Proceedings Chapter 1

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)
2017
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

Publication Guidelines
All the papers submitted for the INDESIGNATION 2016
conference have been reviewed by at least two members of the
Scientific Advisory Board. Authors were asked to submit manuscripts
in electronic version. In some cases the layout of the manuscript has
been redone. The readers are therefore asked to excuse any deficiencies,
which may have arisen, from the above causes. If you have any
difficulty interpreting the text or diagrams, please contact the author
who supplied name and address at the end of the paper.
The publisher and authors state that these proceedings have been
compiled meticulously and to the best of their knowledge, however, the
publisher and authors can in no way guarantee the accuracy or
completeness of the information. The publisher and authors therefore
do not accept any liability for any damage resulting from actions or
decisions based on the information in the question. INDESIGNATION
2016 Secretariat cannot guarantee the accuracy of information provided
by participating authorities. The publisher reserves the right to
combine, delete and change sections, to edit and re-use (parts of) the
proceedings and to distribute the information by any means.
This publication rights is under ADPII. Apart from any fair dealing
for the purpose of private study, research, criticism or review, no part of
this publication may be reproduced, stored in a retrieval system, or
transmitted, in any form or by any means, electronic or mechanical,
photocopying, recording or otherwise, without the written permission
of the publisher.
Abstracting and non-profit use of this material is permitted with a
credit to a source.
Copyright Notice
Authors who propose the manuscript for publication can be
processed on INDESIGNATION 2016 Proceeding deemed to have
approved the following:
 The Paper submitted to INDESIGNATION 2016 is an original,
unpublished work, and is not under consideration for publication
elsewhere.
 The Paper submitted to INDESIGNATION 2016 is subject to peer
and editorial review. The decision of the board of editors whether
to accept or reject any paper is full and final.
 The authors can not withdraw manuscripts that has been proposed
to be processed to get a response of the board of editors on the
status of manuscripts editor scientific articles (accepted or rejected
for publication).
 The publisher is not responsible for plagiarism case over an articles
published in the INDESIGNATION 2016 Proceedings, and it is the
sole responsibility of the authors.
Law and Jurisdiction

These Terms and Conditions shall be governed by and construed in
accordance with Indonesia law. All disputes arising from them shall be
submitted to the exclusive jurisdiction of the Indonesia courts.
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).
2. Barang siapa dengan sengaja menyerahkan, menyiarkan,

memamerkan, mengedarkan, atau menjual kepada umum suatu
Ciptaan atau barang hasil pelanggaran Hak Cipta atau Hak
Terkait sebagaimana dimaksud pada ayat (1), dipidana dengan
pidana penjara paling lama 5 (lima) tahun dan/atau denda paling
banyak Rp500.000.000,00 (lima ratus juta rupiah).
ADPII | Aliansi Desainer Produk Industri Indonesia - Indonesian Alliance of Industrial Designers
PREFACE
Message from
Triawan Munaf
Chairman of Creative Economy Agency (BEKRAF)
Government of The Republic of Indonesia, through the Creative Economy Agency (BEKRAF),
which is under and responsible to the President, fostering and supporting all stakeholders of creative
economy in Indonesia. BEKRAF supports all the positive efforts of Indonesian designers to build
creative economic ecosystems in Indonesia and elevate them internationally. One of these efforts is
the implementation of INDESIGNATION 2016.
The potential for Indonesian product design development is enormous. BEKRAF is energetically
supported by the Alliance of Industrial Product Designers of Indonesia (ADPII), as a creative synergy
of national creative industry players to enhance the added value and competitiveness of Indonesia's
creative industries internationally. INDESIGNATION, which was initiated by ADPII is one
manifestation of the efforts of the Indonesian product designers in bringing together all of its creative
potential.
The scientific exchange, experience, and networking activities taking place at INDESIGNATION
are expected to be a sustainable activity in lifting creative industry players, especially in the field of
Industrial Product Design and Craft nationwide to the global scene. It is expected that through this
activity, Indonesia's creative economy will develop rapidly into Indonesia's soft power competitive
advantage in improving its position in the world's creative economy.
BEKRAF is optimistic that if all professional associations proactively organize such an
international event, Indonesia will be able to increase its acceleration in creating an efficient and
conducive economic ecosystem. Thus, creative actors in the field of product design and kriya can
work more optimally so that the creative economy is able to contribute significantly to the national
GDP.Bandung, April 30, 2017.
Bandung, April 30, 2017
Triawan Munaf
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.
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 2
Bambang Tristiyono, Andhika Estiyono, Eri Naharani Ustazah, Thomas Ari Kristianto
SECURITY BY DESIGN FOR BIKE-SHARING SERVICES AS SUSTAINABLE 7

PUBLIC FACILITY
Irfan Gani Purwanda, Dwinita Larasati, Intan Rizky Mutiaz
PERANCANGAN DESAIN GRAFIS BADAN BUS DENGAN ILUSTRASI 11

KEARIFAN LOKAL KHAS INDONESIA
Bus Body Graphic Design with Indonesian Local Wisdom Illustration
Mazaya Muftiya Al Farabi
PENGEMBANGAN DESAIN FASILITAS KESELAMATAN WISATA BAHARI 14

PADA PERAHU NELAYAN TRADISIONAL PANGANDARAN
Safety Facility Design Development of Marine Tourism in Pangandaran Traditional
Fishing Boat
Edi Setiadi Putra, Aldrian Agusta
PENGEMBANGAN DESAIN PRODUK LOW DECK ELECTRIC BUS SEBAGAI 18

TRANSPORTASI PUBLIK UNTUK KOTA METROPOLITAN
Low Floor Electric Bus Product Design Development for Metropolitan City Public
Transport
Agus Windharto
IDENTIFICATION OF USER EXPERIENCE RESPONSES IN SEQUENTIAL 23

INTERACTION OF A CAR
Slamet Riyadi
THIRD GENERATION OF DOCKING BIKE-SHARE IN BANDUNG TOURISM 28

AREA (BANDUNG BIKE-SHARE, WEST JAVA, INDONESIA)
Ratriana Aminy, Anugrah Nurrewa
REDEFINING DESIRES, HOPES AND BEHAVIORS FOR THE FUTURE OF 33

SMART URBAN TRANSPORTATION FOR THE CITY OF BANDUNG, CASE
STUDY: MICROBUS EV-ITB PROTOTYPE
Freddy Chrisswantra, Yannes Martinus Pasaribu, Adhi Nugraha
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 43
PROCESS TECHNOLOGY
Bertha Bintari W
MANIK-MANIK KACA JOMBANG INSPIRASI UNTUK PENGEMBANGAN 47

MOTE BATIK JAWA TIMUR JOMBANG
Glass Beads Inspiration for the Development of “Mote Batik” From East Java
D. R. Amelia
PRELIMINARY MARKET RESEARCH FOR GETUK PISANG KEDIRI 51

PACKAGING DESIGN WITH DATA MINING
Widi Sarinastiti, Dwi Susanto, Halimatus Sa'dyah, Viranita Dewi Noviyanti, Fauziza Yonas Sukma Putri,
Reza Rahman Ramadhan
KAJIAN TENTANG INDUSTRI KREATIF – BUSANA MUSLIM BERBASIS 54

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
PENGEMBANGAN DESAIN PRODUK TAS BEGAL (BEBAS BERGAYA DAN 59

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
REVITALISASI DESAIN TUNGKU MASAK (DESA MERUPAKAN RAJUTAN 62

KECERDASAN BAGI MASA DEPAN)
Revitalization of Cooking-Furnace Design (Village as an Intelligence Woven for the
Future)
Winta Adhitia Guspara; Mahatmanto; Linda Octavia
INDONESIANS’ ATTITUDES TOWARD THE CHAIR MATERIAL AND 66

MATERIAL COMBINATION
Intan Prameswari, Haruo Hibino, Shinichi Koyama
VISCERAL DESIGN DALAM KAIN TENUN SUTERA GARUT 70

Visceral Design in Garut Silk Weaving
Nandang Setiawan, Achmad Syarief, Yanyan Sunarya
VISUAL CHARACTERISTIC OF BANANA STALK FIBER LAMINATION AS AN 74

ALTERNATIVE MATERIAL FOR CRAFT PRODUCT
Christmastuti Nur
ADAPTATION OF TEAK WOOD SELECTION ON FURNITURE INDUSTRY TO 78

OVERCOME THE LIMITATION OF WOODEN AMOUNT (CASE STUDY:
MANGGALA FURNITURE, CENTRAL JAVA, INDONESIA)
Arianti Ayu Puspita, Jamaludin
vi | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

DAMPAK ‘KOREAN WAVE’ TERHADAP INDUSTRI ALOE VERA (KASUS: 83

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
Group 3. Building a Creative Society and a Design City

REINTREPRETING THE LEGACY OF MAJAPAHIT VISUAL ART IN ORDER TO 89
DEVELOP CREATIVE COMMUNITIES IN TROWULAN
Setyawan, Anung Studyanto, Kustiawan Arifin
PENGARUH KEGIATAN KARNAVAL TERHADAP PELESTARIAN BUDAYA 94

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
CRAFTSMEN VERSUS DESIGNERS: THE DIFFERENCE OF IN-DEPTH 99

COGNITIVE LEVELS AT THE EARLY STAGE OF IDEA GENERATION
Deny Willy Junaidy, Yukari Nagai, Muhammad Ihsan
MAPPING SURABAYA CREATIVE INDUSTRY’S MOVEMENT 105

Kumara Sadana Putra, Ramok Lakoro, Muhammad Cahyo
THE FLEXIBLE BUILT-IN FURNITURES TO COPE WITH LIMITED SPACE 112

PROBLEM IN INDONESIA MODEST RENTED FLAT (RUSUNAWA)
Soepono Sasongko, Silfia Mona Aryani
Group 4. Creativity in Education with a Global Vision

KELAHIRAN KAMERA GENGGAM YANG MEREVOLUSI SISTEM 121
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
STRUKTURASI DALAM NOVEL DAN FILM “PINTU TERLARANG” 124

Structuring the Novel and Movie "The Forbidden Door"
Celcillia Lisiane Halim, Alvanov Zpalanzani, Yasraf Amir Piliang
KAJIAN AWAL SKEMA WARNA KESUNDAAN (STUDI KASUS WARNA 129

BEUREUM, KONENG DAN HEJO PAUL)
Initial Study on Sundanese Color Scheme (Case Study Beureum, Koneng and Hejo Paul
Colors
vii | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS
Aurora Revianissa
CREATING UNIQUE AND CONTEXTUAL EDUCATIONAL GAME THROUGH 135

COMMUNITY PARTICIPATION
Muhammad Hajid An Nur, Agus Sachari, Nedina Sari
REKOMENDASI DESAIN DIGITAL MEDIA KOLABORASI KELUARGA UNTUK 139

ANAK USIA DINI
Digital Design Recommendations of Family Collaboration Media for Early Childhood
Ade Rahma Yuly, Hafiz Aziz Ahmad, Ary Setijadi Prihatmanto
DESAIN APLIKASI SUMBER PERMAINAN KEPRAMUKAAN “SUPERKA” 144

SEBAGAI PENUNJANG PEMBELAJARAN EKSTRAKURIKULER PRAMUKA
Application Design of Scouting Source Game "Superka" to Support Extracurricular
Scout Learning
Achmad Robeth, Khozinatus Sadah, Firman Turohmi
PENGEMBANGAN MEDIA AJAR PRAKTIKUM PEMBUATAN KEMEJA MOTIF 148

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
TRILINGUAL DISCUSSION (INDONESIAN, ARABIC AND ENGLISH) AS THE 153

ALTERNATIVE SOLUTION TO IMPROVE THE ABILITY OF DA'WAH IN
GLOBALIZATION ERA
Khuzaimah, Khozinatus Sadah, Mufidatus Sholihah
GAGASAN PENGEMBANGAN DESAIN EDUKASI GEMBATRON “GAME 157

LIMBAH ELEKTRONIK” BERBASIS ANDROID
The Idea to Develop Gembatron (Game of Electronic Waste) Design, Android Based
Education Game
Sayyidul Kahfi, Khozinatus Sadah
DIGITALISASI TARI TRADISIONAL: TEROBOSAN BIDANG PENDIDIKAN SENI 161

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
FROM “DEFINITION” TO “MEANING” THROUGH CREATIVE THINKING 166

COURSE, EXPERIMENTAL RESEARCH OF CREATIVE THINKING COURSE
APPROACH BASED ON EXPERIENTIAL LEARNING SCHEME AND MULTIPLE
INTELLIGENCES IN DESIGN EDUCATION
Agustina Kusuma Dewi, Rully Darmawan
KLINIK KEKAYAAN INTELEKTUAL MAHASISWA FSRD UNTUK MENINGKATKAN 170

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
viii | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS
IF. Bambang Sulistyono SK
STRATEGI PENINGKATAN KECERDASAN INTERPERSONAL DENGAN 176

PENDEKATAN AUDIO-VISUAL UNTUK SISWA AUTIS
Improvement Strategies of Interpersonal Intelligence with Audio-Visual Approach for
Student with Autism
Nuril Kusuma Wardani, Shara Nurrahmi
”PASARAN”, LOCALITY EDUCATIONAL GAME OF EARLY AGE GIRLS IN 181

JAVANESE CULTURE
Fidyani Samantha
THE APPLICATION OF ‘TALI AIR’ BATIK PRINT IN BATIK PRODUCT DESIGN 184
Ghaida Nasya, Khairu Zeta, Susi Susyanti
‘CRAFT’ DAN TRADISI AKADEMIK PENDIDIKAN DESAIN 188

Craft and Academic Tradition of Design Education
Andry Masri
Group 5. Entrepreneurship and Design

INFLUENCING PARTICIPATION BEHAVIOUR IN SHARING ECONOMY, A 197
DESIGN STRATEGY FOR IMPROVING PARTICIPATION OF SHARING
ECONOMY IN INDONESIA
Soma Wiraga Saniscara, John Boult
SOCIAL MEDIA MINING AS ADDED VALUE ON MARKET RESEARCH 202

Halimatus Sa‟dyah, Widi Sarinastiti, Citra Devi Murdaningtyas
CREATIVE DESIGN STRATEGY FOR ENGAGEMENT MODEL: CASE 205

STUDY BUDGET HOTEL IN BANDUNG
Vanessa Catalina Fuadi, Sonny Rustiadi
PROPOSED BUSINESS STRATEGY INNOVATION THROUGH SYNERGY 213

OF THREE MEDIA PLATFORMS IN KOMPAS GRAMEDIA
CORPORATION
Viliny Lesmana
INDONESIA 2020 - INOVASI DESAIN DAN TANTANGANNYA 218

Indonesia 2020 – Design Innovation and the Challanges
SIMULASI PENERIMAAN PASAR UNTUK PENGEMBANGAN PRODUK 224

BARU MENGGUNAKAN PENDEKATAN PEMODELAN BERBASIS AGEN
Market Acceptance Simulation for New Product Development Using Agent Based
Modeling [ABM] Approach
Damang Ch. Sarumpaet
ix | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION‘S CULTURE - PROCEEDINGS

Group 1
Transportation, Culture, and Design
0 | INDESIGNATION 2016: NATION IN DESIGN CULTURE – DESIGN IN NATION’S CULTURE - PROCEEDINGS

Group 1. Transportation, Culture, and Design

Page
FELIZ- ELECTRIC URBAN BIKE FOR MIDDLE AND HIGH
SCHOOL STUDENT WITH UNISEX CONCEPT 2
Bambang Tristiyono, Andhika Estiyono, Eri Naharani Ustazah, Thomas Ari
Kristianto
SECURITY BY DESIGN FOR BIKE-SHARING SERVICES AS 7

SUSTAINABLE PUBLIC FACILITY
Irfan Gani Purwanda, Dwinita Larasati, Intan Rizky Mutiaz
PERANCANGAN DESAIN GRAFIS BADAN BUS DENGAN 11

ILUSTRASI KEARIFAN LOKAL KHAS INDONESIA
Bus Body Graphic Design with Indonesian Local Wisdom Illustration
PENGEMBANGAN DESAIN FASILITAS KESELAMATAN 14

WISATA BAHARI PADA PERAHU NELAYAN TRADISIONAL
PANGANDARAN
Safety Facility Design Development of Marine Tourism in
Pangandaran Traditional Fishing Boat
Edi Setiadi Putra, Aldrian Agusta
PENGEMBANGAN DESAIN PRODUK LOW DECK ELECTRIC 18

BUS SEBAGAI TRANSPORTASI PUBLIK UNTUK KOTA
METROPOLITAN
Low Deck Electric Bus Product Design Development for
Metropolitan City Public Transport
Agus Windharto
IDENTIFICATION OF USER EXPERIENCE RESPONSES IN 23

SEQUENTIAL INTERACTION OF A CAR
Slamet Riyadi
THIRD GENERATION OF DOCKING BIKE-SHARE IN 28

BANDUNG TOURISM AREA (BANDUNG BIKE-SHARE,
WEST JAVA, INDONESIA)
Ratriana Aminy, Anugrah Nurrewa
REDEFINING DESIRES, HOPES AND BEHAVIORS FOR THE 33

FUTURE OF SMART URBAN TRANSPORTATION FOR THE
CITY OF BANDUNG, CASE STUDY: MICROBUS EV-ITB
PROTOTYPE
Freddy Chrisswantra, Yannes Martinus Pasaribu, Adhi Nugraha

Feliz- Electric Urban Bike for Middle and High

School Student with Unisex Concept
Bambang Tristiyono Eri Naharani Ustazah
Jurusan Desain Produk Industri Jurusan Desain Produk Industri
Fakultas Teknik Sipil dan Perencanaan (FTSP) Fakultas Teknik Sipil dan Perencanaan (FTSP)
Institut Teknologi Sepuluh Nopember Institut Teknologi Sepuluh Nopember
Surabaya, Indonesia Surabaya, Indonesia
email: gacombi@prodes.its.ac.id
Thomas Ari Kristianto
Andhika Estiyono Jurusan Desain Interior
Jurusan Desain Produk Industri Fakultas Teknik Sipil dan Perencanaan (FTSP)
Fakultas Teknik Sipil dan Perencanaan (FTSP) Institut Teknologi Sepuluh Nopember
Institut Teknologi Sepuluh Nopember Surabaya, Indonesia
Surabaya, Indonesia
Abstract—Feliz is an electric bike that is designed to teenager in cycling, as well as an alternative solution to
support the activities of city teenagers, including school the problems of traffic violations due to the many students
activities. The developed design concept is modular storage, who do not have a license to use a motorcycle. For the
unisex, stylish and produce by local SMEs. Storage design development of future business, the study also aims to
placed on the front of the head tube, with a modular empower local bike SMEs so passionate in the business,
concept, can be removed if not needed a place to bring the with innovative designs to meet the huge market demand.
goods, in order to appear more stylish. Front and rear
mudguard designed simple and close to the wheel to Some idea of the planned development are: (1)
reinforce the impression of a slim. Extendable rear Develop new design, towards a more unisex design, in
mudguard length to give maximum protection from order to become the preferred means of transport to
smudges on the wet road. The system uses an on demand schools that appeal to all students, both men and women.
electric motor pedal to conserve battery life. The electric (2) Developing designs that focus on the problems of
motor works in accordance with the user‘s need depend on ground clearance, speed, placement of the electric motor
the battery condition. The transmission system using rear and batteries. (3) Improving the design of the protection
hub drive with double free wheel on the bike and pedal, so component of the battery, electric motor, and a controller
it is free to move without straining. Monoshock rear of the possibility of theft and vandalism. (4) To test the
suspension used to reduce vibration. The suspension is
broader market, to determine the interest and purchasing
mounted between the connecting chains holder stay and the
power is more evident, as the consideration of the final
middle frame, making it look simple to support the
appearance of a compact form. Battery and controller are design improvements ready to sell at the market.
placed on the top of the bottom tube, storage in the design II. METHODS
between the head tube and seat tube, equipped with a lock
system, for safety and easy maintenance. The design was The methods used in this research are: a) exploration
made following the contours of the bottom tube to support design, b) digital design, and c) product prototyping.
the form overall appearance.
Exploration Design Method:
Key words—Urban Bike, Modular Storage, SMEs
Production.  Development design with the early step doing
explorers idea through brainstorming objective
I. INTRODUCTION tree, that coming from consumer requirement,
trend design, problems existing, and
Cycling is an ideal transport for urban areas,
benchmarking competitor.
especially for teenagers and children. Transport is not
only effectively used to go to school, but also for other  Brainstorming result be explored in the form of
needs, for example by attending extracurricular activities, sketch design to determine the character design,
tutoring, play, cycling, or sport. In terms of business that is aspect form, function, and operational.
opportunities, adolescence junior and senior high school  Sketch result then value of pursuant to parameter
is a big market and the potential for national bicycle conception to be made alternative design, then
industry. developed in detail, material, aspect ergonomic,
technical aspect, color scheme and branding
This research is exploring the design process to become the final design.
produce a bike that suits with the character of middle and
high school teens, as well as solving the problems which Digital Design Method:
happened to be the appeal of design as a competitive
advantage, among which; storage problems, the risk of  More easy and quicken the design process from
clothes being dirty, especially the rainy season, life style concept phase until digital prototyping phase,

significantly reduce the production time and also TABLE 1. DESIGN BRAINSTORMING
improves the product quality and optimizes the Feliz EU-Design
manufacturing process. Simple joint
 Result got can be used as media marketing of Removable Lockdown system
product communications in the form of goods Modular Optional
print, virtual showcase, content website, e-catalog, Storage Drink containers
and others, so that extend the accessibilities Multi-function Shoes containers
marketing product. Others
Stylish design
Unique
Product Prototyping Method: Frame Color
Unisex Lower top tube
 The prototype manufacturing process allows to Fit for men and
women Character form
make the products real simulation assessment
Production
based on consumers response. Local SMEs
 The results of consumers' assessment as a final Local Technology
Finishing
prototype refinement to increase the product Assembly
Production
validity and minimize the failure risk. Cheap price
Economics trigger
 More real and accurate because consumers can try Competitive in quality
out directly and feel the actual conditions. Rear hub-free wheel
Reducing fatigue
Electrically On demand pedal system
Powered Substitution of Does not breaking the law
While activity steps shall be as follows: motorcycle Orderly traffic
 Data collecting and antecedent study (product
existing, specification of product, product
character, questioner responder, and benchmark IV. ANALYSIS AND DESIGN RESULT
competitor). A. Sketch and Design Alternatives
 Theory study.
Below are three sketches of design alternatives that
 Design concept and sketch (brainstorming,
will be elaborated to find the final design for further
objective tree, sketch).
development.
 Design criteria (result of analyze and study).
 Design development (alternative design, 3D
modeling, parts design, assembly).
 Digital Mock-up (3D solid model)
 Pre Prototype (drawing and mock-up).
 Product test and simulation.
 Final Prototype.
Alternative 1 Alternative 2 Alternative 3
Fig 2. Design alternatives
B. Design Development with Digital 3D Model

Here are the results of the design development
process:
TABLE 2. SELECTION OF DESIGN ALTERNATIVES

Alternative Alternative2 Alternative3
N 1
Criteria W
o R WX R2 WXR R WXR3
Fig 1. Mood board of middle and high school students for cycling R1 2
1 Unisex 0. 5 1.5 3 0.9 3 0.9
III. DESIGN CONCEPT frame 3
2 Ease of 0. 3 0.3 4 0.4 3 0.3
A. Image Board Ideation Production 1
3 Safe from 0. 5 1.0 4 0.8 4 0.8
The design exploration as shown in Fig. 1 is a mood the risk of 2
board reference of middle and high school students for dirty
cycling which will be further developed. 4 Storage 0. 4 0.8 3 0.6 3 0.6
Design 2
B. Brainstorming Needs 5 Configurat 0. 5 1.0 4 0.8 3 0.6
In depth study was conducted to understand the i-on and 2
requirements needed in greater detail to explore the proportion
s
design. The result of brainstorming ideas is presented in Total 1 4.6 3.5 3.2
the following table:

Note: the transmission system of electric motors are presented

in table 3.
 W= weight, R= rate.
D. Design Development with Digital 3D Model
 Assessment rating with interval range scale from 1
to 5, 1 is the lowest value, and 5 is the highest The results of the design development process shown
value. in Fig.3. is simple and close to the wheel. The aim is to
create a slim impression. The rear mudguard length is
 The assessment results: Alternative 1 has the adjustable. So, when the road is wet it can be extended to
highest score (4,6) and chosen as the basic design give maximum protection in avoiding smudges. The chain
for further development. protector is designed to protect the trousers from the
chain‘s grease. The design was made fairly simple but
still stylish, priorities cover on the top and front, because
C. Transmission System Analysis that part is often rubbing directly with pants.
Manual Transmission
When the pedal is moved manually, the front gear

chain drive rotates and move the rear wheel gear. The
gear on the rear hub electric will moving freely (using Fig 3. Front and rear mudguard design.
free wheel) with almost no friction.
Machine Transmission
When the motor on, the rear gear hub directly drive
the rear wheels. The electric motor is the major drive
components in addition to the pedal stroke. Fig 4. Design of chain cover.
TABLE 3. SELECTION OF TRANSMISSION SYSTEM ELECTRIC MOTORS Storage design in the front of the head tube, with the
Mid Drive Rear Hub Friction
concept of detachable (modular), can be removed if not
N Motor Drive needed a place to bring the goods (such as shoes, change
Criteria W
o R WXR R WXR R WXR of clothes, etc.), in order to appear more stylish (Fig. 5).
1 1 2 2 3 3
1 Price 0. 5 1.0 4 0.8 2 0.4
Storage design is made quite large and open, meant more
2 flexibility in carrying goods because its function is
2 Availabilit 0. 5 0.5 5 0.5 3 0.3 versatile. Drink container designed under the saddle,
y in the 1 attached to the seat tube. In the detachable design, is
market
3 Ease of 0. 3 0.6 5 1.0 4 0.8 intended to facilitate maintenance and replacement,
installation 2 compatible with the market.
and
maintenanc
e
4 Acceleratio 0. 4 0.5 5 0.5 2 0.2
n 1
5 Durable 0. 4 0.8 5 1.0 3 0.6
2
6 Balance 0. 4 0.8 5 1.0 3 0.6
2
Total 1 4.2 4.8 2.9 Fig 5. Front and rear storage design
Note:
 W= weight, R= rate.
 Assessment rating with interval range scale from 1
to 5, 1 is the lowest value, and 5 is the highest
value.
Fig. 6. Suspension design
 The assessment results: Alternative 1 has the
highest score is (4,6) as the basic design for further To reduce vibration,the bicycle equipped with mono
development. shock rear suspension models. The suspension is mounted
There are various types of transmission systems of between the connecting chains holder stay and the middle
electric bicycle motors, so it is necessary analysis to frame, making it look simple to support the appearance of
determine the type of transmission in accordance with the a compact form.
purpose and design concepts. Analyses of the choice of

"Feliz B-e", a yellow code brand "Feliz Y-e", and green

code brand "Feliz G-e". Selected light colors and bright,
because in accordance with the target consumers are
middle and high school teens (Fig 10).
F. Prototyping Process Result
Fig 7. Storage batteries and controller
Battery and controller are placed in the upper-middle

frame, storage in the design between the head tube and
seat tube. Very practical and neat with a lockdown system
cover, for easy maintenance and safety factors. The The pattern making from The process of cutting metal
fullscaled drawing, to get the plate material that is already in
design was made following the contours of the bottom accurate metal cutting. the mall.
tube to support the overall appearance of the form.
Frame welding process, the Here are the results that have
connection between parts. been welded frame.
Perspe
ctive view Assembly process bicycle Here is the process of assembly-
frame. mounting modular storage.
The process of assembly-chain Process assembly- battery,

stay and the BLDC motor in the control panel, and also the safety
rear hub. lock in storage.
Detail view
Fig 8. Result of Rendering 3D Modeling
E. Variant Colour and Branding

The brand used is Feliz, with typography as follows:
Here are the final stages of The bikes are ready to do
bicycle assembly processes into preliminary tests, to check
one unit bikes. handling, stability, brakes and
electric motors function.
Fig 11. Result of Prototyping Process
V. CONCLUSION
The summarize of the discussions as follows:
Fig 9. Brand Application on Bike Design
 The design concept developed is modular storage,
Meaning the brand Feliz is electric bicycles for unisex, stylish, electric bicycles, production of
happiness (Feliz=happiness (Spanish language), local SMEs.
happiness adolescents of school age who are always  Electric motor systems, using the pedal on demand
cheerful and dynamic. Feliz is also a name that is nice and for a more efficient use of electricity, the use of
easy to remember, accented letter "e" is yellow, as the pedal manual or together, is very practical to
initial ―electrically" look more attractive-not boring (Fig conserve battery life. The electric motor works as
9). needed. It is very appropriate, because the
transmission system selected is the rear hub drive
with double free wheel on the bike and pedal, so it
is free to move without friction.
 To reduce vibration, equipped with mono shock
rear suspension models. The suspension is
mounted between the connecting chains holder
Fig 10. Applications Colour Variant stay and the middle frame, making it look simple
to support the appearance of a compact form.
Feliz has four color variants, namely: red with the
code for the brand "Feliz R-e", the blue code of the brand  Battery and controller are placed in the upper-

middle frame, storage in the design between the REFERENCES

head tube and seat tube. Very practical and neat [1] Andhika E., Thomas Ari K, et.al (2009), ―Travel Bicycle Design
with a lockdown system cover, for easy for Recreational Vehicle In Marine Tourism Lamongan‖,
maintenance and safety factors. The design was Research Product Design, Despro ITS, 2009.
made following the contours of the bottom tube to [2] Andhika E., Bambang Tristiyono, et.al (2008), ―Bike Design
support the overall appearance of the form. Campus to Academician ITS-Surabaya‖, Research Final Project
S1 Despro ITS, 2008.
 Front and rear mudguard made fairly close to the [3] Bambang Iskandriawan (2011), ―Tandem Bicycle Product
wheel, in order to provide optimum protection Development as a means of transportation and Sports Recreation
from dirt due to the rotation of the wheel. Design Family with Concept Efficient, Effective, Safe and Attractive ",
Research Competence LPPM ITS, 2011.
is made simple and close to the wheel to show the
impression slim. Rear mudguard short length can [4] Bambang Tristiyono, Thomas Ari K, et.al (2013), ―Electric Bike
Design for Youth in Urban Areas with Sporty Concept‖, Research
be adjusted as needed, when the road is wet Product Design, Despro ITS, 2013.
extendable, to give maximum protection to avoid [5] Bambang Tristiyono, et.al (2012), ―Tandem Bicycle Design With
smudges. Modular System for Parents and Children‖, Research Product
Design, Despro ITS, 2012.
 Storage design is placed in the front of the head [6] Bambang Tristiyono, Eri Naharani U, et.al (2011), ―Design Mini
tube, with the concept of detachable (modular), Tandem Bicycle For Apartment Residents‖, Research Product
can be removed if not needed a place to bring the Design 4, Despro ITS, 2011.
goods (such as shoes, change of clothes, etc.), in [7] Bambang Tristiyono (2001), ―Study model the Geometry 3D
order to appear more stylish. Digitally by AutoCAD‖, Lemlit ITS, 2001.
[8] Http://en.wikipedia.org/wiki/Bicycle
ACKNOWLEDGMENT [9] Http://www.electric-bicycle-guide.com/pedelec.html
[10] Http://sisni.bsn.go.id/index.php/sni_main/sni/detail_sni/9500
This research had become national program of grant
[11] Http://www.goldenmotor.com/
research prototype development- decentralization scheme
[12] Http://www.electricbike.com/friction-drive/
PUPT ITS Batch 1, budget year 2016, according to
contract number: 01706/IT2.11/PN.08/2016, date 17 [13] Norman, Donald Arthur (2005), "Emotional Design", Basic
Books, ISBN 0465051367, available:
February 2016. http://ubiquity.acm.org/article.cfm?id=966013
[14] Windharto Agus; et.al (2004)‖Integrated Digital Design
Methods―, RAPID I, 2004.

Security by Design for Bike-Sharing Services as

Sustainable Public Facility
Irfan Gani Purwanda Intan Rizky Mutiaz
Fakultas Seni Rupa dan Desain
Fakultas Seni Rupa dan Desain Institut Teknologi Bandung
Institut Teknologi Bandung Bandung, Indonesia
Bandung, Indonesia email: intanrm@yahoo.com
email: Irfan.gani@s.itb.ac.id
Dwinita Larasati
Institut Teknologi Bandung
Bandung, Indonesia
email: titalarasati@gmail.com
Abstract—The problems of urban mobility nowadays may cause dysfunction on a bike that can harm the user.
have become a common problem for residents in large Security and safety become important factor, either the
cities. Various solutions formulated by various elements in next generation of bike-sharing system should be
society to overcome these problems, one of which is the integrated with all public transportation provided or it‘s
implementation of smart bike sharing service. However, the become the backbone of alternative transportation system.
provision of bike sharing service as a public facility still has As stated by Shaheen and Stacey [10] that the goal of the
many challenges that must be addressed through further bike-sharing systems is seamless integration with other
research. As is generally a system, it has problem as alternative modes and public transportation.
happened in some other countries who have implemented it,
such as security system issues from modes of theft and ease Bike-sharing evolution of technologies and business
of use for commute user. The author hypothesis is a bike models would create many options for implementation
sharing service with security by design approach and design [10]. In order to formulate the concept of the next
thinking method would be suitable and appropriate to generation of bike-sharing while tackling all of the issue
address the issues. Output of this project is some alternative and suitable for Bandung which would implement it, we
design as solution for bike sharing service that more try to create innovative bike-sharing systems through
emphasis on security and usability that could be design thinking methods, an enabler of innovation [1]. We
recommended for its design development in the future,
would analyze all of the bike-sharing generations, and
especially if there is any shift from the model of a
evaluate it as a design thinking guideline at this research.
conventional bicycle into electric bikes which is more
vulnerable to theft mode, as an emerging trend in some We would initialize design thinking workshop with local
developed countries. bike-sharing developer‘s in Bandung. Then we would
describes the design requirement for the next bike-sharing
Keywords—Security by Design; Sustainable; Bike- systems generation as the findings on the workshop and
Sharing; Public Facility finally concluded the design concept.
I. INTRODUCTION II. METHOD

To overcome the problem of urban mobility, various There are three generations of a documented bike-
cities in several countries implementing bike-sharing sharing system as the systems ever installed for public
service, around 600 cities use their own bike-sharing services, today some developers are developing the fourth
systems [6]. Bandung also, is one the city as the first in generation. System‘s adaptation is different according to
Indonesia which would implement it periodically start local context such as city densities, weather,
from the end of the year of 2016 [8]. However, some infrastructure, topography and culture [6]. Based on the
challenges remain exist as the deployment of the bike- issues and systems adaptation matters, we have gathered
sharing system is parallel with the system development local bike-sharing developer‘s in Bandung to conduct a
that keep evolve and become its own research potential design thinking workshop as product development
that can be studied and solved. Some issue like the process.
availability of bicycles that are not balanced in some bike-
sharing stations, problem rise when users will borrow a 2.1. Participants
bike at the station but there's no bike at all, and when The participants of this design thinking workshop in
borrowed bikes headed to a particular destination but did this research is local bike-sharing systems developer‘s as
not find a station that is empty because all stations have a part of PT. Len Industri (Persero) consortiums, they are
been filled by bike. Motion limitation from current bike- PT. Fusi Global Teknologi and Pusat Mikroelektronika of
sharing generation that will make its own hassles in the Institut Teknologi Bandung. Participants of ten (10)
near future. There are also issues such as bicycle theft and people consisting of nine (9) men and one (1) woman
vandal behavior [10] on the device of the services that

with different educational backgrounds, such as: which is composed by Curedale [3] as follows:
engineering (electrical, physics, informatics), business
administration, management, and product designers. 2.2.1. Empathy research
TABLE 1. BIKE-SHARING GENERATION COMPARISONS ADAPTED FROM Each participant was paired and assigned to identify
SHAHEEN AND STACEY (2011) about what their partner know and what their partner need
to know about bike-sharing systems and then intensively
discussed. At this phase we use FGD methods to explore
Implementation
Popular Terms
Year of Initial
Gene ration
Challenges
the context of use, observe, and make comparative study
Features
Benefits
Place
about existing system.
Permanently unlocked; Theft

Painted white; Placed and
Amsterdam, Netherlands
throughout the inner vandali

1st Gene ration
city; Free use by public. sm,

White Bikes
users
1965
often
stole or
damage
d the
bikes.
Designated docking Users have a Theft, Fig. 1. Workshop Participants
Copenhagen, Denmark
stations in which bikes defined and due to

2nd Gene ration
Coin-Depo sit
can be locked, secure space custom 2.2.2. Synthesis (learning/ sensemaking)

Sys tems
borrowed, and returned; to access er

1995
Bicycles distinguished available anony Researcher as moderator direct the discussion into role
by color and special bicycles. mity. plays, each participant would analyze and take note about
design; Small deposits
to unlock bikes. their partner vision as system developer‘s and motivation
as bike-sharing users, try to find user desires from this
Employs docking Flexible Theft service.
station (fixed and stations and
flexible), majority use makes vandali
fixed stations with bicycles sm; 2.2.3. Point of view (project brief)
multiple docks and a available Bicycle
kiosk. Flexible stations throughout redistri All of the participant dig deeper onto their note and
use mobile phone an entire city bution define what should be fulfilled by the next bike-sharing
technology and street and it accordi systems and the problem that would be solved. They
IT-Based Systems
furniture for bicycle minimizes ng to

3rd Gene ration
Rennes, France
pick up and drop off, the amount demand define the solutions for the specific problem.
1998
users receive a code to of patterns

unlock bicycles; User infrastructure ; 2.2.4. Ideation (generate ideas)
interface at the kiosks; needed to Helmet
Advanced technology operate; laws. At this phase, each participant was asked to generate
such as mobile phones, Advanced concept of the next bike-sharing systems and present the
magnetic stripe cards or technology
smart cards; Bicycles allows users concept on sharing sessions and the peers give the
are distinguished by to locate, feedback.
advertising displays on reserve, and
the bikes or special access
designs. bicycles. 2.3. Workshop Analysis
All the main Located and Theft We present a conceptual design selection including
components in previous coordinated and required specifications in the design development for the
generation systems with within transit vandali next bike-sharing systems as the findings of this research.
Multi-Modal Systems
Demand-Responsive
addition is linked with stations. sm; Similarity of ideas and concepts that occur among
4th Gene ration
public transit; Single Single- Bicycle

payment smartcard; Integrated redistri participants would be simplified into a joint concept so
that there is no repetition of ideas presented.
_
_
Cleaner technologies. payment bution

methods accordi
create access ng to III. RESULTS AND DISCUSSIONS
to all demand
available patterns Based on the workshop process, the developer‘s team
options. . establish the following criteria based on existing
challenges that compulsory for the next bike-sharing
systems.
2.2. Procedure
Theft and Vandalism Comparative discussions bring
The workshop are held two (2) times at September 14 the developer‘s team to the fact that third generation of
and 29, 2016 and located at one of meeting room in bike-sharing with IT-based systems couldn‘t prevent the
Research and Innovation Building at Institut Teknologi high rate of theft and vandalism in Paris, but relatively
Bandung. Researcher has role as moderator and low in Hangzhou, Shaheen and Stacey [10] said it‘s
participant, participant observation methods used [7]. because inexpensive bicycles was used.
Divided into several phases, each phase given time
around 60-90 minutes, based on design thinking methods Security by design as the main themes at ESRIF
discussion in 2009 stated that it‘s an concept to embed

security from the early stage of design and smartphone app and could plan their mobility according
conceptualization, an approaches for product development the real-time information given. User also would have
that try to make system as impervious to attack and free notification if there are unoccupied bicycles available.
of vulnerabilities. To embed security from the early stage,
Topography of Bandung is the concerns of the
the developer‘s team agreed to use psychology approach
at the bike-sharing systems design as preventive methods developer‘s team. Electric bicycles concept with speed
limitation would be help to counter the hilly contours
[9] for some solutions.
along the user routes [11].
1. Embedded sensors. To prevent any intentions of TABLE 2. DISCUSSION RESULTS
theft and vandalism. To detect and warn any attempt to
Challenges Discussions Solutions
do so. Theft and Comparative To embed security from the
Vandalism discussions bring the early stage, the developer‘s
2. The use of dynamic light at the bicycles. That developer‘s team to team agreed to use psychology
the fact that third approach at the bike-sharing
would be blink quickly if the lock is breached generation of bike- systems design as preventive
improperly. Could be used as well as lighting for cycling sharing with IT-based methods (Prabowo and
at night. systems couldn‘t Karyono, 2014) for some
prevent the high rate solutions.
of theft and vandalism
3. All parts of the bicycles reside inside the frame. in Paris, but relatively Embedded sensors to prevent
low in Hangzhou, any intentions of theft and
To make all of the unit as look as unite as on body. vandalism. To detect and warn
Shaheen and Stacey
Seamless integration would make bicycle parts safe from (2011) said it‘s any attempt to do so.
attempted theft and vandalism. because inexpensive The use of dynamic light at the
bicycles was used. bicycles that would be blink
4. Real-time bicycles monitoring through Internet-of- Security by design is quickly if the lock is breached
Things (IoT) systems. The bicycles could communicate main themes at this improperly. Could be used as
discussion, ESRIF well as lighting for cycling at
with its surroundings. (2009) state that it‘s an night.
concept to embed All parts of the bicycles reside
5. Docking location should be on the right spot with security from the early inside the frame, make all of
stage of design and
high visibility, open area would be the best, according to conceptualization, an
the unit as look as unite as on
Wendel in Erlandsson and Hagglof [11]. body. Seamless integration
approaches for product would make bicycle parts safe
development that try from attempted theft and
In addition, than using inexpensive bike at the expense to make system as vandalism.
impervious to attack
of quality, developers feel it is better to create a bike that and free of Real-time bicycles monitoring
is truly unique at all, suitable for all gender, all age, and vulnerabilities. through Internet-of-Things
accessible for disability peoples, so all of the people will (IoT) systems. The bicycles
have sense of belonging on the bike-sharing systems. It could communicate with its
surroundings.
tends to generate awareness to keep something useful for
them. Docking location should be on
the right spot with high
Concerning about Integrated Single Payment, it‘s hard visibility, open area would be
to integrate all of the transportation system in Bandung the best, according to Wendel
in Erlandsson and Hagglof
into single-integrated payment process as the bureaucracy (2016).
condition is not yet have positive permission, and because
the responsibility is on higher authority. It‘s the matter of In addition, than using
inexpensive bike at the expense
stakeholders coordination. Bike-sharing systems should of quality, developers feel it is
connected into all modes of transportation yet not fully better to create a bike that is
integrated. This allows the service continues to run truly unique at all, suitable for
independently. Connected means it's taking role as all gender, all age, and
accessible for disability
connecting and alternative transportation modes. peoples, so all of the people
will have sense of belonging
Bicycle Redistribution is one critical issue. A lot of on the bike-sharing systems. It
papers discuss about it and the result is around the tends to generate awareness to
mathematical approach to solve the on-demand type keep something useful for
service with algorithm calculations to mapping the pattern them.
[2]; incentive approach as exponential factor, giving user Integrated It‘s hard to integrate Bike-sharing systems should
extra time or discount to use the bikes [5]; Geospatial Single all of the connected into all modes of
Payment transportation system transportation yet not fully
analysis [11].
in Bandung into integrated. This allows the
Along the discussion, the developer‘s team attracted to single-integrated service continues to run
payment process as independently. Connected
the concept of self-balancing distribution and availability the bureaucracy means it's taking role as
of real-time information. Solution for this challenge is to condition is not yet connecting and alternative
make bike-sharing stations as simple as possible by shift have positive transportation modes.
the lock from the docking onto the bicycles, remove the permission, and
because the
kiosk fully into the mobile/web-based app. Real-time responsibility is on
information from the app would guide user to the nearest higher authority. It‘s
available bicycles and empty dockings. User would search the matter of
any bicycles available on their area only on their stakeholders

