The work of art has a lot of variety, concepts, themes, until the destination in the making art. The sameness in every work of art that each work must have had the mark or the symbolism that will be showed through the work. This paper contains the elaboration of a work textile craft "Dryness" based on material, technique and visual aspects ofform in order to preserving the environmental awareness. "Dryness" is the work of art that use residue material which isnot commonly used in a work of textile craft, it is to influencing the behavior of people generaly. Creating the works using patchwork and embroidery as a whole is intended to describe the environmental conditions of drought. This works not only have meaning to raise awareness of natural conditions in the environment, but also condering people about how it impacts the environment and how it impacts to everyone who witnessed it. The expectation from this article is inspire the creation of art to have insight environmental awareness not only in terms of a visual aspect but also from the material aspect.Keywords: Visualization, Environmental Awareness, Patchwork.
“Hidup Segan Matipun Tak Mau” adalah ungkapan yang tepat untuk menggambarkan kondisi kembang-kempisnya hidup kerajinan gerabah tradisional di beberapa daerah, khususnya kerajinan kendil hitam di desa Kasongan, Kendil hitam dikenal dengan sebutan kendil gudeg, kendil ini biasa digunakan sebagai wadah makanan khas Jogja yaitu gudeg. Kendil dihasilkan oleh pengerajin gerabah melalui proses pembuatan secara“tradisional”. Pembuatan kendil hitam sangat tradisional menggunakan bahan tanah liat yang terdapat di alam sekitar, menggunakan peralatan sederhana, serta pembakaran ladang (field firing) suhu rendah berbahan bakar uwuh (daun-daundan ranting kering). Kendil sebagai wadah yang aman untuk makanan. Teknik seni gerabah tradisional ini sudah dikenal sebagai ciptaan manusia sejak jaman prasejarah untuk membuat barang kebutuhan sehari-hari dalam bertahan hidup (life survival). Teknik pembuatan tradisional diwariskan secara turun-temurun oleh nenek moyang, dan saat ini dan mulai bersaing dengan produk industri yang dibuat secara massal. Tulisan ini akan mengangkat keistimewaan kendil hitam dalam bertahan hidup memenuhi kebutuhan untuk wadah makanan gudeg di jaman milenial ini. Studi pustaka, observasi, dan wawancara dengan pendekatan etnografi digunakan sebagai metode penelitian. Hasil dari penelitian diharapkan berguna untuk melengkapi pengetahuan akademik khususnya bagi mahasiswa jurusan keramik, yang selama ini hanya mengenal pembuatan keramik modern dengan peralatan canggih (modern).Kata Kunci: gerabah tradisional, bertahan hidup, era milenial. "Hidup Segan Matipun Tak Mau" is an expression that describes the struggling conditions of conserving traditional pottery crafting in several regions, especially black kendil in Kasongan village. This black kendil, known as gudeg kendil, is commonly used as a container used for storing one of Jogja's most traditional dish, namely gudeg. Kendil is produced by pottery craftsmen through a "traditional" manufacturing process. Black kendil is traditionally made out of clay that is discovered easily in surroundings areas, and by using simple equipment, that is then burnt in the field with low-temperature (field firing) using dried leaves and twigs (uwuh) to produce containers that are food-safe. This traditional pottery art technique has been known as one of human’s creations used in order to produce daily necessities for life survival since the pre-historic times. These traditional manufacturing techniques have been passed down from ancestors to the current generation, and now competes with mass industrial production. This paper will highlight the features of maintaining the use of black kendil as gudeg food containers in this current millennial era. Literature studies, observations, and interviews with the ethnographic approach are used as the methods of research. The results of the study are expected to be useful for academics, particularly students of ceramics major, who are more exposed to modern ceramic manufacturing through the use of advanced equipment. Key-word: traditional pottery, life survival, millenial era.
ABSTRAKPermasalahan sampah di Indonesia sangat tinggi. Sebanyak 2% dari total sampah di Indonesia berasal dari kain. Limbah kain tersebut dapat diolah menjadi produk yang bernilai ekonomis. Berbagai macam produk limbah kain diantaranya tas, selimut, sandal, tatakan meja, maupun keset mampu bersaing dengan produk dari industri besar. Pengolahan limbah kain yang ingin diangkat oleh penelitian ini adalah limbah kain sebagai sekat ruangan. Sekat ruangan yang bersifat temporer untuk rumah tinggal saat ini diindikasi mampu untuk memisahkan ruang secara visual namun tidak mampu memisahkan suara antar ruang yang satu dengan yang lain. Penelitian ini bertujuan mendapatkan olahan bahan kain yang efektif meredam suara dengan metode eksperimen. Pengujian dilakukan dengan menggunakan beberapa sampel dengan tiap sampel diuji dengan beberapa tingkat bunyi (125 Hz hingga 2000 Hz). Variabel pembeda sampel berupa material sekat yaitu kain perca berbahan denim dan kain perca berbahan katun. Manfaat penelitian ini yaitu mendapatkan desain partisi yang memenuhi aspek keindahan untuk dekorasi ruang dan memenuhi aspek akustik sebagai peredam suara tingkat rumah tinggal. Hasil dari penelitian ini yaitu olahan kain perca berupa gempal yang efektif meredam suara dan memberikan motif dekorasi yang unik. Kemampuan sekat berbahan kain perca ini dalam meredam suara sebesar 6 dB sampai 15 dB dilihat dari nilai tingkat penurunan kebisingannya. Olahan kain perca dapat meredam suara pada frekuensi yang dihasilkan oleh suara manusia (<2000Hz).Kata kunci: Partisi, Peredam Suara, Kain Perca, Sekat. ABSTRACT The waste problems in Indonesia are very high. As many as 2% of the total waste in Indonesia comes
The Fashion industry has developed into fast fashion. Various brands and labels produce clothing every year by following mode and trends. There are more than 400 billion square meters of fabric produced into clothing in a year where 15 percent of the fabric ends up as waste. In other words, 60 billion square meters of fabric are being discarded every year. This fabric waste is one of the contributors to environmental pollution. Creating a zero-waste pattern design is one of the solutions to reduce fabric waste. The challenge is that not everyone can work on the zero waste pattern. Therefore, it requires the creation of a zero-waste pattern design that is easy to do even by ordinary people. The zero-waste pattern created in this study is simple but it can be combined with two pieces of cloth. One sheet of fabric can be created into two different clothing modes. People can be creative by using different fabric motifs combined and matched based on their creativity and tastes. As more people can make their zero-wastes clothing, it is hoped that fashion waste can be reduced. There are four creations of zero waste pattern design from two main zero-waste patterns that will be discussed in this paper.
Wall shelf is one of furniture that is widely used nowadays. A wall shelf which is designed to utilize the vertical area of the house becomes a favorable choice because of its minimalist and space saving design. The wall shelves design on the market usually has a metal retaining frame. Certain designs use L-brackets support structures, however, some of them do not use it at all. Most L-brackets are made of metal material from industrial mass production. Actually, design of a wall shelf can be made using a wire retaining structure. Wire material can be used as a support structure that is able to withstand loads. This research used experimental method to explore several supporting structure designs of wire material. Manual techniques such as twisting technique, coiling technique, and bending technique were combined to increase strength of the wire. Various exploration results were tested to determine firmest structure with the most efficient material. This article is expected to revive the tradition of craftsmanship and to inspire young designers to be creative in developing wire product design.
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