ABSTRACT

VISUAL ADAPTATION STRATEGY

IN THE SUNDANESE BATIK ORNAMENT

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

VISUAL REPRESENTATION OF 19th CENTURY

PRIANGAN'S NATURAL LANDSCAPES IN THE
ILLUSTRATIONS OF FRANZ WILHELM JUNGHUHN

By
WAWAN SETIAWAN
NIM: 3700 9001

This research discusses the visual representation of 19th century Priangan's natural
landscapes in several images created by Franz Wilhelm Junghuhn (1809- 1864) as
illustrations in his books. Franz Junghuhn was German-born Dutch researcher, traveller, and
colonial official living and working in Dutch East Indies for some 13 years. Priangan was a
plateau in western region of Java, which was also important part of Junghuhn's area of
research that covered some parts of Sumatra and the whole part of Java, and a place where he
lived and worked until his death. Previous researches on the visualization of Dutch East
Indies' natural landscapes in colonial era tend to focus their interests on the works of
illustrators and painters or those whose professions were within the art world, and didn't pay
much attention to the works of naturalists that demonstrated a sort of artistic inclination,
whereas researches on the life and works of naturalists in colonial time Dutch East Indies
didn't pay much attentions to the visual aspects of theirworks. Meanwhile, previous
researches on the history of Priangan tend to be limited by textual data, i.e. within the
framework of political and economic history, and didn't pay much attentions to visual data,
which more or less help reflect the complexity of political and economic circumstances.

By examining how the natural landscapes of Priangan were represented in scholarly works in
natural sciences, this research reevaluates the relationship between art and natural science
within the historical framework of European colonialism in Dutch East Indies. Following the
categorization made by early 20th century Dutch scholar Herman F.C. Ten Kate, this research
places Franz Junghuhn as 'painter-illustratorwriter' (schilder-teekenaar-schrijvers) and sees
his works as 'artistic-scientificiconography' (artistich-wetenschappelijke iconographie). It
finds various images resulted from Junghuhn's scholarly researches, which comprise, among
others, topographical maps and 'height maps' (hoogte karten), sketches of natural landscapes,
picturesque lithographical prints (pittoreske gezichten), and photographs as well. These visual
images were created through three activities, namely 'actual mapping' in order to represent
the land, 'figurative depiction' in order to meditate the nature, and photography in order to
record the panorama. All of them couldn't be separated from Junghuhn's travelogue, scientific
findings, and philosophical reflection. These visual images are analysed by the researcher in
line with analytical procedure that is common in art discipline, from formal description to
interpretation, before further analysed within their relationship with the narration attached to
them. These visual images are firstly grouped due to their types as well as their functions in
the texts, and are analysed due to their details in the representation of natural landscapes as
well as their relationship with the texts, and in turn are interpreted within the relationship
between visual art and natural science. In turn this research emphasizes that natural
landscapes of 19th century Priangan provided a sort of visual setting for the thought and
reflections of Franz Junghuhn in his endeavours to build scientific knowledge in natural
sciences, as a fundamental part of the realization of naturalism, and also to formulate
philosophical and theological reflections that challenged fundamental beliefs of European
society. The visual images of 19th century Priangan's natural landscapes have become a sort
of allegory of the ideas of human life that are based on the enchantment of natural grandeurs.

Keywords: 19th Century Priangan’s natural landscapes, Franz Wilhelm

Junghuhn, illustrations, visual representation
 ABSTRACT

INTERIORITY AND ITS FUNCTION TOWARDS

PLACE ATTACHMENT
Case Study: Toko You, Bandung
By
Yuni Maharani
NIM 37009004

Bandung is one of the biggest cities in Indonesia, which identical with culinary of food and snacks.
Since 2001, the number of cafes in Bandung has rapidly increased. Eating out, especially at cafes
becomes a culture in Bandung urban society. Innovation in a space atmosphere design is one way to
keep the visitors coming back, and finally become costumers. Lots of café in Bandung designed their
space by presenting certain themes according to their offered menu, or with unique themes thus
provide new space experiences and beyond visitors imagination. either we realized or not, designing
the interior architecture space aim to make users feel comfortable,attach like feel at home, and even
can make possible the users loyal to that place. The aim of interior architecture space design is to
give the visitors senses of comfortably and attachment, even create a sense of loyalty to its space. In
reality, café type’s diversity created two different visitor characters. The firts types are adventurous
visitors who come to taste new menus and new eating places. Second types are visitors who often
come to the same place, then eventually become attached and loyal to that place.

Nevertheless, from hundreds cafes in Bandung, there are only some cafés which established since
long time ago and preserve their space atmosphere without changing into a new theme innovation.
Those cafes have a long history and are able to established until today along with their loyal
costumers. Among those cafes, there is Toko You, which is located in Dago area and known as the
oldest noodle house in Bandung. Toko You that already established for 67 years in Bandung, has
historical value and until today still has loyal costumers.