Challenges Discussions Solutions The advantages of the proposed concepts would be

coordination. significantly gained on the docking arrangement that
Bicycle A lot of papers discuss Along the discussion, the would be more organic and flexible.
Redistribu about it and the result developer‘s team attracted to
tion is around the the concept of self-balancing IV. CONCLUSION/ RECOMMENDATIONS
mathematical distribution and availability of
approach to solve the real-time information. Solution Through design thinking, the bike-sharing systems
on-demand type for this challenge is to make developers could innovate on their on-going development.
service with algorithm bike-sharing stations as simple A lot of things revealed and sharpen their concepts. To
calculations to as possible by shift the lock
mapping the pattern from the docking onto the solve the problems, this workshop have produced
(Chemla, Meunier and bicycles, remove the kiosk promising concepts to tackling theft and vandalism issue,
Calvo, 2012); fully into the mobile/web- and other related issues. However, further study is needed
incentive approach as based app. Real-time to validate the concepts as this research fully discussed
exponential factor, information from the app
giving user extra time would guide user to the nearest about the next systems concept and the development
or discount to use the available bicycles and empty process through design thinking methods to innovate.
bikes (Fricker and dockings. Constraints also perceived because there is no real system
Gast, 2012); implemented around us for further investigation.
Geospatial analysis User would search any bicycles
(Tedeschi, 2016). available on their area only on
their smartphone app and could ACKNOWLEDGEMENTS
plan their mobility according
the real-time information This research was conducted at the Faculty of Visual
given. User also would have Art and Design, Institut Teknologi Bandung. We are
notification if there are
unoccupied bicycles available. thankful to the adviser of this research and to bike-sharing
developer‘s team who involved as participants.
Topography Hilly topography of Electric bicycles concept with
Bandung is the speed limitation would be help
concerns of the to counter the hilly contours REFERENCES
developer‘s team. along the user routes said
[1] Carlgren, Lisa. (2013). Design thinking as an Enabler of
Erlandsson and Hagglof
Innovation: Exploring the concept and its relation to building
(2016).
innovation capabilities. Chalmers University of Technology.
Gothenburg, Sweden.
[2] Chemla, Daniel. Meunier, Frederic. Calvo, Roberto Wolfler. Bike
Here is comparison between the existing systems and sharing system: solving the static rebalancing problem. Discrete
the proposed systems: Optimization, Elsevier, 2013, 10 (2), pp.120-146.
[3] Curedale, Robert A. (2015). 30 Good Ways to Innovate. Topanga,
CA: Design Community College Inc.
[4] Erlandsson, Sofie. Hagglof, Olivia. (2016). Electric Bicycles in
Bike-Share Systems: An Investigation of the Potential for Electric
Bicycles in Gothenburg‘s Bike-Share System Styr & Stall.
Gothenburg, Swden: Chalmers University of Technology.
[5] Fricker, Christine. Gast, Nicolas. (2012). Incentives and
Redistribution in Homogeneous Bike-Sharing Systems with
Stations of Finite Capacity. New York: Cornell University.
[6] Gauthier, Aimee. Hughes, Colin. Kost, Christopher et al. (2013).
The Bike-Share Planning Guide. New York, NY: Institute for
Transportation & Development Policy.
Fig. 2. Comparison of devices involved in the system.
[7] Kawulich, Barbara B. Participant Observation as a Data
Collection Method. Forum Qualitative Sozialforschung / Forum:
The proposed systems would use integrated lock, so Qualitative Social Research, [S.l.], v. 6, n. 2, may 2005. ISSN
the docking station would turn out to be very simple 1438-5627.
significantly. The Kiosk function would be replaced by [8] Pemerintah Kota Bandung. (2014). Rencana Pembangunan
app in the user smartphone. Jangka Menengah Daerah (RJPMD) Kota Bandung Tahun 2013-
2018. Peraturan daerah Kota Bandung No. 03 Tahun 2014.
[9] Prabowo, Bangkit Ary. Karyono. (2014). Gambaran Psikologi
Individu dengan Kecenderungan Kleptomania. Jurnal Psikologi
Undip Vol.13 No.2 Oktober 2014, 163-169.
[10] Shaheen, Susan. Guzman, Stacey. (2011). Worldwide
Bikesharing. University of California, Berkeley: Access, Number
39.
[11] Tedeschi, Alexander. (2016). Rebalancing Citi Bike: A geospatial
analysis of bike share redistribution in New York City. Portugal:
Universidade Nova de Lisboa (UNL).
[12] The European Security Research and Innovation Forum - ESRIF.
(2009). Final Report. Retrieved from http://pripareproject.eu/wp-
Fig. 3. Comparison of Docking Arrangement. content/uploads/2014/05/Privacy-and-Security-by-design.pdf

Perancangan Desain Grafis Badan Bus dengan

Ilustrasi Kearifan Lokal Khas Indonesia
(Bus Body Graphic Design with Indonesian Local Wisdom Illustration)

Bandung, Indonesia
email: ayazamazaya@gmail.com
Abstract— Bus vehicle is one of the popular public mass kecerdasan kelompok etnis tertentu yang diperoleh melalui
transportation in Indonesia. Based on data BPPS, the bus pengalaman masyarakat [2]. Artinya, kearifan lokal
number reached 2,286,309 in 2013. In general, most of the dihasilkan oleh masyarakat tertentu melalui pengalaman
bus exterior wall design consists of geometric elements and mereka yang belum tentu dialami oleh masyarakat yang
only use a solid color composition. Ideally, the big flat bus lain. Ilmuwan antropologi, seperti Koentjaraningrat,
body surface be optimized visually by adding illustrations. Spradley, Taylor, dan Suparlan, mengkategorisasikan
Currently, there are already some bus body designs that kebudayaan manusia yang menjadi wadah kearifan lokal
have used the illustration. The illustrations used are mostly itu kepada idea, aktivitas sosial, artefak [3].
about consumer products advertisement. So far, the design
of exterior wall bus in Indonesia does not have Indonesian Berdasarkan dua premis sebelumnya didapatkan ide
characteristic. untuk merancang desain badan bus menggunakan teknik
ilustrasi dengan kearifan lokal sebagai dasar rancangan.
Ideally designer could adapt Indonesia's rich culture as a Kearifan lokal yang ada di Indonesia sangatlah banyak,
basic illustration of a bus exterior walls in Indonesia. The tiap-tiap suku dan daerah memiliki kearifan lokal yang
goal of creating illustrations based on local wisdom is to belum tentu sama. Kearifan lokal yang menjadi ciri khas
propose an idea to put Indonesian characteristic markers masyarakat Indonesia dan dimiliki tiap suku dan daerah
through bus exterior as a ―mobile billboard‖. This research
adalah gotong-royong.
using the method: (1) literature study, (2) planning, (3) the
concept of design implementation. The results of this design
include: (a) the draft design of the exterior walls of a typical
bus Indonesia (b) as an alternative tool to promote local
wisdom, (c) enhance the visual appeal of the bus. This design
thinking as an alternative in socializing Indonesian cultural
values to people and tourists.
Keywords—Bus Body Design; Illustration; Local Wisdom
I. PENDAHULUAN
Bus merupakan salah satu transportasi masal yang
digemari. Berdasarkan data pada badan pusat statistik
tahun 2013, kendaraan bus di Indonesia mencapai
2.286.309 unit [1]. Ketika kita berada di jalan raya, dapat
kita jumpai bus-bus yang melintas memiliki desain yang
sederhana dengan menggunakan unsur-unsur geometris
dan warna, hal ini sangat disayangkan mengingat bus
memiliki tinggi dan panjang yang cukup lebar yang dapat
dioptimalkan desainnya menggunakan ilustrasi. Dengan
menggunakan ilustrasi, desain yang ada dapat
menyampaikan suatu pesan atau informasi. Saat ini
terdapat beberapa bus yang menggunakan ilustrasi sebagai
desain eksteriornya, namun sebagian besar ilustrasi
tersebut berupa gambar dari film maupun game. Ada pula
beberapa bus yang menggunakan ilustrasi foto maupun
Gbr. 1. Bus besar, bus medium,dan bus mini.
bertemakan pariwisata ataupun batik, namun belum ada
bus yang benar-benar menggambarkan ciri khas Indonesia
yang ada di Indonesia. A. Bus
Bus merupakan transportasi masal yang dapat
Indonesia sebagai Negara kepulauan memiliki menampung lebih dari 10 orang. Saat ini jumlah bus di
kekayaan budaya termasuk kearifan lokal yang perlu Indonesia mencapai lebih dari 2 juta dan terus bertambah.
dilestarikan dan diamalkan. Kearifan lokal merupakan Bus tidak hanya digunakan sebagai sarana transportasi

antar provinsi maupun antar kota tetapi juga antar distrik ilustrasi gotong royong digambarkan dengan gambar
seperti Trans Jakarta. Di Indonesia terdapat 3 (tiga) ukuran berbagai karakter dengan berbagai suku menggotong atau
bus yang lazim digunakan (Gbr. 1), yaitu: memikul jendela bus bersama-sama. Ilustrasi dan body bus
diolah sehingga tampak seolah-olah ada kesatuan
 Bus besar (1211,4cm x 246cm x 287,7cm) didalamnya. Di bagian depan dan belakang bus terdapat
 Bus medium (779cm x 260cm x 225cm) masing-masing 2 (dua) karakter dan di bagian samping
 Bus mini (501,5cm x 305 cm x169,5cm) terdapat 3 (tiga) karakter.
B. Kearifan Lokal Indonesia Karakter yang digunakan diambil dari referensi
Kearifan Lokal berasal dari dua kata yaitu ‗arif‘ dan internet yang menggambarkan beberapa suku dari
‗lokal‘, kata arif dapat dimaknai sebagai pandai, cerdas, berbagai daerah yang ada di Indonesia. Ketujuh karakter
kebijaksanaan. Kearifan Lokal merupakan pandangan tersebut diolah menjadi lebih sederhana menggunakan flat
hidup dan ilmu pengetahuan serta berbagai aktivitas yang design. Penggunaan tujuh karakter dengan karakter suku
dilakukan masyarakat lokal dalam menjawab berbagai yang berbeda menggambarkan keberagaman Indonesia
permasalahan dalam kehidupan. Kearifan Lokal dimaknai yang saling bekerjasama bahu-membahu membangun
sebagai kebijaksanaan setempat. Indonesia merupakan Indonesia (Gbr. 2).
Negara kepulauan yang memiliki banyak suku dengan
kekayaan budaya yang melimpah. Setiap suku ataupun
daerah memiliki kearifan lokal yang berbeda-beda. Setelah
melakukan studi literatur, ditemukan kearifan lokal yang
memiliki kesamaan makna yaitu Gotong-royong. Berikut
beberapa kearifan lokal yang berkaitan dengan gotong-
royong dari berbagai daerah di Indonesia [4] adalah
sebagai berikut:
 Minahasa: Mapalus Gbr. 2. Latar belakang pohon beringin.
 Bolaang Mongondow: Momosat Pada bagian latar depan, samping dan belakang
 Sulawesi Tenggara :Sumaturu (Bahasa Tolala) didominasi dengan warna biru dengan gambar pohon
 Pandeglang: Saman (Kesenian) beringin ditengah dan warna hijau di bagian bawah. Warna
 Kalimantan Selatan : Gawi Sabumi biru untuk menggambarkan langit cerah yang dimaknai
sebagai masa depan cerah. Warna hijau menggambarkan
 Dayak Kanayatri: Handep Babaring Burung rerumputan yang dimaknai sebagai halangan rintangan
 Ambon (Maluku): Pela Gandong yang menghadang. Pohon beringin merupakan pohon
Gotong royong sebagai kearifan lokal yang dimiliki besar dengan ranting luas yang dapat menjadi tempat
beberapa daerah sekaligus cocok untuk digunakan sebagai berteduh yang menyejukkan dan memiliki akar yang
salah satu kearifan lokal yang menjadi ciri khas sangat kuat serta menjalar di mana-mana. Pohon beringin
masyarakat Indonesia. dimaknai sebagai keanekaragaman suku dan bangsa
indonesia yang harus tetap bersatu (Gbr. 3).
C. Flat Design
Flat Design menciptakan tampilan atau ikon yang
sangat sederhana yang menyerupai bentuk benda aslinya
dari pada menciptakan efek yang menyerupai benda
aslinya. Dalam flat design, ornamen atau hiasan-hiasan
dapat mengacaukan tampilannya. Flat Design lebih
mementingkan fungsionalitas atau kegunaan dari sebuah
objek/elemen [5]. Dengan bentuk yang sederhana dan
penggunaan warna-warna cerah dan kontras menjadikan
flat design populer dan mudah dipahami. Flat design
umumnya digunakan pada tampilan user interface aplikasi, Gbr. 3. Referensi Karakter Perwakilan Suku di Indonesia.
namun seiring dengan kepopulerannya maka saat ini
penggunaan flat design berkembang tidak hanya pada user
interface namun juga ilustrasi.
II. METODOLOGI
Penelitian ini menggunakan pendekatan kualitatif yang
mendeskripsikan langkah-langkah proses kreatif dalam
perancangan desain badan bus berbasis ilustrasi kearifan
lokal. Tahapan penelitian diawali dengan studi literatur Gbr. 4. Latar belakang sebelum diaplikasikan pada badan bus.
tentang bus dan kearifan lokal yang ada di Indonesia.
Setelah data literatur terkumpul dan dikaji kemudian Susunan konsep ilustrasi tersebut memiliki makna
dilakukan proses pengembangan desain. Desain Ilustrasi bahwa masyarakat Indonesia terdiri dari berbagai suku
badan bus berbasis kearifan lokal yang dikembangkan budaya yang saling bahu-membahu, bergotong- royong
menggunakan pendekatan tampilan visual flat design. memikul beban negara, bersatu melewati rintangan
III. HASIL PERANCANGAN menuju masa depan Indonesia yang lebih cerah. Berikut
merupakan tampilan karakter dan latar belakang dalam
Proses perancangan dimulai dengan konsep. Konsep

bentuk ilustrasi flat design (Gbr. 5). Gbr. 7. Hasil aplikasi desain tampak samping.
IV. KESIMPULAN
Bus sebagai transportasi masal yang memiliki tinggi
dan panjang yang cukup lebar, dapat dioptimalkan sebagai
media untuk mempromosikan, mengenalkan kearifan lokal
yang ada di Indonesia. Hal ini dapat menjadi media
pembelajaran kepada masyarakat bahwa Indonesia
Gbr. 5. Karakter pada desain depan, samping dan belakang. memiliki kearifan lokal yang sepatutnya kita laksanakan
sebagai identitas masyarakat Indonesia. Hasil dari
Setelah pembuatan karakter dan latar, karakter dan perancangan ini merupakan gagasan desain yang belum
background disusun dan diaplikasikan pada template bus. diaplikasikan secara langsung, tentulah perlu dilakukan
Template bus diambil dari internet dengan menggunakan penelitian lebih lanjut untuk mendapatkan desain yang
basis bus bermerek Hino R (Gbr. 6 dan Gbr. 7). efektif. Hasil penelitian ini dapat dijadikan sebagai
referensi dalam membuat inovasi desain badan bus
berbasis kearifan lokal.
REFERENSI
[1] BPS. 2014. Perkembangan Jumlah Kendaraan Bermotor Menurut
Jenis tahun 1987-2013, (online), (http://www.bps.go.id
/linkTabelStatis/view/id/1413), diakses tanggal 26 Agustus 2016.
[2] F.X, Rahyono. 2009. Kearifan Budaya dalam Kata. Jakarta:
Wedatama
[3] Widyasastra.
[4] Koentjaraningrat. 2009. Pengantar Ilmu Antropologi. Jakarta:
Gbr. 6. Hasil aplikasi desain tampak depan dan belakang. Aksara Baru
[5] Fajarini, Ulfah. Peranan Kearifan Lokal dalam Pendidikan
Untuk menyatukan jendela dengan desain maka Karakter, journal.uinjkt.ac.id), diakses tanggal 3 November 2016.
ditambahkan elemen warna kuning sebagai lambang [6] Andrew, Rio. 2015. Apa itu Flat Design?, (http:// blog.riodesign-
harapan yang dibawa bersama-sama. web.com/apa-itu-flat-design/), diakses tanggal 3 November 2016
[7] Big Bus, http://www.busnesia.com/2014/06/jenis-dan-type-bus-
dari-berbagai-macam.html
[8] Medium Bus, http://www.busnesia.com/2014/06/jenis-dan-type-
bus-dari-berbagai-macam.html
[9] Mini Bus, http://www.busnesia.com/2014/06/jenis-dan-type-bus-
dari-berbagai-macam.html
[10] Karakter Perwakilan Suku di indonesia, https://dreamindonesia.
files.wordpress.com/2012/11/indonesiaku.jpg

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
Jurusan Desain Produk
Jurusan Desain Komunikai Visual
Fakultas Senirupa dan Desain
Institut Teknologi Nasional
Institut Teknologi Nasional
Bandung, Indonesia
Bandung, Indonesia
email: edsetia@itenas.ac.id
e-mail: ian@itenas.ac.id
Abstract— Most of the fishing boats in Pangandaran comfortability). Kedua faktor keselamatan dan
have been converted to tourist transportation means. kenyamanan berwisata merupakan prioritas utama yang
Serious problems occur, because the fishing boats are not harus dipenuhi nelayan ketika memilih profesi baru
designed for tourism, it is evident from the lack of safety sebagai penyelia jasa perahu wisata. Faktor keselamatan
facilities for passengers. Based on the study ergokultural berperahu yang disosialisasikan Dinas Pariwisata kepada
through an ethnographic approach to the behavior of para nelayan adalah antara lain: penggunaan jaket
fishermen, the existence of marine technology and pelampung (life jacket) untuk setiap wisatawan dan kru
traditional boat design, we concluded that the maritime nelayan, penggunaan helm (safety helmet), lampu darurat
culture Sunda consider ergonomic factors in the lives of
dan komunikasi (emergency light dan sign lighting), suar,
fishermen who materialized in the form of a boat structure
and function components. Pangandaran beach busy with
komunikasi radio, peralatan SOS (Save Our Soul), dayung,
tourist activity, raises the risk of boat collisions and ban pelampung, peralatan reparasi, baterai cadangan,
accidents to swimmers. This study sought to find the bahan bakar cadangan, dan peralatan PPPK. Sedangkan
relevant safety facilities with the existing situation, so that it faktor kenyamanan yang secara bertahap diupayakan
has a positive impact on the safety of sea travel. nelayan adalah kebersihan perahu dari bau amis ikan dan
jamur karang, serta ketersediaan sarana duduk, tangga,
Keywords— product design, boats, fishing, marine tourism tempat sampah, atap pelindung kabin dan ruas batang
untuk menahan goncangan ombak.
I. PENDAHULUAN
Komitmen terhadap faktor keselamatan dan
Nelayan tradisional di pantai Pangandaran tengah kenyamanan wisata, diterima nelayan dengan beragam
berhadapan dengan tiga pilihan untuk mengikuti sikap, bahkan terdapat penolakan berdasarkan rujukan
perubahan, yaitu dari nelayan pencari ikan di pesisir pada dasar keterampilan, pengalaman dan unsur kearifan
(coastal fisherman) menjadi nelayan samudera (oceanic budaya lokal. Berdasar pada dinamika nelayan tersebut,
fisherman) dengan perubahan fasilitas usaha dari perahu diperlukan kajian yang cukup mendalam pada
tradisional menjadi kapal nelayan berbobot ≥ 50 gros ton perikehidupan nelayan, cara hidup dan berbagai teknologi
dengan kemampuan jelajah lebih dari 15 mil laut. Program lawas, serta pengaruh budaya maritim Sunda, yang
Pemerintah telah mendorong para nelayan pesisir yang menjadi akar budaya para kaum nelayan Pangandaran.
berpenghasilan minim, untuk menjadi nelayan samudera Kajian ini diharapkan dapat mengantarkan kepahaman kita
yang berpeluang menghasilkan hasil tangkapan yang besar terhadap sikap dan sifat kaum nelayan Pangandaran,
dan berlimpah. Pusat ikan yang sangat berlimpah di sehingga dapat menjalin relevansi dengan program
seluruh perairan Indonesia adalah di kawasan samudera pengembangan kepariwisataan Pemerintah.
atau laut lepas. Pilihan lain yang ditempuh nelayan
tradisional Pangandaran adalah menjadi pelaku usaha II. METODOLOGI
wisata bahari, yang melayani rute perjalanan wisata pantai.
Observasi terhadap perilaku dan cara hidup kaum
Usaha ini lebih banyak dipilih oleh para nelayan, karena
nelayan, dilakukan melalui kajian etnografi, yaitu metode
masih dapat mempergunakan perahu yang ada. Kendala
pemahaman tentang perilaku dan cara hidup masyarakat,
yang dihadapi adalah banyaknya persyaratan yang harus
melalui proses pengamatan dan wawancara [1]. Karena
dipenuhi nelayan dalam rangka menjamin keselamatan
riset bersifat deskriptif kualitatif yang berfokus pada suatu
wisatawan asing dan domestik.
karya desain produk, maka kajian ini menggunakan
Persyaratan besar yang harus diperhatikan oleh para partisipatori etnografi [2] seperti skema pada Gbr. 1.
nelayan penyelia jasa wisata bahari, adalah kewajiban
Terkait dengan ilmu pengetahuan (sains) yang dimiliki
untuk memenuhi faktor keselamatan dalam menggunakan
masyarakat nelayan, dilakukan wawancara langsung
jasa transportasi perahu (safety boat), serta faktor
terhadap responden yang terdiri dari nelayan aktif. Ilmu
kenyamanan berwisata bahari (marine tourism

pengetahuan kenelayanan (what people say they do) dapat

dipahami melalui paparan tutur, percakapan, dan sesuatu
yang merupakan referensi. Langkah selanjutnya adalah
melaksanakan pendekatan partisipatori (participatory
design), yaitu proses memahami teknologi atau sain
terapan yang dikembangkan masyarakat nelayan, melalui
gerakan partisipasi dalam kegiatan nelayan saat bekerja
dan mempergunakan berbagai alat kerjanya (what people
make). Langkah berikutnya adalah melakukan kegiatan
riset dengan pendekatan etnografi terhadap makna budaya,
untuk menyimak apa yang sedang dikerjakan atau apa Gbr. 2. Konsep masyarakat Sunda berdasar geografi [3]
yang menjadi kebiasaan khas para nelayan (observing
what people do). Ketiga gatra kajian ini berfokus pada satu Dalam naskah kuno ‗Sanghyang Siksa Kandang
titik kajian, yaitu produk perahu nelayan. Karesian‟ (1518), disebutkan dalam masyarakat Sunda
terdapat ―Pancabyapara‖ atau lima pekerjaan budaya, yang
terdiri dari:1) kaum petani (sang Mangukuhan), penggarap
bumi untuk mencapai kukuh pancuh atau kekuatan dalam
bidang logistik dan pangan, 2) kaum penyadap (sang
Kusika)yang mengembangkan hasil bumi dan hasil
tambang, 3) kaum pemburu (sang Karungkalah), yang
memelihara ekosistem hutan, disebut juga paninggaran/
pamoro sato, 4) kaum pedagang (sang Sandanggreba)
yang mengembangkan pasar dan distribusi komoditi antar
masyarakat, serta 5) kaum pelaut (Sang Patanjala) atau
pamayang (mayang berarti gelombang, sehingga
pamayang berarti manusia ombak atau gelombang) yang
menjaga ekosistem laut. Kelima profesi itu merupakan
pancagatra manunggal yaitu lima segi yang menjadi satu
kesatuan, seperti lima kelopak bunga yang mekar.
Gbr. 1. Konsep pendekatan partisipatori etnografi [8].
Kajian terhadap wujud riil ‘perahu nelayan tradisional

Pangandaran‘, merupakan konsepsi implementasi
etnografi yang relevan dalam riset desain produk, sebab
terkait dengan perlunya pemahaman tentang perilaku kerja
manusia sebagai sudut pandang sosial budaya yang
berpengaruh dalam keputusan desain. Sudut pandang lain
yang terlibat dalam pembentukan produk adalah berupa
kompetensi dalam berkreasi dan berproduksi yang terpadu
dengan unsur ilmu pengetahuan berbasis kearifan lokal.
Pola kerja masyarakat nelayan yang berlandaskan budaya Gbr. 3. Konsep pancabyapara (visualisasi penulis dari Sanghyang Siksa
maritim, dapat dikembangkan sebagai unsur pengetahuan Kandang Karesian, 1518).
dalam bidang ilmu ergonomi makro, dimana risalah
ekosistem, ekologi dan ekonomi terlebur dalam satu Prinsip Pancabyapara terhubung dengan konsep
cakupan yang menjadi budaya kerja. Prinsip kosmologi Sunda ―papat kalima pancer‖ atau konsep
keterhubungan antara bidang ergonomi dan bidang budaya empat sisi keseimbangan yang terhubung dalam satu titik
dipelajari dalam kajian ergokultur (ergonomic cultural). fokus. Jika fokus pada segi patanjala/pamayang maka
keempat sektor lain akan bertindak menjadi pendukung.
III. HASIL DAN PEMBAHASAN Atas dasar inilah perkembangan di daratan (rendah dan
tinggi), merupakan hasil dari perkembangan masyarakat
3.1. Prinsip Ergokultural Maritim pesisir, demikian pula sebaliknya. Dalam sejarah
Prinsip ergokultural maritim Sunda yang terpelihara peradaban kita, kemajuan masyarakat di tengah pulau
baik di kawasan Pantai Pangandaran dan sekitarnya, merupakan hasil dari perkembangan yang terjadi di
tergambar dari pengakuan akan adanya akar budaya Sunda masyarakat pesisir. Awal perubahan dimulai dari pesisir
yang mencakup kehidupan nelayan sebagai bagian dari adalah karena masyarakat pesisir lebih cepat menjalin
trigatra masyarakat Sunda. Peneliti Belanda bernama RW hubungan dengan dunia luar [4].
Van Bemmelen (1949) [3], menyebutkan Sunda adalah Dalam peranannya sebagai patanjala, nelayan di
suatu istilah yang digunakan untuk menamai dataran Pangandaran menempatkan diri sebagai penjaga ekosistem
bagian barat laut wilayah India Timur, yang memiliki laut, sehingga sangat konservatif dalam memandang laut
struktur kemasyarakatan yang disusun berdasarkan kondisi sebagai bagian dari hidupnya yang harus dijaga dari unsur
geografis. Masyarakat Sunda terdiri dari kaum nelayan luar yang merusak. Hal ini terwujud dalam sikapnya yang
(pamayang) di pesisir, kaum petani (panyawah) di dataran senantiasa waspada dan hati-hati dalam menerima
rendah, dan kaum peladang (pahuma) di dataran tinggi. [3] perubahan[5]. Namun, karena konsep budaya Sunda

bersifat paradoks, untuk mengembangkan diri menjadi aspek kehidupan: dunia bawah, dunia tengah dan dunia
bangsa yang lebih maju, kaum pamayang/nelayan harus atas. Dunia tengah merupakan dunia manusia (Gbr. 5).
bersedia proaktif menerima perubahan. Konsep paradoks
ini kemudian memberikan arti ―sineger tengah‖, jalan 3.2. Ergokultural Maritim Terapan
tengah atau jalan keseimbangan (balance), yang menjadi
prinsip hidup masyarakat Sunda pada umumnya. Penerapan faktor keselamatan pada perahu nelayan
(safety boat), selain berupa perlengkapan marine safety
Prinsip ergokultural maritim yang terpelihara baik di standar yang diperlukan tersedia pada perahu, adalah
kawasan wisata Pantai Pangandaran, tidak saja hidup berupa keberadaan cadik yang multi fungsi. Desain perahu
dalam perilaku masyarakat pamayang (nelayan Sunda), tradisional sepatutnya tidak mengalami sentuhan desain
tetapi juga dalam ragam bentuk perahu dan komponen ulang (redesign), karena merupakan produk artefak budaya
fungsi yang terhubung dengan desain perahu. Salah satu yang perlu dipertahankan nilai-nilai orisinalitasnya [6].
komponen pada perahu tradisional Pangandaran yang Sebagian besar turis asing yang mempergunakan perahu
sangat penting adalah cadik. Fungsi cadik adalah sebagai nelayan disebabkan oleh keunikan dan keasliannya. Jika
penjaga keseimbangan agar perahu dapat melintasi laut perahu tidak dapat dirubah wujudnya, maka komponen
dan bertahan dari hempasan gelombang. cadik merupakan bagian yang paling fleksibel untuk
menerima perubahan.
a. Prinsip Keseimbangan Cadik
Gbr. 4. Prinsip kerja cadik (Dokumen penulis).

Gbr. 6. Plain model produk perahu nelayan (skala 1:5) (dokumen
penulis)
Kementerian Perikanan dan Kelautan menyarankan

nelayan untuk memperhatikan alur lalu lintas laut dari
kapal-kapal besar yang melintas diantara jalur nelayan
tradisional. Di beberapa tempat, sering terjadi tubrukan
antar kapal, dan pelindasan terhadap perahu nelayan yang
mengganggu jalur laju kapal. Berbagai sekolah pelayaran,
mempergunakan pedoman P2TL (Peraturan pencegahan
Tubrukan Kapal) yang merujuk pada International
Regulation on Prevantion of Collision At Sea 1972. Aturan
ini menjelaskan bahwa setiap kapal (termasuk kapal
nelayan, kecuali yang berkemampuan untuk berubah
haluan secara cepat misal perahu motor atau speedboat),
diwajibkan mengikuti aturan lalu lintas laut, dengan
mempergunakan sistem komunikasi dengan lampu/cahaya,
suara peluit dan tanda-tanda visual yang disepakati secara
internasional. [7]
Konsep desain untuk penerapan faktor keselamatan
Gbr. 5. Prinsip Tritangtu pada dimensi perahu tradisional (Dokumen adalah mempergunakan sistem cahaya lampu di bagian
penulis) cadik sebagai media komunikasi dan informasi lalu lintas
laut dan sistem penerangan untuk bagian kabin perahu.
Cadik adalah komponen perahu tradisional yang
Selama ini sistem lampu untuk komunikasi belum pernah
terdapat di kedua sisi perahu. Di antara sisi kiri dan kanan ada pada perahu nelayan tradisional manapun. Hal ini
terdapat perahu di mana manusia bekerja. Cadik sebelah disebabkan tidak adanya kewajiban bagi perahu kecil
kiri dan kanan bersifat simetris sehingga dapat menjaga untuk mengikuti aturan P2TL/IRPCA 1972. Pada sistem
kestabilan perahu lebih efektif. Cadik juga merupakan
lalu lintas laut, terdapat aturan penggunaan lampu hijau
simbol perbedaan sekaligus persamaan. Bentuk dan untuk informasi perahu melaju dalam kecepatan normal,
konstruksi cadik di beberapa wilayah ternyata berbeda- sedangkan warna merah untuk menunjukkan bahwa
beda. Hal ini menunjukkan bahwa cadik boleh mengalami
perahu sedang diam dan dapat membiarkan perahu atau
perubahan disesuaikan dengan perkembangan budaya kapal lain melintas jalurnya. Sedangkan di bagian
setempat.
belakang terpasang lampu warna kuning, yang
menunjukkan perahu berada di depan dan sedang aktif
b. Prinsip Tritangtu bergerak.
Prinsip Tritangtu (tiga ketentuan) Sunda, mencakup 3

IV. KESIMPULAN
Kajian terhadap unsur-unsur pembentuk budaya Sunda
dalam khazanah kemaritiman, diperlukan untuk menggali
konsep hidup pamayang yang relevan dengan situasi dan
kondisi nelayan wisata bahari di Pantai Pangandaran ini.
Masyarakat wisatawan dalam dan luar negeri, dapat
memahami kehidupan nelayan dan lingkungannya sangat
menarik untuk diapresiasi sebagai suatu wisata budaya
yang berkualitas tinggi.
Gbr. 7. Komponen cadik yang siap menerimap perubahan (Dokumen Implementasi faktor keselamatan dan kenyamanan
penulis)
wisata bahari, dapat dikembangkan melalui desain cadik,
dan komponen fungsi lainnya. Misalnya sebagai media
komunikasi antar perahu yang selama ini tidak dipedulikan
para nelayan. Banyaknya tabrakan antar kapal dan
kecelakaan perahu, menunjukkan perlunya kita
memperdulikan semua aturan lalulinta laut, meskipun itu
berasal dari budaya lain.
UCAPAN TERIMA KASIH

Terimakasih yang sebesar-besarnya kepada
Kemenristek Dikti yang berkenan memberikan hibah
penelitian tahun 2016-2017. Semoga penelitian yang
masih berlanjut ini memberikan manfaat yang sebesar-
besarnya bagi kesejahteraan kaum nelayan (pamayang),
yang menjadi agen perubahan sepanjang jaman.
REFERENSI
[1] Fetterman. (1998). Ethnography (2nd edition). Thousand Oak CA:
Gbr. 8. Komponen sistem lampu cadik (Dokumen penulis). Sage Publication.
[2] Agar, M. (1996). Professional Stranger: An Informal Introduction
To Ethnography, (2nd ed.). Academic Press
[3] Ekajati, Edi S. 2005. Kebudayaan Sunda Suatu Pendekatan
Sejarah, Jakarta: Pustaka Jaya
[4] Kusnadi. 2000. Nelayan: Strategi Adaptasi & Jaringan Sosial.
Bandung: Humaniora Utama Press
[5] Satria, A. 2012. Strategi Adaptasi Nelayan Terhadap Perubahan
Ekologi. Jurnal Makara (Journal of Social Sciences and
Humanities). Series Vol 16 No.1. Juli 2012: 68-78.
[6] Skaggs, Paul. 2012. Ethnography in Product Design – Looking
For Compensatory Behaviors. Journal of Management and
Marketing Research. Brigham Young University.
[7] Suhana, Karim H. 2011. Ekonomi Kelautan Dan Pesisir.
Yogyakarta: Graha Ilmu
[8] Konsep pendekatan partisipatori etnografi, http:// www. yainal.
web.id
Gbr. 9. Desain sistem lampu cadik (Dokumen penulis).

Pengembangan Desain Produk Low Deck Electric

Bus Sebagai Transportasi Publik untuk Kota
Metropolitan
(Low Deck Electric Bus Product Design Development for Metropolitan City Public
Transport)
Agus Windharto
Jurusan Desain Produk Industri
Fakultas Teknik Sipil dan Perencanaan
Institut Teknologi Sepuluh Nopember
Surabaya, Indonesia
email: aguswindarto19@gmail.com
Abstract—The need for rapid and better mass transport Kota-kota metropolitan di Indonesia yang tengah
of Indonesia metropolitan cities increasing in line within the berupaya menyediakan angkutan masal merupakan
rapid economic growth in urban and sub-urban area. Low
pasar Low deck Electric City Bus yang potensial.
Deck Electric Bus or electrically low-rise bus is a bus that
was recommended as a mass transportation in urban areas Sistem dan moda transportasi perkotaan di Indonesia,
with the following characteristics: 1) environmentally yang tidak direncanakan dengan baik sehingga
friendly: no pollution because sourced electricity. 2) The dampaknya dirasakan sekarang. Hal lain yang
accessibility of passengers is good for passengers, especially menjadi kendala adalah masih terbatasnya sinergitas
children, the elderly, the disabled, pregnant women or antara lembaga riset, perguruan tinggi, Industri dan
passengers carrying the stroller 3) With city buses Pemerintah dibidang industri transportasi massal.
electrically low-rise, then bus shelters / bus stops will be low-
roofed, then it is better to keep the beauty of the Pengembangan industri transportasi massal (electric
architectural face of the city. This Research method is based bus) yang ramah lingkungan merupakan momentum
on integrated digital design: the study of geometry, yang tepat untuk menyelesaikan permasalahan
ergonomics, material, structure, construction and lalulintas, polusi udara, pemborosan energi yang
engineering systems through integrated digital prototype. mengganggu produktivitas warga kota.
The research results are the State of the Art Design for
Electric Low deck Bus lightweight, sturdy, safe, comfortable Di beberapa Negara maju (Jerman dan China)
and friendly environment that can be produced by a yang telah mengembangkan teknologi kendaraan
consortium of national transport industry. IPR in the form listrik, membuktikan bahwa bus listrik sebagai moda
of patent, industrial design and branding, publicity in the
transportasi massal lebih berhasil dari pada
form of participation in various National and International
transport seminars and Fairs. The purpose of this study is kendaraan listrik sebagai transportasi personal. Hal
supporting for Design Prototyping Electric Low deck Bus as ini disebabkan oleh: rute, jarak dan waktu
type of Mass Transportation Urban Safe that Convenient transportasi terukur publik. Infrastruktur pendukung
and Environmentally Friendly by synergizing research (charger dan baterai sudah disiapkan sesuai skedul
institutes colleges - a consortium of transportation industry, operasional), investasi mendapatkan subsidi dari
ministry of research and technology, other supporting pemerintah sebagai layanan pemerintah kepada
industries, and the government of Surabaya.
warga kota. Sehingga pentingnya Riset rancang
Keywords— prototype design of electric low deck bus for bangun prototipe Low deck Electric City Bus sebagai
safe, convenient and environmentally friendly urban mass sistem transportasi massal perkotaan yang aman,
transportation modes. nyaman dan ramah lingkungan. Industri transportasi
massal yang ramah lingkungan di Indonesia
I. PENDAHULUAN memerlukan dukungan riset dan teknologi untuk
Kendaraan pribadi dalam jumlah besar dan mandiri dan berdaya saing.
pertumbuhan yang sangat tinggi (18-20% pertahun)
Tujuan makalah riset ini adalah: 1) memberi
menyebabkan kapasitas jalan tidak seimbang dengan
kontribusi berupa bahan naskah akademik dalam
jumlah kendaraan, dampaknya: kemacetan, polusi,
rangka membangun sistem transportasi perkotaan
inefisiensi energi dan ketidakproduktifan warga kota.
modern, perencanaan yang matang, penguasaan
Kebutuhan teknologi transportasi masal, aman,
teknologi, kelembagaan yang kuat, perundang-
nyaman dan ramah lingkungan sudah semakin
undangan yang jelas, serta manajemen yang baik, 2)
mendesak. Kebutuhan dipenuhi dengan impor dari
membangun sinergitas komunitas/ aliansi profesi,
beberapa negara karena industri bis lokal masih
lembaga riset, perguruan tinggi dan industri
belum mampu memenuhi syarat-syarat ini.

transportasi dan pemerintah, 3) mempersiapkan material, struktur, konstruksi dan sistem engineering
capaian tertinggi dalam teknologi, rancang bangun, terpadu melalui digital prototype. Studi sistem
pembuatan prototipe, pengujian, dan sertifikasi, serta elektrik yang meliputi: controller, baterai, charger,
mempersiapkan industri Low deck Electric City Bus dan motor listrik, studi sistem mekanik: under frame,
yang ramah lingkungan serta menunjang arsitektur breaking and steering system, studi pasar,
kota. Sasaran riset ini adalah meningkatkan pendekatan sosial dan budaya serta strategi merek/
kompetensi para pemangku kepentingan sistem pencitraan (branding) (Gbr.1).
transportasi perkotaan di Indonesia.
1. Metode Integrated Digital Design CAD, CAM
II. TINJAUAN PUSTAKA dan CAE.
Pustaka umum diambil dari aneka publikasi 2. Pemakaian 3D based modeling, mulai dari
asosiasi dan pemangku kepentingan transportasi di tahap desain awal, sampai dengan akhir.
Indonesia. Secara umum Gaikindo (Gabungan
Industri Kendaraan Bermotor Indonesia) 3. Desain yang dipersiapkan dari konsep sampai
menyebutkan potensi pasar bus elektrik detail desain akhir badan kendaraan, serta
menunjukkan permintaan unit bus dalam 5 tahun ke bermanfaat sebagai perangkat pemasaran.
depan akan mengalami lonjakan tajam [16]: 4. Melakukan studi-studi yang terkait dengan
TABEL I. PERTUMBUHAN BUS KOTA DI INDONESIA 2012 -2017
berbagai aspek desain:studi kebutuhan
penumpang dan ergonomi; studi penggayaan
(styling) desain eksterior; studi desain interior:
konfigurasi komponen pembungkus interior;
studi sistem branding; dan studi animasi dan
simulasi.
Tinjauan studi dan pustaka pada riset ini

didasarkan kepada studi literatur dan pengalaman
penulis dalam perancangan moda transportasi
sebelumnya yaitu: 1) desain payloads sistem N250- Gbr. 1. Metode penelitian berkelanjutan sampai pada proses pabrikasi
N2130 bersama tim IPTN (sekarang PT Dirgantara dengan Industri Transportasi Nasional.
Indonesia), 2) desain Kereta Rel Listrik Nasional
(KRLNAS) bersama PT INKA, 3) desain karoseri Riset Bis Elektrik dapat dirumuskan kisi-kisi
eksterior and interior kereta api di Soekarno Hatta dalam perancangan: 1) bersih dan hijau: dampak
Airport, 4) konsep dan pemikiran D‘Souza, et.al lingkungan rendah, safe: lebih aman dibandingkan
mengenai low-floor bus design [8], pemikiran Tindo kendaraan berbahan bakar non elektrik, 2) cepat dan
mengenai bus listrik dan aspek enjiniringnya [14], 5) serba guna: waktu perjalanan singkat dan jadwal
Perancangan dan pembuatan prototip Ambulans yang teratur, 3) nyaman: nyaman bagi penumpang
Pendidikan untuk Fakultas Kedokteran Universitas dalam berbagai kondisi (orang tua, difabel, dan
Jember dan Fakultas Kedokteran Universitas pejalan kaki), 4) berbudaya: mengarah kepada
Airlangga Surabaya, dan 8) Beberapa tulisan serta pengembangan kota yang manusiawi dan
publikasi tentang transportasi di Indonesia. berkesinambungan, 5) dapat diterima: terjadi migrasi
dari mobil ke angkutan umum, 6) berkapasitas besar
III. METODOLOGI
dan terjangkau: murah dan investasinya lebih rendah,
Metoda penelitian rancang bangun berbasis serta 7) adaptif dan fleksibel untuk berbagai kondisi
integrated digital design: studi geometri, ergonomi, jalan raya.

