Abstract. The popularity of Lurik as one of the traditional weaving fabrics in Indonesia is declining significantly. It can be seen from the decreasing number of production centers and consequently, weaving fabrics become scarce, hard to find. Meanwhile, Indonesian creative industries is currently growing rapidly, including the interior products and unique furniture that combine local ethnic elements, which are very attractive for local and foreign buyers. The problem is how to combine traditional lurik weaving fabrics and interior products and furniture, the suitable types and styles of weaving fabrics, interior products that can be combined with traditional weaving fabrics, and how the application techniques for weaving fabric as an aesthetic element. This research was done in Surabaya by making several designs or interior products and furniture and combining them with various styles and colors of lurik weaving fabric. It is a Qualitative Descriptive study. Methods of data collection were interviews and Focus Group Discussion (FGD). The results show that the traditional weaving fabrics, in this case lurik weaving fabric, is considerable and potential material to be combined with interior products and furniture by considering style, color, and material quality, lurik weaving fabrics can be used as an aesthetic element in furniture design and the use of lurik weaving fabric is suitable as a main element as well as supporting elements. This research aimed to reveal the economic potential and competitiveness of traditional weaving fabrics by applying them on furniture and interior design products.
<p>Dalam paradigma baru tentang peran dan tanggungjawab desainer<strong> </strong>menyatakan bahwa<strong> </strong>tidaklah cukup bagi desainer hanya membuat gambar dan<strong> </strong>memproduksi karya desain saja. Desainer juga perlu memproduksi, membangun serta menciptakan nilai-nilai desain di dalam setiap karya yang diciptakannya. Bagaimana membangun tanggungjawab dan memproduksi nilai-nilai desain secara kongkrit bagi desainer saat ini menjadi topik bahasan yang penting untuk dielaborasi lebih lanjut. Melalui studi kasus yang dilakukan terhadap salah satu desainer produk interior/furnitur yang cukup unik di kota Solo, penelitian ini akan menggambarkan dan menganalisa secara deskriptif bagaimana seorang Barata Sena dengan kerangka berpikir filosofisnya yang dikenal sebagai “Jalan Kayu” membangun serta memproduksi nilai-nilai desain melalui perancangan produk <em>Art Furniture. </em>Nilai-nilai desain yang tertanam dari filosofi “Jalan Kayu” yaitu “menerima, memberi dan melepaskan” ternyata sejalan dengan pemikiran Papanek tentang nilai sosial dan moral desainer dalam praktik-praktik perancangan yang menekankan fungsi produk dan tanggungjawab desainer terhadap kesejahteraan dan kemanusiaan. Nilai-nilai desain ini juga beririsan serta bermuara pada konsep besar dari <em>Triple Botton Line of Design</em> (<em>Planet, People, Profit</em>) sebagai tujuan besar <em>sustainable development</em> global.</p>
The waste of building construction materials usually consist of iron and wood, which are frequently in the form of bits and pieces and thus appear to be unuseful for future building construction. Generally, they can only be used to create small products such as art and craft. Challenging this issue, this paper explores the case of using waste materials from building construction to become new building construction materials by specific treatments and experimental techniques of architectural design. The design thinking process and the effort in actualizing a House of Creativity named "Rempah Rumah Karya" became the objects of this exploration study. Discussions are presented here as efforts to explore ideas, processes, and actualization techniques in the context of reusing waste materials. The result is a self-critical design report of the aesthetically unique building design as a place of creativity and cultural activities in the city of Solo, Central Java, Indonesia.
Now days, planning an office was more than preparing desk and chair, it needed numbers of important decisions to be considerered, such as, where and how did the workers want to work?, What kinds of workspace that supported employee's activities and how much did the office use the new technologies. Article would acknowledge the designer about nine objectives that needed to be known before planning an office and six crucial choices about the place and way of working. Moreover, the designer would have the same frame of working with managers to create the success of office facilities. Researcher used library research to compile data.It is concluded that manager and designer needs to prioritize and discusses detail such as location, use, layout, appearance, filling and standardization concept to make an office efficient and meet the employess needs. ABSTRAK Sekarang ini, membuat interior sebuah kantor bukan lagi hanya penempatan meja dan kursi, namun membutuhkan beberapa pertimbangan penting seperti, situasi dan tempat kerja karyawan serta dukungan teknologi yang diperlukan. Artikel bertujuan memberikan informasi dari sembilan nilai objektivitas yang dapat dipertimbangkan untuk menentukan pilihan tempat serta cara bekerja yang akan diterapkan sebelum membuat tata ruang interior kantor. Metodologi yang digunakan adalah studi pustaka. Hasil yang diharapkan dapat membantu para designer interior untuk dapat menentukan program ruang yang sesuai dengan jenis kegiatan dan aktivitas di kantor yang akan didesain. Selain itu, diharapkan desainer dan manager kantor tersebut berada dalam satu agenda tujuan yang sama untuk merancang kantor. Simpulan menunjukan sembilan nilai objektivitas dan enam topik bahasan mengenai lokasi, pengguna, tata ruang, penampilan, ruang arsip, dan standardisasi konsep dapat menjadi poin pendukung dalam membuat kantor yang efesien karena disesuaikan dengan kebutuhan yang bekerja di kantor tersebut. Kata kunci: konsep desain, interior kantor.
Indonesia is located in a geographic area that is prone to disasters; thus, it is necessary to raise awareness about the science of disaster mitigation, including the provision of safe/suitable temporary shelter/building facilities for victims. In a number of disasters, it can be seen that confusion and access to the affected transportation will lead to difficulties in delivering disaster relief and supporting equipment to build post-disaster facilities. Therefore, we need a construction system that is easily assembled, stable, and easy to carry. In this case, the designer uses one type of shell structure, i.e. Minimum Surface principle which is the basis of the Inflatable Structure or Pneumatic Structure. By developing lightweight structures that refer to this principle, the designer can process architectural forms that are lighter and more stable. In this paper, the discussion is limited to the use of materials made from plywood based on the principle of Minimal Surface structure because this material is easily obtained and processed. The research questions of this study are how to create a fast raft construction system for post-disaster needs with plywood base material and how to process the connection system or plywood construction to have structural capability. © 2020 Stephanus Evert Indrawan, Gervasius Herry Purwoko, Tri Noviyanto P. Utomo
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