This study intended to extend the existing concept of place attachment. The first objective of this study
was to find out how the customer could feel at ease and stay faithful to Toko You with today
conditions. The second objective of this study was to disclose attachment concept and content in
public places through a cafe phenomenon that has established for a long time in Bandung.

This research has the intention to develop the theory of the existing place attachment concept. The
objectives of this research were also try to detect the space experience that the customers had with the
result of their feeling attach and loyal, knowing the place attachment relation with the existing space.
In order, this research aim to discover visitors’ experience of comfortability and loyalty to its space,
finding the relation of place attachment with its related space elements, and discover the meaning and
concept of place attachment through investigation in Toko You. Qualitative-phenomenology method
was applied to understand the place attachment phenomenon, this method investigate visitors’
experiences without modifying the space original environment. Interviews and direct observation
were applied to trail visitors’ experiences then interpreted through hermeneutic method to discover
the meaning of place attachment.

Based on observation and interview with 49 visitors who had come to Toko You for several times,
and also Toko You‘s 41 loyal customers, experience of physical attributes, symbolic attributes, food,
service and activities, all fused into an overall space experience. These space experiences are mixed
with subjective feelings which related to images that had stayed long enough within inner-self and
had strong association with objects, events, or someone in the past. Interiority is the meaning of space
based on space experience and contribution of unconsciousness.
Place attachment in the public place can be created by simple space experiences. which identically
with user daily life's. Within this study case, place attachment is relate with tradition and history of
the place’s identity. Visitors’ place attachment and loyalty also has a strong relationship with
accessibility which result on visiting frequency, and the level of social interaction which positioning
the place into their third place. Place attachment in public place is not firm, it depend on further
contexts such as: type, scale, place character and social-culture background of its society.

Keywords: place attachment, café, interiority

 ABSTRACT

THE SHIFTS OF MOTHER FIGURE VISUALIZATION

IN INDONESIAN CHILDREN BOOK ILLUSTRATIONS
OF 1980-2013

By

Riama Maslan Sihombing

NIM : 37009003
(Art and Design Study Program)

Throughout human civilization, mother has always been a central figure for her role in the birth of a
new generation of humans. Various myths and stereotypes of a mother figure has always come up to
mark her presence. Changes in the depictions of the mother were initially represented as a noble
person; however, now in modern day, mothers become more humane. It can be seen at the depiction
of a mother figure in modern life displayed in a variety of visual media, including the books for
children that have been known to play an important role in a child’s development.

Visual narrative in picture books can shape a child's social behavior model because illustration is a
form of information that can involve the readers into the story line and escort them to the real
experience The problem is that in the 1970s the social role of the mother figure who was traditionally
considered to be in the domestic space has been extended to public spaces, so it is important to
observe and perform an in-depth analysis of the explicitor implicit meanings of the depiction of
mothers in children's books. This study aims to visually identify the mother figure representation in
children's books; to determine what factors influence the shifts: and to know the meaning of the shifts
of the mother in children's book from 1973-2013 using the Content Analysis in sorting the visual data
and Social Semiotics in understanding its meanings.

The findings indicate a shifting map of mother and child interaction: at the beginning of the period
(1970s) the mother was described as the source of life that 'nurture', in the transitional period (1980s-
1990’s) it was changed into 'caring' mothers, and then at the end of the period (2000s) it changed into
a 'parenting' mother role. In terms of ideology: in the early period of the state ideology the New Order
made mothers become passive; in the transition period of the Reformation Era and ideology of
equality mothers were more active and flexible, and religious ideology was identified with the use of a
covered religious clothing and the urban ideology/culture features the use of commercial product
commodities. Thus, the representation used in the illustrations in children's picture books can be a
’hint’ of socio-cultural conditions and can be used on a reciprocal basis in building the nation

Keywords: The figure of the mother, shifting, illustrations, children's picture books.
 ABSTRACT

THE PARADIGM OF
INNOVATION BASED FAMILY CAR DESIGN
IN INDONESIA

By

Yannes Martinus Pasaribu

NIM 37009002

The growth of a city marked and built by high mobility and dynamics of the community characterizes
the course of a modern life. The concept of physical structuring and spatial elements of a city will
condition the model of artificial human relationship with the city environment based non cultural
aspects of efficiency and effectiveness that places human in terms of their physiological responses,
mechanisms of perception, and interpretation process. Transportation, which is one of the main points
in the sustainability of a city, becomes the key of all points in that city. The conditions above shape
the socio-cultural model of utilitarian society which puts cars into one of the icons in the growth of
the city itself. Car as one of urban cultural artifacts cannot be separated from these factors.