IV. HASIL DAN PEMBAHASAN

Penelitian ini melaksanakan survey pasar and
analisa kompetitor sebagai dasar pengembangan Low
deck Electric Bus di industri karoseri Indonesia, agar
diperoleh harga yang kompetitif. Hal-hal yang akan
diteliti pada penelitian ini adalah: 1) perbandingan
spesifikasi low deck electric city bus yang dihasilkan
oleh industry karoseri di seluruh dunia, 2) studi Gbr. 2. Desain eksterior medium low deck electric bus.
kapasitas produksi industri karoseri indonesia, 3)
studi pasar, tren dan style, 4) studi faktor manusia
(ergonomi: keselamatan, keamanan, kenyamanan dan
kesehatan; dan sosial budaya, termasuk perilaku),
dan 5) studi pemosisian pengembangan low deck
electric city bus indonesia.
Hal ini merupakan peluang yang besar untuk
industri transportasi dalam negeri. Di lain pihak
peluang ini tidak akan menjadi kenyataan tanpa
adanya usaha untuk penguasaan rancang bangun bus
listrik oleh industri nasional, investor dalam dan luar
negeri, rencana penataan sistem transportasi kota
Gbr. 3. 3D cross section- medium low deck electric bus.
yang mengutamakan angkutan masal, komitmen
pemerintah, manajemen transportasi yang baik serta
kelembagaan yang kuat. Capaian puncak dari bidang
topik yang diteliti:
 Capaian puncak teknologi: digital prototyping,
detail engineering design document, model
berskala, mock up, prototipe, sertifikasi,
animasi bus listrik dan sistim branding-nya.
 Rencana strategis rancang bangun e-bus
nasional dan Peta jalan dan jejaring: Gbr. 4. Desain awal eksterior long type - low deck electric bus.
komunitas desain dan transportasi nasional
 Knowledge management: Dokumentasi dan
Integrasi database dari berbagai kegiatan
Rancang Bangun antara Industri: konsorsium
BUMN dengan Perguruan Tinggi (ITS) dan
Pemerintah: Bappeko, Dinas Perhubungan dan
Kementerian Perhubungan Republik
Indonesia.
 Publikasi: Jurnal Ilmiah dan Seminar Nasional Gbr. 5. Potongan interior long type - low deck electric bus.
– International dan HKI: Paten dan Desain
Industri, Dari mulai draft, pendaftaran sampai
dengan pemberian sertifikat.
 Modul pembelajaran, seperti: 1) ergonomi
desain, 2) desain bus listrik, 3) desain
transportasi masal, pendidikan teknologi:
bimbingan tugas akhir S1, dan Tesis S2.
 Kegiatan hasil riset dapat dimanfaatkan untuk
pengembangan spin off inovasi teknologi:
Guided Bus, LRT (Light rapid Transit), LRV
(Light Rapid Vehicle) dan lainnya.
A. Preliminary desain yang dibuat:

Gbr. 6. Preliminary Desain Interior

Penelitian ini diharapkan dapat memberikan medium.

kontribusi melalui rancang bangun moda transportasi
Dokumentasi yang akan dihasilkan dari riset ini
Nasional dalam bentuk kemandirian Teknologi.
sangat berguna untuk: 1) proses sertifikasi bus listrik
Sebagai aplikasinya untuk melaksanakan rancang
secara nasional maupun internasional, 2) HKI berupa
bangun pembuatan prototipe Low deck Electric City
paten, desain industri dan branding, 3) publikasi:
Bus sebagai Moda Transportasi Massal Perkotaan
keikutsertaan di berbagai seminar-pameran
yang aman, nyaman dan ramah lingkungan dengan
transportasi Nasional dan Internasional. Publikasi
mensinergikan lembaga riset perguruan tinggi
ilmiah (jurnal Internasional atau nasional
(LPPM ITS) – konsorsium Industri transportasi (PT
terakreditasi), dan 4) mendukung lahirnya lulusan
Great Asia Link yang merupakan salah satu perintis
desain produk, teknik mesin otomotif, elektro -
industri mobil listrik Nasional, PT Adicitra Birawa,
mekanik, S1 dan S2 yang menguasai rancang bangun
industri karoseri yang berbasis alumunium, ahli
Low deck electric Bus.
didalam membuat badan kendaraan yang ringan) dan
industri penunjang lainnya (under frame, interior dan Riset ini dimaksudkan sebagai pendahuluan untuk
lainnya) – Kemenristek (unsur pemerintah yang kegiatan desain yang lebih besar yang bersifat multi
memberikan insentif, fasilitasi) dan Pemerintah kota tahun yaitu: 1) Desain dan prototipe eksterior-interior
Surabaya (data informasi). Selain desain di atas, badan kendaraan, under frame, sistem battery
peneliti juga mengembangkan ruang lingkup loading – unloading, sistem charging, sistem
tambahan untuk mendesain fasilitas penunjang untuk branding Low deck Electric City Bus, 2) Riset tahun
e-Bus ini, agar menjadi solusi yang terintegrasi. pertama: pembuatan model berskala, mock up (non
operasional) skala 1:1 beserta interior, persiapan
pembuatan prototipe medium bus (7 m), 3) Riset
tahun kedua: pembuatan prototype medium bus (7
m), studi desain enjiniring, studi model 3D berskala
untuk articulated bus (17m), 4) Riset Tahun ke-3:
pengujian dan sertifikasi, marketing, dan desain dan
pembuatan mock up- pembuatan prototipe bus
standar (12 m).
Dampak positif yang diharapkan terjadi adalah
perubahan perilaku warga kota dengan
memanfaatkan moda transportasi massal – publik
yang lebih aman, nyaman dan ramah lingkungan, hal
ini akan mengurangi kemacetan di urban dan sub
urban. Penghematan subsidi BBM, pengurangan
polusi lingkungan kota, yang berimbas pada
meningkatnya produktivitas dan efisiensi waktu
warga kota. Manfaat lain yang untuk jangka panjang
adalah: 1) E-Bus dapat menjadi intermoda dengan
moda transportasi lainnya (sebagai trunk – feeder)
menghubungkan bandara, stasiun pelabuhan serta
sentra-kawasan bisnis, perkantoran, pendidikan,
permukiman, industri, pariwisata dan lainnya, 2)
menciptakan pasar bus listrik yang masih kosong,
untuk dibuat di industri karoseri di Indonesia, 3)
Gbr. 7. Preliminary desain halte e-bus. sudah berdaya saing, karena produksi bus di negara
maju pun dilakukan dengan cara semi karoseri, lalu
biaya pengiriman bus dari luar negeri berpengaruh
V. KESIMPULAN signifikan terhadap harga. Sehingga industri karoseri
Riset ini diharapkan dapat menjadi bahan naskah bus dalam negeri berdaya saing untuk pasar lokal,
akademik untuk perumusan kebijakan: 1) penguasaan dan akhirnya akan membangun kepakaran di
Teknologi rancang bangun yang didukung beberapa perguruan tinggi, lembaga riset dan
pembuatan prototipe, pengujian, dan sertifikasi, 2) pemerintah dibidang rancang bangun, manufaktur
Penguasaan teknologi produksi badan kendaraan Low dan kebijakan publik dibidang bus listrik dan
deck Electric City Bus yang ringan dan tangguh, 3) infrastrukturnya. Untuk itu, dibutuhkan komitmen,
puncak capaian teknologi Low deck Electric Bus keseriusan dan keberlanjutan sinergi antara
yang ringan, kokoh, aman, nyaman dan ramah komunitas desain, perguruan tinggi, pemerintah,
lingkungan yang akan diproduksi oleh konsorsium masyarakat dan semua elemen pemangku
industri transportasi Nasional, dan 4) pembuatan kepentingan untuk memajukan transportasi publik
model berskala, mock up dan prototipe bus listrik yang efisien dan ramah lingkungan.

REFERENSI [8] D‘souza, C., Paquet, V., Lenker, J., Steinfeld, E., Bareria, P.
(2012). Low-floor bus design preferences of walking aid users
[1] Agus Windharto (2013). Exterior & Interior Basic Design of during simulated boarding and alighting. Work: A Journal of
Monorail as Mass Rapid Transportation for Surabaya, International Prevention, Assessment and Rehabilitation, 41, 4951-4956.
Conference of Creative Industry, Indonesia. [9] Hoffman, G. A. (1972). Electric Bus Designs For Urban
[2] Agus Windharto (2013). Exterior & Interior Basic Design of Transportation. Transportation research, 6(1), 49-58.
Tramway as Mass Rapid Transportation for Surabaya, International [10] Kohne, R. (2010). Electric buses–An energy efficient urban
Conference of Creative Industry, Indonesia. transportation means. Energy, 35(12), 4510-4513.
[3] Agus Windharto (2013). Exterior and Driver Cabs Design of the [11] King, R. D., Haefner, K. B., Salasoo, L., Koegl, R. A. (1995).
Double Cabin Locomotive CC300-301 Based on Integrated Digital Hybrid electric transit bus pollutes less, conserves fuel. Spectrum,
Design, 4th APTECS International Seminar (Applied Technology, IEEE, 32(7), 26-31.
Science, and Arts), Surabaya, Indonesia. [12] Levinson, H. S., Zimmerman, S., Clinger, J., Rutherford, S. C.
[4] Agus Windharto (2013). Exterior & Interior Car Body Design of (2002). Bus rapid transit: An overview. Journal of Public
the Soekarno-Hatta Airport Railing Service. International Seminar Transportation, 5(2), 1-30.
on Applied Technology, Science, and Art (4th APTECS), Surabaya [13] Tzeng, G. H., Lin, C. W., & Opricovic, S. (2005). Multi-criteria
Indonesia analysis of alternative-fuel buses for public transportation. Energy
[5] D‘Souza, C., Paquet, V., Lenker, J., Steinfeld, E., Et Bareria, P. Policy, 33(11), 1373-1383.
(2012). Low-floor bus design preferences of walking aid users [14] Tindo; the world‘s 1st solar electric bus: Electric Bus Controller,
during simulated boarding and alighting. Work: A Journal of Electric Motor Charger Et Battery; www.adeleidecitycouncil.com
Prevention, Assessment and Rehabilitation, 41, 4951-4956, (diakses September 2016),
[6] Scheneeberger, Monorail, Light Rail Transit and Arms; 2011 [15] Rail & Bus Extrusion ; Your Partner for lightweight Vehicle,
Profiled Linear guide ways and integrated measuring system ; Aluminum Car Body: Constellium, Valais AS, Max Hugger
10.106/01/312 /SRO/EG Switzerland Strasse ^ 8048 Zurich Switzerland 2013.
[7] Arnull, S. (1994). Don't Take a Step, Take a Low deck Bus. British [16] Kementerian Transportasi Indonesia (2015), Pertumbuhan Bus
Journal of Visual Impairment, 12(3), 121-122. Kota di Indonesia 2012 -2017, Gaikindo.

Identification of User Experience Responses in

Sequential Interaction of a Car
Slamet Riyadi
Bandung, Indonesia
e-mail: dhiesign@gmail.com
Abstract: In user-product interaction, there are User Experience can assist to identify factors or
sequences of interaction which consist of the beginning to an determinants that may help designers to improve the
end between user and product which could evokes different product value which is beyond usability.
experience from the user. Each sequence of interaction
consists of such factors (e.g. symbolic, utilitarian, aesthetic, Recently, the trend of usability studies are shifting
etc.) which plays different role in attributing experience to a toward much richer scope of user experience, where users'
particular product that can evokes experience such feelings, motivations, and values are given as much, if not
impression experience, immersion experience and more, attention than efficiency, effectiveness and basic
attachment experience between user and product. This subjective satisfaction due to practical area of human-
research aims to identify the dominant, instrumental, computer interaction (HCI) human activity. Some
symbolic, and affective factors that influence the overall researchers focused on a concept of affective on users
experience in a car usage and how the experience responses responses to product, system or service [2-4], how it works
are shifted from the impression stage to attachment stage. on social environment [5], and how user experience in
This study reports the results of questionnaire aimed economic perspective [6]. However, in spite of the broad
towards different kinds of User‘s experience responses concept of user experience itself, interaction process that
during interaction with car in three different conditions of generates User Experience on products is still insufficient,
interaction stages; car was selected as case study with and further research on this domain would be necessary.
consideration that car is not only fulfills instrumental benefit
but also important symbolic and affective benefit. The II. OBJECTIVES
research resulted to better understanding toward User
Experience study from a sequential interaction point of view. In this research, the concept of sequential interaction
The study found that there are significant relationships [7] is applied to identify the dominant tendency of the
between product attachment and the length of immersive User Experience that evoked from the instrumental,
interaction which mainly created by three of five experience emotional and affective attributes of a product. This study
attributes; perceived emotional – hedonic, perceived aims to report the results of quantitative research which
physical – hedonic and perceived utilization. This research is focuses on the response of the User Experience in the
expected to help designers to identify which important context of the sequential interaction of a car. Car was
factors for user experience and as well as to foster greater selected as a case study with consideration that car is not
User Experience within their product. only fulfills instrumental functions, but also important
symbolic and affective functions.
Keywords - product design, product experience, user
experience, sequential interaction, car usage The research was conducted through an essay
questionnaire to 102 respondents that own the product.
I. INTRODUCTION The research started with a literature review on a User
As product becomes closer and more personal to its Experience of a tangible product to better understand the
owner or user, the role of user experience has turned out basic concept of this emphasis and guides the experiment.
into an important issue to the products and the users. User
experience involves human perceptions and responses III. USER EXPERIENCE IN SEQUENTIAL
resulted from the use (or the anticipation of use) of a INTERACTION
product, system or service. User Experience includes all User experience involves human perceptions and
emotions, beliefs, preferences, perceptions, physical and responses resulted from the usage (or the anticipation of
psychological responses, behaviors and achievements usage) of a product, system, or service. The user
which occur before, during and after product usage [1]. experience includes all emotions, beliefs, preferences,
perceptions, physical and psychological responses,
User experience is considered as a broad concept. It
behaviors and achievements that occur before, during and
requires more specific and in-depth study in order to after the usage of a product [1]. The occurrence before,
understand the mechanism and benefit of its emphasis.
during and after usage of a product in user experience can
Research on User Experience are not aimed to create a
be defined as sequential interaction [7]. Ball and Tasaki
superior product or even innovative one. However, this
explained about six stages of product ownership that have
concept is rather, they aim to create a product that is
closest concept with sequential interaction which consist
expected to provide its own with both aesthetical and
of Pre-acquisition, Early ownership, Mature ownership,
functional User Experience. These kind of experiences are
Pre-disposition, Post-disposition [9].
more meaningful, valuable, and could be differentiated
from its competitors. In addition, studies that focus on the

product [7]. The more product provides pleasurable

mechanism during interaction, the higher level of
immersion will be. Concept of immersion is close to the
concept of engagement with product. First impression of a
product is a key to create interaction with the product to be
more engaging or immersive. Aesthetic impression that
Norman defined as visceral, can lead into product
engagement [7, 15]. Interaction which is created from first
impression could make user interested or engaged and lead
to the continuous usage of the product [7, 16].
3.3 Experience of Attachment

Product attachment can be defined as the emotional
bond which user experienced with a special and significant
object [17]. E.g. a simple product such as shoes can be
special for someone and different from such similar
products in the market. By recurring positive and
pleasurable experiences during interactions with a product,
Fig. 1. Riyadi‘s User Experience in a Sequential Interaction (2016) a person tends to develop an attachment to that product
and, after few times of multiple interactions, the product
would be very meaningful to that person and emotional
User Experience has a beginning to an end phase
distress could evoke if the product loss, damage or
during interaction which involves user‘s internal state in
changed [18, 19]. People become attached to products
every touch points [7], investigating User Experience only
on particular interaction (pre-purchase only or usage only) since product can give pleasure; product can express one‘s
unique identity; product articulates one‘s belonging to a
still not able to answer this research question. There
should be an involvement between product‘s instrumental group; and product evokes memories of the past [20].
Attachment with the product can be enhanced by
attributes with the product‘s emotional attributes that will
emotional significance, personalization, social desirability,
changes in accordance with the duration of a product use.
and pleasures and memories with the product over time
It also could describe how User Experience is shifting
[21]. This indicates that designers can contribute to
toward the impression stage to the attachment stage [8].
stimulate the attachment to the product. Consequently
If the product can create good impressions to the user strong user-product relationships may result in more
by its appealing aesthetic attributes and how the product protective behaviors towards this product and
performs, it could lead the user to physically interact with consequently enhance product longevity [22]. Therefore
it and creates immersive and meaningful interaction that since product attachment can optimize product lifetime it
predominantly generated from its functional attributes [3, can be considered as a design strategy for achieving
7, 15]. sustainable consumption [20, 22, 23].
3.1 Experience of Impression Jordan [3] distinguishes four types of product related
to pleasures to differentiate the sources of pleasurable
Initial impression is an early stage when a person will experience in user-product interaction i.e. practical,
experience to a further interaction with the product. emotional and aesthetic benefits associated with products.
Impression stage usually occurs when a person intended to Physio-pleasure is an experience that evoked from
purchase or to use the product with various motives [7, 9]. physical sensory organs such as touch, taste, olfactory,
The initial process can be physical or non-physical, e.g. auditory (e.g. shape and texture of a smartphone handset).
enter the store and physically interact or just see via Psycho-pleasure is an experience that evoked with
internet, mobile devices, etc. people‘s cognitive and involves emotional reactions (e.g. a
There are also several ways in which design influences really immersive virtual reality devices). Socio-pleasure is
consumer preference [10]. The design of a product an experience that related to user‘s connection to other
people such as friends, relatives, colleagues and which
determines consumer‘s first impression of the product and
also related to social identity (e.g. buying product based on
quickly can communicate product advantage. In addition,
famous brand among friends). Ideo-pleasure is an
the design of a product will generate consumer inferences experience that related with user‘s valuation with product
regarding several product attributes [10-12]. The aesthetic (e.g. an old design camera that associated with ‗hipster'
value of a product pertains to the pleasure derived from camera).
seeing the product, without consideration of utility [13].
When product alternatives are similar in function and IV. USER EXPERIENCE ON A CAR USE
price, users will prefer the one that appeals the most to Since long time ago, the studies of car usage was
them aesthetically. Aesthetic responses are primarily predominantly focusing on tangible instrumental factors or
emotional or feeling responses, and they are very personal usability factors, such as how car performs, how efficient
[14]. and how convenient is the usage of car. However, product
such as car means more than a mode to transport and to
3.2 Experience of Immersion carry the passenger from point A to point B. This study
focused on exploring and identifying the experience
The word immersion were adapted from game and
attributes that influence the user‘s experience with a car as
entertainment term which can be defined as the level of
a product that carries more than instrumental value as
engaging experience as the user interacts further with their

mentioned above [8]. There are the other factors and VI. METHOD
motives that seem to play important role, such as affective
A set of definite questionnaire answered by 102
factors e.g. feelings of sensation, power, superiority and
arousal. The way people express their experiences about Indonesian respondents with 55% respondents are male on
their cars, and the way cars are advertised make perfectly car products and All respondents were mixture of college
clear that cars possess the ability to fulfill many symbolic student and professional. Respondents were solicited from
and affective functions [8]. In addition, many people think the interview and asked to answer the lists of given
that car seems to be a symbol of status. People can express questions. To participate, respondents were required to
themselves through their car, how driving can evoke have used a product relevant to this research for at least 1
sensation of adventurous, thrilling and pleasurable. This year.
implies that the utility aspect of car is not only depends on
To start the questionnaire, respondents were given
its instrumental value, but also on symbolic and affective
factors. three different group of questions that represent of three
different interaction stages with their product. Each group
A car is considered as a multi-meaning product that of questions were representing three different stage of
embodied with not only instrumental, but also symbolic product ownership and their experiences with their
and affective factors that affect how users experience and products. Respondents were requested to answer by
respond to it. Studies explained that products such as car, recalling their experience with their product in a short
fulfill three functions: instrumental, symbolic, and sentence and expected to express their experience from
affective [24]. This implies that car usage may has an impression stage, immersion stage and attachment stage.
instrumental function (e.g. it enables activities), a
symbolic function (e.g. the car is a mean to express Moreover, their experience responses during
yourself or your social position), and an affective function interaction with their car such as ―to what extend does the
in connection with deeper, non-instrumental needs and product express the given impression experience for the
desires. [25, 26] first time?‖, ―to what extend does the product express the
Although various researchers stressed that motives given immersion experience during interaction?‖ and ―to
related to affective and symbolic functions of cars are what extend does your product express the given
playing important roles as well [24-26], the dominant attachment experience since the first ownership until
factors such as instrumental, symbolic and affective on today?‖.
different stages of interaction are still unclear and The answered questions were processed into three
insufficient. We assume that the users have certain stages; raw data collecting, itemized the sentences into
tendencies of dominant factor that affecting the user
represented specific keywords and categorized the
experience while interacting with car. This particular
factor have tendencies to change along with more deeper experience attributes based on respondents‘ usage motive.
interaction between users and the car. VII. RESULTS
V. EXPERIMENT All of the data derived from the questionnaires are
The aim of this study is to identify the experience presented in Table 3. Forty-nine keywords of experience
responses that are perceived from interaction with product responses were summarized from the respondents, and
in three different stages of experience and also to identify those keywords are represent users‘ interaction responses
the dominant factor that influence user experience on each to their car from impression stage to attachment stage. The
stages. This study only focused on positive experience answered questionnaires were collected in short sentences
during interaction and Riyadi‘s model of User Experience form which represent the expression of respondent‘s
of a sequential interaction was used as a basis to construct experience during interact with their cars and those were
the study [8]. Since the response are sourced from divided into three stages of interaction.
different kind of product‘s attributes, therefore five types
of user experiences of tangible product are generated as TABLE 2. RESPONDENT DEMOGRAPHICS
follows:
TABLE 1. RIYADI‘S FIVE TYPES OF USER PERCEPTION IN THE TANGIBLE Age 17-50 years; average: 28,539
PRODUCT USER EXPERIENCE.
Experience
Description Gender Woman: 45%; Men: 55%
attributes
Perceived Experience that develop by user‘s symbolic
symbolic motivation of the product (e.g. for status social,
prestige, pride). Product ownership time 1-10 years; average: 3,63
Perceived Experience that evokes from aesthetic attributes of
Aesthetic the product (e.g. beautiful shape, cool design,
simple form).
Perceived Experience that evokes emotional responses from
emotional the product (e.g. frustrated by the complicated use Forty-nine keywords were given by respondents
hedonic of product, grateful feeling due to product use, through short responses such as by classifying each
fascinated from how the product works). sentence that has closest meaning. E.g. "I was fascinated
Perceived Experience that evokes directly with physical with the new models of this car brand and I want to buy it"
physical attributes of the product (e.g. tactual experience, and "I am fascinated when I saw the design of the front
hedonic smells of particular material or part of the product, part of this car, it has character in it, especially with the
comfort level of a chair).
Perceived Experience that evokes from utilization aspect of
grille and head lamp". Both experience responses have
Utilization the product (ease of use, convenient, fast, similar tendency to an expression aesthetic part of a car.
accurate).

TABLE 3. EXPERIENCE RESPONSES ON THREE STAGES OF INTERACTION 10.89%. This may be caused by the attributes that related
Perceived Experience Stages of Interaction to visual perception when respondents first interacted with
Groups Responses Impression Immersion Attach ment their cars, and admired the design and shape that they felt
Pride 0 1 3 suitable to their own style and personality.
Perceived
Symbolic
Prestige 0 3 2
Exclusive 4 15.69% 0 9.80% 1 6.86%
Confidence 1 3 1
Elegance 11 3 0
Dynamic 1 0 1
Simple 3 0 1
Unique 9 0 2
Ordinary 2 1 1
Perceived Aesthetic
Cool 8 1 0
Strange 1 0 0
Streamlined 1 0 0
Sharp 1 41.18% 0 3.92% 0 4.90%
Futuristic 5 0 0
Sporty 3 0 0
Masculine 2 0 0
Beautiful 1 0 0
Inexpensive 3 0 0
Cute 2 0 0
Impressed 0 2 0 Fig. 2. Transition of User Experience Responds on Sequential
Enjoyable 0 2 5 Interaction.
Different 0 0 8
Familiar 0 3 2
Perceived Emotional-Hedonic
Trust 0 0 2 However, when respondents had to interact further

Satisfied 0 1 6
Suited 3 1 5 with their cars, which is where the interaction began to
Pleasant 0 2 6 enter immersion stage, the value of the aesthetic
Grateful 0 0 9 experience decreased (2.00%). While perceived physical
Fascinated 1 10.78% 1 27.45% 3 52.94
% hedonic (30.00%), Perceived utilization (30.00%) and
Excited 1 1 1
Lust 1 0 1 perceived emotional hedonic (28.00%) considered as a
Calming 0 1 1
Aroused 0 5 3 dominant factors on this stage. This is because the
Amazed 1 1 1 respondents were focusing on the car‘s utilization or
Happy 0 0 1 instrumental factors such as how their car can be
Admires 4 8 0
Relaxation 0 2 0 controlled by physically interact with its features. Hence,
the responses of experience that often arise are regarding
Perceived
Physical-
Hedonic
Comfortable 4 3.92% 30 29.41% 18 17.65

the level of comfort of their cars, how easily these features
% can be operated, and how efficient their cars performance.
Efficient 0 6 1 In the next stage of interaction, which is attachment
Spacey 9 6 7 stage, immersive experience that respondents developed
Perceived Utilization
Convenient 0 10 4
Responsive 0 1 1 over time tends to raise an emotional experience with their
Tough 12 2 2 car where the respondent has been very familiar with the
Secure 0 28.43% 1 29.41% 1 17.65 advantages and disadvantages of their cars. Value of
Stable 0 0 1 % perceived emotional hedonic becomes very dominant
Fast 2 0 1
Anticipation 2 1 0
(53.47%). Experience responses such as "this car is very
Strong 3 3 0 different by the look and feel than they ever drove",
Solid 1 0 0 ―feeling grateful because of the car still can be used
Total 102 100% 102 100% 102 100% without any problems and ‖satisfied due to features of the
cars they have‖.
Table 3 shows distinction between impression stage, This indicates that most users are engaged with their
immersion stage and attachment stage in the user car are predominantly caused by emotional experiences of
experience determinants. The outcomes showed that the the users. Experience attributes that contributed on
first stage, which is impression stage was dominated by creating this emotional experience are in fact accumulated
the instrumental (utilization aspect of the car) and the impression experience of users from previous stage such
aesthetic attributes. As expected, 40.59% of respondents‘ as ‗feeling suited‘ due to ease-of-customize car in order to
impression with a car are motivated by the aesthetic fit with their style and to make their car distinguish from
factors and 28.71% of other respondents are motivated by other owner, feeling enjoyable caused by richness features
utilization factors of the car. This indicates that of their car. In addition, experience of satisfaction with
respondents tend to anticipate the car that they consider to car‘s performance and features also contributed on
buy by due to the aesthetic aspects of the car, and how the creating attachment with their car.
car may suit their style and personality. Hence, the more a
person impressed with particular aesthetic attributes of car, VIII. DISCUSSION AND CONCLUSION
their tendency to create further interaction with the car will The results of the study supports the author‘s
be higher [13, 14]. In addition, respondents build their hypothesis experience attributes of a product that
anticipation not only through the car‘s aesthetic appeal its embodied with two aspects both instrumental and
impression on durability since a car is considered as a emotional are changing in accordance within the stage of
product with extortionate price. interactions. All experience attributes that contributes to
Perceived symbolic shows 15.84% on impression stage impression stage, immersion stage and attachment stage
which indicates that only a small proportion of are summarized into 49 experience keywords, and
respondents who are motivated by symbolic factors when classified into five groups that represent different type of
they interact with the car for the first time, responses such perceived that respondents had experienced on three
as ‗elegant‘ are seen as a symbol of luxury and exclusivity. different stages of interaction.
Meanwhile perceived emotional hedonic only showed When considering the transition of experience

attributes over three interaction stage of a car, it can be REFERENCES

assumed that the most frequent experience responses on [1] ISO FDIS 9241-210. (2009). Human-centered design process of
the impression stage is the aesthetic aspect, which consist interactive system. ISO.
of users‘ experiences associated with visual attributes of [2] Norman D. (2004). Emotional Design: Why We Love (or Hate)
the car such as color, shape and material. However, the Everyday Things. Apogeo: Milano.
aesthetic attributes are not a major factors when users‘ [3] Jordan PW. (2000). Designing Pleasurable Product: An
Introduction to the New Human Factors. Taylor and Francis:
only require a core tasks of the car such as driving and London, U.K.
using features of their car during usage. [4] Desmet PMA and Hekkert P. (2007). Framework of Product
Experience. International Journal of Design. 1(1): 57-66.
There are significant relationships between product [5] Battarbee K. (2004). Co-Experience: Understanding User
attachment and the length of immersive interaction, since Experiences in Social Interaction. Publication series of the
product attachment is likely to develop as a result of an University of Art and Design Helsinki A 51.
immersive and habitually pleasant interaction between [6] Pine J and Gillmore J. (1998). Welcome to the Experience
users and their product on immersion stage. Economy. Harvard Business Review. 97-105.
[7] Riyadi S; Paskevicius A, Ono K, Watanabe M. (2016).
Perceived emotional – hedonic, perceived physical – Characterizing The Role Of User Experience In Product Design:
User-Product Interaction and Beneficial Aspect of User
hedonic and perceived utilization creates immersive Experience in Product Design. Bulletin of JSSD. 2016; Vol.62
condition during interaction with their car. This condition No.5, pp.59-68.
can occur because of the most interactions performed by [8] Riyadi, S. (2016). Study of User Experience in Sequential
the users are the core interaction between user and Interaction of a Tangible Product (Doctoral Dissertation).
physical instruments inside the car e.g. turning the steering Publication series of the Chiba Japan, 2016.
[9] Ball AD and Tasaki LH. (1992). The role and measurement of
wheel; using the turn signal, wiper and lamp; operating the attachment in consumer behavior. Journal of Consumer
head unit of the car; comfortable driver seat; and less blind Psychology. 1(2), 155-172.
spot inside the car. Although research on a car User [10] Block PH. (1995). Seeking the ideal form: product design and
Experience has received greater attention among the consumer response. Journal of marketing. 59(3):16-29.
design practitioners, little research has been undertaken, [11] Berkowitz M. (1987). Product shape as an innovation trategy.
Journal of product innovation management. 4(4):274-283.
and thus only limited knowledge is available to support the [12] Pilditch J. (1976). Talk about design. London: Barrie and Jenkins.
motivation to consider this study as a new point of view on [13] Holbrook. (1980). Some preliminary notes on research in
a car design research. A thoughtfully designed solution consumer esthetics. In: advances in consumer research. Jerry C.
can enable designer to consider the importance of User Olson (Ed.) Ann Arbor, MI: Association for consumer research.
Experience on their product to be more distinct and 104-108.
[14] Bamossy, Gary, Debra L. Scammon, and Marilyn Johnston.
differentiated towards their competitors. (1983). A Preliminary Investigation of the Reliability and Validity
This paper describes the relationship between users of an Aesthetic Judgement Test. Advances in Consumer Research,
eds. Richard P. Bagozzi and Alice M. Tybout, Ann Arbor, MI:
and their car on User Experience standpoint. It presents the Association for Consumer Research. 10: 685-690.
relationship between users and their cars in a sequential [15] Norman DA. (2002). Emotion and Design: Attractive things work
interaction environment and their tendencies of experience better. Interactions Magazine. 9(4): 36-42.
determinant. How car‘s instrumental, emotional and [16] Craft C. (2012). User Experience Innovation. Apress: New York.
affective attributes could create impression which makes [17] Mugge R, Schifferstein HNJ, Schoormans JPL. (2005).
Personalizing Product Appearance: The Effect on Product
the users to acquires the car and keen to immerge and Attachment. In A. Kurtgözü (Ed.), Proceedings of the Fourth
create attachments with it. By researching on this path, this International Conference on Design and Emotion. Ankara, Turkey:
research considered as a small step to help the designer to Middle East Technical University.
determine what factors of user experience that necessary to [18] Sava A. (2004). Perspective on the Person-Product
Relationship: Attachment and Detachment In D. McDonagh,
create product differentiation in order to not only be able Hekkert P, Van Erp J, Gyi D (Eds.). Design and Emotion - The
to compete with competitors, but also can create more experience of everyday things. Taylor and Francis: London, U.K.
optimized user experience on particular product. However, 317-321.
to understand further about what is the dominant factor [19] Schifferstein HNJ, Zwartkruis-Pelgrim, EPH. (2008). Consumer–
that affecting user experience, it is insufficient to focus product attachment: measurement and design implications.
International journal of design. 2(3), 1-13.
only on one type of a product. A multiple samples of [20] Schifferstein HNJ, Mugge R, Hekkert P. (2004). Designing
product are necessary in order to understand the general consumer–product attachment. In D. McDonagh, Hekkert P, Van
what is the dominant factor in every stage interaction Erp J, Gyi D (Eds.), Design and emotion: the experience of
between user and product. In real life, the effect user everyday things. Taylor & Francis: London, U.K. 327-331.
experience of a product is not just limited to a product‘s [21] Mugge R., Schoormans JPL, Schifferstein, HNJ. (2008). Product
attachment: design strategies to stimulate the emotional bonding
tangible attributes such as shape, form, color, to products. In Schifferstein HNJ, Hekkert P (Eds.), Product
performance, durability, usability that could evoke both experience. Elsevier: San Diego, CA. 425-440
emotional and physical responses from the users. Brand as [22] Cooper T. (2005). Slower Consumption - Reflections on Product
one of the intangible attributes of the product is one of the Life Spans and the Throwaway Society. Journal of Industrial
aspects in the product that could be included in future Ecology. 9(1-2), 51-67.
[23] Van Nes N, Cramer J. (2006). Product lifetime optimization: a
research to explore in which level brand can affect the challenging strategy towards more sustainable consumption
User Experience. pattern. Journal of Cleaner Production. 14(15-16), 1307-1318.
[24] Dittmar H. (1992). The Social Psychology of Material
Despite of the limitation of this study, it seems clear Possessions: To Have is To Be. Havester Wheatsheaf, Hemel
from the outcomes of the study that the issue of User Hempstead, UK, St. Martin s Press: New York.
Experience of a product shows that dominant factor of [25] Flink JJ. (1975). The Car Culture. MIT Press: Cambridge.
User Experience on each interaction play significant role [26] Jensen, M. (1999). Passion and heart in transport: A sociological
analysis of transport behavior. Transportation Policy. 6, 19–33.
in creating different condition on a product usage. This
research is considered as a basis for further research to
produce a method for designers to able to create product
differentiation by User Experience.

Third Generation of Docking Bike-share in

Bandung Tourism Area
Bandung Bike-share, West Java, Indonesia
Ratriana Aminy
Bandung, Indonesia
e-mail: ratriana.aminy@gmail.com
Abstract—Bike sharing program and infrastructures development of docking stations strengthens the image of
provides friendly-environment transportation and further bike tours in Bandung and improve the cycling culture.
improves tourism. This program is considered as alternative The need for innovative products of bike share docking
transportation replacing vehicles and considerably increases station with the third-generation system to provide a bike-
urban mobility among people. In general, the deployment of share system management solution that maintains the
bike-share station in Bandung tourism area is considerably culture of cycling in Bandung and reduce the use of
potential. Furthermore, it is also supported by a captivating private vehicles. Based on initial studies, bike-sharing
environmental condition along the entire biking route. program is likely assumed to be an alternative to reduce
However, such program is occasionally utilized by people the use of private vehicles for short travel distances within
and considered as unsuccessful. Third generation of bike- the tourist area of Bandung. The design development of
Share provides more vast methods for registering users to the third generation system in docking station can
rental, along with a strengthened security and applies of improve the services quality and simplify the exisiting
technology in monitoring the users. Docking spaces are business processes in bike rental venue. The Human
utilized to park and locks the unused bike, the space prefers Centered Design Methods allows the creation a
an effortless for users to check out or docking bikes while supporting product in bike-share system development
gradually adapts to user behaviors and intentionally blends process that not solely relied on components.
with urban environments. Docking Bar Station of Bike-
share is designed in-line for users to insert the bike properly Design analysis includes the size, type and design of
with purposes to improve accountability and bike rental the shelter. Most of the deployed bike-sharing programs
system that serves people in utilizing a more feasible human- are currently implements bike sharing with third
empowered transportation. generation system. Component of the bike - sharing third
generation system consists of:
Keywords—bike-share, docking bar, 3rd generation system
1) Special bike with docking
I. INTRODUCTION 2) Docking station
The Government of Bandung City has strategic plan 3) Kiosk or user interface technology to rent and
for more feasible Humanist transportation in Bandung by return the bike.
conducting and operating bike-sharing program. To 4) Smart card technology.
endorse the plan, the government then applies the
Regional Regulation Number 16 in 2012 regarding the Based on analysis result, there are two elements in the
Implementation of Transportation and Redistribution (as analyzed problem schemes that need be considered, the
per stated that the government is able to build a bike ease of use and an appearance of the cycle.
facility such as bike lanes and bike shelter). The Bike-
sharing program has the potential to support II. METHOD
transportation as tourism and a short-course leisure for
tourist attractions where it is inaccessible for other public
transport. The scope of problem of this study is usage
behavior, especially the bike rental process. Design
analysis of the third generation of bike-share docking
station is consist of user behavior and characteristic of
tourist within area of Bandung.
Third generation of Bike sharing has more advanced
methods for users to rent, strengthens security, and user
monitoring by utilizing technology [17]. In every Fig. 1. Element of product design in the bike-sharing.
iteration, the essence of bike-share are: anyone can simply
pick up a bike in one place and return it to another, There some considerations to be determined: First,
making point to point, human – powered transportation The type of bike-share docking station that will be applied:
more feasible [2]. The purpose of this study was to 1) manual or automated, 2) modular or permanent, and 3)
comprehend the design opportunities of the docking bike- individual or bar docking. Secondly, the station types:
share to be applied in Bandung City Area. The

installations and style of the docking stations, station III. CREATIVE STUDIES PROCESS
design is a function of the level of demand, the available Studying several aspects are necessary in order to
space, the cityscape, and the desired visual impact on the design the products, which is should be in accordance with
urban environment. third, other related aspects like: the study of transportation, Planology and Information
docking system, quality of bike, low cost production, ease Technology as well as aspects of Product Design that
installation, and tourism market. mainly focuses on Human Centered Design.
2.1 Design Identification

To design a bike-share docking station that feasible for
the city environment and for humans as users, there are
several aspects that required to be assessed including: 1)
target users, 2) location of the docking station, 3) type and
design of the docking station, 4) ergonomic, 5) interactive
concept, and 6) product scenario.
2.2 Problems Mapping

The skyrocketed of tourists that visiting Bandung are
Fig. 2. Picture 1. Type of Docking Station
significantly affects the outburst of traffic congestion.
Bike-share, however, is considered as an alternative
solution. Unfortunately, such program is currently in
operational constraints, despite of the government strategic
plan in realizing the humane transport. There are chances
of innovative development of bike-share system, taking
into consideration the cost-effectiveness, the lack of
available space conditions, as well as increased
accountability systems and services. The implementation
of the third generation of bike sharing system shall
implement the bike-share operations to be more
sustainable.
2.3 Identification of Tourism Location Areas and Bike-
share facility
Fig. 3. Comparative analysis in several docking stations. Based on the analysis, the destination point of tour
bike are KAA Alun-Alun Bandung, Braga, Gedung Sate
After conducted a comparative analysis from several and Cikapayang Park Dago. The selection of location is
docking stations, it was concluded that docking Station based on a consideration regarding the flat contour,
design of Citybike of Liverpool and Ecobici of Mexico are traveler preferences, and tourism plans. While the point of
selected as consideration for bike-share design origin is located within a 2-kilometer radius of the
development that will be applied in Bandung. A third destination point. Travelers who become main targets for
generation of Bar Bike sharing system with a modular the development of this service shall experience a pleasant
semi-permanent installation. ride and cycle comfortably without having to be interfered
by poor road surface conditions.
TABLE 1. COMPARATIVE ANALYSIS OF THE DOCKING TYPE
Several bike spots and necessity numbers of the bike-
No System Manual Automated share station in Bandung indicates that the development of
Docking Docking Bandung Bike-share was conducted in accordance to
1 IT v
2 Security Improvement v regional territory, due to limitations contours of roads,
3 Accountability v which is far from ideal for cycling. Therefore,
3 Easy to use v development program of Bandung Bike-share that
5 Low Cost v conducted in several regional areas and connectivity
between regional locations of the station are integrated
TABLE 2. COMPARATIVE ANALYSIS OF STYLE DOCKING with transport public such as Angkot (public transport),
No Style Individual Bar bus, etc. Bike share stations configured to fit in a variety of
Docking Docking spaces. A station that uses angled docks is only 45 (in
1 IT v v gradient unit) wide, ideal for narrow sidewalks.
2 Security Improvement v
3 Configurations v TABLE 3. COMPARISON OF ANGLED DOCKS
3 Ease to Install v v
5 Low Cost v No Docking Gradient Level Lane used
1 0 1500 mm
Hence, the comparative analysis result for 2 30 1350 mm

development system in Bandung will deploy the third 3 45 1200 mm
generation of Bar Bike sharing system with a modular
semi-permanent installation.

A. Alternative Design I
Applying Individual Docking by providing a specific
space for bike, the docking is designed to adjust the
docking landscape of the tourist area. Automatic lock use
solenoid and hook located on bicycle hub. The terminal is
designed separately as signage information. Applying Bar
docking, which prioritizes the efficiency for bicycle
storage in a numerous amount more than the individual
docking. The terminal is designed separately as well as
signage information. This is to simplify the production
Fig. 4. Study of the docking station measurements. process and compliance with the landscape placement of
the bike-share station.
2.4 Design Problems
B. Alternative Design II
Based on identification process of activities initiated
from registration until returning the bike, from either the
user or the operator, there are several problems, such as:
1. Required practicality and return of bike rental
with more secured accountability. Further, the
bicycle system should be restored at the initial
station, rather inconvenient when the user is
travelling away from the rental spot of bike-share
station.
2. Constraints of operations in form of community,
which bike shares were managed by bike.BDG
requires an improvement system and more
professional management.
Fig. 6. Alternative design 2
3. Lack of bike-share station space requires an
innovative design, which should be adjusted to
the cityscape. C. Alternative Design III
Applying Bar docking, it is configured to fit in a
variety of spaces. A station that uses angled docks is only
2.5 Design Ideas 45 wide, ideal for narrow sidewalks.
The defined concepts and criteria of objects design that
described in this section is the standard that used to
evaluate either the target is achieved or not. The relation of
products designed with the human as a user and adjust the
environmental conditions that minimal space tourist area
(livable and low profile).
2.6 Design Alternatives
Upon the design development process, the author have
created three of alternative design concepts for docking as
follows:
Fig. 7. Alternative Design 3.
2.7 Design Requirements
TABLE 4. DESIGN REQUIREMENTS

No Component Requirement
1 Docking - Bar with semi modular permanent installation

Station - Minimum space
2 Information - Third Generation System
Technology - Improve Security & Accountability (RFID in
System locking Hook and Smart Card)
Fig. 5. Alternative design 1 Design requirements focused on the user behavior,

operator services while locking the bike and return a bike
in park station, with the installation of bar docking.

