult for a resident to do their daily activities in his house. Moreover, there is another problem which is the home appliances. When a resident rents a RUSUNAWA unit, he will not get a fully furnished unit. He must buy new furniture that may not be easy for the resident, considering his income. If the local government, like Government of The Province of Jakarta, provides home appliances for the tenant, usually they are too big for small rooms of RUSANAWA unit. It can cause crowding and hinders the residents to enjoy their daily activities, that will affect their psycological condition.

To reduce the phycological impacts of living space with plenty inhabitants the research considers the crowding and density theory in achitecture. Stokols (1972) theoritically states that density is a special constraint, while crowding is a subjective respond to a tight space. Thus density can be defined as the amount of inhabitants in a particular spacial limit. The more people live in that space, the more dense that space will be (Laurens, 2004: 148-149). The impact of density for human is a feeling of claustrophobic due its crowding effect on personal, social as well as physical condition. This situation is also able to lead to other problems such as:

1) Illness and social patalogy or mental illness. However it doesn‘t mean that the high density always leads to social patalogy.

2) The impact on social behaviour, such as





aggression, isolation from social environment and a tendency to have a negative impression to other people.

3) The impact of bussiness and mood.

The other consequence of high density is a perception of low human control. We have to share our stuff dan making a decision together with other people (Laurens, 2004: 154).

The main problem related to furniture is that most of the furniture in the market do not suit to the limited space in a RUSUNAWA unit. Thus we need to design the furniture for a small room, so that a resident can live comfortably in his house. The final result of this research is a prototype model of a furniture for a RUSUNAWA. It can be used by the Local Government for a standard of furniture in the same kind of building.

II. METHODOLOGY

The research is conducted through exploratory research that aims to find a new invention. It applies a normative (based on the rules) and empirical approach, that is demand-and-supply method (a space provided compared to the resident‘s perceptions). Qualitative method is used to address the real condition of a research subject. The research collects data based on field-study. Then the collected data is translated in accordance with the real object.

For this study, the research is conducted with a survey and an experiment as research strategy. Survey was taken to know a tendency of perceptions from the residents about the spaciousness and the condition of a living space in a RUSUNAWA unit. Experiment is conducted to determine the value. The primary data is collected by visiting the residents in RUSUNAWA unit, doing interviews with the tenants, the owners, and the stake holders of RUSUNAWA flat Jurug from UPTD Rusun, Bureau of Public Works of Surakarta. Meanwhile, the secondary data consist of the physical condition of the building, behavioral aspect, daily activities, as well as the resident‘s needs for the furniture.

In the analysis, the research assess the requirements of a room for every activity. It used a minimal standard for a room in every RUSUNAWA unit to see the quality of a housing. The result is a recommended strategy to overcome the problem of a small RUSUNAWA unit, thus avoiding the stuffiness of the house.

III. RESULT

A. Physical Aspect of The Building

The object of this research is a RUSUNAWA unit on Jurug which is located in Jl. Maskur, Kentingan, Kecamatan Jebres, Solo. It is precisely situated in the east of University of Sebelas Maret, Surakarta. This housing consists of three blocks. Block A is composed of 4 stories with units from type 27. Block B and Block C, each comprises 5 stories with units of type 24.

In Block A there are 20 RUSUNAWA unit for each storey, except for the ground floor, which provides 14 units of residence and shared rooms for praying, rooms for the managers of a simple rented flat, mechanical and technical rooms and lobby, as well as an open space. In

total, there are 74 units of residence. The cost for renting a residence here depends on the storey they live in. In the first floor, the resident has to pay Rp 100.000,- per month. The second floor is Rp 90.000,-, the third Rp 80.000, and the fourth Rp 70.000,-.

Block B and C have the same condition of building. Each storey has 12 units of residence. The ground floor is provided for the dissabled people. Block B has 2 units for this typical of residence, while Block

C only has 1 unit. Besides, there are also some rooms in the ground floor for the managers, for commercial managing of the residence, multipurpose room, parking lot for motor cycles, and a warehouse. The cost for renting a room here is the same as in the Block A.