The research in this dissertation was conducted on the design of the car with a case study of
Indonesian family car. Family van multipurpose vehicle (MPV) was chosen to be the topic of the
research because it has the highest sales rate than the car sales of pickup, minibus, microbus, SUVs,
sedans, trucks and buses. In Indonesia, the average sales of MPV in 2008-2012 reached 52.76% of the
total sales of all car types. This indicates that the Indonesian people place family as an important
element in the selection of cars they would buy. The study focused on the design of four types of the
most sold MPV car type in Indonesia, namely: Toyota Innova, Toyota Avanza, Suzuki APV and
Nissan Grand Livina to examine how the paradigm and pattern design innovations were applied on
the four types of MPVs manufactured in 1998-2009.

This study examined the shifts in macro and micro paradigm associated with the development of
MPV car design for family. The shifts in macro paradigm reviewed include: government policy,
industrial systems, and trade; while the micro paradigm was examined by elaborating the growth of
values that make up the ideal concept of a family car. Then, analyzing the extent to which these
values are translated into a family car, especially the extent to how the relationship between the design
efforts conducted by the manufacturers on family cars can meet the values of the target groups. The
goal is to formulate the paradigm and pattern design innovation that take place in the automotive
industry in Indonesia. After that, evaluating real implementations of the family car design concept
marketed by ATPM in Indonesia. Furthermore, examining how users make sense the results of design
innovation offered by the industry. The final stage of this research is trying to develop a visualization
model of family car design innovation based on the users’ needs in Indonesia.

Data collection is done through focus group discussions to understand the paradigm shift in the design
and innovation patterns of family car in Indonesia today. Review of the literature conducted to map
the innovation design paradigm that occurs in the world automotive industry. Furthermore, direct
observation, interviews with informants and the informants related to a variety of development
(design and technology) that performed by the four brands tested car that became a case study to
determine the pattern of innovation that is done. Explorative and descriptive study carried out to
explore and mapping (1) the aspects family values in the car as a cultural attribute, (2) design
innovation that is takes place in the automotive industry, (3) to understand how users conduct family
car 'sensemaking' to the design innovation offered by the automotive industry. Then do design
experiments to develop a model of ideal car design for families and people of Indonesia based on the
synthesis of various factors study that is need to be considered in the development of a family car
design.

At the macro level, the results showed that the state policy related to national automobile industry has
been running inconsistently. The impact of such inconsistencies is chaotic development of
superstructure and infrastructure to the readiness of the national automobile industry. Hence, the idea
of a national car industry has lost its objectives. The government has increasingly become powerless
in facing pressures from developed countries with which Indonesia has committed itself to the
international and regional trade pacts. In the end, these factors have increasingly eliminated the
chance of the emergence of a national car industry in Indonesia. The policy of the sophisticated
cabinet supporting the development of trade through various regulations that support the
establishment of a multinational automobile industry with the theme of "environmentally friendly
cheap cars' so called Low Cost Green Cars (LCGC) is no more than a closing phase of Indonesia's
national car story.

The results of the study indicate that, in the micro context, the pattern of the design innovation on the
four types of family cars sold in Indonesia is a gradual innovation. It shows that people prefer new
cars that meet the needs of their function on a daily basis as compared to the ones that are
technologically advanced. The concept of novelty is to be crucial for the community in the decision to
buy a new car. The desired novelty is not the new technology-based one. Novelty is important;
however, it will be regarded as a problem if the new technology forces people to change their habit
pattern. People want novelty other than the one that forces them to change their habits. They tend to
prefer novelty in design patterns that can adjust to their customs. The innovation pattern conducted by
most of automotive industry in creating a new car design is incremental innovation. Design-driven
innovation is in the second position, while radical innovations in the last position. The automotive
industry in Indonesia in developing car design innovation facing the challenges of a variety of
paradigms that lasts and keeps changing at the same time. Various paradigms that influence each
other in the sequence are (1) the government's policy paradigm, because all government regulations
become a reference point for the entire automotive industry in Indonesia. A direct result of
government policies perceived by the industry and users of the car is the buying and selling price of
the car, (2) social paradigm, in terms of the representation of the family values that need to be
implemented in car design innovation for family users and must be able to deliver the message that
someone has prioritizing family values in his or her life, yet still has an attractive exterior visual
appearance and interior design which can delight the users, (3) technological paradigm, as an
important element of novelty, but rather leads to the sophistication of the car interface system that can
be directly felt by its users sense, and (4) economic paradigm, as the constraints that should be
handled in the development of the designers creativity in the innovation yet still affordable to the
prospective users.

The dynamics of the development of family values become an important thing that needs to be
represented through a car. This resulted from the fact that the Indonesian people see a family car as a
'dynamic space' of a family when interacting with the urban traffic and the complexity of their social
attributes when interacting with the urban environment. The family car is a cultural attribute binding
emotional ties between individuals, families, and the urban environment. The representation of
perception and identity, comfort zone, physical and emotional experiences of the urban family car
becomes a more decisive factor in the success of car design rather than just a brand. The disparity of
the purchase price of a car is the marker of their social class in their social environment. The higher
the purchase price, the more exclusive one's social position in the environment.

Keywords – incremental innovation, radical innovation, design driven