2.8 Study of Semantic Aspects

Based on the initial product concept and background of
the problems, the study semantics docking station is more
directed at Major Innovation. This is because the bike-
sharing system that supporting the tour is still new in
Indonesian society especially tourists, hence innovation
product requires significant behavior changes from the
user (tourist), however applies the tourist values and built
upon the basis of tourist consciousness. The modular Fig. 10. The result of docking design studies.
docking concept was inspired from leaf segments that
meets at a sole point between segments, with a converging
sense of ―feelings‖ and ―identity‖. This is consistent with
the essential concept of bike-sharing system that create a
point-to-point, accessing the tourist areas more efficiently
and feasible to the environment.
Fig. 11. Configuration study of docking station.
3.1 Final Design
Fig. 8. Leaf segments.
Fig. 9. Moodboard.
IV. DISCUSSION
From all three designs, the author decided to develop
Fig. 12. Final Design.
the third design alternative, considering the various
advantages and disadvantages compared to other designs.
However, the development of this design also correspond
to the advantages of first and second design alternative.
Development of the chosen design was low-profile
docking design with purpose to reveal the ‗identity‖ when
deployed in tourist area, this allowing the placement of
stations in public space is minimal and ease the process of
joining and installation. The final design is developing a
bar docking station for efficiency to increase bike capacity
and with consideration of production costs to facilitate the
installation.
TABLE 5. ALTERNATIVE COMPARISON OF THE DOCKING

No Docking Station Alternative 1 Alternative 2 Alternative 3
1 Usability v v v
2 Livable / Low profile v v
3 Low cost v v
4 Ease to Install v v
Fig. 13. Illustration of the docking implementations.
5 Minimum space v

3.2 Specifications the docking station Intellectual Property

Assembling consists of hook for bike main bar, frame [3] Anthropometric Reference Data for Children and Adults. United
States, 2007–2010
bar, and docking. In overall the docking modules should
[4] Aquarita, D. (2013). Potensi Pengembangan Wisata Sepeda di
resist to tropical conditions in Bandung. Kota Bandung Berdasarkan Persepsi dan Preferensi Wisatawan.
[5] Bicknell, Julian. et al. 1977. Design for Need: The Social
TABLE 6. SPECIFICATION OF THE DOCKING STATION Contribution of Design. New York: Pergamon Press.
No Specification Size (mm) Material
1 Docking (3x) Box Dimension 260 x Galvanized Steel [6] Development. Sustainable Tourism
260 x 140 [7] Edgell, D. L. 2006. Managing Sustainable Tourism: A Legacy for
2. Bar Docking Bar Tube dimension Galvanized Steel the Future. The Haworth Press, Inc.
160 x 3040; diameter [8] Guide or Standart
60 [9] Guidot, Raymond. 2006. Industrial design Techniques and
3. Frame docking Bar tube dimension Galvanized steel Materials. Paris: Flammarion.
module 1160 x 400 x 100;
[10] http://bikeshare.com/2013/09/a-window-into-hangzhous-
diameter 60
monumental-bike-share-program (diakses pada Jumat tanggal 1
4. Signage 25 mm x 40 mm Galvanized steel April 2016, pukul 09.00 WIB)
5. PSU Module Box dimension 250 x Galvanized steel
[11] http://infobandung.co.id/banopolis-luncurkanbike-sharing-
(Power Supply 250 x 270 pertama-di-indonesia/ (diakses pada Rabu 08 Juni 2015, pukul
Unit) 11.00 WIB) http://nationalgeographic.co.id/berita/2014/05/ketahui-
6. Terminal Box dimension 250 x Galvanized Steel fakta-seputar-bike-sharing (diakses pada Kamis 18 Februari 2016,
module 250 x 130 pukul 13.00 WIB)
7. Bar Frame Length 400 x height Bollard, concrete,
[12] http://news.okezone.com/read/2016/02/16/525/1313902/bike-
specification 660 soil, stone
sharing-di-bandung-akan-dihidupkan-dengan-konsep-baru (diakses
8. Main Bar Length 400 x height Bollard, concrete, pada senin 29 Februari 2016, pukul 11.33 WIB)
specification 760 soil, stone
[13] Jelantik, Bismo. Product Design ITB.2015
[14] Lumsdon, L. (2000). Transport and Tourism: Cycle Tourism – A
The modular docking concept that applied is inspired Model for Sustainable
from leaf segments that meet at a point between the [15] NASA-STD-3001. 1995. Volume I - Man-Systems Integration
segments, with the converging sense of ‗feeling‘ and Standards Revision B. NASA - Johnson Space Center. Houston,
‗identity‘. This is consistent with the essential concept of TX.
bike-sharing system, which creates a point-to-point, find a [16] Norman, Donald. 2005. Emotional Design: Why We Love (or
sense of cycling experience more meaningful, self- Hate) Everyday Things. New York: Basic Books Rodgers, Paul. et
al. 2011. Product Design. London: Laurance King Publishing Ltd.
discovery when it perceives of nature, appreciate tourist
areas, and maintain the sustainability of Bandung city. [17] Nurrewa, Anugrah. Kerja Profesi Desain Produk. PT Banopolis
Inovasi Kendara. 2015
V. CONCLUSION [18] Peraturan Daerah Kota Bandung Nomor 01 Tahun 2013 Tentang
Rencana Induk Pembangunan Kepariwisataan Daerah Tahun 2012
Docking is an essential part that affects the success of – 2025
bike-share system performance, especially third [19] Peraturan Daerah Kota Bandung Nomor 03 tahun 2014 tentang
generation. The results of final design on The third Rencana Pembangunan Jangka Menengah Daerah (RPJMD) Tahun
generation system with docking bar was adjusted to the 2013-2018
narrow sidewalk contour in Bandung, resulting in a design [20] Pratiwi, Fahdiana (2014). Studi Penyusunan Rute Wisata Sepeda
Dalam Menunjang Pengembangan Wisata Heritage di Kota
that uses angled docks of 45 wide, which is ideal for Bandung.
narrow sidewalks. The Results of docking station design
[21] Rencana Strategis Dinas Perhubungan Kota Bandung Menuju
as a means of supporting tourism in Bandung likely to Transportasi yang Lebih Humanis Tahun 2016.
provide innovative development of the bike-share system, [22] Syarief, Achmad. Kuliah Semantika Produk I. Desain Produk ITB.
which guarantees the security, and accountability of bike- 2012
share operations. [23] Undang-Undang Nomor 22 Tahun 2009 tentang Lalu Lintas dan
Angkutan Jalan
REFERENCES [24] Wiyancoko, Dudy. 2010. Desain Sepeda Indonesia: Desain,
Sepeda, dan Masyarakat. Jakarta: Gramedia.
[1] ------------------------. 2010. Desain Sepeda Indonesia: Desain
Sepeda untuk Semua. Jakarta: Gramedia.
[2] Aime, G. et al. (2011) The Bike-share Planning Guide. New York:
Institute for Transportation & Development Policy Venier, Fabio
(2010). International Patent: Bicycle Design Station. World

Redefining Desires, Hopes and Behaviors for the

Future of Smart Urban Transportation for the City
of Bandung
Case Study: Microbus EV-ITB Prototype
email: ergolib@gmail.com
Freddy Chrisswantra
Creative Industries School Adhi Nugraha
Telkom University Human in Industrial Product Design Research Group
Bandung, Indonesia Institute of Technology Bandung
email: chrisswantra@gmail.com Bandung, Indonesia
email: adhinugrahadesign@gmail.com
Human in Industrial Product Design Research Group
Industrial Design Electric Transportation Research and
Development Team
Institute of Technology Bandung
Bandung, Indonesia
Abstract—The world energy crisis and environment is limited and this has an impact on the emergence of
issues have become global urgency and already affected the waste disposal and pollution that degrade the quality of
world‘s policies. This global trend has forced countries in life of the world's population.
the world to issue some policies and agreements related to
energy and environmental issues among them. In addition, Based on this phenomenon it is quite logical that today
congestion in urban areas in developing countries also the world need some space (the cities) that intelligent and
contributes to energy waste and air pollution. Bandung, for integrated with technology that is expected to be able to
instant, is one of the largest cities in Indonesia also has address the needs and challenges in the future.
similar problems. To address these challenges, some of city
concepts appeared in order to enhance the quality of life of B. City of Bandung
the citizens. One of the most emerging city concepts is smart As a rapidly growing city, Bandung was not immune
city concept. The word smart in the context of smart city is from the problems that also experienced by many cities in
due to the role of ICT as an enabler to the smart city‘s the developing countries. The increasing population
indicators. Since this study focused on the urban growth with the population density 15 713 people per km²,
transportation, this research led to the discussion of smart Bandung has a total population of 2.628.784.9 million
mobility in the context of a smart city. This research was people with an average population growth rate of 0.8% per
conducted to gain people experiences when using public year [2]. According to RTRW Bandung [5], based on the
transport that will form their desires, hopes and behaviors calculation of the growth rate, the population of the city of
as guidance values for developing smart public
Bandung in 2031 estimated up to 4.1 million people [3].
transportation for Bandung in the future.
This is become a serious problem because the maximum
Keywords—urban transportation, smart mobility, user capacity of Bandung only 3 million people. This situation
experience design, smart city, smart public transportation. will cause higher intensity of its citizens‘ activities that
will impact on high urban mobility demands. As an
illustration, the growth of the average number of vehicles
per year reaches the 11% rate per year. Bandung Urban
I. INTRODUCTION Mobility Project [4], asserts that the number of vehicles in
2010 reached 1,215,585 units consisting of 859 411 units
A. Global Trends of two-wheeled and 134 654 units of four-wheeled private
This phenomenon started with the global trends and vehicles. It is contradict to the growth of roads by 1.29%
events such as the explosion of the world's population that per year only. If this condition is allowed to happen then is
is not proportional to the available living space implicated expected in 2033, the city of Bandung mobility speed only
in the emergence of space density. According to data from 4.5 km / h with an average of every citizen of Bandung
the United Nations [1], for the first time that half of the will be spent on travel 2.5 hours per trip which is 11.54 km
Earth's population already live and settle in urban areas. It per day. It demands the city government to launch a
is estimated that by 2050 will reach 70% of the total program that called Bandung Urban Mobility Project
population in the world lives in urban areas. On the other (BUMP) which is designed to be completed in 2031.
hand, the human population explosion also impacts the
increasing human needs that have to be fulfiled. Quoting from BUMP (2013), in order to implement the
Meanwhile, in the process to fulfilling the needs will program, city government has set a vision of Bandung
require large energy consumption while energy availability urban transportation in 2031 which is "realization more

reliable and friendly Bandung transportation", reliable in user experience design approach. The 1st Microbus EV-
the terms of transportation that will support the activities ITB is chosen as case study in this research.
of the citizens of Bandung and friendly to users and the
environment. II. METHOD
C. Smart City Hekkert and Schifferstein [9] stated the understanding
of user experience (UX) as the overall sense (emotional
Schaffers (2010) in Muliarto [5] stated that the smart experience) and meaning (experience of meaning) that is
city is also defined as a city capabilities of using human influenced or caused between users and products,
resources, social capital and modern telecommunication including the extent to which our senses can feel and
infrastructure to achieve sustainable economic growth and interpret a product that appears before, while and after
a high quality of life, with the management of resources interacting with a product.
wisely through a government based on participation of
communities [5]. Boyd Cohen [6] tried to determine Based on the explanation above it can be concluded
criteria for the establishment of smart city into six criterias that the user experience is input or the views of users to
(indicators), as follows: the product which arise when interacting with the product.
This user perspective is a very valuable input in the
development of the next product that aims to make the
design to be more readily accepted so that the purpose of
this smart urban transportation design, to create a better
life, can be achieved step by step.
Pasaribu and Sarumpaet [10] stated that the activities
and habits are the views of users connected to the value of
visual and emotional associated with an experience that
should be explored by any designers to obtain design
based perspective (insight) of eyewear users, the better the
experience created by a product against its will directly
proportional to the impression given to the product users.
III. USER EXPERIENCE DESIGN
IMPLEMENTAION (PROCESS)
Fig. 1. Cohen Boyd smart city indicators [4]. The stages of the user experience design approach are
a continuous process and cannot be separated. This is
D. Smart mobility because this process requires a high level of involvement
Based on Boyd‘s diagram above, one of indicators of from potential users in every process. The method of the
smart city is smart mobility. Mobility is closely related to user experience design is divided into four major phases,
the movement. The movement is not only the movement namely, empathize phase, define phase, ideate phase,
of goods and people, but also focuses on support systems, prototype phase and the phase of testing (test).
such as infrastructure and technologies as well as A. The empathize phase
networking. The indicators of smart mobility, according to At this phase, the aims are to find any problems, needs
Boyd [6] there are three criterias that formed the smart or desire faced by users with a product. It aims to get the
mobility, as follows: mixed modal access, prioritized clean view, taste and experience as perceived by the user.
and non-motorized options, and integrated with Therefore, at this stage, researchers will conduct in-depth
information and communication technology. Grob [7] interviews (qualitative) with predetermined interaction
stated that in order to meet the demand for transportation scenarios to record any problems, needs or desire faced by
and stick to the reduction of emissions, cities will need users when interacting with the object, in this case is The
mass and individual transportation modes based on 1st Microbus EV-ITB.
renewable energy [7]. In addition, Jurvinen and Orton [8]
asserted that based on the analysis of energy market
developments reading in the world has made policy
makers began to shift in the use of vehicles that fueled by
other than fossil fuel in next medium and long term [8].
E. Smart Public Transportation
In many developed countries, the city's transportation
is already well integrated. Not only integrated with
intermodal transportation alone, but also furthermore
already connected to ICT networks enabling the spreads of
city‗s transport data. Prospective passengers for the first
time have more data than the operator. Prospective
passengers can buy tickets online, find out the schedule
and where the mode of transportation located. In this Fig. 2. Prototype of Microbus EV-ITB.
research, the target is to redefine desires, hopes and
behaviors for the future of smart urban transportation for In this research, UX design workshop was conducted
the city of Bandung from user perspective. In order to get with direct testing on the 1st prototype EV-ITB as a case
the data, the researchers have to conduct a workshop with study (Fig.2). It aims to capture the experience of the

respondents‘ s stimuli and become a benchmark to After sorting the problem, it is expected that the
compare their experiences when using existing public problems that rise to the surface will be clearer. The next
transportation with electric public transportation. So that it level is the process of ideation. In this ideation phase is
is expected that respondents can clearly distinguish these influenced by three main factors: the level of demand,
two experiences. The target at this phase is to bring back possibility technology that applied and compatibility with
the user‘s experiences when using urban transport. These predetermined targets.
respondents‘ s experience will be stated as basis direct
comparison in order to be able to translate what users‘ D. Prototyping Phase
needs and expectations on urban transport in the future The next step is the stage of a prototype based on the
that will be raised at the brainstorming phase (Fig.3). ideas that have been determined in the ideation process
before. The prototype in this process is different from the
prototype in the design process. In UX design, the rapid
prototype is a concrete depiction of the ideas raised in the
rough way aimed to accelerate and iterate the user‘s needs
and wants. The prototype is intended to make the ideas
development process more intense to regenerate with rapid
prototyping.
E. Testing Phase
The essence of this stage is the validity of the ideas
that appear from the users. In this step, users will provide a
response directly after use or develop rapid prototyping
Fig. 3. Brainstorming process condition. (Fig.4). The target of this phase is the emergence of
suitability or compatibility between wants and needs of the
users through prototypes.
IV. RESULTS
Has been discussed in previous chapters that this
workshop aims are to get input data on the needs and
expectations from the potential users of this smart urban
public transport. Due to the final target of this research is
to emerge the idea of public transportation the city of
Bandung in the context of smart city (the renewable
energy) therefore the selected object of case studies in this
research is the 1st prototype Microbus EV-ITB which
already based on electric power. The respondents were
asked to perform various simulations in accordance with
the predetermined scenarios.
Fig. 4. Rapid prototyping
A. Waiting for the Vehicle Scenario
B. Define Phase In this scenario, respondents were asked to perform
At this stage, respondents were asked to observe and simulation when they wait the public transport. In such a
interact directly with the research object. This observation scenario, the respondents would pay attention to any need
is restricted by dividing into four scenarios activities. Each or facility according to what they expected on the public
scenario will be started from the activities and will be transport. Respondents were divided into groups to discuss
directed to the tendency or lead as a reference facilities, (brainstorming) this situation with their group. Here is the
needs and expectations of urban public transportation. The result the brainstorming process.
scenarios are as follows; Once classified (Fig.5 and Fig.6), then the input of the
1) The first scenario: when user waiting for the arrival needs and expectations of potential users is divided into 3
of this urban transport modes. major groups as follows. The first group is the need for
indicator facility as the identity or status information of the
2) The second scenario: the situation when the public transport. The second group is the emerging need
respondent entering the vehicle. for public facilities as support vehicle applications online
3) The third scenario: when the respondent in the about the status of public transport. The last group is the
vehicle during the trip. indication of the need for shelter facilities and supporting
4) The fourth scenario: when the respondent devices.
descending from the vehicle is due to arrive at the
B. Simulation Scenarios When Entering the Vehicles
destination.
Not much different from previous simulations, in this
In these scenarios, each respondent was asked to simulation respondents were asked to understand and
respond to the object of research with the situation as if it undergo direct simulation process that can imagine and
was routine activities that happen in daily life when they found deficiencies and needs that already exist or that have
want to use public transport. Each respondent was asked to not facilitated on the objects case study in this regard is the
imagine their needs when running each of these scenarios. 1st prototype microbus EV-ITB. Based on these
C. Ideate Phase simulations, participants will give ideas about needs and
wants in accordance with this scenario. Here are the results

of the brainstorming of user in response to the object of

research.
Fig. 7 and 8 is the result of a discussion of one of the
groups associated with the simulation while in the vehicle.
For more details, therefore this process will be merged
with other groups to see the diversity results from
respondents. Here are the results of categorized items
respondents needs and wants in the simulation entering the
public transport. After compiling the data, it can be seen
the needs for such facilities that grouped in to two large
groups on which the attention of the respondents, such as
the entrance and stairs.
C. Simulation Scenario in the Vehicle
Repeating the same discussion method to the previous
scenario, respondents will pour brainstorming results per
each group according to the current scenario in the vehicle.
The next step is to compile the input to be viewed as a
whole from each group into the list of needs and wants.
Each input that appear based on observations and
experiences of respondents, so that the needs and
expectations of emerging expected to represent needs and
wants from potential users.
After compiling the responses then the next step is to
categorize the items into groups based on similar themes.
In this scenario, it was found that appeared four groups of
items such as the needs for windows that large and clear
(see-through) making it possible for passengers to freely
look out. In addition, the clear glass can improve safe
feeling to passengers. Other functions especially for
passengers who are still outside can see directly the
condition of city transport from outside the vehicle so that
it can determine the position or seats are still available in
the shuttles (Fig.7).
In addition, respondents also have a similar
requirement on media item information. Media
information is required to be able to monitor mileage or
destination, or the city‘s agenda (for tourists) to be placed
in vehicle. There are also highlighted points such as the
vehicle's interior accessories items, the position of ac
blower, trash bin, USB slot and interior lighting. The last
item group is sitting facilities (Fig.9). Sitting facilities
required for prospective passenger is a seat that has
character shapes that have adapted to the size of the body,
such as the curve of a barrier between the seating making
it impossible for passengers jostle each other.
Fig. 5. Brainstorming result D. Simulation Scenario Descent from the Vehicle

This simulation is implemented on at the last scenario
by the respondents in this workshop. This simulation aims
to look beyond the needs and expectations of passengers at
the time the respondent simulating descent from public
transport. Here are the results of the brainstorming of the
respondents. In this scenario it was found four groups of
items that appeared on which to base on consideration of
potential users, among other things, the need for a window
large enough and clear (see-through) making it possible
for passengers to freely look out. In addition, the clear
glass can improve safety for passengers. Other functions
especially for passengers who are still outside can see
directly the cabin condition from outside the vehicle so
that it can determine the position or seats are still available
in the shuttles.
Fig. 6. Brainstorming result frequency

Fig. 7. The second phase brainstorming result.

Fig. 9. The third phase brainstorming process
Fig. 8. The second phase brainstorming result frequency Fig. 10. The third phase brainstorming process frequency

user experience design workshop, it is known that there

are some expectations that are not exist on the 1st
prototype microbus EV-ITB. In the scenario waiting for
urban transport discovered that the object of the case study
is not equipped by means of the purpose or status
information such as how many available seats ini the
vehicles. From all the hopes are coveted by potential users,
have not been found in the case study object. According to
the respondents it regarded as lackness of the object of the
case study. In the current scenario will be entered into the
vehicle also found that operating the door is still using
manual systems. This is contrary to the wishes of potential
users who expect the doors open automatically. Later on
object access in the case studies are still using a ladder that
is also seen as a shortcoming. Respondents expect that
these were should not be found in urban transport in the
future. If it is a necessity to use the stairs, the respondents
expect the handrail as supporting facilities to the user
when entering the vehicle.
For scenario activity in the vehicle, the respondent
argued that the existing seats are still using conventional
models similar to the existing urban transport before. In
this scenario, the respondents expect the layout of the
interior is using layout that promotes access and
convenience not a passenger capacity of precedence. In
addition, respondents also found a low ceiling to floor
distance so that passengers have to bow while entering the
vehicle. As for the supporting facilities, the respondents
hope to be facilitated with Wi-Fi network and access
recharging gadgets because it is considered important to
the future of urban transport facilities. For further
expectations, the respondents expect the media
information that gives distance information, the travel,
nearest bus stop or updated city‘s agenda. In the case study
object does not have the media information that is
expected by the respondent that is considered as one of the
shortcomings. While in the current scenario descent from
the vehicle, the respondents complained about the lack of
facilities handrail on the interior of the vehicle. In addition,
respondents also wished that this vehicle has the media
information that provides notification stop point.
VI. CONCLUSION
Based on the results of this study, it was concluded that
Fig. 11. The fourth brainstorming process
the 1st prototype Microbus EV-ITB cannot be said to meet
the expectations and needs of potential users. This is due
to there were not found main or supporting facilities in
accordance with the criteria that expected by respondents
who act as potential users of future smart urban transport
for the city of Bandung. On the other hand, respondents
argue there is positive thing that are found in this
prototype which it is already based on the electric power
synergize to one of the criteria of a smart city.
Respondents hope this research can continue, so that step
by step the expectations of society on the smart urban
transportation can be realized.
REFERENCES
[1] United Nation. (2007). World Urbanization Prospects: the 2007
Revision. Retrived from United official website: http://www.
un.org/esa/population/publications/wup2007/2007WUP_Highlight
Fig. 12. The fourth brainstorming process frequency s_web.pdf
[2] Badan Pusat Statistik. (2015). Kepadatan Penduduk Per KM2 Kota
V. DISCUSSIONS Bandung Tahun 2008-2014. Retrieved from Badan Pusat Statistik
Kota Bandung Website :
Referring to the results of analysis input from the last http://bandungkota.bps.go.id/linkTableDinamis/view/id/10

[3] Pemerintah Kota Bandung. (2012). RTRW Kota Bandung tahun Website: http://www.iiisci.org/journal/CV$/sci/pdfs/XF463SC.pdf
2013-2031. Retrieved from Bappenas Library Website: [8] Jurvinen, J., Orton, F., Nelson, T. (2011). Electric Vehicles in the
http://perpustakaan.bappenas.go.id/lontar/opac/themes/bappenas4/t NEM: energy market and policy implications. Retrieved from
emplateDetail.jsp?id=127002&lokasi=lokal AGL Energy and Action Website:
[4] Pemerintah Kota Bandung. (2013). Bandung Urban Mobility http://www.aemc.gov.au/Media/docs/AGL%20Energy%20-
Project. Retrieved from Pejabat Pengelola Informasi dan %20111101%20-%20Attachment-c406f80c-8eb8-464f-aece-
Dokumentasi Kota Bandung Website: https://ppid. bandung.go.id/ 3cb9c3f680c1-0.PDF
wp-content/uploads/2016/08/bump-indo-full.pdf
[9] Schifferstein, H., N., J., Hekkert, P. (2008) Product Experience.
[5] Muliarto, Hendro. (2015). Konsep Smart City: Smart Mobility. First Edition. Elsevier Publisher: United Kingdom
Retrieved from SAPPK-MPWK-ITB: https://www. academia.edu
/11740282/smart_city_-_konsep_smart_mobility. [10] Pasaribu, Y., M., Sarumpaet, D., C. (2015). Public Perception on
EV Public Light Bus Concept (Case Study The City of Bandung).
[6] Cohen, Boyd. (2013). 6 Key Components for Smart City. Retrieved from International Conference On Electric Vehicular
Retrieved from UBM Future City Website: http://www. Ubmfutu Technology official website: http:// icevt2015.uns.ac.id/wp-
recities.com/ author.asp?section_id=219&doc_id=524053 content/uploads/2015/20/SCHEDULE%20ICEVT%20IMECE%20
[7] Grob, Gustav., R. (2009). Future Transportation with Smart Grid 2015.pdf
and Sustainable Energy. Retrieved from International Sustainable
Energy Organization for Renewable Energy and Energy Efficiency

Group 2
Small Industries and Culture

Group 2. Small Industries and Culture
TRADITIONAL INDUSTRIES AND CREATIVITY MIE 43

LETHEK PRODUCTION PROCESS TECHNOLOGY
Bertha Bintari W
MANIK-MANIK KACA JOMBANG INSPIRASI UNTUK 47

PENGEMBANGAN MOTE BATIK JAWA TIMUR
JOMBANG
Glass Beads Inspiration for the Development of “Mote Batik”
From East Java
D. R. Amelia
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
KAJIAN INDUSTRI KREATIF BUSANA MUSLIM 54

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 the World Muslim
Clothing Center
Nurul Hidayati, Khozinatus Sadah
PENGEMBANGAN DESAIN PRODUK TAS BEGAL 59

(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
REVITALISASI DESAIN TUNGKU MASAK (DESA 62

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
INDONESIANS’ ATTITUDES TOWARD THE CHAIR 66

MATERIAL AND MATERIAL COMBINATION
Intan Prameswari, Haruo Hibino, Shinichi Koyama
VISCERAL DESIGN DALAM KAIN TENUN SUTERA 70

GARUT
Visceral Design in Garut Silk Weaving
Nandang Setiawan, Achmad Syarief, Yanyan Sunarya
VISUAL CHARACTERISTIC OF BANANA STALK FIBER 74

LAMINATION AS AN ALTERNATIVE MATERIAL FOR
CRAFT PRODUCT
Christmastuti Nur
ADAPTATION OF TEAK WOOD SELECTION ON 78

FURNITURE INDUSTRY TO OVERCOME THE
LIMITATION OF WOODEN AMOUNT (CASE STUDY:
MANGGALA FURNITURE, CENTRAL JAVA, INDONESIA)
Arianti Ayu Puspita, Jamaludin
DAMPAK ‘KOREAN WAVE’ TERHADAP INDUSTRI ALOE 83

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

Traditional Industries and Creativity in Mie

Lethek Production Process Technology
Bertha Bintari W
Product Design Department
Polytechnic of Mechatronics Sanata Dharma
Yogyakarta, Indonesia
e-mail: bertha@pmsd.ac.id
Abstract—Traditional industry is an industry that cassava roots with no preservatives used.

empowering people resources that are still by traditional
technologies in their production processes. Ways of Morphology means the study of the form (shape /
processing and equipment that is maintained traditional form). Morphological analysis is a systematic effort to
production of the industry is an obstacle to the fulfillment of analyze the product forms. The map of morphology
production targets, but culturally, processing, use of the (morphological chart) is a summary of the analysis. In the
traditional technology in industrial equipment and future map of morphology (morphological Chart) can help
production processes is a unique creativity. Dusun Bendo, the engineering designer to identify new combinations of
Desa Trimurti, once a production center for flour noodles elements or components of the products of this map can
with cassava flour (tapioka) as raw materials. Desa Trimurti compile complete elements, components, or sub solutions
was right on the edge of the Progo river, included in the that can be combined to obtain a solution. The solution
district of Srandakan, Kab. Bantul. Jogjakarta. There is one obtained of the possible combinations can be done is a
of noodle industry called Mie Lethek is the property of Yasir solution that has been existing, or new variations.
Ferry Ismatrada grandson of Alm. Bisyi Umar Nasir who
was the pioneer in the making of tapioka noodles, in the 40s. Analogy method is to use reasoning phenomenon.
Mie Lethek production process is done by human labor and Analogy in general is one of the techniques in the process
assisted by two cattles. This paper examines how an industry of inductive reasoning. So the analogy is sometimes also
is a manifestation of creativity to create applied within the referred to as inductive analogy that the process of
framework of the preservation of traditional culture. reasoning from one phenomenon to the other similar
Traditional technologies are morphologically examined the phenomena later concluded that what happened to the first
entire production work equipment. Morphological phenomenon will occur also in other phenomena. Type
technology equipment assessed as morphological forms and analogy distinguished from how to use the phenomena and
analogies mechanisms as a creative process solve problems relationships.
in the industrial production process of Mie Lethek. From
these studies it is expected that the value of creative applied II. LETHEK NOODLES PRODUCTION PROCESS
to technology can be conserved as historical value traditional OBSERVATION
technology. Besides the traditional production process is
learning the cultural historical value tech community. The Dusun Bendo, village Trimurti, once a production
aim of this paper is to make an example of the tool and center of flour noodles with raw materials called tapioka.
evaluate the morphological analogy, the output map the Trimurti village were right on the edge of the Progo River,
morphology and function of analogy overview Srandakan, Kabupaten Bantul. The village direction is
approximately 15 km south of the city of Yogyakarta.
Keywords—Mie Lethek Production process, Morphology, Business owners of Lethek noodles is Yasir Ferry
Analogy, Creativity Ismatrada.
I. BACKGROUND Since its establishment until now nothing has changed
in terms of both equipment and optional use of its
The design requires appropriate methods to facilitate
workforce. Initially in place is not using the machinery;
understanding of the problem and provide the best
the whole production process is done by human power
solutions and innovative. The case studies were used to
aided by cattle. Cattle which used is a kind of Brahma,
assess the application of morphological analysis method
who has great posture and has a more powerful. Cattle can
with a combination of analogy method in this case is the
do heavy lifting than a horse or buffalo. In the other side,
process of designing tools to make ― lethek‖ Noodle as
cattle operation is easier, because the speed is adjustable
traditional industries that still use the ability of human
and can be stopped suddenly. Energy produced from cattle
thinking skills intuitive. The technique which makes this
is very large, with a low but consistent pace. In production
study interesting and important is how humans get
room of a cow would move slowly around the table /
engineering solutions to find or develop a mechanical
circular cement tanks as high as 50 cm and a diameter of 3
logic that might have existed since centuries ago, but with
meters. Along with the movement of cattle, cylindrical
the development and knowledge of new materials and
stone weighing 1 ton on the table cement connected to
technologies, so that the tool can be developed mechanical
cattle's neck rotates grind noodle dough. Cattle used in the
means.
process of grinding and mixing dough cassava flour and
Mie Lethek gets its name from the noodle‘s muddy tapioca flour, before steaming phase and the first batter
color. Instead of the usual flour used in Chinese-style after batter mixing of the first dough steamed. The milling
noodles, the basic ingredients for Mie Lethek comes from process was done 2 times, with an interval of 2 hours rest.
a mixture of tapioca flour and gaplek or the sliced dried Cattle also have to run around, and occasionally pausing

items 10 to 20 seconds to allow the workers to stir or flip namely cassava in order to obtain granules desired, the
through the dough. In one round of cattle stopped 2-3 second stage was soaking cassava flour, the third stage is
times. the mixing result of grinding with tapioca flour, the fourth
stage is compacting and molding the shape of the box/
Noodle production house owned by Mr. Ferry has block size of 30x40 cm, the fifth stage is steaming mixing
three cows. Noodle production takes 2 working days and flour that has been shaped block, the sixth stage is the
one day off to allow the cows to rest. The cows are used in process of grinding and the addition of starch to obtain a
turns every milled. In one day, the production activities dough composition is desired, the seventh stage is pressing
carried out three times: 08:00, 15:30 hours and 20:00 noodles dough, eighth stage is steaming noodle, ninth
hours. stage is a cooling of the noodle, the stage of the tenth is a
In one stage of production (day 3 times milled) takes process soaking the noodles can be parsed or separate
650 kg of dough to produce 600 kg of dried noodles. easily, the eleventh stage is measure the noodle volume,
Although wearing traditional equipment, production the twelfth stage is drying, the thirteenth stage is packing.
capacity can reach 10 tons per month. To get 10 tons of Overall, it takes 5 days production from the first phase
noodles, Yasir requires about 10.5 tons of tapioca flour until milling cassava into noodles and ready to sell. Due to
and 20 tons of dried cassava. Lethek noodle production is the process of soaking the flour should be for 2 nights with
still not sufficient market demand is increasing, while the replacement of water each day. While mixing the flour
increase in the production process still limited. Production with cow power could shift lasts 12 hours with alternating
average per day was 1.15 tons per day but he said figures cow. The process is continued in the evening if the milling
were not yet able to meet the market demand, which process with cattle not finished. Steaming process of flour
reached 3-5 tons per day. block also requires a long time is about 4 hours. After
being unloaded from the steamer, is to cooling the flour
block. Furthermore milled back until the dough has a
certain elasticity. Furthermore, desired dough is placed in
presses to make noodle strands. Noodles produced poured
in sheets of woven bamboo, then steamed back for 3
hours. After being unloaded from the steamer the noodles
place in covered plastic and stay overnight in a closed
condition tarp. The next day soaked in water and then
measured out and arranged in sheets of woven bamboo
basket hollow. The woven bamboo sheets are dried under
the sun. The Difficulty is to drying the noodles if overcast
conditions drying can last more than 2 days. Drying oven
rated not produce noodles as expected. Thus this process
depend solar heat, hot air, and the moving wind had dried
noodles .The next step is packing the noodles into a plastic
bag (Fig.1).
III. CREATIVITY DRIVEN IN DESIGNING MACHINE
SUBSTITUTION
The use of modified catapult meant to get tremendous
pressure on the stalk end. At the end of the shaft has been
placed sacks of dough and noodles display devices, so that
the dough will be pressed to produce strands of noodles.
The force principle of gravity is generate large pressure to
suppress around more than 1 ton of dough. But with the
changing times, the owners want a constriction device that
is more effective and efficient. Then catapult that requires
five labor as the operator is inefficient. With the method of
trial and error, the owner tried to make a hydraulic press.
The owner taught himself about the functions and ways of
working hydraulics. With creativity then make noodles
with a hydraulic pressing machine using liquid oil.
Creatively indeed the owner tried to solve the problem
because there is an urgent need for a tool presses. The
working principle is applied is the printing of the noodles
through the hole in the filter with high pressure.
Functionally the appliance is functioning, but there are
things that still need to be revised, even though the use of
oil. Oil is not safe to use as a hydraulic fluid for the food,
because of the risk when there is a leak. The use of the tool
material with iron materials are not food grade also
dangerous. Below is a catapult replacement tool for
Fig. 1. The stages of the production process. pressing the noodle dough (Fig.2). Mechanism of catapult
used to pressing the noodle dough. To operate this
In the production process there are several steps that
―machine‖ needs five persons. Now they replaced the
must be passed. The first stage is milling starting materials

catapult to the hydraulic pump to pressing the dough Func Analogy 1 Analogy 2 Analogy 3
(Fig.3). tion
Grin Steam Roller Stomper Sugar Cane grinder
der,
Pres
ser,
This truck serves Stomper serves to This tool serves to

full view base compact the soil flatten cane to
density of the surface or base of extract sugarcane
road so that the the foundation, juice. The way it
foundation stone because of the works is some
with another smaller easily sugar cane rods
stone and bind directed inserted later two
more tightly to movement up and rollers will move in
one another. The down opposite direction
mechanism of to flatten out
forward and
backward motion,
one axis
Mixer Vertical Concrete Horizontal Auger screw

mixer concrete mixer
Fig. 2. A giant catapult mechanism.
Doug Plough
h Flap
ped
Fig. 4. The morphology and analogy study
In this case study, tool in the morphology and the

analogy is a dough mixer, dough grinders, mixers and
Fig. 3. Oil hydraulics pump.
presses the noodle dough. Lethek noodle-making process,
IV. MORPHOLOGY ANALOGY a tool used to pressed, mix the dough. But in the process of
mixing, the dough flipped process is manually done by the
Morphology is a method of studying changes in shape, operator. In analogy, grinder / compactor analogous to the
but in the context of designing morphology , it is a creative way foundation compactor, soil compactor, and sugar cane
method to generate ideas. By dividing part tool in the form presses. Analogy mixer using Molen, concrete mixers and
of the structure, type of component, part or function of the mixer dough for bread. Inverting tool analogous to
form element tool will easily get substitute alternative plowshares, which has the function turn the soil on the
design tools with the choices made. Morphology will help farm. The design concept is built on the analogy
to generate alternative ideas in developing design morphology alternatives and then analyzed and selected
alternatives. the best alternative concepts. The alternative choice is then
While the use of analogy is to make it easy to imagine compiled with machine component or device with
the design tool that changed or redesigned. Analogy is the morphology to alternative design concept. The idea of the
perception of object methods, form or function of the tool design can be arranged to be more varied but still in the
is considered to have similar or type, mechanism or similar realm of thought to design solutions to problems that have
functions. been encountered before.