The sample for this study is the residence in Block A, built by Ministry of Public Housing. Meanwhile, Block B and Block C were built by The Bureau of Public Works of Surakarta. The management of the simple rented flat is under the authority of UPTD Bureau of Public Works of Local Government of Surakarta.

In Block A, each storey is equipped with an open space for laundry in the right and left side of the building. It also provides big garbage boxes that are divided into two cans: for organic and non-organic garbage. They are placed in the right and left side of the building. These boxes are designed for permanent use in the shape like a chimney, directly connected from the highest floor to the ground floor. The trash from the highest floor will go directly down to the ground floor. Every unit of residence consists of main room (2 bed rooms), multipurpose room (living room and dining room), and service area (1 bathroom and a kitchen).

There are two entries which are located in front and back of the building. The windows are made of aluminium to make it more durable and to prevent rust. The floor is made of white ceramics. The wall is from the brick with paint coating. The ceiling is of concrete material and is exposed. Each residence is facilitated with water which is pumped from the ground to every room. The capacity of electrical power is 900 watt.

B. Social and Behavioral Aspect

The residents of Block A meet regularly to create a community, like Rukun Tetangga in Indonesia. They make some regulations about the activities in this shared residence, hosting a guest from other blocks, etc. The leader of this community works together with the vice leader, secretary and the leader of each division. Every month, the residents have to pay contribution. The other bills, like for water and electricity, are paid individually.

Most of the inhabitants work in private companies and freelancers. All 74 residences are full occupancy. Each unit consists of two until five people. The residents don‘t use bed for sleeping. Instead, they utilize a mattress on the floor. Other facilities for sitting, such as chairs or sofa, are only found in terrace which also functions as living room. This situation make them to sit on the floor (known as lesehan). Besides, since the gap between the rooms is very close, they do some shared activities in the public space in front of the block building.



Fig. 1. First Floor Plan of Block A.

Fig. 2. Unit Plan of Residence of Block A.

TABLE I. LIST OF DAILY ACTIVITIES OF THE RESIDENTS

No Activity Furniture Place

1 Sleeping Bed

2 Taking Shower ----- Bathroom

3 Getting dressed Table Bedroom

4 Eating/Drinking Dining table Dining room

5 Studying/working Studying table Studying room

6 Watching television TV table Living room

7 Hosting a guest Table and chairs for

guests

Reception room

8 Cooking Cupboard/ Rack

of cooking

appliances

Kitchen

9 Washing clothes ----- Bathroom

10 Drying clothes ----- Laundry

room/outdoor

TABLE II. FURNITURES AND THEIR FUNCTIONS

No Functions Facilities Information

1 For sitting Seat/bench/chair

2 For putting stuffs Table

3 For storing goods Cupboard/shelf/rack

4 For sleeping Bed

TABLE III. NATURE OF ROOMS/ZONES

No Rooms Character/zone Information

1 Bedroom Calm/private

2 Studying room Calm/private

3 Dining room Noisy/semi-private

4 Living room Noisy/semi-private

5 Reception room Noisy/public

C. Perceptions of the Residents about Their Residence

The researchers interviewed the residents of each floor in Block A to know about their perceptions regarding the spaciousness and the furnitures in a simple rented flat. The sample of the respondents were chosen based on the number of family members in that building. Every storey was represented by a family that had 2, 3, 4, and 5 members, so the total samples are 16 persons. In Block A, there are 73 families and one family owning a unit and paying the contribution, but they don‘t reside in that building. Five people are the most numerous members, while two people are most minimal members of family. They are newlyweds. Most of the residents are freelancers and factory workers. Some are entrepreneurs who sell foods near Rented flat.

There are several questions asked to the residents. First, the residents were asked to tell about their daily activities from morning to night. Then they told about facilities they need in the housing. The last is what they do to manage the small room in their unit. The result of this interview is mentioned bellow:

1) All residents agree that the room is too small.

