AbstrakLogo adalah bahasa visual yang merupakan abstraksi dan representasi dari banyak hal. Logo sering berisi kode atau tanda artistik yang hanya dimengerti oleh konvensi tertentu. Artikel ini bertujuan untuk memahami pemaknaan logo Rumah Atsiri Indonesia baik secara tekstual maupun kontekstual. Kajian tekstual membahas elemen-elemen pembentuk visual logo, seperti bentuk dasar, warna, dan teks. Pada pemaknaan kontekstual lebih mendalami perihal aspek kesejarahan yang melatarbelakangi pembentukan pemilihan logo itu sendiri. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan studi kasus. Studi kasus dipilih agar data yang digali lebih spesifik dan mendalam melalui observasi, wawancara, dan studi literatur. Pada tahap analisis, data dari lapangan akan dielaborasi dengan data dari literatur seperti, buku, jurnal, dan penelusuran website. Hasil yang diperoleh dari penelitian ini antara lain, bentuk logo mengambil bentuk dasar fasad bangunan lama, dan pemilihan nama Rumah Atsiri Indonesia (kedua hal tersebut) merupakan abstraksi dari tindakan penerusan spirit cita-cita lama Pabrik Citronella 1963; warna pada logo adalah hasil perpaduan nuansa tanah dan cahaya matahari sebagai respon terhadap alam sekitar; pemilihan font memiliki kesamaan nuansa dengan gaya arsitektur bangunan lama dan sejarah keberadaan bangunan tersebut. Proses kreatif tersebut merupakan upaya untuk membentuk otentisitas Rumah Atsiri Indonesia melalui logo. Kata Kunci: logo, revitalisasi, Rumah Atsiri Indonesia, sejarah, semiotika AbstractThe Logo is one of polysemic sign language. It contains multiple subjective and objective meanings. This research will textually and contextually discuss the logo of Rumah Atsiri Indonesia. In textual area, the limit of this research will be on logo’s visual elements such as form, color, and body text. In contextual area, it will discuss historical reason behind the creative process of the logo. This research is qualitative study uses case study approaching. Case study is the best approach to lead researcher to a dept and specific information through observation, interview, and literature study. The datas both from field research and literature will be elaborated. Findings show that the main idea of the logo’s form is created from the roaster shape in old building’s façade. The name ‘Rumah Atsiri Indonesia’ and the fact that the logo’s form is taking from roaster’s design were derived by a willing of physically and historically conservation of the past 1963 company ‘Citronella Factory’; the color of the logo represents soil, sunlight and is a response to embrace the nature; typeface design follows the antiquity of old company and its historycal aspects. Thus, the discussion conclued that the logo of Rumah Atsiri Indonesia is symbol of its authenticity. Keywords: conservation, history, logo, Rumah Atsiri Indonesia, semiotic
Marugame Udon is a Japanese fast-food restaurant chain with many branches in Indonesia. This study examines the conveyance of the Japanese atmosphere to visitors as a performance. Interior research based on performance theory has not been widely conducted. This study aims to determine the performative influence of Marugame Udon’s interior on visitors by exploring Richard Schechner’s performance aspects (action, interaction, relationship). This study uses a qualitative approach with a case study method to deeply explore data from visitors and interior elements. The data collection techniques used are observation, in-depth interviews, literature study, and company profile reading. Data analysis is done by reduction, presentation, and drawing conclusions and recommendations. The findings of this study are: (1) the “action” exploration finds that the interior display is a manifestation of Marugame Udon’s identity as a Japanese restaurant chain and its commitment to introducing Japanese culture, especially Sanuki; (2) the “interaction” exploration finds that the presence of interior elements is a mutually dependent system in displaying the atmosphere (Japanese), and visitors interact most with noren and the theater kitchen; (3) the “relationship” exploration reveals that Marugame Udon does not only act as a restaurant providing food and drinks but also as a stimulating agent that influences visitors’ perceptions and evokes their memories and desires related to Japanese culture. These three findings indicate that Marugame Udon’s interior is a static performative ecosystem that can interact and form relationships with visitors.
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