V. ANALOGY FOR MORPHOLOGY through the analysis of the criteria for performance
Mixing, grinding, specifications are planned. In the finally selected a design
pressing machine Analogy morphology concept that is then etched, developed and make it in detail
design A B C with working drawings mature plan. To be able to analyze
Pressed Steam Roller Sugar Cane Stamper about a possible malfunction of the tool properly requires
mechanism Grinder experience and knowledge. Methods of making a model to
test the concept suggested before the prototype tool is
made as real as possible. Prototype trials will help to
ensure the tools work according to specifications expected
performance.
Flapped Plough Plough
mechanism VII. CONCLUSION
Morphology in this example is still possible to be
developed further so that it can be composed of its
morphological chart. Parts of the morphology which
Mixing mechanism Molen Molen Molen thought as analogy function is to find an alternative or
vertical horizontal horizontal/
replacement parts tool aimed at. Preparation of maps
auger screw
morphology and try to analogize how the tool works
requires logic mechanisms, extensive knowledge and
creativity to connect. Mechanisms logic skills and
knowledge of the tools that has a function or work like is
Unloading dough important. With the expected morphology chart designer
has many logical alternative to design and develop tools.
The table above shows that the process of creation of
means of production on the home's noodle industry lethek
Fig. 5. Analogy morphology alternatives of the machine replicate and modify existing tools. Creativity designing
component. production tools traced from an understanding of the logic
of the mechanisms existing tools are then applied to the
No Variable Variant
A B C
working methods in the production process. Of course in
1 actuator the development and technological progress is actually a
lot of things and a lot of tools that can be replaced,
changed and modified or replace the system processes and
work tools into a modern industry, guaranteed by quantity
and quality and hygiene. But in fact many things that need
AC Electric Piston Motor Manual to be appreciated are how the owner has the mission to
Motor employ as many people and maintain a traditional way and
2 Machine is unique in the manufacturing process. Replacement tool
structure
does do the part that had been considered ineffective and
L Profil U Profile inefficient, i.e. for replacing traditional presses with
I Profile hydraulic presses.
3 Transmi Creativity is not only how to troubleshoot problems
ssion with the best solutions, but also able to pick the best. The
system selection process is packing production in the traditional
way which preserved to attract tourists. The production
V-belt pulley Gear and chain process now only conserve power tool grinding work
Gear remains interesting and unique cow that became an icon of
4 Mixing
tools
culinary tourism in Yogyakarta. Finally this industry
sustainability depends on the future course whether his
successor will continue to sustainably or lost in
modernization and economic interests.
5. Unloadi
ng REFERENCES
[1] Fargnoli, Mario, The Morphological Matrix: Tool for the
development of innovative Design Solution,ICAD, 2006
6 material Textured Alumunium stainless steel [2] Ozgen, Gokhan, Design Process and Morphology, Dept of
metal sheet sheet sheet Mechanical Engineering, Middle East Technical University,
Ankara, Turkey, 2014 DM
Fig. 6. Final selected design concept.
[3] Ratna Tungga Dewa, Perencanaan, Perancangan dan
Penyempurnaan Produk, Jurnal Teknologi Industri, 1999, VOL.
VI. EXAMPLE MORPHOLOGY FOR MACHINE III, NO. 1, Hal. 25-46, ISSN 1410-5004
LOOKING FOR IDEAS COMPONENTS [4] Ginting, Rosnani, Perancangan Produk, Graha ilmu, Jakarta, 2012
The concept of design alternatives been returned [5] Hurst, Ken, Prinsip – Prinsip Perancangan Teknik, Erlangga, 2007

Jombang Glass Beads Inspiration for the

Development of ―Mote Batik‖ from East Java
D. R. Amelia
Department of Master of Design
Institut Teknologi Bandung,
Bandung, Indonesia
e-mail: rizkydesita@yahoo.com
Abstract—Beads is one of cultural heritage in indonesia , 200 craftsmen and thousands employees in East Java.
the uses of beads influenced life at that time. It can be seen in However, this is not dampening the interests of glass beads
every motives and engraving on it beads used as Jewelry. The craftsmen for bankruptcy. The broken glass waste they
design of Jombang glass beads or Gudho beads in indonesia processed into beautiful glass beads is priced at a very low
highly influenced by dayak tribe motive. Jombang Glass
Beads own consisting of many forms and uniqueness motive,
cost. The selling price of any glass beads strand is priced,
but it is nothing compared to selling price and production usually, at just Rp.7,000 to Rp.20,000. At present,
process of manik-manik itself made by detail and difficult however, the glass beads are about to suffer from a loss of
process. Therefore manik-manik glass will more valuable market share, either local or global, due to multiple threats
when every glass beads made with motives and shape by its of industrialization, stagnation over a last decade, and an
own uniqueness of east java batik to be aesthetic element in identity crisis. Given the beads beautiful batik mote
the fashion and East Java souvenirs especially Jombang. So design, the glass beads themselves will have high sale
the beauty in any form of Jombang glass bead and the detail value. It can make the glass beads industry respected by
that craftsman made can be compared with ornamental craftsmen in other villages of Jombang and, thus, driving
jewelry elements are generally the price is more precious.
them to develop beads as a typical product of Jombang and
Keywords—jombang glass beads, batik, craftsmen. improve the quality of people‘s living in Jombang and
surroundings.
I. INTRODUCTION
B. Problems
A. Background
Material under recycling is material of most interest to 1. In the later years, the glass beads craftsmen of
be discussed at present and for people, for example, Jombang received a lot of orders coming from outer part
material glass waste. Along with the development of era of Jombang and abroad. The craftsmen receive the buyers‘
and the modernization of life, the people were more and design, and imitating the beads of other areas that have
more consumptive having impact on the increase of been created. It is resulting in the lack of characteristics
rubbish on earth. The utilization of glass waste will reduce and identity of glass beads products delivered by the
the increasing number of waste in the world, thereby craftsmen of Jombang.
making recycled material useful for basic material of a
product as a substitute in the production of glass material. 2. Less development and exploration of design and
One method of processing glass waste used by small and isen-isenan, result in stagnant production of glass beads in
medium industrial agents is the production of beads. The terms of design. In addition, the craftsmen have fewer
beads are one of the typical Indonesian souvenirs which skills in sharpening their capabilities and creativity to
are popularized today in various regions of Indonesia. deliver glass bead products of Jombang.
Glass beads Gudho of Gambang village, Jombang, are 3. Since they very often to imitate the glass beads
well-known as glass beads. The development of glass design of other regions or of the buyers‟ orders, the
beads craftsmen is originated in residual glass waste, the craftsmen inevitably compete with each other to sell their
bottles. The production of ornaments, especially beads of products. So the product cost was highly competitive,
all colors, use material put in smelting, processing leading to the reduction of production and raw material
technique the workshop. Beads and dye are heated up, costs to make price cheaper. Even wages of workers were
simultaneously, and then dye is smeared on a tool to be particularly low and, therefore, not in proportion to their
adhered on the desirable location and the shape. However, trouble in producing the glass beads.
the glass beads craftsmen in Jombang today had have not
typical beads itself. They continue to produce beads C. Objectives
originated in other areas of Borneo, Toraja, Sentani, and
East Nusa Tenggara. This is leading to the Indonesian This paper examines the development of glass beads
people are less recognizing that the glass beads are design as batik design of Jombang, for purposes, for:
manufactured by craftsmen of Gudho village, Jombang,  Producing typical glass beads product or batik
and, therefore, they have not the typical souvenir of design of Jombang in innovation of product to
Jombang as it will have to be made into Jombang glass make the craftsmen of Gudho village, Jombang,
beads or batik mote for typical excellent product of prosperous in economy.
Jombang.
 Delivering unique batik design in terms of
Gambang village, Jombang, today was a beads material and detail having high selling value as it
industrial center in East Java. Currently, there are about is made one by one carefully using manual

technique by the craftsmen. 2. Batik Mahkota, Sidoarjo. Batik being used for a
 Introducing batik design of East Java adapted to proposal has a sign of honest love, a motif having a lot of
glass beads to serve as an aesthetic element of lovers and has been patented by the Government of
product fashion. Sidoarjo district as one of typical motifs of Sidoarjo.
3. Gajah Oling, Banyuwangi. The symbol of an
elephant power described by a motif resembling oblique,
II. RESEARCH DESCRIPTION shaky trunk. In former times, the batik Gajah Oling was
believed to have mystical power that can ward off the evil
A. Characteristics of Glass Beads forces of the spirits. So, many parents put their children on
Most of beads circulating the market today are those jarik gendong in a motif of Gajah
made of plastic, natural stones, pearls, and glass. Based on 4. Oling.
this case, the glass beads have characteristics which are,
5. Batik Sekar Jagad Batik, Bangkalan. A motif of
generally, not found on other beads. Texture, weight,
Sekar Jagad may be found on batik of Central Java;
color, finishing, and design of the beads may not be made
however, a typical motif of Madura Sekar Jagad in a sense
by other materials as shown in table 1.
of atlas or diversity has a specific motif, i.e., exotic colors
TABLE I. JOMBANG GLASS BEADS CHARACTERISTICS
as compared to Sekar Jagad of other regions.
Fig. 4. East Java territory.
C. Aesthetic Elements of Jombang Beads

Some of glass beads created by craftsmen in Jombang
might be transformed into the types of designs.
B. Overview of Research on Batik of East Java

Batik of East Java has diverse, unique types of isen-
isenan design. East Java batik design today began to be
recognized by the people of Indonesia. The batik of East
Java has expressive design irrespective of the standardized
patterns and the rules of application. Particularly visible
characteristics of East Java are brighter colors; it is
influenced heavily by the geographical location of East
Java where most of it is the coastal area in warmer climate.
East Java keeps the first rank as a province having a lot of
target IKMs/UMKMs. So no doubt if the number of batik
craftsmen in East Java is enormous and spread in all of
cities and districts in East Java. Here is the division of East
Java territory into western, northern, and eastern in the
geographic location.
In the variety of batik, selected four types of batik
represent typical batik of East Java to be depicted on the
batik design. In addition, all four types of batik have
Fig. 5. Batik pattern adapted into glass beads patterns.
deeper philosophy and historical content therein. Also, the
application of design and color is varied based on the
Analysis of color substance is used to identify colors
division of diversity in each representative type.
contained in glass beads made by craftsmen of Jombang.
1. Burung Hong Batik, Tuban. It is a feature when In addition, there is adaptation of derivative colors
during period of Majapahit in which admiral Cheng Ho of identified by special characteristics of glass beads in each
China brings batik gedog having a motif of birds. region.

form of dangle flowers. Here are basic stylized types on

some of the batik motifs.
Fig. 6. East Java batik color chart.
The conclusion, there are similar colors, despite of

different pigmentation having been combined into one Fig. 8. Positioning mapping of batik mote.
type of color contained in all of five East Java batik types.
The basic stylized types of 4 East Java batik motifs
aimed at a more simple type, but still display an important
element of the type to be made visible on the batik mote as
it is produced.
Fig. 7. Color Conclusion.
Middle and upper class is focus of potential target

market for batik mote users. In addition, the consumers
were oriented toward the consumptive patterns of the batik
mote product accessories based on the more needs, as
those for social status and distinctive pride.
TABLE II. POTENTIAL TARGET MARKET FOR BATIK MOTE

Define Target Consumers
Gender Female
The Range of Age 22-40 years
Status work Fig. 9. Basic stylized of batik motif.
Income < Rp. 5.000.000/ month
Residence Major city in Indonesia III. SELECTED DESIGNS
Characteristic Stylish, Attractive In this section, we discuss the construction of selected
East Java batik mote designs based on the results of the
analysis and factors related to the motif to be mote. In
placing the product in the middle position between the addition, based on the compliance of design requirements,
traditional and ethnic in conjunction with modern and we present three fundamental concepts in accordance with
contemporary. The placement of the position in the the fashion trend phenomenon; they are:
positioning mapping is designed to distribute the more
batik products to prospect users along with appropriate 1) Aesthetic, the visual elements of East Java batik
design, material, and marketing techniques. In addition, are visible by generating a typical motif of the four
the consumers can put batik mote products as jewelries or selected batik.
luxuries. By doing so, the culture and tradition might be 2) Function, the batik beads mote might be used as
lifted into more valuable something. fashion jewelry, custom clothing jewelry, custom and
blouse clothing applications, local specific accessories for
D. Visual Elements of Batik Mote Motif civil servants in accordance with their respective areas.
The basic shapes contained in some of selected East 3) Sociocultural, the alternative batik mote designs
Java batik motifs are phoenix batik of flying bird type, are selected based on questionnaire distributed to those
crown batik of tapered-lined crown type, shaky elephant interested in accessories and show beads design reflecting
batik of curved trunk type, and Madura Sekar Jagad batik the most original type of batik.
of diverse isen-isenan motif given the borderline in the

Design 3 (Batik Gajah Oling Mote), many thin curved

lines is incorporated in a round motif. In addition,
applying many elements of plant (leaves and flowers).
Green, ivory, brownish orange are applied to the mote of
batik Gajah Oling.
Fig. 10. Mote of batik Burung Hong.
Design 1 (Batik Burung Hong Mote), development of

phoenix motif leading to the type of curved lines, the
dominant black, brown, red, and yellow in colors.
Fig. 13. Mote of batik Jagat Madura.
Design 4 (Sekar Jagat Madura Mote), using cross-lines

and natural elements of plants such as flowers and leaves.
The batik use bright colors like red, blue, green, and
yellow as characteristics of Madura batik colors.
IV. CONCLUSION
Thus, it can be concluded that the lack of identity and
self-confidence of the Jombang beads craftsmen having
Fig. 11. Mote of batik Mahkota. not the characteristics of Jombang might be resolved by
developing the design of East Java batik mote in specific
Design 2 (Batik Mahkota Mote), the motif of crown motifs and colors.
batik tends to be thicker and more use of sharp corners in
its basic types. The colors applied to are dark brown, blue, REFERENCES
and brownish yellow.
[1] Adyatman, Sumarah. Arifin, Rejeki. 1996. Manik-Manik di
Indonesia. Semarang.
[2] Adams, Kimberley. 2010. The Complete Book of Glass
Beadmaking. Paperback.
[3] Anshori, Yushak. Kusrianto, Adi. 2011. Keeksotisan Batik Jawa
Timur, Penerbit Elex Media Komputindo.
[4] Manheim, Julia. 2009, Sustainable Jewellery. A & C Publishers.
[5] Papanek, Victor. 1970 2th ed., Design For The Real world, Human
Ecology and Social Change, van Nonstrand Reinhold Company.
[6] Sachari, Agus. 2005, Pengantar Metodologi Penelitian Budaya
Rupa (Desain, Arsitektur, Seni Rupa, dan Kriya), Penerbit
Erlangga.
[7] Sugiyono. 2011. Metode Penelitian Kuantitaif, Kualitatif dan
R&D. Jakarta: Alfabeta.
Fig. 12. Mote of batik Gajah Oling.

Preliminary Market Research for Getuk Pisang

Kediri Packaging Design with Data Mining
Widi Sarinastiti Viranita Dewi Noviyanti
Multimedia Creative Department Multimedia Creative Department
Politeknik Elektronika Negeri Surabaya Politeknik Elektronika Negeri Surabaya
e-mail: widisarinastiti@pens.ac.id e-mail: dewiviranita@gmail.com
Dwi Susanto Fauziza Yonas Sukma Putri

e-mail: dwi@pens.ac.id e-mail: fauziza.putri@gmail.com
Halimatus Sa'dyah Reza Rahman Ramadhan

e-mail: halimatus@pens.ac.id e-mail: lovphotograph@gmail.com
Abstract—Nowadays, market competition bring every viewed from the aspect of product quality, but also of the
producer compete to give some new special things on their impression consumers on product packaging. The product
product. One of the goal determine market competition is packaging associated with other variables in the marketing
visualization of product package. Unique packaging design process [3]. It could be interpreted that packaging and
can be fascination factor for consumer. But not every
producer on SME was developed their product packaging
packaging design has become determining factor in
yet. This problem is faced by Getuk Bananas from Kediri demand product or not by the market.
producer too. Redesign of packaging is based on quantitative On the quantitative data from research to the
result gotten from respondent who had fill the questionnaire.
respondents, who are categorized as upper middle class
This redesign include of shape, color, graphics, and
packaging material. This research has been running for two market, 64% of respondents chose Getuk Bananas from as
years by focusing on the needs of the product owner and the gifts because it tastes good. However, 36% of respondents
second year in-depth focus on consumer insight. This paper said, do not choose Getuk Bananas from, because the
describes the development possibilities of research through packaging is less attractive. It can be concluded that
data mining methods in which the object of the research was packaging design Getuk Bananas from Kediri has not been
no longer social community, but involves search engine and able to attract the upper middle class consumers [4].
research trends of contemporary packaging. The result from
this project in order to comparing conventional research with According to Gatot Siswanto as a product owner GTT,
data mining research, generating considerable value ratio or he admitted that the attractiveness of product inseparable
tend to be similar. from the packaging design. He also realized that GTT‘s
Keywords—Market Research; Getuk Pisang; Packaging Getuk Bananas from is still the same with another Getuk
Design; Data Mining. Bananas from products and have no innovations yet.
I. INTRODUCTION II. METHOD

Based on the survey of the Department of Cooperatives Packaging has developed into a visual communication
and SMEs Kediri city, through the BDS CV Media terrace tool and become an important part on marketing of a
Kediri on December 2014 [1], the SWOT Analysis product. Because its function is to communicate the
CONCLUSION stating that SME products Kediri facing message and the brand value of the product, the packaging
enormous market opportunity, but on the other hand faced design is made to enable consumers buy the product.
obstacles or internal weakness. Internal weaknesses faced Packaging design made with regard to product needs.
by superior product Kediri was primarily on the marketing Packaging design elements that affect consumer decisions
aspect. Problems faced include technology, innovation and include visual and verbal elements. Visual elements
include color, shape, packaging materials, and graphics.
variety of products, as well as the promotion of less
While the verbal element includes the brand, manufacturer,
pervasive products [2].
and origin of products [5].
To be able to compete with the competitors, the
Paper became the most popular material used on
product‘s owner try to give new things on their products.
making premium packaging, amounted to 41.9% in 2014
In the competition of the market, consumers are not only

[11]. Packaging with paper base material is also a

fashionable choice because of its simplicity to set up and
the price is affordable, and easy to print additional pictures
on the packaging. Westerman et al [6] found that the
packaging oriented to graphics will tend to be preferably
because it is more interesting and enjoyable, and increase
the purchasing power.
Redesign of packaging getuk bananas during the first
year of research, focusing on the needs of product owner (a) (b)
and the second year in-depth focus on consumer insight. Fig.1. (a) first year packaging (b) second year packaging
The method used in designing the packaging getuk banana
is a conventional method that starts from data mining, TABLE 1. RESEARCH INDICATOR‘S VALIDITY
research problem solving, to find opportunities [7]. Where Year Year
Indicators on Getuk Pisang GTT
in the first year focused on the packaging needs of the No Kediri 1 2
company owner's request getuk bananas. While in the Index Index
The design packaging draws my
second year, the manufacture packagingnya more focused 1 attention 3 5
on consumer insight. 2 Packaging color composition is easy to 3 5
remember
III. DATA MINING Packaging color composition of
3 packaging stands out on the shelves 3 5
Data mining has attracted a great deal of attention in compared to other brands
information industry in recent years is due to the wide 4 Font for packaging draws attention 2 4
availability of huge amounts of data and the imminent Font for packaging is readable from a 1-
5 2 3
meter distance
need for turning such data into useful information and Font for product ingredients information
knowledge. The information and knowledge gained can be 6 2 3
packaging is easy to read
used for applications ranging from business management, 7 Chocolate bar picture packaging draws 3 5
production control, and market analysis, to engineering attention
Product information packaging is
design and science exploration [8]. The discovery of 8 4 5
described clearly
interesting correlation relationships among huge amounts 9 Banana icon packaging reflects product 3 4
of business transaction records can help in many business composition
Simpang Gumul icon packaging reflects
decision-making processes such as catalog design, cross- 10 genuine Kediri characteristic 5 4
marketing, and customer shopping behavior analysis [9]. Packaging shape packaging draws
11 2 5
attention
Data Mining techniques are at the core of the data Packaging shape packaging makes it
12 2 5
mining process, and can have different goals depending on easy to store
the intended outcome of the overall data mining process. Packaging shape packaging is
13 3 5
comfortable to hold
Most data mining goals fall under the following main 14 Packaging size suits my needs 3 4
categories [10] that are: Data Processing, Verification,
15 Packaging size encourages me to buy it 3 4
Regression, Classification, outcome, Clustering,
Size and shape product is easy to
Association (link analysis), Sequential Pattern Analysis, 16 consume 5 5
Model Visualization, and Deviation Analysis. 17 Packaging size is easy to carry 3 5
Data mining research methods that can be done by the 18 Packaging material draws attention 2 5
designer, to the final output Getuk Bananas from Packaging material is unique compared
19 4 5
to other brands
packaging, the type of data mining that can be done is the Packaging material reflects eco-
classification and clustering method. In which the 20 2 4
friendliness
appropriate classification characteristic classifying 21 Storage information packaging is easy to 1 5
something that already has its own class. In this research is follow
Product information packaging is easy to
the classification of the buyer, classification tendency 22 4 5
clean
buyer purchases made, the classification of the price, and 23 Packaging material reflects good quality 2 4
the classification a place to sell. Clustering is a grouping of Product information packaging is
24 5 4
something based on traits, but these traits do not currently described clearly
have a clearly defined label such as packaging forms, the Product information packaging inspires
25 5 4
trust for the product
form of food, typography, color palette, stylish design, and
SUM 3,04 4,48
other design elements within packaging.
IV. RESULTS Data collection is conducted at Pusat Oleh-Oleh Kediri,
The final results of redesigning the packaging Getuk in April and May of 2014 for the first year research and
Bananas from first and second year are as follows: selected respondent form upper middle consumer, in
March – June 2015. All variable indicators in this research
are measured using the interval scale in the Likert
category, based on five response categories on agreeability
and disagreeability toward any given statement.
Multiple regression analysis illustrates the link between
dimensions in the packaging design variable and the
customer satisfaction index. In this study, the following

dimensions are part of the packaging design variable: ACKNOWLEDGMENTS

graphic design, structure design, and product information.
The researcher would like to thank the following
V. DISCUSSION people for their contributions: Gatot Siswanto as the head
of UMKM Kediri, pemerintah kota Kediri, and Politeknik
As a designer, creating designs that suit the tastes of its Elektronika Negeri Surabaya
customers is highly preferred by the customer, however,
the results produced are often inconsistent with the design
REFERENCES
trend. Sometimes a product cannot be accepted by society
and the product is considered failed and ended with the [1] Hasil kajian penelitian kerjasama Dinas Koperasi dan UMKM kota
Kediri bersama BDS CV Media Tera Kediri. (2014). Kajian
bankruptcy of a company. Research redesigning packaging Potensi, Permasalahan, dan Pengembangan KUMKM di Kota
Getuk Bananas from Kediri in the first year, product Kediri.
owner contribute significantly in determining design [2] Department of Cooperatives and SMEs, 2014, the BDS CV Media
elements used to manufacture the packaging, the end result terrace Kediri.
is only indexed 3.04. As for the design created through [3] Polyakova, K. (2013). Packaging Design as a Marketing Tool and
market research prior, generate larger index is 4.48 out of Desire to Purchase. Saimaa University of Applied Sciences.,
5 as the highest index number. Faculty of Business Administration. Bachelor‘s Thesis.
[4] Gatot Siswanto. Interviewees in 2015. Getuk Pisang Kediri Owner,
While the design creation through market research merk GTT.
approach requires a sizeable effort in terms of preparation, [5] Alervall, V., Saied, S. (2013). Perspectives on the Elements of
the time, effort, and money. For SME customers, usually Packaging Design, A Qualitative Study on the Communication of
less able to conduct market research appropriate and Packaging. Business Administration Management, Blekinge
accurate results, because the costs required to be able to do Institute of Technology. Bachelor Thesis.
a fair amount of market research. [6] Westerman, S. J., Sutherland, E. J., Gardner, P. H., Baig, N.,
Critchley, C., Hickey, C., Mehigan, S., Solway, A. Zervos, Z.
(2013). The Design of Consumer Packaging: Effects of
VI. CONCLUSSION Manipulations of Shape, Orientation, and Alignment of Graphical
The ultimate purpose of this research with data mining Forms on Consumers assessments, Food Quality and Preference,.
is to compare the final results of conventional research and pp. 8-17.
outcomes research with data mining methods. Research [7] Wahyudi, S., Carlo, A., Linando, E., Ade, M., (2015). Stupid
Marketing, Only Stupid Marketers Keep Learning. Jakarta: PT
with data mining method does not require market research Gramedia Pustaka Utama.
by jumping directly on the market, but only by mapping
[8] Han, J and Kamber, (2000). M. Data Mining: Concepts and
through the existing design trend. In this research, the Techniques. Simon Fraser University, Morgan Kaufmann
mapping data is taken from the packaging trend of social Publishers.
media; instagram and pinterest. While social class [9] Han, J., Kamber M., Jian, P., (2012). Data Mining: Concepts and
groupings studied to comparison is through conventional Techniques., Journal Elsevier Inc
methods to obtain the final results are impartial. [10] Braha, Dan (2001), Data Mining for Design and Manufacturing:
Methods and Applications, Springer Science & Business Media -
Kluwer Publisher.
[11] Smithers Pira, (2015),................................

Kajian Industri Kreatif Busana Muslim Berbasis

Kearifan Lokal di Indonesia Sebagai Pelopor
Kiblat Busana Muslim Dunia
(The Study on Muslim Fashion's Creative Industry - Based on Indonesian Local
Wisdom as a Pioneer of Global Muslim Fashion Center)
Nurul Hidayati
Khozinatus Sadah
Jurusan Teknologi Industri
Fakultas Teknik
Universitas Negeri Malang (UM)
Bandung, Indonesia
Malang, Indonesia
e-mail: sadahkhozinatus@gmail.com
e-mail: nurulhum@yahoo.com
Abstract—Creative industry is the key that could support memperoleh perhatian. Menurut data Studi Pemetaan
the economy in a country. The main capital of creative Industri Kreatif 2007 dari Departemen Perdagangan RI,
industry is creative ideas, talents, skills and local genius peran industri kreatif pada ekonomi Indonesia cukup
owned by the various regions in Indonesia, so it is not easily signifikan. Besar kontribusi industri kreatif pada PDB
imitated and rivaled by foreign products. The export tahun 2002-2006 rata-rata sebesar 6,3 persen dan mampu
contribution to Indonesia's creative economy in 2002-2008 menyerap 5,4 juta tenaga kerja. Seperti dilansir juga oleh
reached 9.2% of the total export and the GDP has increased Republika Online (10/5), menurut Menteri Perindustrian
every year. In 2008 it reached 7.28% and increase to 7.6% in RI, pertumbuhan sektor industri kreatif terus didorong dan
2009. One of the creative industry potential sector is fashion
berada pada kisaran angka 7 persen setiap tahun. Bahkan
(especially moslem fashion) and local genius based craft. The
Ministry of Commerce data in 2010 shows that the fashion
diperkirakan industri kreatif Indonesia akan mampu
sub-sector contribution reached 44.3%. The majority types menyaingi Korea Selatan pada tahun 2019.
of products were moslem fashion. Unfortunately, this Perkembangan perekonomian ini juga secara tidak
potential has not been realized yet by many fashion langsung mengharuskan sumber daya manusia di
stakeholders. The development of moslem clothing limited to Indonesia dituntut lebih kreatif, inovatif serta mampu
simply follow the trend. The local genius in every area have membaca peluang usaha guna mengikuti alur perubahan
not been exploited well. The utilization of the local genius
ekonomi di Indonesia. Industri yang berkembang tidak
can both preserve local culture and become a marker and
hanya berskala besar namun juga diikuti oleh industri kecil
hallmark of Indonesian moslem fashion. Therefore, it takes
a study and creation of moslem clothing designs based on
yang berkembang di kalangan masyarakat kelas ekonomi
local genius, so the moslem fashion creative industry could menengah dan kecil, namun peranan industri kecil ini
be developed and Indonesia could be the center of moslem dalam perindustrian di Indonesia cukup besar terutama
clothing in the future. The method used in this research is terciptanya kegiatan ekonomi kreatif dan industri kreatif di
art creation, namely the fashion design work with an Indonesia.
emphasis on script motives in traditional Indonesian fabrics Industri berbasis kreatif merupakan gabungan antara
such as: batik, weaving, embroidery, and patchwork. The
sumber daya alam, sumber daya manusia dan teknologi
result of this research is to make a moslem fashion
yang dikemas dalam konsep inovasi berkembang dalam
forecasting book and guidelines based on the local genius.
This study aim is to prepare Indonesia as a global moslem ilmu pengetahuan yang diproduksi, didistribusikan dan
fashion main orientation. dikonsumsi dengan konsep-konsep kreativitas. Industri
kreatif memberikan konstribusi yang cukup tinggi dalam
Keywords—creative industry, moslem fashion, local sektor penyerapan tenaga kerja. Munculnya industri kreatif
genius. mulai di akui dalam perekonomian nasional, hal ini
nampak dengan adanya instruksi Presiden No.6/2009
I. PENDAHULUAN tentang Pengembangan Ekonomi Kreatif dan ―Road Map
Menurut Departemen Perindustrian RI, Industri kreatif Pengembangan Industri Kreatif‖ yang dibuat oleh
di Indonesia didefinisikan sebagai industri yang berasal Kementerian Perdagangan Republik Indonesia pada tahun
dari pemanfaatan kreativitas, keterampilan, serta bakat 2008.
individu untuk menciptakan kesejahteraan serta lapangan Perkembangan industri kreatif di Indonesia ini juga
pekerjaan melalui penciptaan dan pemanfaatan daya kreasi berdampak pada sumber daya manusia untuk lebih
dan daya cipta individu tersebut. Menurut John Howkins, mengarah menjadikan diri mereka sebagai entrepreneur
dalam bukunya The Creative Economy, orang-orang yang sehingga perkembangan ilmu pengetahuan dan teknologi
memiliki ide akan lebih kuat dibandingkan orang-orang sangat mendukung dalam berkembangnya industri kreatif
yang bekerja dengan mesin produksi, atau bahkan pemilik di Indonesia. Hal ini menunjukkan bahwa negara dengan
mesin itu sendiri[3]. perkembangan ilmu pengetahuan dan teknologi yang baik
Di Indonesia, industri kreatif mulai berkembang dan adalah negara yang mampu menguasai ekonomi dunia,
karena dengan adanya penemuan inovasi-inovasi dari

kemajuan ilmu pengetahuan dan teknologi mendorong Kekayaan budaya di Indonesia merupakan potensi
percepatan proses pembangunan. yang sangat mendukung dalam perkembangan industri
kreatif bidang fesyen dan kerajinan terutama kekayaan
Sub sektor industri kreatif tentunya memiliki kain yang dimiliki masing-masing daerah. Indonesia
konstribusi terhadap perekonomian nasional, konstribusi memiliki bermacam-macam kain khas daerah sebagai
yang nampak adalah daya serap tenaga kerja yang bahan utama fesyen antara lain batik, tenun, sasirangan,
meningkat dan mampu menciptakan lapangan kerja, tapis, ulos, dan lain-lain. Batik salah satu kain khas
sehingga dapat meningkatkan sumber daya manusia yang Indonesia yang perkembangannya sangat pesat dimana
lebih kreatif sebagai basis usahanya. Selain itu produk keseluruhan teknik, teknologi, serta pengembangan motif
yang dihasilkan oleh industri kreatif juga banyak diekspor dan budaya yang terkait, oleh UNESCO telah ditetapkan
sehingga industri kreatif juga secara langsung memberikan sebagai warisan kemanusiaan untuk budaya lisan dan non-
konstribusi ekspor pada perekonomian nasional disamping bendawi sejak 2 Oktober 2009. Potensi pengembangan
konstribusi daya serap tenaga kerja. Sub-sektor yang kain Indonesia tidak hanya batik tetapi akan merambah ke
merupakan industri kreatif di Indonesia berdasarkan kain tradisional yang lainnya. Desainer Indonesia terus
pemetaan industri kreatif yang telah dilakukan oleh mengeksplor kain-kain dari berbagai daerah untuk
Departemen Perdagangan Republik Indonesia adalah: (1) diangkat sebagai karya rancangan yang bertemakan unsur
jasa periklanan, (2) arsitektur, (3) pasar seni dan barang lokal yang menjadi ciri khas rancangannya seperti halnya
antik, (4) kerajinan, (5) desain, (6) fesyen, (7) video, film,
Didit Maulana menjadikan tenun khas Indonesia pada
dan fotografi, (8) permainan interaktif, (9) musik, (10) seni setiap koleksinya, Amanda Indah Lestari ini mengambil
pertunjukan, (11) penerbitan dan percetakan, (12) layanan tenun yang berasal dari Baduy, Batik, tenun, sarung, lurik
komputer dan piranti lunak, (13) televisi dan radio, dan dan songket dikombinasikan dengan aplikasi-aplikasi unik
(14) riset dan pengembangan. yang menjadi ciri khas dalam setiap koleksinya Lenny
Industri Kreatif subsektor kerajinan adalah kegiatan Agustin. Toton desainer asal Makasar yang mengangkat
kreatif yang berkaitan dengan kreasi, produksi dan kain Indonesia dengan tampilan yang berbeda yaitu
distribusi produk yang dibuat dan dihasilkan oleh tenaga ―meminjam‖ motif-motif kain nusantara untuk
perajin yang berawal dari desain awal sampai dengan ditampilkan ulang dengan gaya rancangannya yang urban
proses penyelesaian produknya, antara lain meliputi dan kontemporer.
barang kerajinan yang terbuat dari: batu berharga, serat Indonesia kaya akan ragam hias yang bisa dijadikan
alam maupun buatan, kulit, rotan, bambu, kayu, logam sebagai sumber inspirasi penciptaan motif kain nusantara.
(emas, perak, tembaga, perunggu, besi) kayu, kaca, Ragam motif memiliki makna yang mendalam yang dapat
porselen, kain, marmer, tanah liat, dan kapur. Berdasarkan menjadi petunjuk dalam mengungkap sebuah peradaban.
bahan baku (raw material), produk kerajinan dikategorikan Ragam hias adalah bentuk dasar hiasan yang biasanya
menjadi: 1) Keramik (seperti tanah liat, earthen ware, akan menjadi pola yang diulang-ulang dalam suatu karya
pottery, stoneware, porcelain), 2) Logam (seperti emas, kerajinan atau seni. Karya ini dapat berupa tenunan,
perak, perunggu, besi, tembaga)m 3) Natural fiber, serat tulisan (misalnya batik), songket, ukiran, atau pahatan
alam (bambu, akar-akaran, rotan), 4) Batu-batuan (seperti
pada kayu/batu. Ragam hias dapat distilisasi (stilir)
batu mulia, semi-precious stone, jade), 5) Tekstil (seperti sehingga bentuknya bervariasi.
cotton, sutra, linen), 6) Kayu (termasuk kertas dan lacquer
ware). Ragam hias pada terdiri dari ragam hias geometris,
fora, fauna, figuratif. Ragam hias Nusantara dapat
Industri kreatif Fashion dan kerajinan merupakan ditemukan pada motif batik, tenunan, anyaman, tembikar,
subsektor yang dominan dalam memberikan kontribusi ukiran kayu, dan pahatan batu. Ragam hias ini muncul
ekonomi. Kedua jenis industri ini menjadi lokomotif dalam bentuk-bentuk dasar yang sama namun dengan
dalam perkembangan industri kreatif nasional. Direktur variasi yang khas untuk setiap daerah. Dalam karya
Jenderal Industri Kecil dan Menengah IKM) Kementerian kerajinan atau seni Nusantara tradisional, sering kali
Perindustrian (Kemenperin) mengatakan, kontribusi terdapat makna spiritual yang dituangkan dalam stilisasi
fashion dan kerajinan jauh mengungguli kontribusi jenis ragam hias. Terdapat ragam hias asli Nusantara, yang
industri kecil lainnya [19]. Dalam nilai tambah, tenaga biasanya merupakan stilisasi dari bentuk alam atau
kerja, jumlah perusahaan, maupun kapasitas ekspor. makhluk hidup (termasuk manusia), dan ada pula ragam
Pengembangkan industri kreatif dimotori oleh IKM, hias adaptasi pengaruh budaya luar, seperti dari Tiongkok,
pemerintah telah menerbitkan Instruksi Presiden (Inpres) India, Persia.
Nomor 6 Tahun 2009 tentang Pengembangan Ekonomi
Kreatif sebagai dasar bagi seluruh pemangku kepentingan Indonesia kaya akan ragam hias yang belum tergali dan
dalam mengembangkan 14 sektor ekonomi kreatif. Sub- bisa diterapkan pada motif kain sehingga dapat
sektor industri kreatif yang masuk dalam lingkup memperkaya kain nusantara. Salah satunya kekayaan
pembinaan Kemenperin adalah fashion, kerajinan, layanan ragam hias yang belum pernah diterapkan adalah ragam
komputer, dan peranti lunak. Hasil yang didapatkan adalah aksara. Aksara Nusantara merupakan beragam aksara atau
berupa nilai tambah yang dihasilkan subsektor fashion dan tulisan yang lazim digunakan di Indonesia, secara khusus
kerajinan, berturut-turut sebesar 44,3 persen dan 24,8 menuliskan bahasa daerah tertentu, walaupun abjad Arab
persen dari total kontribusi sektor industri kreatif. Adapun dan alfabet Latin juga seringkali digunakan dalam
penyerapan tenaga kerja kedua industri kecil ini rnencapai menuliskan bahasa daerah. Setelah berabad-abad berlalu,
54,3 persen dan 31,13 persen dengan jumlah usaha sebesar Indonesia memiliki ratusan bahasa dan aksara yang
51,7 persen dan 35,7 persen. Dominasi kedua subsektor tersebar dari Sabang sampai Merauke. Dulu aksara
tersebut karena populasinya menyebar di seluruh wilayah digunakan sebagai sarana untuk berkomunikasi serta
Indonesia serta didukung kekayaan budaya etnis di mencerminkan sebuah budaya tertentu. Di era modern saat
masing-masing daerah. (Republika) ini aksara dipelajari untuk mengungkap sebuah peradaban
dimasa lampau. Keberagaman aksara dan perbedaan

aksara di masing-masing daerah memperkaya keberadaan tenun halus yang tidak menggunakan mesin. Warna yang
dan jumlah aksara. Sehingga sangat memungkinkan untuk banyak dipakai untuk membuat kain jenis ini adalah
dikembangkan menjadi sebuah ragam hias dan dijadikan merah, hitam dan putih. Simpel dan tegas.
sebagai motif kain khas daerah. 3) Sarung bugis Kain tenun yang satu ini termasuk
Seiring perkembangan fesyen di Indonesia dibutuhkan spesial karena berasal dari bahan sutera dengan rangkaian
pengembangan-pengembangan kain tradisional sebagai benang emas dan perak. Kain tradisional Makasar ini juga
bahan utama pembuatan busana. Fesyen yang memiliki menampilkan perpaduan warna yang agak ramai dan motif
kekuatan kearifan lokal menjadi andalan produk fesyen kotak.
Indonesia di mata Internasional. Sangat memungkinkan 4) Lurik adalah kain yang banyak ditemukan di
sekali aksara dikembangkan menjadi motif kain daerah daerah Solo dan Yogyakarta. Lurik yang dulunya dikenal
yang diterapkan berbagai macam teknik seperti batik, sebagai jenis kain murah karena terbuat dari bahan katun
tenun, bordir dan sulam, yang akan memberikan ciri khas biasa ini sekarang banyak dijadikan elemen tambahan
masing-masing daerah. Saat ini para perajin kain pada kemeja, kebaya, blus ataupun gaun. Motif garis
tradisional berlomba-lomba menciptakan motif-motif khas klasik dalam nuansa warna solid membuat tampilan baju
daerah sebagai tuntutan perkembangan fesyen. biasa lebih menarik.
Salah satu produk fesyen yang menjadi andalan 5) Songket Lombok Kain tradisional dengan desain
Indonesia adalah fashion muslim terus melakukan motif khas serta paduan benang warna emas.
transformasi dari gaya konservatif menjadi lebih 6) Tapis Kain asal Lampung dengan berbagai motif
kontemporer yang berjiwa muda. Beragam faktor yang lokal yang sangat khas. Belum banyak yang memakai kain
membuat fashion muslim terus berkembang. Dari jenis ini untuk dibuat dress ataupun kemeja karena ini
munculnya banyak komunitas seperti Hijabers termasuk kain adat yang hanya dipakai pada momen-
Community, Hijabers Mom, sampai diselenggarakannya momen tertentu.
beragam bazar, dan peragaan busana muslim. Pandangan
masyarakat dengan berbusana muslim masih bisa 7) Gringsing jenis kain yang berasal dari Desa
berpenampilan modis membuat konsumen busana muslim Tenganan, Bali dengan teknik ikat ganda. Untuk
berkembang yang dulu wanita berhijab lebih banyak menghasilkan sebuah masterpiece dibutuhkan waktu 2-5
wanita dewasa, saat ini hijab semakin dikenal dan tahun ini.
digemari oleh wanita-wanita muda, bahkan remaja-remaja 8) Tenun Dayak. Memiliki ciri khas perpaduan
putri. Menurut Dirjen Industri Kecil Menengah (IKM) motif lokal dengan pola asimetris dan warna - warna
Kementerian Perindustrian, terdapat 20 juta penduduk cerah.
Indonesia yang menggunakan hijab. Hal ini selaras dengan 9) Besurek adalah kain yang mirip dengan batik
perkembangan industri fashion muslim tujuh persen setiap untuk teknik pembuatannya tetapi motifnya dipengaruhi
tahun. oleh budaya Arab. Besurek terbilang sangat unik karena
Fesyen muslim Indonesia menjadi kiblat dunia memadukan tulisan kaligrafi pada motifnya.
merupakan tantangan bagi desainer untuk terus 10) Songket Palembang merupakan kain khas
mengembangkan busana muslim yang memberikan ciri Palembang yang ditenun dengan menggunakan benang-
khas Indonesia. Penerapan kain tradisional dan ragam benang dari logam yaitu emas dan perak.
motif terus digali. Salah satu peluang yang belum
dikembangkan yaitu menerapkan kain tradisional bermotif 11) Tenun ulap doyo. Kain yang berasal dari kerajaan
aksara Nusantara ke dalam busana muslim menjadi salah tertua di Indonesia yaitu Kutai, Kalimantan Timur. Ulap
satu pengembangan desain busana muslim berbasis Doyo terbuat dari bahan alami yaitu daun doyo yang
kearifan lokal, agar industri kreatif – busana muslim dapat diolah menjadi benang. Ciri khas kain ini adalah
dikembangkan dan Indonesia dapat menjadi kiblat busana perpaduan motif garis-garis serta corak flora fauna.
muslim di masa depan. 12) Kain Poleng. kain ikon pulau Dewata dengan
motif kotak memiliki makna tentang dua sifat yang
II. POTENSI KEARIFAN LOKAL BAHAN SANDANG bertolak belakang seperti baik-buruk ataupun tinggi-
DI INDONESIA rendah.
Indonesia merupakan negara yang akan budaya dan 13) Jumputan adalah kain dibuat dengan cara diikat
alam yang melimpah. Terdapat berbagai potensi yang lalu dicelupkan pada berbagai warna. Teknik ini awalnya
dapat digali di Indonesia, seperti tari-tarian, alunan musik, berasal dari Cina yang lalu dibawa ke tanah air oleh
kerajinan, pakaian, rumah adat, kuliner, dan kearifan lokal saudagar India.
(local wisdom) lainnya. Kearifan lokal Indonesia
14) Batik merupakan kain khas Indonesia yang
merupakan potensi yang tidak pernah habis untuk digali
merupakan warisan budaya dan mendapat pengakuan dari
dan dikembangkan salah satunya kain dan pakaian.
UNESCO menetapkan Batik Indonesia sebagai sebuah
Indonesia kaya akan ragam tekstil. Terdapat 14 kain khas
keseluruhan teknik, teknologi, pengembangan motif dan
Indonesia yaitu:
budaya yang terkait dengan batik tersebut sebagai karya
1) Sasirangan: Kain adat suku Banjar di Kalimantan agung warisan kemanusiaan untuk budaya lisan dan
Selatan ini dibuat dengan cara diikat lalu dicelupkan dalam nonbendawi yaitu pengakuan internasional bahwa batik
berbagai warna sehingga menghasilkan motif beragam. Indonesia adalah bagian kekayaan peradaban manusia.
Berbeda dengan jenis tie dye, Sasirangan menampilkan Kain tradisional ini merupakan kekayaan Indonesia yang
desain yang lebih formal dan elegan. sangat berpotensi untuk dikembangkan seiring dengan
perkembangan dunia fesyen. Beberapa desainer sudah
2) Ulos Kain tradisional Batak yang biasanya dalam mengangkat kain-kain tradisional baik secara utuh maupun
bentuk selendang untuk melengkapi tampilan baju hanya ―meminjam‖ motif yang ada di kain tersebut.
tradisional. Dari cara pembuatannya, ulos termasuk kain