2) They need more space to work.

3) Furnitures are for hosting guests and storing stuffs.

4) Most of them don‘t have much money to buy home furnitures.



5) All residents sleep on mattress without bed.

6) They like to sit in lesehan style. They like to go to the terrace for hosting guests. If they have many guests, the residents will use the public space in the ground floor, that also functions as a place of night watching (Ronda).

IV. DISCUSSION

A. Research of Space Requirement

Each RUSUNAWA unit normally can be resided by four people. They are a family consisting of a father, a mother, and two children. This pattern follows the Program of Family Planning (Keluarga Berencana) in Indonesia. Hence, based on this standard, the study applies the same counting method for capacity of each unit. For this reason, all activities and facilities are based on the number of the residents mentioned above.

This space requirement study is in accordance with the anthropometrical study from a book Human Dimention and Interior Space by Julius Panero, AIA, ASID and Martin Zelnik, AIA, ASID. The contents of this book are adapted to the condition of housing in Indonesia. The size standard started from the minimal. The result of this reasearch will be applied to study a space and furniture requirement in a simple rented flat. The method applied for this paper is making a model of a layout and furniture and the circulation area in each unit of residence. The size standard is taken from the book mentioned above. To get the result, the spaciousness is compared to the size of each unit in a simple rented flat.

TABLE IV. NATURE OF ROOMS/ ZONES

No Activities Minimal space

required Unit of

residence in rented flat

Place

1 Sleeping Parents 7.91 M2 5.62 M2 – too small

Bedroom 2 children 8.89 M2

2 Getting dressed

5.62 M2 – too small

Studying room

Studying/ working

3 Eating/ drinking

4.22 M2 5.62 M2 - enough space

Dining room

4 Watching TV

7.18 M2 5.62 M2 – too small

Living Room

5 Hosting guests

7.18 M2 5.62 M2 – too small

Reception Room

6 Cooking Kitchen 7 Washing

clothes Bathroom

8 Drying clothes

Laundry room/outdoor

Fig. 3. Family room/ living room.

Fig. 4. Dining room.

Fig. 5. Master bed room.

Fig. 6. Kid‘s bed room (for two).

B. Merging Rooms

Based on the study of living space that already mentioned above, it can be concluded that a minimal space required for each room cannot be applied for type 27. Thus we need to merge several rooms together. To do a room-merging we have to think about the comfort of a living space as well as ergonomic furniture for these rooms. These two things are necessary to avoid stuffiness that can lead to mental illness and depression. The room-merging is based on the similar function of each room. For example, merging two rooms based on the sitting activity, like reception room and living room.

TABLE V. MERGING ROOMS

No Rooms Merging Rooms Information

1 -Reception room

-Living room Sitting room The room-merging

is based on sitting

activity in both

reception and living room

2 -Dining room No room-merging

3 -Bedroom Bedroom The room-merging is



No Rooms Merging Rooms Information -Study room based on the need to

find a peaceful room

Fig. 7. Layout plan of a unit in a simple rented flat type 27.

This lay out plan is application of merging rooms in unit of residence in a RUSUNAWA unit. Merging rooms between the bedroom and the studying room so very density.

C. Furnitures and Operational System

To make a merging-room easier, we need furniture that are flexible. A research about flexibility of furniture has to be conducted to create an operational appliance for living spaces in a simple rented flat. These recommended furnishings are not only for a simple rented flat in Surakarta, but also for all a simple rented flat in Indonesia. The size of the furniture will be adapted to fill the living space of unit type 27. This is based on the units rent by low income people in Indonesia, that are type 36, type 27 and type 24.

Fig. 8. Folding direction of the sitting room chair.

In the sitting room, we use chairs that can be folded

downward,parallel to the wall. This folded furniture makes the room looks more spacious. Thus the room can funtion as a place to other activities such as cooking or sewing.

Fig. 9. Folding direction of the dining room table/ chair.