III. POTENSI AKSARA SEBAGAI MOTIF KAIN TABEL I. PENJELASAN MAKNA FILOSOFI AKSARA JAWA [9]
TRADISIONAL Aksara
Pengertian Arti
Jawa
Sejak manusia mengenal tulisan dalam menyampaikan
Na Nur candra, gaib pengharapan manusia hanya
atau menuangkan gagasan, perasaan yang dinyatakan candra, warsitaning selalu ke sinar Illahi
dengan bahasa, untuk mengungkapkannya manusia candara
mempergunakan lambang-lambang sebagai sarananya. Ca Cipta wening, cipta arah dan tujuan pada Yang
Lambang-lambang ini dikenal dengan aksara yang mandulu, cipta dadi Maha Tunggal
sebelumnya lambang-lambang yang dipergunakan Ra Rasaingsun handulusih rasa cinta sejati muncul dari
sebelum mengenal aksara yaitu tanda atau gambar. Aksara cinta kasih nurani
identik dengan ilmu sastra, dimana keberadaannya saat ini Ka Karsaningsun hasrat diarahkan untuk
hampir punah. Generasi muda sudah tidak mengenal lagi memayuhayuning kesejahteraan alam
aksara-aksara yang menjadi warisan leluhur selain aksara bawana
Da Dumadining dzat kang menerima hidup apa adanya
jawa baru yang diajarkan di bangku sekolah. tanpa winangenan
Kekayaan akan aksara Nusantara harus dilestarikan Ta Tatas, tutus, titis, titi mendasar, totalitas, satu visi,
sehingga generasi muda tetap menghargai warisan lan wibawa ketelitian dalam memandang
terutama karya sastra. Indonesia memiliki ratusan jenis hidup
Sa Sifat ingsun handulu membentuk kasih sayang
aksara, akan tetapi saat ini terdapat 5 (lima) aksara yang sifatullah seperti kasih Tuhan
masih bisa di temui yaitu: Wa Wujud hana tan kena ilmu manusia hanya terbatas
1) Aksara Jawa, yang dikenal juga sebagai kinira namun implikasinya bisa tanpa
batas
Hanacaraka dan Carakan, adalah aksara tradisional
La Lir handaya paseban mengalirkan hidup semata
Nusantara yang digunakan untuk menulis bahasa Jawa dan jati pada tuntunan Illahi
sejumlah bahasa daerah Indonesia lainnya, seperti bahasa Pa Papan kang tanpa kiblat Hakekat Allah yang ada di
Sunda dan bahasa Sasak. segala arah
2) Aksara Bali adalah salah satu aksara tradisional Dha Dhuwur wekasane Untuk bisa diatas tentu dimulai
endek wiwitane dari dasar
Nusantara yang berkembang di Bali, Indonesia. Aksara ini
Ja Jumbuhing kawula lan Selalu berusaha menyatu
umum digunakan untuk menulis bahasa Bali dan Gusti memahami kehendak-Nya
Sanskerta. Ya Yakin marang yakin atas titah/ kodrat Illahi
3) Aksara Batak atau yang dikenal dengan nama samubarang tumindak
Surat Batak adalah aksara yang digunakan untuk kang dumadi
Nya Nyata tanpa mata ngerti tanpa diuruki –
menuliskan bahasa-bahasa Batak, yaitu bahasa Angkola- memahami kodrat kehidupan
Mandailing, Karo, Pakpak-Dairi, Simalungun, dan Toba. Ma Madep mantep yakin/mantap dalam
Aksara ini memiliki beberapa varian bentuk, tergantung manembah mring Ilahi menyembah Ilahi
bahasa dan wilayah. Secara garis besar, ada lima varian Ga Guru sejati sing muruki belajar pada guru nurani
Surat Batak di Sumatra, yaitu Angkola-Mandailing, Karo, Ba Bayu sejati kang menyelaraskan diri pada gerak
Pakpak-Dairi, Simalungun, dan Toba. andalani alam
Tha Tukul saka niat sesuatu harus dimulai dan
4) Aksara Lampung memiliki hubungan dengan tumbuh dari niatan
aksara Pallawa dari India Selatan. Jenis tulisannya fonetik Nga Ngracut busananing melepaskan egoisme pribadi
bersuku kata yang merupakan huruf hidup seperti dalam manungso manusia
huruf Arab, dengan menggunakan tanda-tanda fathah pada
baris atas dan tanda-tanda kasrah pada baris bawah, tetapi
tidak menggunakan tanda dammah pada baris depan, Aksara Jawa yang diterapkan pada desain busana
melainkan menggunakan tanda di belakang, di mana muslim memberikan filsafat hidup sebagai berikut [8]:
masing-masing tanda mempunyai nama tersendiri.
Ha-Na-Ca-Ra-Ka berarti ada ―utusan‖ yakni utusan
Lontara adalah aksara tradisional masyarakat Bugis- hidup, berupa napas yang berkewajiban menyatukan jiwa
Makassar. Bentuk aksara lontara menurut budayawan dengan jasad manusia. Maksudnya ada yang
Profesor Mattulada berasal dari "sulapa eppa wala suji". mempercayakan, ada yang dipercaya untuk bekerja. Ketiga
Huruf lontara ini pada umumnya dipakai untuk menulis unsur itu adalah Tuhan, manusia dan kewajiban manusia
tata aturan pemerintahan dan kemasyarakatan. (sebagai ciptaan).
Indonesia tercatat memiliki 746 bahasa dengan aksara Da-Ta-Sa-Wa-La berarti manusia setelah diciptakan
yang sangat beragam. Jumlah ini akan terus bertambah sampai dengan ―data‖ (saatnya dipanggil) tidak boleh
seiring dengan penelitian yang terus dilakukan. Kekayaan ―sawala‖(mengelak). Manusia (dengan segala atribut/
bahasa dan aksara di tanah air diharapkan tidak sekedar sifatnya) harus bersedia melaksanakan, menerima dan
dilihat sebagai jumlah yang menakjubkan, namun juga menjalankan kehendak Tuhan.
pengingat bagi kita untuk terus mencintai dan melestarikan Pa-Dha-Ja-Ya-Nya berarti menyatukan zat pemberian
kebudayaan Indonesia, terlebih lagi di era global saat ini. hidup (sang pencipta) dengan yang diberi hidup
Kekayaan bahasa dan aksara ini menjadi inspirasi dalam (makhluk). Maksudnya ―padha‖ adalah sama atau sesuai,
pengembangan motif kain tradisional di Indonesia. Seiring jumbuh, cocok, tunggal batin yang tercermin dalam
pesatnya pertumbuhan fesyen bertema etnik sebagai perbuatan berdasarkan keluhuran dan keutamaan. Jaya itu
kekuatan Indonesia di kancah dunia. Saat ini para perajin menang, unggul sungguh-sungguh dan bukan berarti
serta desainer tekstil tradisional terus menciptakan motif- menang-menangan atau sekedar menang atau menang
motif untuk memperkaya motif kain-kain tradisional. tidak positif.
Aksara yang identik dengan budaya Indonesia dapat Ma-Ga-Ba-Tha-Nga berarti menerima segala yang
diterapkan menjadi motif batik, motif tenun, motif sulam diperintahkan dan yang dilarang oleh Tuhan Yang Maha
dan bordir. Sehingga memperkaya ragam tekstil Indonesia. Esa. Maksudnya manusia harus pasrah, sumarah pada

garis kodrat, meskipun manusia diberi hak untuk 2) Perbedaan busana Muslim yang berbasis
mewiradat, berusaha untuk merubah nasibnya. kearifan lokal dengan busana muslim berdasarkan trend,
yaitu terletak pada detail busana. Tren mengacu pada gaya
barat, sedangkan busana yang bergaya etnik tidak terlalu
terpengaruh bahkan dapat menciptakan trend tersendiri.
Keunggulan mengangkat kearifan lokal yaitu memiliki ciri
khas Indonesia yang tidak dimiliki oleh negara lain
sehingga memberikan peluang yang besar untuk
memasarkan produk fashion muslim ke luar negeri.
3) Industri kreatif bidang fesyen (fashion)
moslem wear, adalah kegiatan kreatif yang terkait dengan
kreasi desain pakaian, desain alas kaki, dan desain
aksesoris mode lainnya, produksi pakaian mode dan
aksesorisnya, konsultansi lini produk fesyen, serta
distribusi produk fesyen.
Gbr. 1. Huruf aksara Jawa [9]
Gbr. 3. Hasil desain.
VI. KESIMPULAN
Pengembangan desain produk fashion berbasis
kearifan lokal berpotensi sebagai salah satu cara dalam
pelestarian warisan lokal di Indonesia dan dapat dijadikan
Gbr. 2. tahapan penciptaan Seni identitas produk fashion yang estetik. Makna-makna yang
terkandung dalam aksara jawa merupakan ruh yang
IV. METODE menghidupkan busana itu sendiri. Dalam
Dalam konteks metodologis, terdapat tiga tahap perkembangannya busana fashion berbasis kearifan lokal
di Indonesia diharapkan akan menjadi kiblat fashion dunia.
penciptaan seni yaitu pertama tahap eksplorasi, meliputi
langkah pengembaraan jiwa, penggalian landasan teori,
sumber dan referensi. Tahap kedua yaitu tahap REFERENSI
perancangan yang meliputi langkah perancangan pra [1] http://kemenperin.go.id/artikel/6653/Fashion-dan-Kerajinan-
Dominasi-Industri-
desain dan desain. Tahap ketiga yaitu tahap perwujudan
berdasarkan desain dan model hingga mengadakan [2] http://www.kompasiana.com/akbarisation/kearifan-lokal-untuk-
kearifan-indonesia_5529c187f17e615723d623ab
evaluasi terhadap karya [7].
[3] Howkins, John. 2013. The Creative Economy: How People Make
Money from Ideas. London
V. HASIL
[4] Keane, Michael. 2013. Creative Industries in China, Art, Design
Rancangan busana muslim dengan memadukan trend and Media. USA: Polity Press
dan budaya lokal yaitu mengangkat kain tradisional [5] Rizali, Nanang. 2006. Tinjauan Desain Tekstil. Surakarta: UNS
bermotif aksara Indonesia merupakan upaya pelestarian Press.
kekayaan sastra Indonesia. Aksara Jawa memiliki makna [6] Kate, Fletcher. 2008. Sustainable Fashion and Textile. USA:
filsafat yang sangat menginspirasi generasi muda. Berikut Earthscan
hasil desain busana muslim dengan motif aksara jawa yang [7] Gustami, SP, 2004. Analisis Proses Penciptaan Seni Kriya
diterapkan pada kain tradisional: ―Untaian Metodologis‖. Yogyakarta: BP ISI Yogyakarta.
[8] Saputro, Hendra W. 2007. Ajaran Filsafat Hidup Aksara jawa.
1) Konsep ide desain, konsep dari ke 4 (empat) Online: www.shterate.com/ajaran-filsafat-hidup-aksara-jawa.
desain yaitu busana muslim wanita feminin elegan dengan Diakses 1 November 2016.
gaya etnik kontemporer menggunakan batik dengan motif [9] Ajaran Filsafat Hidup Berdasarkan Aksara Jawa. Online:
aksara jawa ―ta‖ yang memberikan makna seorang wanita https://tukadabu.wordpress.com/2014/01/01/ajaran-filsafat-hihup-
elegan, berwibawa memiliki visi yang jelas dalam berdasarkan-aksara-jawa/. Diakses 1 November 2016.
hidupnya, dan trendy dengan menggunakan pilihan warna
yang menjadi tren 2017.

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 Rizna Eka Nursanti
Fakultas Seni Rupa dan Desain Fakultas Seni Rupa dan Desain
Institut Teknologi Bandung Institut Teknologi Bandung
Bandung, Indonesia Bandung, Indonesia
e-mail: sadahkhozinatus@gmail.com e-mail: rizna.eka@gmail.com
Arizka Rahma Sani Mazaya Mutia A. F

SMKI Assalam Jambewangi Fakultas Seni Rupa dan Desain
Blitar, Indonesia Institut Teknologi Bandung
e-mail: arizka21051992@gmail.com Bandung, Indonesia
e-mail: ayazamazaya@gmail.com
Abstract—Bag as a medium for ease of carrying sudah mencapai 354 perajin UKM dengan asset sekitar
goods along the changing times needed design Rp 10 miliar. Setelah terjadi luapan lumpur Lapindo
innovation to meet the market needs. A multifunction, hampir 70 persen perajin di Tanggulangin gulung tikar.
stylish, and superior bag design developed as an idea in Beberapa di antara mereka yang masih bertahan untuk
extending the product lifetime. The proposed idea is to mengerjakan pesanan. Sejak peristiwa semburan lumpur
design a bag called Pentako. A bag which cover can be panas dari sumur eksplorasi PT Lapindo Brantas, jumlah
changed by opening the zipper. So it will make changes pengunjung ke Tanggulangin menurun drastis. Luapan
of the bag's color and increase the product lumpur telah menutup akses kendaraan dari arah Malang
differentiation and selling values. The design dan Probolinggo. Akses menuju ke Tanggulangin kini
innovation of this bag is also intended to help the bags hanya tersisa satu akses, yaitu dari Sidoarjo. Luapan
craftsmen in Tanggulangin Sidoarjo to develop their lumpur panas Lapindo berpengaruh langsung terhadap
businesses post Lapindo mud flow disaster. The kelangsungan industri tas dan koper di Tanggulangin.
attempt is to revive the economy in Tanggulangin that
has been done by the government, namely: training, Industri tas dan koper Tanggulangin Sidoarjo
establishing educational tours and bags shopping. So merupakan salah satu ikon wisata Sidoarjo. Produk yang
that the visitors could see the bags making process and dihasilkan antara lain tas, koper, dompet, ikat pinggang
order the bags directly according to the desired design. dan sepatu. Produk ini telah memiliki brand dan mutu
Seeing this potential, the authors plan to collaborate yang cukup bagus yang sudah diakui oleh konsumen.
the existing craftsmen potential with the bag design Namun sejak terjadinya krisis moneter, yang dilanjutkan
innovation. The method conducted is based on field dengan beredarnya barang-barang produksi Cina yang
surveys, training instrument, product development and harganya murah menjadikan industri ini terpuruk. Hal ini
mentoring. This idea is expected to increase the bag diperparah dengan terjadinya semburan lumpur Lapindo.
craftsmen's income and could increase their products Sekitar 2 tahun lamanya sentra industri tas dan koper
competitiveness level. Tanggulangin sepi pengujung. Menurunnya pasar tas di
Tanggulangin Sidoarjo sangat disayangkan, mengingat
Key-word—product design, Pentako bags, potensi tas merupakan salah satu produk fashion yang
Empowerment, Sidoarjo. digemari para wanita, mengingat perilaku konsumtif
wanita tidak pernah berakhir. Aneka produk fashion pada
I. PENDAHULUAN masa sekarang ini, mulai dari busana hingga apparel,
Sidoarjo merupakan kota industri yang sudah lama memiliki banyak model dan menarik perhatian konsumen.
berdiri, industri yang terbesar di kota Sidoarjo yaitu Selain itu harganya kini semakin terjangkau. Sehingga,
industri tas. Industri ini pada awalnya dimulai sejak 1939 menumbuhkan perilaku konsumtif, masyarakat lebih
ketika beberapa perajin memulai pembuatan barang- mengedepankan keinginan/ hasrat instan daripada
barang tas dan koper. Pada tahun 1976 didirikanlah kebutuhannya [1]. Kecenderungan perilaku konsumtif ini
Koperasi Industri Tas dan Koper (Intako) yang awalnya bahkan telah dilakukan oleh kelompok berdaya beli
hanya beranggotakan 27 orang. Modal usaha diperoleh lemah, dengan memanfaatkan fasilitas hutang atau kredit
dari simpanan pokok anggota. Dalam perjalanannya, [2]. Segmen wanita cenderung untuk kompulsif saat
koperasi itu terus berkembang dan jumlah anggotanya berbelanja. Kecenderungan seperti itu merupakan
kecenderungan perilaku belanja wanita yang

membedakannya dengan pria [3]. Pernyataan yang sistem produksi secara riil. Tujuannya agar seluruh sdm
menyebutkan bahwa naluri wanita berperilaku konsumtif, dapat terlatih dalam memecahkan permasalahan dalam
terutama pada produk fashion, salah satunya tas, penulis proses produksi yang sesungguhnya.
memiliki gagasan merancang tas Pentako (Bebas,
Bergaya, dan Luwes). Sebuah tas yang cover nya dapat III. HASIL
diubah-ubah dengan cara membuka retseleting sehingga Adapun hasil dari artikel review ini adalah berupa
akan didapatkan perubahan warna tas, sehingga dapat desain tas Pentako yang nantinya akan dijadikan
meningkatkan nilai jual dan diferensiasi produk. Hal ini, penelitian lebih lanjut berupa eksperimen yang hasilnya
dimaksudkan agar mengurangi nilai konsumtif ditujukan kepada Pentako di Sidoarjo. Berikut hasil dari
masyarakat Indonesia, memperpanjang masa produk, dan rancangan tas Pentako yang dijelaskan pada Gbr 2 - 3.
mengurangi limbah tas.
Penjelasan tas produk tas Pentako antara lain:
Inovasi pembuatan tas ini juga dimaksudkan untuk
membantu membangkitkan perajin tas dan koper 1) Warna tas yang bisa diganti, sesuai dengan
(Pentako) di kecamatan Tanggulangin, Sidoarjo paska keinginan konsumen
bencana Lumpur Lapindo. Upaya revitalisasi ekonomi di 2) Harga yang ekonomis, berbanding 1:3 dengan
Tanggulangin telah dilakukan oleh pemerintah, melalui harga pasar
pelatihan, pembentukan wisata edukasi dan belanja tas di
Tanggulangin, sehingga para pengunjung dapat melihat 3) Bahan yang berkualitas, menggunakan
proses pembuatan tas dan memesan langsung tas sesuai kombinasi kain laminating dan kain anyaman.
desain yang diinginkan. Melihat potensi ini, penulis 4) Dapat diubah warnanya, dengan membuka
berencana mengkolaborasikan potensi yang ada dengan retseleting pada cover tas.
gagasan inovasi tas Pentako. Metode yang digunakan 5) Spesifikasi produk tas, konsumen perempuan,
adalah berbasis lapangan, dengan instrumen pelatihan,
pengembangan, dan pendampingan. Diharapkan melalui khususnya remaja, yang biasanya mengenakan tas kecil
gagasan ini dapat meningkatkan pendapatan para selama rekreasi.
Pentako, serta meningkatkan daya saing produk.
Gbr. 2. Desain awal rancangan tas Pentako

Gbr. 1. Metode penelitian pengembangan produk oleh Ulrich-Epping
[4].
II. METODE
Metode yang digunakan dalam pengembangan
tas Pentako adalah berbasis pengembangan produk yang
telah dikembangkan oleh Ulrich-Epping [4]. Berikut
pemaparan metode tersebut:
1) Fase 0 : perencanaan produk: untuk mendapatkan
kesepakatan jenis produk yang akan dibuat berikut
pentahapannya secara aktual.
2) Fase1: pengembangan konsep: meliputi identifikasi
kebutuhan pasar, pengembangan alternatif produk,
pengadaan evaluasi produk, pemilihan konsep terbaik
untuk dikembangkan lebih jauh.
3) Fase 2: perancangan tingkat sistem: merinci desain Gbr. 3. Hasil pengembangan desain tas Pentako
produk dalam aneka subsistem beserta komponen-
komponen yang ada serta keterkaitan antara satu dengan Keunggulan produk dibandingkan produk tas lain
lainnya. adalah: 1) warna cover tas dapat berubah, sesuai dengan
keinginan dengan 5 opsi pilihan warna dan mengurangi
4) Fase 3: perancangan detail: menyusun spesifikasi sifat konsumtif bagi para penggemar mode, 2) desain
lengkap mulai dari bentuk, material, dan standarisasi cover tas fleksibel, dapat diubah dan dapat dijadikan
seluruh komponen produk berikut identifikasi para sebagai media pelestarian kearifan lokal baik berupa batik
pemasoknya. atau cerita kearifan lokal Indonesia, dan 3) model
5) Fase 4: pengujian dan perbaikan: melakukan aneka sederhana serta mudah difungsikan.
pengujian dan revisi enjiniring hingga aneka evaluasi
yang relevan terkait produk yang akan diproduksi.
6) Fase 5: produksi awal: merupakan fase pre IV. DISKUSI
produksi massal yang sudah mensimulasikan seluruh

A. Identifikasi Peluang Usaha era global. Selain itu, para produsen pun dapat terus
Intako (Industri tas dan koper) yang berada di desa berfikir kreatif dalam menghasilkan produk diferensiatif
Tanggulangin di Sidoarjo merupakan salah satu industri dan menjalin kerjasama dengan penyetok bahan lokal
potensial. Namun paska bencana lumpur Lapindo lainnya, sehingga dampak positif yang dihasilkan adalah
menjadikan jumlah perajin yang ada di Sidoarjo menurun. pengembangan usaha dapat terus dikembangkan.
Terbukti menurut humas dan protokol Sidoarjo (b) Konsumen, mendapatkan efisiensi harga, efisiensi
menyatakan bahwa dari sejumlah 15.000 perajin turun jumlah tas yang dibeli, bisa tampil fashionable dan
menjadi 4.000 perajin di tahun 2015. Selain itu, salah satu mengurangi sifat konsumtif.
permasalahan yang menjadi kendala adalah terkait
pemasok bahan baku sintetis yang mengimpor dari China, (c) Pemasuk bahan, terjalinnya kerjasama yang saling
sedangkan bahan kulit asli berasal dari Indonesia, namun menguntungkan, tidak terbatas pada bahan kulit dan
dikarenakan bahan kulit asli lebih mahal sehingga para sintetis saja melainkan bahan sumber daya alam, eceng
perajin lebih memilih bahan sintetis. Berdasarkan gondok dan lainnya.
permasalahan tersebut dapat dijadikan potensi akan
adanya percampuran bahan pembuatan tas agar biaya D. Rencana Pengembangan Produk
produksi dan diferensiasi produk dapat dikembangkan. Pengembangan produk yang akan dilakukan nantinya
akan dimaksimalkan kepada dua hal, yaitu desain dan
Salah satu upaya yang bisa dilakukan adalah dengan
bahan produk. Pada bagian desain akan dilakukan
memanfaatkan desain tas Pentako sebagai salah satu opsi
pengembangan produk sesuai dengan metode
desain yang dapat dijadikan sebagai desain tas yang dapat
pengembangan produk yang telah dijelaskan. Sedangkan
difortifikasi. Secara teknis bahan dasar tas bisa
pada pengembangan bahan akan dikembangkan melalui
menggunakan bahan sintetis atau bahan kulit sedangkan
metode eksperimen bahan yang dilakukan oleh pengrajin
bahan cover bisa menggunakan bahan pendukung lain
tas dibantu oleh sivitas akademik maupun pihak-pihak
seperti eceng gondok atau bahan lain yang berasal dari
yang berpotensi dalam pengembangan produk.
sumber daya alam Indonesia.
Potensi pengembangan produk tas Pentako juga V. KESIMPULAN
didukung dengan adanya data kependudukan Indonesia Tas Pentako merupakan salah satu desain produk
yang diprediksikan tahun 2030 akan mengalami bonus alternatif yang ditujukan kepada pengrajin tas di
demografi di mana pada saat itu usia produktif lebih Tanggulangin Sidoarjo yang diharapkan dapat
tinggi dari pada usia tidak produktif (lansia). Berdasarkan mengembangkan diferensiasi produk dan meningkatkan
data tersebut dapat diprediksikan bahwa saat ini usia usaha. Tas Pentako ini memiliki manfaat desain yang
remaja di indonesia pun tinggi, sehingga segmen pasar futuristic, fleksibel-cover tas dapat berubah sehingga
dari tas Pentako akan ada. dapat mengurangi sifat konsumtif pembeli.
B. Persoalan yang Dihadapi Masyarakat
PERNYATAAN
Pengembangan tas yang selama ini ada di masyarakat
lebih mengarah kepada desain yang konsumtif, tidak Artikel review ini merupakan pengembangan dari
fleksibel, dan memiliki efek adiktif bagi konsumen. proposal PKM-K (Kewirausahaan) di tahun 2015 namun
Tentunya kondisi ini memang baik bagi produsen yang belum lolos pendanaan. Pengangkatan gagasan PKM
kapitalis, namun bagi para konsumen terutama remaja hal tersebut menjadi sebuah artikel ilmiah merupakan salah
tersebut tentu merugikan karena tidak ada edukasi untuk satu upaya penyampaian gagasan yang diharapkan dapat
dapat hidup hemat. Mendukung permasalahan tersebut, mengatasi permasalahan bangsa. Selain itu, diharapkan
berikut pemaparan permasalahan produk tas yang ada di dari artikel review dapat dijadikan sebagai landasan
masyarakat, antara lain: penelitian dan pengabdian masyarakat lanjut. Sehingga
gagasan produk dapat terlaksana.
 Produk tas tidak bisa diganti cover warnanya,
tidak fleksibel, REFERENSI
 Warna tas hanya 1, sehingga jika menginginkan
[1] Ningrum, Ulfah Yunita.2011.Perilaku Konsumtif Terhadap
tas dengan warna lain harus membeli tas lagi, Produk Pakaian Distro Ditinjau Dari Konformitas Pada Siswi
 Semakin rumit mode tas maka semakin mahal SMK Abdi Negara Muntilan. skripsi. Yogyakarta : Universitas
harganya, Islam Negeri Sunan Kalijaga
 Tas tidak bisa eksklusif karena di produksi [2] Yuwanto, L. (2015, juli 14). Lebaran Dan Perilaku Konsumtif
Masyarakat. Retrieved agustus 20, 2015, from UBAYA
massal. : Universitas Surabaya: http://www.ubaya.ac.id/2014 /content/
articles_detail/182/ Lebaran-dan-Perilaku-Konsumen
Persoalan yang dihadapi masyarakat khususnya
remaja antara lain: (a) Keinginan untuk tampil modis dan [3] Yulistara, A. (2013, juni 21). Ini Sebabnya Wanita Lebih
Suka Belanja Ketimbang Pria. Retrieved mei 30, 2015, from
mengikuti tren, membutuhkan biaya yang mahal, dan (b) Wolipop: http://wolipop.detik.com /read/20 13/06/21/0 83511/2
Produk yang diinginkan (tas yang ekonomis dan flexible) 27976 4/1141/ini-sebabnya-wanita-lebih-suka-belanja-ketimbang-
belum terpenuhi pasar. pria
[4] Rohimi, M. 2014. Pengembangan Kualitas Keramba Apung Yang
C. Kebermanfaatan Produk Ergonomis Berdasarkan Voice Of Customer. Online:
Kebermanfaatan tas Pentako yang didapatkan antara repository.uin-suska.ac.id/3759/3/BAB%20II.pdf. Diakses 1
lain adalah berupa tas yang memiliki nilai fungsi tinggi November 2016.
dan bisa berubah warna. Tas ini juga memberikan
manfaat bagi beberapa pihak meliputi:
(a) Produsen (perajin tas di Tanggulangin, Sidoarjo),
mendapatkan desain alternatif pembuatan tas, sehingga
diprediksikan akan dapat menghasilkan daya saing tas di

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 Linda Octavia
Program Studi Desain Produk Program Studi Arsitektur
Fakultas Arsitektur dan Desain Fakultas Arsitektur dan Desain
Universitas Kristen Duta Wacana Universitas Kristen Duta Wacana
Yogyakarta, Indonesia Yogyakarta, Indonesia
e-mail: linda@staff.ukdw.ac.id
e-mail: wag@staff.ukdw.ac.id
Mahatmanto
Program Studi Arsitektur
Fakultas Arsitektur dan Desain
Universitas Kristen Duta Wacana
Yogyakarta, Indonesia
e-mail: mahatmanto@staff.ukdw.ac.id
Abstract—Today, the increased number of sebagai makna leksikal. Pada penuturannya dalam buku
designers leads to bigger quantity of products in the berjudul The Real World, Viktor Papanek [3] telah
market. It gives a big impact in our social structure menegaskan bahwa tanggung jawab seorang desainer
and paradigm shift. Various types of products have melampaui dari objek atau produk yang dihasilkannya.
been created by the designers, from functional Perdagangan energi yang kita alami saat ini menempatkan
products to luxury products. Importantly, the social lingkungan dan desa menjadi pihak yang lemah.
responsibility and the moral Judgement become the Lingkungan menjadi tempat dimana eksploitasi
foundation of design process, so decisions made will dibumikan dan desa beserta masyarakatnya menjadi pihak
contributes to a better life. The awareness of this yang terlemah dalam menerima hantaman kebijakan
responsibility constituted a fundamental arguments energi. Studi ini dilakukan sebagai kelanjutan terhadap
which ideally to be set as a frame of the design process dasar berpikir Viktor Papanek, sehingga dapat
to support agriculture in rural societies. This study of mewujudkan desa sebagai masa depan.
the cooking stoves in the rural community used
ATUMICS method to identify the design attributes II. METODE
which should be maintained or changed. Focus of this Kasus yang diteliti mengangkat tungku masak
paper is a dialogue between a cooking stove which was biomasa di pedesaan Daerah Istimewa Yogyakarta dalam
formed from by agriculture intelligence and the hubungannya dengan budaya bertani. Melalui observasi
energy security challenge in the rural community of dan wawancara dengan, didapatkanlah berbagai hal yang
Java. The results of the dialogue explained that the
kemudian dilakukan analisa terhadap temuan-temuan itu.
local intelligence and wisdom have a straightforward
Metode ATUMICS digunakan untuk mendapatkan atribut
answer towards an energy problems which existed in
yang dapat dirubah dan tetap [1]. Atribut-atribut tersebut
their neighborhood. It also strongly supported an
selanjutya dikembangkan menggunakan sesuai dengan
argument of a village as the dream of the future.
fungsi api, antropometri pengguna dan aktivitas memasak
Keywords—ATUMICS, cooking stove, social untuk memperoleh sebuah desain yang lebih ramah bagi
responsibility and moral Judgement of designer pengguna.
I. PENDAHULUAN Pada metode ini, produk atau artefak dapat
dipengaruhi dan/atau dapat dilihat berdasarkan
Perdebatan antara modernisme dan postmodernisme
technology, utility, materials, icon, concept, dan shape,
telah mempengaruhi dasar berpikir pengguna produk dan
seperti dapat dilihat pada gambar (1) Proses penelusuran
desainer produk. Saat ini banyak pihak telah melakukan
menggunakan metode ATUMICS dibagi menjadi tiga
klaim bahwa dunia ini sedang menjalani era
kerangka besar, yang pertama adalah teknologi
postmodernism, namun dalam realitanya, kondisi ini
pembakaran yang berkaitan dengan tungku masak, yang
seperti sebuah euforia yang melahirkan modernisme
kedua adalah pembuatan, bentuk beserta materialnya, dan
dalam bentuk yang baru. Kontribusi terhadap
yang ketiga adalah fungsi serta kegunaannya. Walaupun
pengetahuan dan keberpihakan terhadap pihak yang
demikian, pemisahan ini tetap terhubung erat antara
lemah seperti lingkungan, tradisi dan desa diletakkan

kerangka satu dengan yang lainnya. dekomposisi fisik serta kepadatan. Pada tahap ke tiga
terjadi devolatisasi arang yang disebabkan oleh cracking
dari ikatan kimia C-H dan C-O.
Gbr. 1. Bagan ATUMICS [1].
Gbr. 3. Ilustrasi prose gasifikasi [8].
III. HASIL PENELITIAN

A. Teknologi pembakaran Melihat gambar (3), proses pirolisis terjadi
dikarenakan minimnya oksigen. Jika memiliki bahwa
Teknologi pembakaran yang terjadi pada tungku biomasa mempunyai kombinasi C, H, dan O, maka reaksi
masak tradisional telah mengenal teknologi yang disebut gasifikasi dapat kita uraikan menjadi seperti berikut [4]:
proses pirolisis. Teknologi ini diteliti dan dikembangkan
oleh para ahli fisika dalam keterkaitannya dengan C + 1/2O2 = CO C + O2 = CO2
penggunaan energi. Proses pirolisis bukan teknologi yang C + H20 (g) = CO + H2
sulit untuk dipahami, proses ini dimungkinkan sudah
dikenal ketika manusia telah mengenal proses membuat C + 2H20 (g) = CO2 + 2H2
api. Pada kesehariannya, proses ini banyak kita jumpai, C + CO2 = 2CO
sebagai contoh hal yang paling sederhana adalah ketika
kita menyalakan batang korek api seperti ditunjukkan CO + H20 (g) = CO2 + H2
pada gambar (2). Proses pirolisis merupakan thermal
CO + 3H2 = CH4 + H20 (g)
decomposition process dimana pada proses pemanasan
atau pembakaran sangat minim oksigen, sehingga memicu C + 2H2 = CH4
terjadinya perubahan biomasa menjadi arang/charcoal,
bio-oil, dan gas [6].
Berdasarkan reaksi gasifikasi tersebut, karbon
monoksida dan karbon dioksida dapat diminimalisasikan
sehingga berubah menjadi gas hidrogen serta gas metan
yang keduanya mempunyai nilai kalor yang cukup tinggi.
Ketika kerangka teori dari proses pirolisis tersebut
digunakan untuk melihat tungku masak tradisional, maka
proses pirolisis telah terjadi. Jadi secara lugas dapat
dikatakan bahwa tungku masak tradisional yang dalam
proses pembakaran menghasilkan arang, bio-oil dan gas
mampu bakar telah mengenal efisiensi energi. Pada
gambar (4), dapat dilihat area pembakaran dan pirolisis
yang terjadi pada tungku masak tradisional yang disebut
luweng. Bahan bakar dimasukkan dan terbakar menjadi
Gbr. 2. Proses pirolisis sederhana abu hanya terdapat pada ruang pembakaran berada pada
lubang luweng pertama (Gbr.5). Lubang luweng yang
Setiap komponen dari lignocellulose biomass yang kedua mendapatkan api yang dihasilkan dari gas produk
berupa cellulose, hemicelluloses dan lignin mengalami pirolisis yang terbakar dan fenomena gas yang
proses yang berbeda dalam proses pirolisis. Sebagai menimbulkan api pada lubang kedua disebut Mloyo.
ilustrasi dapat kita lihat pada Gambar (3), dimana tahap
Terdapat satu hal lagi yang mendukung terjadinya
pertama atau yang disebut sebagai pre-pyrolysis, proses
proses pirolisis, yaitu kerapatan lubang luweng dengan
terjadi dikisaran 120ºC hingga 200ºC sehingga terjadi
alat masak (Gbr.5). Kerapatan antara lubang luweng
pelepasan kandungan air (H2O), carbon monoxide (CO),
dengan alat masak tersebut mengindikasikan bahwa tidak
dan carbon dioxide (CO2). Pada tahap ke dua atau yang
terjadi udara yang masuk selain dari lubang udara pada
sering disebut sebagai main pyrolysis process, ditandai
ruang bakar. Indikasi ini juga menjelaskan bahwa gas
dengan weight loss dari biomasa sehingga terjadi
produksi yang dihasilkan dari proses pirolisis tidak keluar

melalui lubang dan terdorong ke lubang kedua. dan alat pembuatnya menggunakan alas yang berputar
dan baru diberi lubang setelah jadi.
Gbr. 7. Keren
Gbr. 4. Area pirolisis pada tungku tradisional
C. Fungsi dan kegunaan

Ladang, kebun dan tungku masak merupakan hal yang
tak terpisahkan dalam kehidupan masyarakat agraris di
pedesaan. Ladang dan kebun banyak memiliki vegetasi
yang sengaja ditanam (tanduran) maupun dan tumbuh
sendiri (tukulan). Vegetasi, bagi masyarakat pedesaan
merupakan sumber material yang dapat dirubah menjadi
bahan bakar untuk membuat api (gegenen) dan digunakan
untuk memasak [5].
Tungku masak tradisional di pedesaan menggunakan
bahan bakar biomasa seperti kayu sono, ranting kering
(pang), jerami (damen), tempurung kelapa (bathok), daun
kelapa kering (blarak), sabut kelapa (sepet), batang tebu
kering (krapak), kayu, sampah (uwuh), pelepah daun
Gbr. 5. Kerapatan lubang luweng dengan alat masak kelapa (bongkok), bambu dan akar batang tebu
(dongklak). Secara turun temurun, masyarakat pedesaan
B. Bentuk dan material telah memanfaatkan abu sisa pembakaran sebagai bahan
untuk mencuci alat-alat dapur dan pupuk, yang
Tungku masak tradisional terbagi menjadi dua, yaitu sebelumnya telah dikumpulkan terlebih dahulu pada
yang permanen dan dapat dipindahkan [2]. Tungku masak sebuah tempat bernama Besek atau Pengaron.
yang permanen biasanya terbuat dari tanah liat dan
batubata. Luweng dan dhingkel merupakan tungku masak TABEL I. ATRIBUT
tradisional yang permanen. Pada perkembangannya,
tungku masak ini diberi lapisan semen pada bagian luar Artefak Atribut yang tetap Atribut yang berubah
untuk menguatkan konstruksinya (Gbr.6) [5]. Bentuk Teknologi Proses pirolisis Ditambahkan cerobong
yang terjadi tidak banyak mengalami perubahan Menggunakan sistem mekanis
dikarenakan mengikuti bentuk batubata. collapsible berupa knock down
(assembly)
Utilitas Digunakan untuk Tungku masak biomasa yang

memasak dapat dipindahkan
Kemudahan pengguna ketika
operasional dan perbaikan
Material Menggunakan material logam
Ikon Tungku biomasa jenis

dhingkel, anglo dan keren
Konsep Penggunaan bahan bakar

Gbr. 6. Luweng dengan penguat semen yang tetap menjaga
kelestarian lingkungan
dan dapat diperbaharui
Pada umumnya, tungku masak yang dapat terus menerus
dipindahkan terbuat dari tanah liat dan hanya memiliki
satu lubang. Anglo, anglo grajen dan keren merupakan Bentuk  Bidang vertikal disesuaikan
tungku masak tradisional yang dapat dipindahkan (Gbr.7). dengan pola nyala api dan
- laju aliran udara
Tanah liat yang dibangun tanpa konstruksi memerlukan
bentuk dan bidang yang dapat menahan beban vertikal,  Bidang vertikal mengalami
sehingga bentuk dari tungku masak ini memiliki reduksi ukuran
lengkungan horisontal dan vertikal sebagai penguat.
Namun bentuk lengkung sendiri didapatkan karena teknik
Berdasarkan atribut yang telah dipetakan sebelumnya

dan dikembangkan menurut kebutuhan serta fungsinya,

maka didapatkan bentuk desain seperti pada gambar (8) KESIMPULAN
Perubahan paradigma energi yang semula adalah
komoditi dan berubah menjadi modal pembangunan dapat
dimulai pada desa. Kebijakan Dewan Energi Nasional ini
seharusnya segera dapat ditindak lanjuti oleh desainer.
Tanggung jawab sosial dan keberpihakan moral desainer
menjadi acuan utama dalam mempertahankan desa
sebagai sebuah sistem yang mandiri.
UCAPAN TERIMA KASIH

Segala daya upaya yang dilakukan dalam melakukan
revitalisasi tungku masak tradisional merupakan bentuk
tanggung jawab sosial dan keberpihakan moral desainer.
Melalui pergeseran desain tungku masak, dapat
memberikan kontribusi terhadap perubahan paradigma
yang ada di masyarakat mengenai perdesaan.
Tulisan ini merupakan langkah awal dari serangkaian
Gbr. 8. Desain final. proses yang masih sangat panjang. Oleh karena itu masih
sangat dibutuhkan sumbang saran dan penelitian yang
DISKUSI lebih mendalam mengenai ketahanan serta kemandirian
masyarakat perdesaan. Terima kasih atas dukungan dari
Ketahanan dan kemandirian energi di masyarakat rekan-rekan di Fakultas Arsitektur dan Desain Universitas
merupakan hal penting selain masalah pangan. Kebutuhan Kristen Duta Wacana, sehingga penelitian ini dapat
dan permintaan energi yang dapat diperbaharui menjadi terlaksana, juga kepada bengkel PIRUS yang telah
pokok pemikiran dan harus ditindak lanjuti dengan bersedia membantu dalam pembuatan model tungku
segera. Biomasa merupakan salah satu sumber energi masak.
yang dapat diperbaharui keberadaannya. Tempat yang
dapat menyediakan sumber energi biomasa adalah desa,
sehingga desa harus dipertahankan keberadaannya. REFERENSI
[1] Nugraha, A. (2012). Transformation Tradition. Helsinki, Finland:
Masyarakat pedesaan yang mempunyai budaya Aalto Univesity.
bertani telah mempunyai sistem ketahanan dan [2] Nystrom, M. (1985). Kitchen and Stove. Lund, Sweden: Lund
kemandirian energi. Mereka telah terbiasa dengan Univerisity.
penggunaan biomasa yang berasal dari sawah, ladang dan [3] Papanek, V. (1978). Design for The Real World. Chicago, Illinois
kebun mereka sebagai bahan bakar untuk memasak. : Academy Chicago
Kondisi ini memungkinkan mereka untuk tidak [4] Rolando A. Zanzi Vigouroux; Emilia Bjornbom; Krister
mempunyai ketergantungan akan gas elpiji yang semakin Sjostrom. (1995). Rapid Pyrolisis of Bagasse at High
Temperature. Asia-Pacific International Symposium on
mahal dan minim keberadaannya. Namun demikian saat Combustion and Energy. Stockholm, Sweden: Department of
ini banyak orang tidak mempedulikan tentang keberadaan Chemical Engineering and Technology / Chemical Technology.
desa dan dengan segala upaya berusaha untuk merubah [5] Sumintarsih; H.J. Wibowo; Isni Herawati; Ilmi Albiladiyah;
wujud desa. Sawah dijadikan perumahan, ladang dan Soepanto; Indah Susilantini. (1990). Dapur dan Alat-Alat Masak
kebun mulai berubah menjadi pabrik, sehingga ini Tradisional Daerah Istimewa Yogyakarta. Daerah Istimewa
berdampak kepada hilangnya ketersediaan biomasa. Yogyakarta, Indonesia: Departemen Pendidikan dan Kebudayaan
[6] Younes Chhiti; Mohamed Kemiha. (2013). Thermal Conversion
Saat ini perbincangan mengenai biomasa sebagai of Biomass, Pyrolisis and Gasification : A Review. The
sumber energi telah menjadi perhatian dunia. Berbagai International Journal of Engineering and Science (IJES) .
upaya dilakukan untuk tetap dapat mempertahankan [7] Proses Pirolisis Sederhana, Sumber : https://sites.google.com
ketersediaan biomasa. Hal ini juga tidak terlepas dari /site/ megapowersource/ home/biogas
desain tungku masak yang dirancang untuk lebih [8] Ilustrasi proses gasifikasi, https: //sites.google.com/ site/ megapo
menekankan kepada efektivitas, efisiensi dan kemudahan wersource/home/biogas
pengguna.

Indonesians‘ Attitudes Toward the Chair Material

and Material Combination
Intan Prameswari
Shinichi Koyama
Chiba University
Chiba University
Chiba, Japan
Chiba, Japan
e-mail: intan.wibisana@gmail.com
e-mail: skoyama@faculty.chiba-u.jp
Haruo Hibino
Chiba University
Chiba, Japan
e-mail: hibino@faculty.chiba-u.jp
Abstract—Culture is one of the determinants of design Indonesian furniture is characterized by the use of
development. At a cognitive level, cultural schema as both wood and rattan as the main materials [10], the
the cognitive content and cognitive process plays an development of manufacturing technology also increased
important role as a source of references and perspectives. the availability of a variety of materials ranging from
Cultural schema that is widely shared by people is natural and synthetic materials to various other
considered to be a strong schema. To increase the combinations, which could provide alternatives in the
competitiveness of the Indonesian design in the domestic furniture design development. This study focuses on
market, it is imperative to understand the Indonesian
materials and material combinations in the context of
cultural schema. A study was conducted to discover the
cultural schema. Cultural schema is a structure of
Indonesians‘ attitudes toward the chair material and
material combination by considering the Indonesian
knowledge that guides the human mind in making sense
cultural schema. The results showed that Indonesians‘ have of the world that is shared by members of the same
positive attitudes toward natural materials (wood and cultural group. In this study, Indonesian cultural schema
rattan) and material combinations (wood-bamboo, wood- is investigated in terms of attitudes toward the chair
rattan, and bamboo-rattan). material and material combination.
Keywords—culture, schema, Indonesia, chair II. OBJECTIVE

The study was conducted as a pretest as part of
I. INTRODUCTION research on Indonesian cultural schema in the context of
In the face of global economic decline, Indonesia‘s furniture design. This study attempts to discover
furniture export value is steadily increasing. In 2014, the Indonesians‘ attitudes toward furniture, particularly
value of Indonesian wooden and rattan furniture reached chairs, using a cultural schema theory approach. An
US$2.2 billion, compared to US$1.4 billion in 2012 and important characteristic of cultural schema is that it is
US$1.8 billion in 2013 [8]. The data suggest that the shared among the population of the same cultural group.
furniture industry in Indonesia remains a promising The sharing of knowledge, values, perspectives, and
industry. However, in terms of competitiveness, Indonesia attitudes in a cultural group are some examples of cultural
fell behind China and Vietnam that hold larger shares in schemas. It was hypothesized that when knowledge,
the global furniture export with values of US$56 billion perspectives, and opinions are shared by the majority of
and US$7 billion, respectively [11]. members of a given cultural group, it signifies the
existence of a strong cultural schema. Thus, the current
An increase in Indonesians‘ purchasing power is study was conducted to discover whether there exists a
shifting the export-oriented nature of the Indonesian strong cultural schema with respect to the chair material
furniture industry by making it focus more on the and material combinations. Knowledge of cultural schema
domestic market [10]. However, with the growth of regarding chairs could be useful in the development of
Indonesians‘ purchasing power, imports will also increase new furniture designs. This, in turn, could increase the
as an Indonesian market becomes more attractive for competitiveness of the Indonesian furniture manufacturers
international furniture manufacturers. The Indonesian in both the domestic and global markets.
furniture manufacturers are competing with both the
popular global furniture manufacturers, such as IKEA of III. METHOD
Sweden and DaVinci of Singapore, and Chinese furniture A. Cultural Schema
producers as part of the China-ASEAN Free Trade Understanding of people could be achieved through
Agreement [10]. the analysis of their culture. Culture and design are
In light of increased furniture imports, it is important closely linked as it is evident in the social anthropology
for Indonesian furniture manufacturers to increase their field where human civilization is traced and analyzed
competitiveness in the domestic market. To increase the based on cultural characteristics of a particular group or
competitiveness of Indonesian made furniture, a deeper civilization. Furthermore, cultural beliefs, values, and
understanding of Indonesian users‘ preferences for social practices shape the ways people relate to a
furniture, especially its design, is important. particular object [7].

In the design world, cultural attributes are often populations in a society could be attributed to cultural
expressed simply by adding aesthetical components to an schema. The cultural schema is thematized and widely
object that typically include stereotypical visual elements shared. In principle, cultural schema and individual
specific to a particular culture. To go beyond stereotypes schema do not differ, except that cultural schemas are
is a challenging task that should be considered in shared by certain groups instead of an individual [4].
designing a product [7]. To design a product that appeals
to users with maximum product experience and pleasure,
designers need to understand its target users, including the
users‘ culture. One approach to understanding the target
users is through the schema theory. A schema refers to the
structures of knowledge that consist of information
(objects, events, behaviors, images, etc.) and the
relationships between each of its parts; it acts as a
reference point to interpret the new information [1]
[3].Schemata represent knowledge at all levels, from
abstract to concrete. The schema concept can be applied
to both the abstract concepts (e.g., justice and faith) and
very concrete things (e.g., visual appearance) [12].
In this context, culture can be viewed as a hierarchy of
schemas. People‘s actions are the result of the force of-
schemas that are dynamically acquired in culturally
specific ways since early childhood. A schema in culture,
alternatively called a cultural model, is hierarchically
organized where the broader-based, stronger ones that
have been deeply internalized and easily triggered,
encompass lower-level ones of lesser importance [6].As
such, the more internalized and learned schema becomes
ingrained in society and viewed as the standard by which Fig. 1. Schema processing model [2].
members of society evaluate their values. The strongly
internalized schema shared between members of society At the individual level, culture was shaped through the
is the strongest schema that forms culture [6]. internalization of social activity by way of a learning
In an effort to better understand the Indonesian users‘ process. Internalization and a learning process come with
demand for furniture, a study was conducted to discover the repetitive experience and exposure to the cultural
the Indonesians‘ attitudes toward furniture, particularly elements, such as social environment, objects, language,
furniture material and material combinations. The study beliefs, values, etc. The repetitive experience forms a
attempts to learn Indonesians‘ strongest schema regarding generic structure in an individual‘s mind [2], and becomes
furniture by assuming that the strongest schema is the subconscious knowledge schema through the frequent
most internalized and thus widely shared by the majority. encoding and retrieval process [5]. Culture in an
individual‘s mind is a schema that consists of various
B. Activation of Schema images, behavior, and information acquired from the
The creative process of design always occurs on the sociocultural interaction and environment.
basis of some amount of prior knowledge [14]. The
amount of prior knowledge referenced in the design
process determines the novelty of the resulting design,
whether the design is an imitation, modification or
innovation. Prior knowledge itself is interrelated with the
culture to which the designer belongs. The retrieval of
prior knowledge is a cognitive process that involves
schema processing.
Schema processing refers to the interaction between
old knowledge (old information from a generic schema)
and new knowledge (episodic input) to make sense of
information. It refers to unconscious cognitive structures Fig. 2. Framework of schema activation in the study context
and processes that guide knowledge and skill. A schema
is a cognitive shortcut for interpreting and perceiving The current study follows the framework of schema
information. The human mind constantly draws partial activation (Fig. 2). To discover the Indonesians‘ attitudes
inferences from incomplete information by fitting new toward the stimulus (e.g., the chair material and material
information (episodic input) into the existing schema combinations), a schema related to the stimulus was
(generic schema) [2]. The cognitive processing of a activated. In this case, a generic schema is the knowledge
schema is largely an unconscious and automatic behavior of and the attitudes toward the chair that the study
[3]. attempted to investigate, while the episodic input
(stimulus) is the statements included in the questionnaire.
Schema theory functions as a bridge between theories The result of the interaction of the generic schema and
of culture and psychology [13]. On a larger scale, above episodic input is the participants‘ attitudes toward the
the individual schema, a cultural schema works in society stimulus (instantiated schema).
or on a cultural level. Some similarities across

IV. EXPERIMENT
A. Participant
The participants of this study are 175 Indonesians.
The participants were randomly chosen and there were no
restrictions on the demographics due to the study‘s
objective of discovering general attitudes of Indonesians
toward chair materials and material combinations.
B. Procedure
Participants were asked to answer two groups of
questionnaires related to the chair material (5 questions)
and material combinations (10 questions). The materials
Fig. 3. Sum of material scores
considered in this study are wood, plastic, metal, bamboo,
and rattan. The material combinations considered in this The figure illustrates the attitudes of Indonesians
study are ten possible combinations of wood, plastic, regarding the best materials for a chair. Based on the
metal, bamboo, and rattan. These materials were selected chart, it could be inferred that generally Indonesians have
because they are the most common materials found in the positive attitudes toward the five materials (the sum of the
furniture industry. Fabric and cushion were omitted since scores were: wood=582, plastic=471, metal=513,
fabric and cushion are considered additional components bamboo=529, rattan=586). However, based on the sum of
of a chair. The questionnaire was presented as statements the scores, wood and rattan received the highest scores.
regarding the best materials for a chair. The participants Thus, it could be inferred that Indonesians consider wood
were asked to rate their answers using a 5-point Likert and rattan to be best materials for a chair.
scale (5=strongly agree, 4=agree, 3=neutral, 2=disagree,
1=strongly disagree). The questionnaire was created using In addition, a paired t-test method showed that the
a Google Form and distributed via the Internet. mean of the data for wood is statistically significantly
different from those for plastic, metal, and bamboo
TABLE 1. EXPERIMENT STIMULI (p<0.05, two tailed), while the means of wood and rattan
are not statistically significantly different (p=0.64, two
Category Statements tailed). Similarly, the tests of statistical difference
Material Wood is the best material for a chair. between rattan and other materials led to a similar
conclusion: the mean of rattan is statistically significantly
Plastic is the best material for a chair.
different from those of plastic, metal, and bamboo
Metal is the best material for a chair. (p<0.05, two tailed), but not significantly different from
Bamboo is the best material for a chair. that of wood.
Rattan is the best material for a chair. B. Attitudes toward Material Combinations
Material Wood and plastic are the best material combination The survey yielded 165 valid responses from 175
combination for a chair. participants. The data was analyzed by assigning a value
Wood and metal are the best material combination for to each option using a Likert scale (5=strongly agree,
a chair. 4=agree, 3=neutral, 2=disagree, 1=strongly disagree) and
Wood and bamboo are the best material combination
calculating the sum of each material combination scores.
for a chair.
Wood and rattan are the best material combination for
a chair.
Plastic and metal are the best material combination
for a chair.
Plastic and bamboo are the best material combination
for a chair.
Plastic and rattan are the best material combination
for a chair.
Metal and bamboo are the best materials for a chair.
Metal and rattan are the best materials for a chair.
Bamboo and rattan are the best materials for a chair. Fig. 4. Sum of material combination scores.
The figure illustrates the attitudes of Indonesians

V. RESULTS
regarding the material combinations of a chair. From the
A. Attitudes toward Materials figure it could be inferred that Indonesians had positive
The survey yielded 173 valid responses from 175 attitudes toward the ten possible combinations of
participants. The data was analyzed by assigning a value materials considered in this study (the sum of the scores
to each option using a Likert scale (5=strongly agree, were: wood-plastic=479, wood-metal=508, wood-
4=agree, 3=neutral, 2=disagree, 1=strongly disagree) and bamboo=547, wood-rattan=576, plastic-metal=470,
calculating the sum of each material category‘s score. plastic-bamboo=447, plastic-rattan=442, metal-
bamboo=439, metal-rattan=464, and bamboo-rattan=558).
However, wood-rattan, bamboo-rattan, and wood-bamboo

combinations were more preferable to the other increase the competiveness of Indonesian furniture in the
combinations. domestic market, culture-sensitive design that considers
the Indonesian cultural schema should be developed. In
Further, a paired t-test was conducted to determine this case, a further study with an in-depth analysis of
whether the means of the three highest scored material culture and design should be conducted.
combinations were statistically significantly different
from those of the other material combinations. As the
mean difference significance tests showed, the three REFERENCES
material combinations: wood-rattan, bamboo-rattan, and [1] Axelrod, R. (1973) Schema Theory: An Information Processing
wood-bamboo were statistically significantly different Model of Perception and Cognition. The American Political
Science Review, vol. 67(4), 1248-1260.
from the other material combinations (p<0.05, two tailed).
[2] Brewer, W.F., Nakamura, E.V. (1984) The Nature and Function
Among the three highest scored material combinations, of Schemas. In Wyer, R.S., Srull, T.K. (eds.), Handbook of Social
wood-bamboo and wood-rattan had means that are Cognition, vol. 1. Hillsdale: Lawrence Erlbaum Associates, 119-
statistically significantly different (p<0.05, two tailed), 160.
while the mean differences between wood-bamboo and [3] DiMaggio, P. (1997) Culture and Cognition. Annual Review of
bamboo-rattan (p=0.32, two tailed), and between wood- Sociology, vol. 23, 263-287.
rattan and bamboo-rattan (p=0.06, two tailed) were [4] Garro, L.C. (2000) Remembering What One Knows and the
statistically insignificant. Construction of the Past: A Comparison of Cultural Consensus
Theory and Cultural Schema Theory. Ethos, vol. 28(3), 275-319.
VI. DISCUSSION [5] Hurtienne, J., Blessing, L. (2007) Design for Intuitive Use-
Testing Image Schema Theory for User Interface Design.
The results suggest that Indonesians have strong and International Conference on Engineering Design, August 28-31,
positive attitudes toward natural materials and their 2007. Cite des Science et de L‘Industrie, Paris, France.
combinations used in chair manufacturing. The findings [6] Lipset, D. (1993) Culture as Hierarchy of Schemas. Current
could be linked to the fact that Indonesia is a country rich Anthropology, vol. 34(4), 497-498.
in natural resources, including wood, rattan, and bamboo, [7] Moalosi, R., Popovic, V., Hickling-Hudson, A. (2010). Culture-
leading to a wider use of natural materials in the furniture Orientated Product Design. International Journal of Technology
and Design Education, vol. 20, 175-190.
manufacturing. Thus, as the cultural schema developed,
knowledge and positive attitudes toward natural materials [8] TEMPO (2016) Furniture Industry Expected to Grow by 10 %
This Year. Available at: http:// en.tempo.co/
have strongly been internalized in Indonesian users‘ read/news/2016/03/25/ 056756845/Furniture-Industry-Expected-
cultural schema. to-Grow-by-10--This-Year.
[9] Global Business Guide: Indonesia (2012) Indonesia Furniture and
Other factors, such as the sustainability of material Homeware Sector.. Available at: HYPERLINK "http://www.
supplies and the environmental concerns should also be gbgindonesia.com /en /manufacturing/ article/2012/ indonesia_s_
considered in developing new designs. The findings of furniture _and_homeware _sector.php" http:// www.gbgindonesia.
this study suggesting strong preferences toward natural com /en/ manufacturing/ article/ 2012 /indonesia_s_ furniture_
materials may be counterproductive to these concerns. and_homeware_sector.php)
While wood is the main concern in terms of its [10] Global Business Guide: Indonesia (2015). Indonesia Furniture
Sector; Sitting Comfortably. Available at: http:// www.
sustainability and environmental issues, rattan and gbgindonesia.com/ en/manufacturing /article/2015/ indonesia_s_
bamboo are considered to be two strong alternatives due furniture_sector_ sitting_comfortably_11132.php
to their relatively higher sustainability. The findings also [11] Indonesia Investment (2016). What is Causing Slowing Growth in
suggest that design development using rattan and bamboo Indonesia‘s Furniture Industry? Available at: HYPERLINK
as the furniture materials could increase Indonesian "http://www.indonesia-investments.com/id/business/business-
furniture manufacturers‘ competitiveness in the domestic columns/what-is-causing-slowing-growth-in-indonesia-s-
furniture-industry/item6532" http://www.indonesia-
market. It has been mentioned that wood and rattan investments.com/ id/business /business-columns/ what-is-causing-
furniture are considered to be characteristic of Indonesian slowing-growth-in-indonesia-s-furniture-industry/item6532
furniture in the global market. Considering both the [12] Rumelhart, D.E., Ortony, A. (1977) The Representation of
environmental and sustainability concerns, and based on Knowledge in Memory. In Anderson, R.C., Spiro, R.J.,
the study findings, rattan is a good candidate for further Montague, W.E. (eds.), Schooling and the Acquisition of
design development. Knowledge. Hillsdale: Erlbaum, 99-135.
[13] Sperber, D., Hirschfeld, L. (1999) Culture, Cognition and
VII. CONCLUSION Evolution. In Wilson, R., Keil, F. (eds.), MIT Encyclopedia of the
Cognitive Sciences. Cambridge, MA: MIT Press, 111-132.
It is important to note that the experiment did not [14] Uysal, C.G. (2012) Architectural Type as Cultural Schema and Its
consider the automatic characteristics of schema Cognitive Use in Architectural Design: An Analysis of the Aga
processing. Due to the nature of a random Internet survey, Khan Award Winning Dwellings in Turkey (Doctoral
the time to complete the questionnaire was not measured. Dissertation). Raleigh: North Carolina State University.
Further study with an application of time-restriction
method would be appropriate. Furthermore, in order to

Visceral Design dalam Kain Tenun Sutera

Garut
(Visceral Design in Garut Silk Weaving)
Nandang Setiawan Yanyan Sunarya

Program Studi Magister Desain Kelompok Keahlian Kriya dan Tradisi
Fakultas Senirupa dan Desain Fakultas Senirupa dan Desain
e-mail: nastiawan81@gmail.com e-mail: coiqwuwuw@yahoo.com
Achmad Syarief
Kelompok Keahlian Manusia dan Produk Industri
Bandung, Indonesia
e-mail: asyarief@fsrd.itb.ac.id
Abstract—Visceral design is one of the form of basic Penilaian secara subyektif pada kain tenun dapat
interactions between men and design object. This research dipengaruhi oleh perbedaan material, teknik menenun
aims to investigate the visceral aspect in Garut woven silk yang dipergunakan serta perlakuan penyempurnaan
fabric as textile materials through four parameters of terhadap kain. Berdasarkan hasil studi literatur, penelitian
woven fabric tactile properties, fabric thickness, stiffness, tentang evaluasi subyektif terhadap kain tenun masih
surface roughness, and total handle. The research uses belum banyak dilakukan oleh peneliti di Indonesia,
sensory evaluation method, several textile major students as sehingga menarik perhatian penulis untuk melakukan
participants, and plain, dobby, jacquard, and yarn- penelitian ini.
combined woven fabrics as samples. The result shows that
each sample has significant differences in thickness, B. Perumusan Masalah
stiffness, and surface roughness from the others. In total
Dalam kehidupan sehari-hari, bentuk interaksi yang
handle parameter, the plain woven fabric shows the highest
sesungguhnya antara manusia dengan kain tenun sulit
value. The result of this research can be used as the basis
for further research to determine the most appropriate untuk diidentifikasi karena setiap orang akan melakukan
design to be applied in more specific product. penilaian secara subyektif dengan caranya sendiri,
termasuk saat berinteraksi pada tahap visceral. Penelitian
Keywords—sensory evaluation, tactile properties, visceral ini akan membahas aspek visceral kain tenun yang
design berhubungan dengan indera peraba manusia sebagai salah
satu faktor yang menjadi referensi pilihan pengguna.
I. PENDAHULUAN
C. Tujuan Penelitian
A. Latar Belakang a) Mengidentifikasi sifat-sifat taktil kain tenun
Sebagai sebuah objek desain, kain tenun memiliki sebagai aspek visceral pada kain tenun
intensitas interaksi yang tinggi dalam keseharian manusia. b) Mengidentifikasi referensi pilihan pengguna kain
Selain memiliki fungsi utama sebagai bahan pakaian, kain tenun yang didasari oleh aspek visceral.
tenun juga menjadi bagian yang tidak terpisahkan dalam
gaya berbusana, bahkan sebagai penanda yang D. Teori Dasar
merefleksikan citra diri pemakainya. Interaksi yang paling Donald Norman [7] menyatakan interaksi antara
mendasar dapat dilihat dari respon seseorang ketika manusia dan desain dalam 3 (tiga) tingkatan. Pertama,
melihat tampilan visual atau memegang sebuah kain yang bersifat kasar (visceral), yaitu emosi yang bangkit
sebagai cara untuk menilai kualitas kain bahkan menjadi dari penampakan luar, pandangan pertama, atau sentuhan
pertimbangan ketika memutuskan untuk membeli pertama. Kedua, yang menyangkut tingkah laku
pakaian. Menurut Norman [7], pada tahapan ini manusia (behavioral), yaitu emosi yang bangkit dari penggunaan
sedang melakukan interaksi pada aspek visceral melalui produk yang menyangkut fungsi, kinerja (performance)
indera pengelihatan dan indera peraba, yaitu melakukan dan kegunaan (usability). Ketiga bersifat reflektif, yaitu
penilaian secara subyektif terhadap kain tenun secara emosi yang bangkit akibat perenungan dalam jangka
sensori. Selanjutnya Norman menjelaskan bahwa panjang dengan melibatkan di dalamnya berupa memori,
interaksi manusia dengan desain akan berada pada perasaan, dan emosi. Dalam tingkatan visceral, fitur-fitur
tingkatan yang lebih tinggi lagi, yaitu berkaitan dengan fisik seperti tampilan, rabaan, sentuhan dan bunyi
respon fisik ketika mempergunakan produk (aspek merupakan faktor yang dominan. Karena visceral design
behavioral), bahkan upaya untuk memberi makna yang adalah tentang reaksi yang spontan, maka dapat dengan
direfleksikan oleh produk tersebut (aspek reflektif). mudah dipelajari dengan cara menempatkan seseorang di

hadapan sebuah benda desain dan menunggu reaksinya. menjelaskan sifat pegangan kain tenun, yaitu ―tebal –
tipis‖ untuk variabel ketebalan kain, ―kaku – lembut‖
Aspek visceral menjadi hal yang penting bagi untuk variabel kekakuan kain, ―kasar – halus‖ untuk
seseorang ketika akan memilih kain tenun. Ketika variabel kehalusan permukaan [11]. Sementara untuk
konsumen membeli sebuah produk tekstil, mereka variabel keempat, yaitu pegangan total, tidak
biasanya akan menyentuh dan menilai sifat taktil untuk dipergunakan pasangan kata seperti halnya ketiga variabel
mengukur kualitas kain atau sebuah produk garmen untuk lain. Hal ini disebabkan total handle kain menurut Sular
tujuan penggunaan tertentu [8]. Hal ini sejalan dengan didefinisikan sebagai semua perasaan yang muncul saat
Binns [3], yang menekankan bahwa preferensi individu seseorang memegang sebuah kain [11]. Untuk
dan penilaian oleh manusia adalah dua kriteria dalam mendapatkan data numerik, keempat variabel dalam
pemilihan kenampakan dan pegangan kain. Pengukuran aspek visceral dinyatakan dalam skala semantik
kualitas kain yang didasarkan pada preferensi manusia diferensial pada rentang nilai 1 sampai dengan 5.
melalui sentuhan dan pegangan adalah cara evaluasi Responden memberikan skor setelah melakukan evaluasi
secara subyektif melalui indera peraba manusia. Masalah secara sensori untuk setiap variabel sesuai dengan
utama dalam evaluasi subyektif adalah bagaimana prosedur yang telah ditentukan.
bertanya kepada orang lain untuk mendapatkan jawaban
yang berarti. Jika ini dapat dilakukan dengan benar, Dalam evaluasi sensori kain secara subyektif,
teknik matematis dan metode penilaian subyektif mampu responden dapat memberikan penilaian hanya dengan
mengkonversi jawaban menjadi bentuk numerik yang melihat, hanya dengan menyentuh atau dengan cara
diinginkan. melihat dan menyentuhnya. Dalam penelitian ini
responden akan memberikan penilaian hanya dengan
E. Ruang Lingkup Penelitian menyentuhnya untuk menghindari bias karena pengaruh
Penelitian ini hanya membahas aspek visceral pada visual akibat perbedaan struktur yang muncul pada
kain tenun yang dapat diapresiasi oleh indera peraba, permukaan kain, karena itu sampel akan dimasukkan
yaitu sifat taktil kain tenun. Objek penelitian adalah kain kedalam sebuah kotak tertutup yang bagian depannya
tenun sutera Garut yang dibuat dengan Alat Tenun Bukan diberi lubang agar kedua tangan bisa masuk untuk
Mesin (ATBM) roll, dobby dan jacquard. Subjek melakukan evaluasi sensori dengan indera peraba.
(responden) dalam penelitian adalah mahasiswa tekstil
yang telah memiliki pengetahuan tentang material tekstil B. Cara evaluasi sensori untuk ketebalan kain
dan proses-proses tekstil. Dalam prosedur penilaian kain secara subyektif,
ketebalan kain didefinisikan sebagai jarak antara
F. Hipotesis permukaan depan dan permukaan belakang kain. Semakin
Selain perbedaan material, jenis alat yang kecil jaraknya maka kain semakin tipis, sebaliknya
dipergunakan untuk membuat kain tenun dapat semakin besar jaraknya maka kain semakin tebal.
menghasilkan kain dengan karakteristik yang berbeda, Responden diminta untuk memegang kain diantara jari
termasuk sifat taktilnya. Karena itu dapat diduga bahwa telunjuk dan ibu jari tangan yang paling sering
responden akan memberikan penilaian yang berbeda dipergunakan dan menentukan ketebalan kain
terhadap keempat sampel kain yang diujikan. berdasarkan persepsinya. (Gbr.1)
II. METODE PENELITIAN C. Cara evaluasi sensori untuk kekakuan kain
Penelitian ini menggunakan pendekatan kuantitatif. Dalam prosedur penilaian kain secara subyektif, sifat
Data didapatkan melalui kuasi eksperimen yang ini berhubungan dengan kemampuan kain untuk ditekuk
melibatkan sejumlah mahasiswa jurusan tekstil sebagai (fabric bending). Kain yang mudah ditekuk dikategorikan
responden. Selanjutnya data akan diolah dengan lembut sementara kain yang sulit untuk ditekuk
mempergunakan metode Anova satu arah untuk menguji dikategorikan kaku. Responden diminta untuk menilai
hipotesis penelitian tentang perbedaan sifat taktil pada kekakuan kain dengan cara memegang kain diantara ibu
sampel kain tenun. Jika hasil penelitian menunjukkan jari dan keempat jari lainnya dengan tangan yang paling
perbedaan yang signifikan, maka data hasil eksperimen sering dipergunakan saat dilipat ke depan dan ke belakang
dapat digeneralisasikan atau dengan kata lain data sampel (Gbr.2). Semakin sulit dilipat maka kain semakin kaku,
mewakili populasi [14]. sebaliknya semakin mudah untuk dilipat maka kain
semakin lembut.
A. Prosedur evaluasi subjektif sifat taktil kain tenun
Eksperimen ini mengikuti prosedur yang telah D. Cara evaluasi sensori untuk kehalusan permukaan
dilakukan oleh [11]. Dalam penelitiannya Sular [11], kain
mengembangkan sebuah teknik evaluasi sensori kain Dalam evaluasi sensori, kehalusan permukaan
tenun secara subyektif yang sederhana dan mudah untuk didefinisikan sebagai lekukan dan struktur yang
dilakukan. Sular mendefinisikan sifat sensori kain tenun bergelombang pada permukaan kain. Responden diminta
melalui empat variabel, yaitu ketebalan kain (fabric untuk meraba secara bebas seluruh permukaan kain untuk
thickness), kekakuan kain (fabric stifness), kehalusan merasakan lekukan dan struktur bergelombang yang ada
permukaan (surface roughness) dan pegangan total (total pada permukaan kain dengan tangan yang paling sering
handling). Meskipun telah ada beberapa penelitian dipergunakan. Untuk menghindari kain bergeser saat
terdahulu lainnya yang sejenis, penulis menilai bahwa diraba, kain ditahan dengan tangan kiri/ kanannya
keempat variabel ini telah cukup mewakili sifat pegangan (Gbr.3). Semakin banyak gelombang dan lekukan, kain
kain sebagai aspek visceral yang ada pada kain tenun. semakin kasar. Sebaliknya semakin sedikit bagian yang
bergelombang maka kain semakin halus.
Untuk menentukan kriteria penilaian, dari keempat
variabel yang akan diujikan, tiga diantaranya
mempergunakan tiga pasangan kata yang dapat

tekstil Garut dipilih sebagai objek penelitian dibedakan

berdasarkan teknik pembuatannya, yaitu : kain tenun
jacquard, selanjutnya disebut sebagai (sampel 1), kain
tenun polos dengan variasi benang pakan, (sampel 2),
kain tenun dobby (sampel 3) dan kain tenun polos
(sampel 4). Keempat sampel terlebih dahulu diuji secara
kuantitatif dengan menggunakan instrumen uji dan
metode yang terstandar di Laboratorium Evaluasi Fisika
Politeknik STT Tekstil Bandung. Sifat fisik yang diujikan
adalah berat kain, ketebalan kain, konstruksi kain,
Gbr. 1. Cara Evaluasi Sensori untuk ketebalan kain [11]. kekakuan kain dan kelangsaian.
Selain keempat sampel tersebut, dalam penelitian ini
juga dipergunakan satu buah sampel kontrol (control
fabric) sebagai acuan bagi responden saat memberikan
penilaian terhadap keempat variabel yang terkait dengan
sifat pegangan kain tenun. Sampel kontrol yang
dipergunakan adalah kain yang terbuat dari 100% serat
polyester dan biasa dipergunakan sebagai scarf /
kerudung serta memiliki sifat-sifat fisik yang menyerupai
kain sutera.
TABEL 1. HASIL EVALUSI SECARA KUANTITATIF [13]

No. Nomor sampel
Item Pengujian dan
Sam 1 2 3 4
Metode Uji
pel
1 Berat kain/m2 (gram) 73,50 44,60 77,30 54,20
SNI ISO 2801:2010
2 Ketebalan kain
SNI 08-0274-1999
Dasar, mm 0,19 0,17 0,29 0,15
Motif, mm 0,31 0,18 0,35
3 Konstruksi Kain
Tetal Lusi, helai/cm 32,09 33,86 32,87 32,48
(helai/inch) (81,50) (86,00) (83,50) (82,50)
SNI ISO 7211-2 : 2010
Tetal pakan helai/cm 31,69 43,31 32,09 25,98
Gbr. 2. Cara Evaluasi Sensori untuk Kekakuan Kain: A) Cara (helai/inch) (80,50) (110,0) (81,50) (66,00)
memegang kain [11], B) Cara melipat kain [11]. SNI ISO 7211-2 : 2010
Nomor benang lusi, TD 69,14 18,38 71,49 73,34
(Tex) (7,71) (7,94) (8,15)
SNI ISO 7211-5 : 2010
Nomor benang pakan 1, 145,88 17,41 147,39 83,96
TD (Tex) (16,21) (1,93) (16,38) (9,33)
Nomor benang pakan 2, 174,40
TD (Tex) (19,38)
SNI ISO 7211-5 : 2010
4 Kekakuan kain SNI 08-
0314-1989
Kekakuan total, mg/cm 26,89 13,53 28,53 26,82
Bending modulus, 50,15 33,05 14,33 89,86
Kg/cm3
5 Kelangsaian (drape)
SNI 08-1511-2004
Rata-rata, % 48,34 33,24 43,13 48,47
Gbr. 3. Cara Evaluasi Sensori untuk Kehalusan Permukaan kain [11]. III. HASIL DAN PEMBAHASAN
E. Cara evaluasi sensori untuk pegangan total (total Telah dilakukan eksperimen untuk menilai aspek
handle) visceral pada kain tenun sutera dengan melibatkan 98
orang mahasiswa tekstil sebagai responden. Analisis
Tidak seperti ketiga sifat sensori sebelumnya yang secara deskriptif menunjukkan bahwa untuk variabel
harus mengikuti teknik tertentu, maka pada pegangan ketebalan kain, sampel 1 yaitu kain polos dengan variasi
total, responden diberikan kebebasan untuk benang diapresiasi sebagai kain yang paling tipis dengan
mengeksplorasi keempat sampel kain dengan caranya nilai rata-rata 4.15, diikuti dengan kain polos dengan nilai
sendiri serta diminta untuk membayangkan jika kain rata-rata 4,08. Sedangkan untuk variabel Kekakuan kain,
tersebut dipergunakan sebagai benda pakai (dalam hal ini sampel 4 yaitu kain polos diapresiasi sebagai kain yang
scarf) yang akan kontak dengan bagian tubuh tertentu paling lembut dengan nilai kekakuan 4,24. Untuk variabel
seperti leher, pipi atau kepala. Responden akan kehalusan permukaan kain, sampel 4 yaitu kain polos
memberikan nilai pegangan total setelah mengevaluasi diapresisasi sebagai kain dengan kehalusan permukaan
ketebalan, kekakuan dan kehalusan permukaan pada tertinggi dengan nilai rata-rata 4,29. Sedangkan untuk
setiap sampel. Semakin baik pegangan total kain, maka variabel total handling, Sampel 4, yaitu anyaman polos
semakin tinggi skor yang diberikan. diapresiasi sebagai kain yang memiliki nilai rata-rata
F. Sampel pegangan total paling tinggi yaitu 3,95.
Empat jenis kain sutera yang dihasilkan oleh IKM Untuk menguji kesamaan varian dari setiap variabel

yang diujikan, dilakukan analisis homogenitas varian. 2. Kain polos memiliki nilai kekakuan 26,82 dengan
Tabel test of homogeneity of variances menunjukkan bending modulus tertinggi sebesar 89,96 Kg/cm3.
bahwa p value (pada kolom sig.) untuk variabel ketebalan Sementara penilaian oleh responden menempati skor tata-
kain dan kekakuan kain adalah 0.155 dan 0.053, sehingga rata 4,24, hal ini berarti responden menilai kain polos
nilai p value > 0,05. Sehingga sekalipun responden sebagai kain yang paling lembut.
menilai bahwa keempat sampel memiliki ketebalan dan
3. Kain polos diapresiasi oleh responden sebagai kain
kekakuan yang sama, namun tidak signifikan. Sementara
dengan permukaan paling halus dengan nilai rata-rata
p value untuk variabel kehalusan permukaan dan handling
kain adalah 0,008 dan 0.001, keduanya jauh lebih kecil tertinggi yaitu 4,29. Hal ini sesuai dengan hasil pengujian
secara kuantitatif dengan ketebalan 0,15 tanpa ketebalan
dari 0,05. Hal ini menunjukkan bahwa keempat sampel
memiliki kehalusan permukaan dan pegangan total yang motif, selain menjadikannya kain paling tipis, saat
melakukan penilaian kehalusan permukaan, responden
berbeda secara signifikan.
tidak mendapati bagian yang bergelombang atau
Dari tabel Anova (pada kolom F), nilai F untuk bertekstur pada permukaan kain.
variabel ketebalan kain, kekakuan kain, kehalusan
permukaan dan pegangan total secara berturut-turut IV. KESIMPULAN DAN SARAN
adalah (48,320), (28,228), (134,472) dan (21,996).
Dari hasil eksperimen evaluasi secara subyektif oleh
Sedangkan nilai F tabel untuk df 1 (3) dan df 2 (388)
mahasiswa tekstil sebagai responden, kain polos
adalah 2,67. Sehingga F hitung > F tabel pada semua
diapresiasi sebagai kain dengan sifat pegangan total yang
variabel, maka H0 ditolak. Artinya ada perbedaan nilai
paling baik untuk dipergunakan sebagai scarf, hal ini
rata-rata penilaian terhadap keempat sampel penelitian
sesuai dengan hasil pengujian karakteristik fisik kain
pada taraf signifikansi 95%.
secara kuantitatif dengan metode pengujian yang
Dari tabel multiple comparison, pada kolom Tukey- terstandar. Untuk memperoleh validasi metode evaluasi
HSD dan Mean difference terdapat angka bertanda (*). subyektif yang dipergunakan dalam penelitian ini, maka
Hal ini menunjukkan bahwa sampel yang diujikan perlu dilakukan penelitian sejenis dengan melibatkan
memiliki perbedaan yang signifikan. Pada variabel kelompok responden serta sampel kain yang berbeda.
ketebalan kain, kain polos dinilai memiliki perbedaan
yang signifikan dengan kain dobby dan kain jacquard REFERENSI
sebesar 1,286 dan 0,959. Pada variabel kekakuan kain, [1] Alimaa, D., Matsuo, T., Nakajima, M. and Takahashi, M. (2000).
kain polos dinilai memiliki perbedaan yang signifikan Sensory Measurements of The Main Mechanical Parameters of
dengan kain polos variasi benang, kain jacquard dan kain Knitted Fabrics. Textile Res. J. 70911), 985-990
dobby sebesar 0,490; 1,184 dan 0,990. Pada variabel [2] Bacci, Laura (2012), Sensory Evaluation and instrumental
kehalusan permukaan, kain polos dinilai memiliki Measurements to Determine Tactile properties of wool fabrics,
perbedaan yang signifikan dengan kain polos variasi Textile Researh Journal
benang, kain jacquard dan dobby sebesar 2,531; 2,061 [3] Binns, H., (1937) The Judgements of Fabrics, J. Textile Inst. 28,
193-199
dan 1,939. Begitu juga dengan variabel total handling,
kain polos dinilai memiliki pegangan total yang berbeda [4] Bishop, D.P. (1996), Fabric Sensory and Mechanical Properties.
Textile Prog. 26(3), 5-27.
secara signifikan dengan kain polos variasi benang, kain
[5] Hoffman RM., (1963). Measuring the Aesthetic Appeal of
jacquard dan dobby sebesar 1,051; 0,939 dan 0,867. Textiles. Textile Res. J. 1965; 56: 428-434
Selanjutnya dengan pengujian homogeneous subset [6] Kanai, Hiroyuki (2011), Identification of Principal Factors of
akan ditentukan sampel mana yang secara signifikan Fabric Aesthetics by The Evaluation From Experts on textiles and
From Untrained Consumers, Textile Research Journal
diapresiasi sebagai kain yang berbeda. Dalam hal ini,
[7] Norman, D. A. (2004). Emotional design: Why we love (or hate)
akan ditentukan satu sampel kain yang oleh responden everyday things. Basic books.
diapresiasi sebagai kain yang memiliki total handling
[8] Philippe, F., Schacher, L.. Adoplphe, D.C. and Dacremant, C.
yang paling baik jika dipergunakan sebagai scarf. (2004), Tactile Feeling : Sensory Analysis Applied to Textile
Goods. Textile Res, J. 74 (12), 1066-1072
Kain polos variasi benang, kain jacquard dan kain
[9] Sekhri, Seema (2011), Textbook of Fabric Science; Fundamental
dobby berada pada kolom 1 dengan nilai rata-rata (2,90), to Finishing.
(3,01) dan (3;08). Sedangkan kain polos berada pada
[10] Slater, K. 1997. Subjective Textile Testing. J. Text. Inst. 88(2)
kolom 2 dengan rata-rata 3,95. Hal ini berarti kain polos (part 1), 79-91
adalah kain yang memiliki sifat pegangan total yang [11] Sular Vi‘ldan and Ays¸E Okur (2006) Sensory Evaluation
paling tinggi dan berbeda secara signifikan dengan ketiga Methods for Tactile Properties on Fabrics,Textile Engineering
kain lainnya. Department, Faculty of Engineering, Dokuz Eylul
UniversityIzmir, Turkey,
Hal ini didukung data hasil pengujian kuantitatif: [12] Winakor, Greitel and Charles J, Kim (1980), Fabric Hand :
Tactile Sensory Assesment, Textile Research Journal
1. Kain polos memiliki ketebalan 0,15 mm dan
menjadi kain paling tipis diantara keempat sampel, [13] Hasil evalusi secara kuantitatif Laboratorium Evaluasi Fisika
Tekstil Politeknik STT Tekstil Bandung
sementara rata-rata penilaian oleh responden adalah 4.08,
[14] Riduwan (2003), .......................
tertipis kedua setelah kain dengan variasi benang.

Karakteristik Visual Laminasi Serat Tandan

Pisang sebagai Alternatif Material Produk
Kerajinan Visual
(Characteristic of Banana Stalk Fiber Lamination as an Alternative
Material for Craft Product)
Christmastuti Nur
Program Studi Magister Desain
Bandung, Indonesia
e-mail: christmastuti@gmail.com
Abstract—Indonesia is well known as one of the biggest (9%), selulosa (46%), hemiselulosa (39,54%), dan abu
bananas (Musaceaea sp.) producing country in the world. (8,3%). Tingginya kandungan selulosa ini menunjukkan
Banana is not only easily cultivated but also each part of kandungan serat yang tinggi pula. Potensi kandungan
this plant has plentiful advantages. One of banana plant serat ini dapat dimanfaatkan sebagai material produk
part which is rarely used is the stalk. Banana stalk has a kerajinan, mengingat selama ini batang tandan pisang
high composition of cellulose. It means composition of fiber baru dimanfaatkan sebagai media tumbuh bakteri [3],
in banana stalk is high as well. This research aims to ataupun sebagai bahan baku pembuatan kertas.
discover visual characteristic of lamination made of banana
stalk fiber so it can be used as a reference to utilize banana
stalk fiber as an alternative material for craft product
design. The method used in this research is an experimental
method using press technique with the difference variable
of adhesive. Press process is preceded by a unraveling
process of banana stalk becoming individual fiber through
various techniques. The result of this research is indeed
lamination of banana stalk fiber can be used in designing of
various product and craft; however, as a new material, the
visual character of lamination of banana stalk fiber is
difficult to identify and distinguish compared to other fiber
materials, such as fragrant roots fiber, straw, coconut fiber,
bamboo strip, and its kind. Therefore, advance research is
needed to develop banana stalk fiber which is more
accentuating on its visual character so banana stalk fiber
can be easily recognized by consumer.
Keywords—natural fiber, banana stalk, visual, material,

product
I. PENDAHULUAN
Buah pisang (Musaceaea sp.) telah lama menjadi
komoditas andalan Indonesia. Berdasarkan data dari
Badan Pusat Statistik, pada tahun 2015 Indonesia
memiliki ratusan kultivar pisang yang tersebar di areal
tanam pisang seluas 82.426 ha dengan jumlah produksi
Gbr. 1. Gambar Batang Tandan Pisang dengan Buah (atas) [6] dan
pisang mencapai 6,78 juta ton. Bahkan, Indonesia juga Tanpa Buah (bawah)
dikenal sebagai salah satu negara dengan keragaman
plasma nutfah pisang yang cukup besar [5], seperti pisang Penelitian ini bertujuan untuk mengetahui
raja, kepok, susu, kepok, ambon kuning, ambon lumut, karakteristik visual dari serat tandan pisang yang
mas, barangan, cavendish, dan masih banyak lagi. Selain diperoleh dari penguraian batang tandan pisang menjadi
relatif mudah pembudidayaannya, tanaman pisang juga serat individu. Karakteristik visual serat tandan pisang ini
mempunyai banyak kegunaan, mulai dari bagian buah, dapat digunakan sebagai acuan untuk memanfaatkan serat
daun, pelepah, hingga bonggolnya. Akan tetapi, ada tandan pisang sebagai alternatif material produk kerajinan
bagian tanaman pisang yang jarang sekali digunakan, yang sudah ada sebelumnya seperti serat pisang abaca,
yaitu batang tandan pisang. serat gebang, serat enceng gondok, serat pandan, serat
Menurut Venkateshwaran dan Elayaperumal [1], akar wangi, dan sebagainya. Selain itu, melalui
batang tandan pisang memiliki komposisi kimia lignin pengolahan tandan pisang yang bahannya mudah dan
gratis didapatkan, maka dapat menggerakkan pengrajin

dari UKM untuk berkarya menghasilkan produk kerajinan Dalam kondisi cerah, bisanya diperlukan waktu selama 8
tanpa tergantung pasokan bahan baku dari daerah lain. jam hingga serat benar-benar kering. Selain itu, dalam
McDonough dan Braungart [2] mengungkapkan bahwa penelitian berikut tidak menggunakan zat pewarna alam
penggunaan material alam lokal dalam suatu produk dapat maupun sintetis, sehingga hasil yang diperoleh adalah
menjadi peluang bisnis bagi Usaha Kecil Menengah warna asli dari serat tandan pisang.
(UKM) setempat. Oleh karenanya, tidak hanya daerah-
daerah dengan sentra kerajinan serat alam seperti di
Sentolo, Kulon Progo, D.I. Yogyakarta saja yang dapat
mengembangkannya, namun daerah penghasil pisang
terbesar di Indonesia seperti provinsi Lampung dan Jawa
Timur.
II. BAHAN DAN METODE
Penelitian ini bersifat eksperimentatif dengan
menggunakan teknik kempa (press dingin). Alat kempa
yang digunakan berasal dari Laboratorium Serat dan
Bahan Alam, Program Studi Desain Produk, di
Universitas Kristen Duta Wacana, Yogyakarta, yang
berlangsung pada bulan Oktober 2016.
Bahan utama yang digunakan dalam penelitian ini
adalah batang tandan pisang jenis Raja Bulu yang
diperoleh secara cuma-cuma karena merupakan sisa
pengolahan buah pisang. Sampel yang digunakan yaitu
sebanyak 16 batang tandan pisang Raja Bulu dengan
panjang rata-rata 48.7 cm, dan berat rata-rata 572 gram.
Proses penguraian batang tandan pisang menjadi serat
individu, dilakukan dengan berbagai teknik yaitu
diuraikan dengan cara direndam di dalam lumpur secara Gbr. 3. Hasil Pengolahan Batang Tandan Pisang Menjadi Serat
alami dengan bantuan mikroorganisme di dalam tanah,
diuraikan secara manual dengan tangan, diuraikan dengan Setelah proses pengeringan selesai, serat kemudian
menggunakan sikat kawat, dan diuraikan dengan alat disusun di atas cetakan berbahan plat besi berukuran
dekortikator (penelitian ini menggunakan dekortikator 15x20 cm dengan isian serat sebanyak 30 gram pada
dari Program Studi Kriya, Institut Teknologi Bandung). masing-masing cetakan. Langkah selanjutnya, serat
dilapisi dengan zat perekat. Penelitian ini menggunakan
lima jenis zat perekat, yaitu getah damar kucing, animal
glue, lateks, lem PVAc (Poly Vynil Acetate) merk
Verbond yang biasa digunakan untuk kayu, dan lem
PVAc merek Ultra Phaeton yang memiliki kadar toxic
0,001% sehingga aman terhadap lingkungan. Komposisi
zat perekat yang digunakan dalam penelitian ini sebanyak
10% dari berat serat. Pada tahap berikutnya, serat tandan
pisang yang telah diberi zat perekat ini kemudian dipres
dengan mesin press dingin dengan beban tekan sebesar
500 kilogram selama 6 jam.
III. HASIL DAN PEMBAHASAN
Proses penguraian serat diperlukan sebagai tahap awal
proses mengempa atau mengepress serat tandan pisang.
Cara penguraian batang tandan pisang menjadi serat
individu ini juga yang akan mempengaruhi karakter visual
serat tandan pisang. Berbagai teknik penguraian yang
dilakukan dalam penelitian ini dijelaskan melalui tabel 1,
disertai dengan analisisnya.
Laminasi serat ini juga dapat diatur ketebalannya.
Metode press dinilai cepat dan mudah untuk dikerjakan
oleh siapapun termasuk pengrajin dari UKM, dengan
biaya terjangkau. Pengepresan serat tandan pisang ini juga
memungkinkan semua bahan serat terpakai, sehingga
hampir tidak ada yang tebuang. Pada penelitian ini, serat
tandan pisang yang akan dipres menggunakan serat hasil
Gbr. 2. Gambar Penguraian Batang Tandan Pisang dengan Tangan
(atas) dan dengan Dekortikator (bawah) dari penguraian menggunakan sikat kawat.
Pertimbangannya adalah prosesnya cepat, murah, mudah,
Serat tandan pisang yang telah terurai lantas dicuci dan hasil serat yang diperoleh lebih lembut, namun tidak
hingga bersih dan dikeringkan di bawah sinar matahari. banyak serat yang terbuang seperti ketika menggunakan

mesin dekortikator. serat yang besar. Salah satu cara mengembangkannya

adalah dengan metode press. Metode press adalah
pemadatan material serat dengan penekanan panas atau
TABEL I. BERBAGAI TEKNIK PENGURAIAN YANG DILAKUKAN DALAM
PENELITIAN INI
TABEL II. HASIL DARI TAHAP KEMPA ATAU PENGEPRESSAN
SERAT
Teknik Analisis No Zat Perekat Hasil Analisis