The dining room is filled with chairs and a table that can be folded upward and pasted to the wall. The room will look more spacious and can be used for other activities, such as cooking or sewing.

Fig. 10. Folding direction of the Study room and bedroom table/ chair.

A problem related to the size of the rooms in a simple rented flat can be managed by merging two rooms together. Study room and bedroom, which both need a peaceful environment, can be merged with shared furniture. This requires a built-in table, that sticks to the wall permanently.

The table can also to be folded upward, parallel to the wall. The sitting is in lesehan way so that this device can be made in a small size, 75 cm x 35 cm. This size is taken based on the gap between the standard size of a chair and a table, that is 30 cm. The height tolerance is 5 cm.

For storing the stuffs, the storage unit hanged and stick to the wall permanently. It is placed over the table to make them more reachable, based on the standard of an adult in standing position. The hung and stuck



appliance is made to maximize the function of a room, especially the bedroom.

Fig. 11. Folding direction of the bedroom mattress.

In the bedroom, to be more efficient, we use a mattress without divan. The room will be clean because the residents don‘t have to sweep or clean the divan. To make life more comfortable, use a single bed/mattress. This kind of bed can easily be stored by sticking it to the wall and clamped with a specially designed tool (see the picture above). With this appliance, a bedroom can also function as studying room.

V. CONCLUSION

Based on the discussion above, we conclude that the residents think their living space is too small that it hinders their activities. Due to this limited room, they prefer to sleep and sit in lesehan way. This problem can

be solved by merging rooms which have the same function, such as the rooms for sitting. It can also be applied to the rooms requiring a peaceful atmosphere, like bedroom and study room.

The method of combining two different rooms is the right way to overcome stuffiness and avoiding depression caused by this unhealthy condition. To exercise this solution, we need a supporting facility, that is the furniture. Hence, it requires flexible furnishings so that they can be used easily. We recommend built-in furniture that are not easily taken away by the residents who leave the housing, because of the frequency of owner-changing in a simple rented flat.

REFERENCES

[1] Laurens, Joyce Marcella , 2004,Arsitektur dan Perilaku Manusia, Grasindo,Jakarta

[2] Panero, Julius IAI, ASID, Zelnik Martin IAI, ASID, 1979, Human Dimention & Interior Space, Watson Guptill Publication.

[3] Peraturan Pemerintah Republim Indonesia No.4/1988 tentang Rumah Susun.

[4] Peraturan Menteri Pekerjaan Umum No. 60/PRT/1992 tentang Persyaratan Teknis Pembangunan Rumah Susun.

[5] Puslitbang Permukiman. 1995. Penelitian dan Pengembangan Dasar Perencanaan Desain Rumah Susun Serta Lingkungannya. Bandung: Puslitbang Permukiman- Balitbang PU- Dep. Pekerjaan Umum. Kementerian Pekerjaan Umum, Direktorat Cipta Karya, 2012, Rusunawa, komitmen bersama penanganan permukiman kumuh.

[6] Sasongko, Soepono, Aryani, SM, Wahyuningsih IES, 2016, Studi Kebutuhan Dasar Mebel Dan Ergonominya Pada Rusunawa (Rumah Susun Sewa) Sebagai Rujukan dalam Penyediaan Fasilitas Mebel di Rusunawa, Hibah Pusat Keunggulan, Universitas Sebelas Maret, Surakarta.

[7] Sutopo, HB. 2002. Metodologi Penelitian Kualitatif Dasar Teori dan Terapannya dalam Penelitian. Surakarta: Sebelas Maret Universiy Press.

[8] Undang-Undang repubilk Indonesia No.4/1992 tentang Perumahan dan Permukiman.

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ISBN 978-602-61467-0-0...2020/02/01 · INDESIGNATION 2016 - PROCEEDINGS ISBN 978-602-61467-0-0 Editorial board Dr. Andry Masri, M.Sn. Dr. Yannes Martinus Pasaribu, M.Sn. Guest editor