No Pengu- 1 Getah Tidak dapat merekat Walaupun sangat
raian Visual Tekstur Kelebihan Kekurangan Damar dengan serat lengket dan ramah
Kucing lingkungan, namun
1 Direnda Meleng- Lembut Sangat Butuh getah damar kucing
. m dalam kung seperti Murah waktu bersifat minyak
Lumpur Warna rambut, Tidak sangat sehingga tidak dapat
cokelat sangat tipis mengeluark lama merekatkan serat tandan
kusam an tenaga (+/- 2-3 pisang.
minggu) 2 Animal Serat menjadi lembaran
untuk Glue yang sangat tipis (2
terurai mm), dapat
Sampel dilengkungkan,
permukaan serat tidak
rata, warna lebih
kecokelatan, nampak
mengkilap, dan bau lem
2 Tangan Lurus Tebal Sangat Butuh masih tercium jelas.
. (basah), Kasar Murah waktu lama
meleng- (+/- 1 jam
kung per tandan)
(kering) Butuh 3 Lateks Serat menjadi lembaran
Warna tenaga tipis (4mm) yang lentur
cokelat untuk dan empuk, fleksibel,
gelap mengurai serat tidak rata
Sampel (bertekstur), warna tidak
berubah, bau lem tidak
begitu tercium,
3 Sikat Agak lurus Lebih Cukup Butuh 4 Lem Serat menjadi lembaran
. kawat (basah & tipis dan Murah waktu PVAc dengan ketebalan 5 mm,
kering) lebih Hasilnya lama (+/- Verbond sedikit kaku namun
Warna halus dapat setengah masih bisa
cokelat dibanding menyeru- hingga dilengkungkan,
penguraia pai serat satu jam permukaan serat lebih
n dengan yang diurai per tandan) tidak rata, warna tidak
tangan dengan Butuh berubah, bau lem tidak
dekortika- tenaga begitu tercium.
tor ekstra
Sampel
5 Lem Serat menjadi lembaran
PVAc dengan ketebalan 5 mm,
Ultra kaku, agak sulit
Phaeton dilengkungkan,
permukaan serat tidak
4 Mesin Lurus Sangat Prosesnya Harga rata, warna berubah, bau
. Dekorti (basah & tipis dan sangat mesin lem tidak begitu
kator kering) lembut, singkat mahal & tercium.
Warna lebih seperti Serat butuh
terang rambut. mudah perawatan
(krem) terurai Banyak
Serat serat yang
sangat terbuang
lembut Masih
menyisa- dingin melalui penggunaan perekat dalam waktu tertentu
kan sedikit [4]. Pengepresan serat dengan teknik kempa dingin akan
bagian menghasilkan luaran (output) yaitu laminasi berupa
tandan lembaran serat.
yang tidak
dapat Pada tahap kempa atau pengepresan serat, diperoleh
masuk
mesin hasil pada tabel 2. Hasil kempa pada serat tandan pisang
Sampel di atas menunjukkan bahwa serat tandan pisang dapat
digunakan untuk membuat lembaran laminasi serat, yang
dapat diaplikasikan pada perancangan berbagai macam
produk. Perbedaan yang jelas dari segi visual ditunjukkan
oleh hasil kempa serat tandan pisang menggunakan
animal glue yang berwarna lebih kecokelatan, mengkilap,
dan bertekstur lebih halus dibandingkan dengan lem
Berdasarkan hasil penguraian serat di atas diketahui PVAc Verbond dan Ultra Phaeton. Kesan mengkilap yang
bahwa tandan pisang memiliki potensi pengembangan diperoleh ini dapat menekan pengeluaran biaya top

coating atau furnishing. dengan bahan dan tampilan yang berbeda dari produk-
produk kerajinan yang telah ada.
Walaupun demikian, secara keseluruhan ditinjau dari
segi visual, hasil kempa terhadap serat tandan pisang ini
hampir sama atau mirip sekali dengan laminasi serat alam REFERENSI
lainnya misalnya serat akar wangi, serat jerami, serat [1] Irawan, Chairul., Ariyanti, D., dan Hernanda, P. (2013):
serabut kelapa (sebutret), dan iratan bambu tipis. Hal ini Pemanfaatan Limbah Batang Pisang (Musa sp.) di Kalimantan
Selatan sebagai Alternatif Bahan Baku Pembuatan Kertas,
menyulitkan bagi pengenalan karakter serat tandan pisang Prosiding Seminar Nasional Teknoin, 3, 17-21.
nantinya di tengah produk-produk kerajinan lainnya. [2] McDonough, William dan Braungart, Michael. (2002): Cradle to
Cradle: Remaking The Way We Make Things, North Point Press
IV. KESIMPULAN dan Melcher Media, New York
Serat tandan pisang sebagai alternatif material baru [3] Nurhayati, Prasetyo, L., dan Sukatiningsih. (2013): Karakteristik
untuk produk kerajinan belum banyak dikenal oleh Bubuk Tandan Pisang dari Empat Varietas dan Potensi Pektin
sebagai Media Pertumbuhan Lactobacillus acidophilus. Jurnal
konsumen. Hasil eksperimen pengolahan serat tandan Agroteknologi, Universitas Jember, 7 (2), 143-149.
pisang menggunakan teknik kempa menunjukkan
[4] Purwandaru, Pandu. (2013): Pemanfaatan Jerami Press untuk
karakteristik visual yang hampir sama dengan serat Pengembangan Desain Produk Berbasis Pemberdayaan
lainnya. Oleh sebab itu, hasil laminasi pengolahan serat Masyarakat di Kecamatan Delanggu, Kabupaten Klaten, Tesis,
tandan pisang menggunakan teknik kempa hampir sulit Dipublikasikan, Institut Teknologi Bandung.
dikenali oleh konsumen sebagai material baru. [5] Wirnas, D., Sobir, Surahman, M. (2005) Pengembangan Kriteria
Dampaknya, penjualan produk kerajinan bisa saja tidak Seleksi pada Pisang (Musa sp.) Berdasarkan Analisis Lintas,
terlalu laku. Dengan demikian, perlu adanya penelitian Jurnal Agronomi Indonesia , Institut Pertanian Bogor, 33 (3) 48 –
54.
lanjutan terhadap teknik pengolahan serat tandan pisang
[6] Batang Tandan Pisang dengan Buah, www.krpurwodadi.com
yang lebih menonjolkan karakteristik visual serat tandan
pisang sehingga konsumen mengenalinya sebagai produk

Adaptasi Pemilihan Kayu Jati di Industri

Mebel untuk Mengatasi Keterbatasan Jumlah
Kayu
Studi Kasus: Manggala Furniture, Jawa Tengah, Indonesia
(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 Wiartakusumah
Program Studi Desain Produk Industri
Institut Teknologi dan Sains Bandung Program Studi Desain Interior
Cikarang, Indonesia Institut Teknologi Nasional
e-mail: ariantiayu87@yahoo.com Bandung, Indonesia
e-mail: mangjamal@gmail.com
Abstract—Central Java has become the center of Milyar, dengan urutan ke 18 setelah Malaysia dan
furniture industry made of teakwood in Indonesia for a Vietnam [2].
long time. Until now, the furniture industry continues to
develop into a major commodity in Indonesia. The main Industri mebel memiliki peluang dalam meningkatkan
problem faced by the wooden furniture industry is the huge nilai ekspornya, didukung oleh berbagai faktor, yaitu,
demand for round wood that is not accompanied by the ketersediaan bahan baku; sumber daya manusia yang
balance of forest products, particularly teak wood. The besar dan terampil; dan iklim pertumbuhan investasi.
limitation of wood supply has a major impact on the Karena itu, Indonesia memiliki target untuk
performance of the furniture industry, which has been meningkatkan nilai komoditas ekspornya dalam 5 tahun
pushing the industry to adopt a new production system and ke depan. Berdasarkan data dari AMKRI [2], pada
market. Another challenge faced by the furniture industry rentang tahun 2009 hingga 2014, nilai ekspor mebel
is the increasing demand for furniture exports this time. Indonesia terus mengalami peningkatan (Gbr. 1).
Changes in the quality and quantity of teak wood can
indirectly influence the shape of the design and the type of Sejak awal kemunculan pada abad ke-17, mebel di
products manufactured by the industry. Indonesia juga telah memenuhi kebutuhan fungsional,
estetik dan sosial pada kehidupan masyarakat, terutama di
The main focus of this research is to analyze the lingkungan kerajaan. Menurut Veenendaal [9], jenis kayu
adaptation of furniture industry in Central Java, through yang banyak digunakan untuk pembuatan mebel pada
the observation of furniture design, stage production, and masa lalu adalah kayu eboni, ambon merah, sonokeling
wood life cycle. The object of study is Manggala Furniture, dan jati. Keempat jenis kayu tersebut memiliki harga yang
located in Klaten district, Central Java. The method used cukup tinggi, karena itu hanya kalangan berstatus sosial
was direct observation and in-depth interviews with tinggi yang mampu membeli. Kekuatan dan keindahan
industry owners. The results of this research are expected to kayu jati memberikan nilai lebih yang istimewa pada
be an important strategy in the furniture industry to sustain sebuah mebel. Mebel ukir dari Jepara di Jawa Tengah,
production and business, especially in facing the limitation
menggunakan kayu jati sebagai kayu utama. Pada masa
of teak wood supply in Central Java. Facing the limitation
lalu, sumber bahan baku untuk mebel banyak diambil dari
of teak wood amount in Central Java.
Hutan Alam.
Keywords—Teak wood, furniture, selection material,
limitation
I. PENDAHULUAN
Furnitur merupakan salah satu dari empat komoditas
ekspor utama Indonesia selain minyak dan gas bumi,
sawit, garmen dan karet [7]. Industri furnitur memiliki
peran penting dalam penyerapan tenaga kerja, yang mana
saat ini terdapat lebih dari 500.000 tenaga kerja langsung
dan 2,5 juta orang tenaga kerja tidak langsung yang
tersebar pada sub kontraktor (outsourcing). Industri mebel
juga menghasilkan devisa negara sebesat USD 1,87 Gbr. 1. Data ekspor mebel Indonesia tahun 2007-2014 [2].

Keterbatasan bahan baku dan makin tingginya 3) Proses adaptasi (adaptive process); merupakan
kesadaran terhadap lingkungan menyebabkan penggunaan perubahan-perubahan yang ditunjukkan melalui proses
bahan baku mulai beralih pada bahan baku kayu non yang panjang dengan cara menyesuaikan strategi yang
hutan alam, antara lain dari Hutan Rakyat dan bahan baku dipilihnya.
alternatif dari limbah kayu tanaman perkebunan (kelapa,
karet, dan kelapa sawit) [3]. Dalam memenuhi kebutuhan Perubahan kondisi alam, mempengaruhi proses
pemikiran manusia. Termasuk dalam penggunaan
kayu untuk industri mebel, pasokan bahan baku kayu
material baru. Seiring dengan perkembangan teknologi,
utama berasal dari hutan rakyat di Jawa Tengah, dan
sekitar 11,47% kebutuhan bahan baku dipasok dari berbagai jenis material baru telah dihasilkan, salah
satunya adalah kayu komposit. Berbagai perubahan
Sulawesi dan Sumatera [7]. Seiring dengan meningkatnya
nilai ekspor mebel, maka kebutuhan terhadap pasokan karakter material mempengaruhi desain yang dihasilkan.
Menurut Ashby dan Johnson (Gbr.2) [1], material baru
kayu akan semakin tinggi. Penurunan kualitas kayu dapat
membutuhkan proses produksi yang berbeda, dan secara
terlihat pada standar diameter pohon yang semakin kecil
untuk dipanen. Pada tahun 1999, diameter terkecil kayu tidak langsung menghasilkan karakter desain baru.
Material tersebut juga diharapkan dapat berperan dalam
yang dipanen adalah 50 cm, sedangkan 10 tahun
meringankan dampak lingkungan.
kemudian pada tahun 2009, diameter terkecil kayu yang
bisa dipanen adalah 40 cm [5]. Penurunan kualitas kayu III. METODE PENELITIAN
10 tahun ini menurun, sehingga diprediksi pada tahun
2019 diameter terkecil yang bisa dipanen adalah 30 cm. Proses awal yang dilakukan adalah melakukan
Berbagai fenomena alam yang terjadi pada perubahan wawancara mendalam terhadap kegiatan desain industri
kualitas dan kuantitas kayu mempengaruhi proses mebel. Selain melakukan wawancara, juga dilakukan
produksi dan desain yang dihasilkan oleh industri dari pengumpulan data desain baik melalui pengambilan foto
rentang waktu tersebut. Penelitian ini bertujuan untuk atau data. Diharapkan, hasil dari observasi dapat
melihat perubahan yang terjadi dan penyesuaian yang memperlihatkan adaptasi material, adaptasi teknik
dilakukan pada industri mebel kayu. produksi dan adaptasi siklus kayu dalam industri.
Pemetaan pada siklus kayu akan memberikan gambaran
efektivitas penggunaan kayu dalam industri Manggala
Furnitur.
Industri Manggala merupakan industri mebel kayu jati
yang juga memproduksi produk kayu lain untuk bangunan
rumah (pintu dan reng jendela). Berdiri pada tahun 1985
dan memiliki 2 pusat produksi di Klaten, Solo, Jawa
Tengah. Konsumen utama adalah pasar ekspor Eropa dan
Afrika. Desain mebel cenderung modern dan minimalis.
Wawancara dilakukan kepada pemilik dari Manggala
Furnitur, dengan menekankan pada lima pertanyaan
utama, yaitu:
1) Jenis kayu apakah yang anda pilih, dan mengapa
anda memilih kayu tersebut?
2) Dari mana sumber kayu yang digunakan di
perusahaan anda?
3) Apabila dapat dijelaskan dalam beberapa tahap,
Gbr. 2. Peran ilmu pengetahuan [1].
bagaimana proses pemilihan kayu yang akan digunakan
hingga dalam produk jadi (apabila kayu yang digunakan
II. TEORI PENDUKUNG adalah kayu sisa dari industri, bagaimana kondisi yang
Menurut Heimstra dan McFarling [6], adaptasi sebaiknya dipilih)?
dilakukan ketika ada disonansi dalam suatu sistem,
artinya ketidakseimbangan antara interaksi manusia 4) Dengan banyaknya kompetitor, meningkatnya
dengan lingkungan, tuntutan lingkungan yang berlebih permintaan pasar dan sumber bahan baku terbatas, apakah
atau kebutuhan yang tidak sesuai dengan lingkungan. strategi/ karakter bentuk desain mebel yang sebaiknya
Pernyataan tersebut sejalan dengan apa yang dikatakan dirancang oleh perusahaan anda, juga oleh pelaku industri
oleh Bennet, bahwa adaptasi merupakan proses belajar lainnya agar menjaga efisiensi material kayu?
manusia dan mengantisipasi keadaan. Bennet 5) Nilai keberhasilan apakah yang dicapai/dimiliki
mengatakan, bahwa terdapat tiga jenis adaptasi [4], yaitu: oleh perusahaan anda setelah menerapkan strategi pada
1) Perilaku adaptasi (adaptive behavior); menunjuk pertanyaan 4 (apakah dari segi pasar/ nilai jual/
pada cara-cara aktual masyarakat menemukan/ keberlangsungan material, dan sebagainya)?
merencanakan dalam memperoleh sumber daya untuk IV. HASIL
mencapai tujuan dan memecahkan masalah.
A. Situasi Kerja
2) Strategi adaptasi (adaptive strategies); merupakan
pola umum yang terbentuk melalui banyak proses Industri Manggala memiliki area pabrik yang sangat
penyesuaian pemikiran masyarakat secara terpisah. luas, dimana setiap tahap memiliki areanya masing-
Masyarakat merespon permasalahan yang dihadapi masing. Hampir setiap ruangan memiliki ventilasi yang
dengan melakukan evaluasi terhadap alternatif yang cukup terbuka dan penerangan yang baik. Sisa kotoran
mungkin dan konsekuensinya. dan debu tidak banyak menumpuk di dalam ruangan

karena kebersihan cukup terjaga. Setiap bagian ruangan & development- proses produksi – distribusi), hingga
terletak berurutan ke bagian dalam, sehingga tidak ada proses akhir pembuangan produk. Variabel pada siklus
ruangan yang berada di antara dua ruang dan menerima kayu dipaparkan melalui kegiatan yang dilakukan pada
sisa-sisa debu dari ruangan lain. tiap tahap, hingga limbah yang dihasilkan pada proses
produksi industri. Berikut adalah paparan analisa siklus
kayu pada industri Manggala.
Industri Manggala menggunakan bahan dasar kayu
log bulat. Limbah yang dihasilkan terdiri dari 3 jenis
limbah kayu dan 1 jenis limbah kemasan. Limbah 1 dan 2
dimanfaatkan sebagai nilai ekonomi yang bermanfaat
untuk industri mebel itu sendiri. Limbah yang dihasilkan
dijual dalam bentuk reng dan papan kayu mozaik. Selain
itu, limbah awal yang berupa sisa potongan kayu log
dijual kepada pengepul pengrajin, dengan harga yang
sangat murah (muatan 1 truk besar dihargai Rp
1.500.000).
Gbr. 3. Situasi kerja pada industri Manggala Furnitur.
B. Bentuk Adaptasi
1) Adaptasi Siklus Kayu, pada cakupan desain
berkelanjutan, terdapat metode yang dikeluarkan oleh
UNEP (2006), yang bertujuan untuk memaksimalkan
siklus produk. Berikut adalah metode UNEP:
Gbr. 5. Proses pemilihan sisa potongan log kayu bulat oleh pengepul.
 Penggunaan ulang produk (Re-use of product).
 Produksi dan finishing ulang (Re-manufacturing Limbah 2 dan 3 memiliki kondisi yang berbeda,
and Re-furbishing). terutama dari dimensinya. Karena itu, pemanfaatannya
juga berbeda. Limbah 2 yaitu kayu dengan dimensi kecil
 Pengolahan kembali (Recycling of material). dan berukuran panjang. Diperkirakan ukuran lebar kayu
adalah 3x3 cm2, dengan panjang 1 meter.
 Pembakaran yang aman (Safer incineration).
 Mempertimbangkan komunitas lokal yang
berperan dalam pengolahan sampah.
Gbr. 6. Pemanfaatan limbah 2 menjadi reng .
Selain dimanfaatkan untuk membuat reng, limbah 2

juga digunakan untuk membuat panel kayu. Ukuran untuk
panel kayu lebih pendek dari pada kayu reng, namun
lebih lebar. Panel kayu yang berasal dari potongan-
potongan sisa produksi dimanfaatkan sebagai aspek
dekorasi dan struktur di dalam mebel. Industri Manggala
Gbr. 4. Siklus kayu pada industri mebel Manggala; sumber kayu log membuat panel kayu dari limbah produksi, dan
bulat dengan tiga grade. menggunakannya sebagai aspek dekorasi dan struktur di
dalam lemari. Sedangkan untuk limbah 3, sisa kayu mulai
Berdasarkan proses observasi dan wawancara kepada tidak berbentuk dengan ukuran tidak pasti. Limbah 3
industri, maka dapat diketahui bahwa siklus kayu dapat terdiri dari potongan kecil dan potongan serutan kayu,
dimaksimalkan dalam beberapa tahap dengan dimanfaatkan untuk bahan bakar oven pengeringan kayu.
menghasilkan berbagai jenis produk kayu selain mebel.
siklus kayu pada industri studi kasus dianalisa 2) Adaptasi Pemilihan Material, pada siklus kayu
berdasarkan parameter urutan asal kayu tersebut yaitu dari dihasilkan tiga jenis tingkatan, yang dibagi berdasarkan
hutan, hingga masuk pada industri (pengolahan- research kebutuhan produksi industri. Industri Manggala

melakukan pembagian tiga jenis kayu menjadi grade A,

B dan C. Grade A adalah kayu yang memiliki hampir
seluruh bagian kayu keras (hardwood), biasanya berasal
dari kayu Perhutani dan digunakan sebagai bahan utama
lantai kayu. Grade B adalah kayu kombinasi dengan
bagian kayu keras dan lunak (softwood), namun bagian
lunak hanya terdiri dari 10-20%. Biasanya berasal dari
kayu Perhutani dan hutan rakyat. Kemudian grade C
adalah kayu yang memiliki bagian lunak lebih banyak
dan dalam pembuatan mebel dikombinasikan dengan
teakblock (grade kayu standar & grade dari industri).
Gbr. 7. Pemanfaatan limbah 2 untuk panel kayu sebagai unsur

dekoratif pada mebel
Gbr. 9. Floating system pada industri 5.
V. DISKUSI
A. Strategi Adaptasi Industri Manggala
Hasil wawancara dan observasi memberikan banyak
informasi yang menggambarkan bahwa perubahan
Gbr. 8. Limbah 3, untuk bahan bakar oven kayu. kondisi alam turut mempengaruhi aspek perekonomian.
Pada industri mebel kayu, Industri Manggala
3) Adaptasi Teknik Produksi, kecenderungan dalam memaksimalkan pemanfaatan kayu dengan melakukan
menggunakan kayu muda (kayu berumur 10-15 tahun) diversifikasi produk, yaitu memproduksi bahan bangunan
mendorong perubahan pada sistem kuncian mebel. seperti reng, dan panel kayu yang terbuat dari mozaik
Karena pertimbangan bahwa kayu muda masih memiliki kayu sisa. Berdasarkan informasi dari pemilik industri,
pergerakan serat yang cukup tinggi, dibandingkan dengan sisa-sisa kayu tersebut merupakan sisa yang disimpan
kayu tua (kayu berumur 30-40 tahun). Pergerakan serat sejak lebih dari 10 tahun yang lalu. Sehingga baru
dapat berakibat kayu patah, meskipun sudah dalam sekarang dapat dimanfaatkan karena jumlahnya yang
bentuk produk jadi. Salah satu industri yang beradaptasi banyak. Produksi reng kayu dan panel kayu turut
terhadap kecenderungan tersebut adalah industri 5. Sejak berkontribusi dalam ketahanan industri. Melalui proses
berdiri tahun 1985, kayu yang digunakan haruslah kayu yang cukup panjang, industri melakukan penyesuaian
Jati dengan grade A. Namun sejak tahun 2009, terdapat untuk bertahan hidup. Penyesuaian tersebut merupakan
proses adaptasi yang tidak mudah. Tiga adaptasi utama
perubahan dalam pemilihan tingkat kayu, dan terbagi lagi
yang dilakukan oleh industri Manggala adalah adaptasi
menjadi grade B dan C. pada siklus kayu, adaptasi pemilihan material dan
Sebelum tahun 2009, kuncian yang digunakan pada adaptasi teknik produksi. Ketiga hal tersebut secara tidak
mebel kayu sebagian besar adalah kuncian mati, yaitu langsung mempengaruhi hasil desain mebel.
lubang dowel disesuaikan dengan ukuran dowel tersebut.
Kuncian mati dapat digunakan didukung faktor kualitas B. Saran Pengembangan Produk
kayu jati yang masih bagus saat itu. Namun setelah tahun Mahalnya harga bahan baku kayu jati dan rendahnya
2009, kayu jati yang digunakan sebagian besar dengan mutu bahan baku mengakibatkan pengusaha kecil dan
usia panen singkat (10-15 tahun). Menggunakan kayu jati menengah mengalami kesulitan dalam memberikan harga
berumur muda dan memiliki pergerakan serat yang masih dan kualitas terbaik. Karena itu, pengelolaan Hasil Hutan
aktif, maka kuncian pun harus berubah karena kayu akan Rakyat diharapkan dapat memberikan alternatif bahan
patah apabila dikunci mati. Karena itu, industri 5 mulai baku yang membuka potensi baru untuk pengembangan
menggunakan floating system sejak 2009. Floating produk mebel kayu, selain kayu Jati.
system adalah sistem kuncian dimana lubang kuncian
berukuran lebar, sehingga kayu masih dapat bergerak Industri Manggala menyimpan sisa akar kayu jati
leluasa. yang belum terpakai. Karena itu, aspek desain sangat
dibutuhkan dalam melakukan pengembangan tersebut.

Selain memanfaatkan material lain, industri Manggala lagi fokus pada produksi mebel. Sehingga, dibutuhkan
juga membutuhkan pengembangan desain, karena desain pengembangan desain pada produk mebel Manggala.
mebel yang dihasilkan masih berdasarkan permintaan dari
buyer. Tidak semua buyer dari industri Manggala selalu PERNYATAAN
konsisten, bahkan ada beberapa buyer yang memilih
untuk melakukan produksi di luar Indonesia. Karena itu, Penulis memberikan penghargaan kepada
dalam menghadapi berbagai tantangan dan masalah, Dr.Jamaludin selaku pembimbing yang telah memberikan
sebaiknya industri mebel harus aktif dalam menawarkan saran, masukan, dan perbaikan dalam proses penelitian.
desain ke buyer-buyer yang baru. Penulis juga memberikan apresiasi dan ucapan terima
kasih yang tidak terhingga kepada pemilik industri
Manggala, Bapak Yudha; yang telah meluangkan
waktunya untuk memberikan informasi dan tanggapan
pada penelitian ini.
REFERENSI
[1] Ashby, M. & Johnson, K. (2010). Materials and Design, The Art
and Science of Material Selection in Product Design, Elsevier,
USA.
[2] Asosiasi Mebel dan Kerajinan Republik Indonesia (AMKRI).
(2015). Roadmap Pengembangan Industri Mebel dan Kerajinan
Nasional. AMKRI, Solo.
[3] Departemen Perindustrian. (2009). Roadmap Industri Furniture.
Direktorat Jenderal Industri Agro dan Kimia,Departemen
Gbr. 10. Simpanan sisa akar kayu jati di Industri Manggala. Perindustrian,Republik Indonesia, Jakarta.
[4] Dharmawan, A., dan Adiwibowo, S. (2006). Ekologi Manusia,
VI. KESIMPULAN Departemen Komunikasi dan Pengembangan Masyarakat,
Fakultas Ekologi Manusia IPB dan Sekolah Pascasarjana IPB,
Industri mebel berbahan dasar alam seperti kayu, Bogor.
sebaiknya melakukan adaptasi yang disesuaikan dengan [5] Forest Watch Indonesia. (2014). Potret Keadaan Hutan Indonesia
kapasitas industri. Khusus pada industri Manggala, Periode tahun 2009-2013, Forest Watch Indonesia, Bogor.
dengan kondisi pabrik yang luas, tertata, dan sumber daya [6] Heimstra, N.W.dan Mc Farling, L.H.(1978). Environmental
manusia yang cukup banyak, maka industri dapat Psychology. California:Brooks Cole Pub.Co.
melakukan diversifikasi produk. Namun belum tentu hal [7] Irawati RH, Purnomo H dan Shantiko B (ed.). (2013). Mengukir
tersebut dapat diterapkan pada industri lain yang memiliki fajar baru perajin mebel Jepara berbisnis, berserikat dan meraih
karakteristik berbeda. Proses adaptasi yang dilakukan sertifikat legalitas kayu. Bogor, Indonesia: CIFOR.
oleh industri Manggala memiliki manfaat sekaligus [8] UNEP in collaboration with Delft University of Technology.
resiko. Manfaatnya adalah; industri memiliki sumber (expected 2006).Design for Sustainability: A Global Guide,
UNEP, Paris.
pendapatan lain dari produksi kayu reng dan panel kayu.
[9] Veenendaal, J.,(1985). Furniture from Indonesia, Srilanka and
Namun resikonya adalah; apabila kebutuhan dan India During The Dutch Period, Volkenkundig Museum
keuntungan dari produksi kayu reng dan panel terus Nusantara, Delft, The Netherlands.
meningkat, maka fokus produk akan mulai bergeser, tidak

Dampak ‗Korean Wave‘ terhadap Industri

Aloe Vera
Studi Kasus Aloe Vera sebagai Komoditi Unggulan Kota Pontianak
The Impact of 'Korean Wave' on Aloe Vera Industry, Case Study: Aloe Vera as a
Leading Commodity of Pontianak City)
Sheila Andita Putri Alvanov Zpalanzani Mansoor

Program Studi Magister Desain Kelompok Keahlian Komunikasi Visual & Multi Media
Fakultas Senirupa dan Desain Fakultas Senirupa dan Desain
e-mail: sheila_anditaputri@yahoo.com e-mail: pazzlavainne@yahoo.com
Abstract—Since 2003, the government of Pontianak recognition) masyarakat Indonesia terhadap Aloevera
city declared Aloevera as its special commodities and sebagai komoditi unggulan khas daerah dari Kota
products. As the featured commodities, the government Pontianak masih rendah [5].
treats Aloevera as a brand, which represents the wealth of
Pontianak city to build its identity as the differentiation Disisi lain tren produk Aloevera mewabah di
from other cities in Indonesia. But the branding process Indonesia sejak trimester akhir 2015, terutama di
hasn‘t got the maximum result since the brand awareness kalangan wanita semenjak produk tersebut banyak diulas
and recognition among the Indonesians are still below oleh blogger kecantikan di dunia maya [8]. Namun
expectation. Meanwhile, the rising of Aloevera products produk yang memicu fenomena ini justru produk
trends in Indonesia starts to grow since the published perawatan kulit (skincare) yang berasal dari Korea
reviews from online beauty bloggers by the end of 2015. Selatan, bukan produk lokal. Konsumen yang mayoritas
Ironically, the phenomenon was triggered by other adalah kaum wanita berbondong- bondong mencoba
country, South Korea. This paper was aimed to analyzed produk Korea ini meski harga yang dipatok lebih mahal
how Korean Wave brought the Aloevera products trends daripada produk lokal. Sebagai alternatif, brand lokal
and how it affect the Aloevera Industry Culture in perawatan berbasis Aloevera seperti Wardah menjadi
Indonesia. The analysis use Cultural Branding theory to pilihan konsumen [8].
understand how Korean Wave influencing the Aloevera
industry. The results can be used as the future reference in II. METODA
designing brand strategy of local Aloevera from Pontianak
so the strategy designed is relevant to the industry culture Tulisan ini merupakan studi literatur yang bertujuan
after Korean Wave hits the market, but still maintain its untuk menganalisis Tren produk Aloevera dari Korea
originality and local culture as the identity of local dan pengaruhnya terhadap industri Aloevera dalam
Aloevera Pontianak. negeri. Sumber data menggunakan aneka informasi dari
internet dan literatur buku. Hasil analisis dapat
Keywords—Aloevera; branding; korean wave dimanfaatkan sebagai masukan dalam menyusun strategi
branding Aloevera dari Pontianak, sehingga branding
I. PENDAHULUAN yang dihasilkan relevan dengan kultur industri saat ini.
Aloevera merupakan komoditas tanaman hortikultura
III. KAJIAN LITERATUR
yang memiliki beragam manfaat kesehatan dan
berpotensi untuk mengisi peluang pasar baik domestik A. Tren Produk Aloevera Korea Selatan
maupun internasional. Saat ini, pengembangan agribisnis Produk Aloevera yang menjadi sorotan utama adalah
Aloevera di Indonesia terpusat di Kota Pontianak produk Nature Republic, kemudian disusul dengan
Provinsi Kalimantan Barat [5]. Aloevera yang Holika dan Innis free [17]. Wujud produk berupa gel
dibudidayakan di Pontianak telah dikukuhkan sebagai perawatan kulit yang mengklaim mampu memberikan
varietas unggulan [15]. Untuk mengukuhkan keunggulan efek menyejukkan dan melembabkan kulit. Selain
yang dimiliki Aloevera budidaya Pontianak, melalui menonjolkan manfaat produk, produk keluaran Korea
Keputusan Walikota Pontianak [16], Aloevera Selatan ini juga menampilkan asal materialnya sebagai
ditetapkan sebagai Komoditi Andalan dan Produk sebuah keunggulan. Aloevera yang digunakan berasal
Unggulan. Sebagai komoditi unggulan, Pemerintah dari perkebunan organik di Pulau Jeju, yang diklaim
kemudian memposisikan Aloevera sebagai sebuah brand memiliki kondisi yang ideal untuk menghasilkan
yang mewakili kekayaan yang dimiliki kota Pontianak Aloevera terbaik. Kandungan Aloevera pada produk
dan membentuk citra/ identitas kota Pontianak sebagai diatas 90%, untuk memastikan kemurnian dan manfaat
bentuk diferensiasi nya terhadap wilayah lain. Namun alami produk sampai pada konsumen. Produk- produk
branding yang telah dilakukan dinilai belum maksimal ini juga memiliki tampilan produk yang menarik untuk
sehingga awareness dan pengakuan merek (brand memikat konsumen.

Meski hampir setiap produk menonjolkan kebiasaan belanja yang lebih didasari pada kebutuhan
keunggulan yang disebut diatas, branding yang emosional, hal inilah yang membuat perempuan lebih
dilakukan brand Nature Republic mampu mengangkat mampu mempengaruhi kondisi pasar daripada laki- laki.
produk Gel Aloevera miliknya menjadi produk Aloevera
Sukses Nature Republic di Korea dan Indonesia juga
best- seller di Korea Selatan [7][9]. Nature Republic
melakukan strategi endorsement dengan menggandeng tidak terlepas dari perannya sebagai pembentuk Kultur,
khususnya untuk lini produk berbasis Aloevera. Menurut
boyband idol EXO dalam kampanye produknya. EXO
Holt [1], sebuah brand dapat menjadi ikonik apabila
hadir tak hanya dalam media iklan produk, namun juga
dalam kemasan produk. Strategi ini memanfaatkan mampu merepresentasikan suatu kultur tertentu dengan
cara menanamkan sebuah gagasan (atau ideologi, sesuai
Korean Wave yang tengah marak dewasa ini sekaligus
menyasar fans dari EXO sendiri. istilah Holt) kepada masyarakat yang menjadi targetnya.
Idealisme ini disampaikan dalam bentuk narasi atau
‗mitos‘ yang kemudian membangun suatu identitas dari
brand tersebut (brand identity).
B. Cultural Branding
Cultural branding dibentuk dari adanya fenomena
sosial yang melahirkan paradigma- paradigma atau
sebagaimana disebut Holt sebagai Cultural Orthodoxy.
Paradigma/ cultural orthodoxy kerap memunculkan
ketidaksesuaian dan kontradiksi dengan realita sosial
yang ada hingga pada akhirnya menciptakan gejolak
sosial (Social Disruption) dan melahirkan tekanan
budaya/kultur (Culture Tension) [1]. Dari sinilah muncul
Gbr. 1. Foto produk Aloevera NR, holika, inisfree [17] peluang memunculkan ideologi baru (ideological
opportunity) untuk menjawab kecemasan (social
anxiety) akibat gejolak sosial tadi. Ideologi ini
memungkinkan terbentuknya ikon kultur baru, dan untuk
itulah brand bertindak sebagai aktivis terhadap gagasan
tentang idealisme baru yang menyatu sebagai ‗cerita‘
dari brand tersebut.
Gbr. 3. Cultural Strategy (Holt, 2004)
Untuk pasar Indonesia, Fenomena yang umum

terjadi adalah produk perawatan kulit dengan spesifik
menyasar kaum perempuan dan menggunakan model/
ikon perempuan untuk mewakili produknya. Akhirnya
lahir cultural orthodoxy dimana konsumen terbiasa
dengan produk yang dikhususkan untuk gender tertentu.
Gbr. 2. EXO sebagai Brand Ambassador Produk Nature Republic Nature Republic melakukan strategi cultural branding
[11] [13] dengan ideologi yang berbeda, yaitu menampilkan
model laki- laki untuk mengiklankan produk yang
Segmentasi produk Aloe Nature Republic adalah mayoritas dikonsumsi perempuan. Cerita yang kemudian
kaum wanita sebagai pengguna produk, dengan target muncul dari brand tentang produknya adalah ―produk ini
utama adalah fans kultur pop Korea (K- Pop), khususnya baik untuk laki- laki dan perempuan‖, ―apabila produk
boyband EXO. Kartajaya [2] mengkategorikan tiga pasar ini mampu bekerja baik pada kulit laki- laki, apalagi
yang mempunyai pengaruh besar yaitu Youth, Woman kulit perempuan‖. Pendobrakan stereotip ini
dan Netizen (YWN). Ketiga kategori tersebut secara memungkinkan terjadinya advokasi yang lebih luas,
otomatis akan mempengaruhi kategori lainnya yaitu, dimulai dari sesama konsumen dari subkultur Women
Senior, Men dan Citizen. Subkultur Woman memiliki untuk diteruskan kepada subkultur Men, sesuai teori New

Wave Generation YWN Kartajaya [14]. Produk Aloevera dari Pontianak memang
membutuhkan waktu untuk membangun brand hingga
Pemilihan model yang mewakili produk pun setara dengan Wardah, namun tren Aloevera Korea ini
memanfaatkan Korean Wave yang tengah mendunia. adalah momen yang baik untuk memperkenalkan
Boyband EXO yang di- endorse Nature Republic adalah Aloevera sebagai komoditi unggulan Kota Pontianak.
salah satu boyband dengan basis penggemar terbesar di Oleh karena itu diperlukan suatu strategi untuk
dunia, termasuk di Indonesia. Fanatisme terhadap idola mengenalkan Aloevera sebagai sebuah brand sekaligus
tak hanya sekedar dukungan terhadap kegiatan idolanya membangun citra dari Aloevera tersebut.
tersebut, namun juga berujung pada keinginan untuk
mengkoleksi memorabilia yang berhubungan dengan Menurut Janonis dan Virvilaite dalam Lelono [3],
idola tersebut. Nature Republic menangkap fenomena ini terdapat hubungan yang erat antara brand image (citra
dan menghubungkannya dengan strategi pemasaran merek) dengan brand identity (identitas merek) dan
dengan menampilkan EXO sebagai bagian dari promosi brand positioning (penempatan merek). Ketiga elemen
brand mereka. EXO tak hanya sekedar dihadirkan dalam ini tercakup dalam sebuah model strategi terpadu
iklan produk namun juga pada tampilan kemasan. penciptaan brand yang disebut branding. Dalam
Kemasan yang menampilkan EXO dibuat untuk periode pengembangan Aloevera sebagai komoditas unggulan
terbatas sehingga muncul kesan eksklusif pada produk. kota Pontianak langkah branding yang dapat dilakukan
Strategi ini pada akhirnya menarik konsumen adalah:
penggemar Korean Wave khususnya EXO, yang
sebelumnya boleh jadi tidak pernah menggunakan 1) Menentukan positioning produk. Positioning
adalah bagaimana Aloevera menempatkan diri pada tren
produk berbasis Aloevera atau bahkan tidak cukup
Aloevera Korea saat ini. Lini produk Aloevera Wardah
peduli untuk mengetahui kandungan utama produk
dengan label idola tersebut adalah Aloevera atau bukan. menempatkan diri sebagai alternatif yang lebih murah
daripada produk kosmetik Korea. Aloevera Pontianak
IV. DISKUSI perlu menentukan posisinya di pasar dan bagaimana
Aloevera tersebut dapat direspon oleh konsumen yang
A. Korean Wave di Indonesia terpengaruh dampak tren Aloevera Korea.
Korean wave di Indonesia mewabah semenjak 2) Menciptakan identitas. Identitas adalah tentang
meningkatnya fanatisme terhadap budaya Pop Korea bagaimana Aloevera Pontianak memiliki ciri yang
yang diawali dengan kemunculan Pop Idol di dunia mudah dikenali konsumen. Produk Aloevera Korea
hiburan tanah air, baik dari musik maupun perfilman. menonjolkan tampilan kemasan yang unik dan
Penetrasi budaya Korea di Indonesia demikian cepat menonjolkan kelebihan Aloevera dari pulau Jeju.
sehingga aspek kultur lain seperti fesyen, kuliner, hingga Wardah memiliki identitas sebagai brand kecantikan
gaya hidup ala masyarakat Korea mulai ditiru oleh lokal yang Halal. Aloevera Pontianak juga perlu
masyarakat Indonesia, terutama para fans yang menentukan nilai yang menjadi identitas sekaligus
menyebut diri mereka K- Popers. Dalam gaya hidup, elemen identitas lain yang membedakannya dari yang
tren kecantikan dan perawatan ala Korea dengan mudah lain. Elemen identitas dapat berupa visualisasi brand
mendapatkan pengikut, apalagi kosmetika Korea begitu (seperti logo, varian, dan kemasan) maupun prinsip,
mudah untuk didapatkan baik melalui toko fisik maupun keunggulan, dan ideologi brand.
online. Oleh karena itu ketika produk berbasis Aloevera
menjadi booming di negara asalnya, Indonesia dengan 3) Membangun citra brand. Aloevera Pontianak
cepat mengikuti. harus dapat mengkomunikasikan positioning dan
identitasnya untuk membangun citra di mata konsumen.
Tren kosmetika berbahan Aloevera dari Korea juga Citra dapat dibangun dengan strategi aktivasi melalui
didukung dari banyaknya ulasan di forum dan situs para kegiatan-kegiatan yang sejalan dengan ideologi
blogger kecantikan. Produk- produk Holika, Innis free, Aloevera Pontianak maupun strategi komunikasi melalui
dan terutama Nature Republic menjadi incaran para K- iklan dan duta brand. Duta brand tidak harus melibatkan
Popers dan penikmat produk kecantikan. Tak jarang figur publik seperti artis idola seperti yang dilakukan
produk-produk ini dijadikan hadiah untuk kontes- kontes Nature Republic, namun tentu saja harus merupakan
dan diedarkan sebagai memorabilia oleh para penggemar sosok yang cukup dikenal, memiliki pengaruh terhadap
EXO. Harga produk yang lebih mahal daripada harga pengikutnya, dan dekat dengan kehidupan konsumen.
rata-rata kosmetika lokal tak menyurutkan minat Contohnya adalah blogger, aktivis dunia maya (netizen),
terhadap produk skincare Aloevera Korea ini. dan pengguna instragram terkenal (selebgram).
B. Peluang untuk Branding Aloevera Pontianak
V. KESIMPULAN
Meskipun diawali dengan Korean Wave, tren Tren produk Aloevera Korea yang merambah hingga
kosmetik Aloevera dapat menjadi peluang untuk ke Indonesia merupakan momentum yang dapat
memasarkan produk brand berbasis Aloevera dari dimanfaatkan untuk memperkenalkan Aloevera lokal
Pontianak. Salah satu contoh brand lokal yang Kota Pontianak sebagai komoditas unggulan daerah.
memanfaatkan momen ini adalah Wardah, yang mampu Langkah yang ditempuh menyesuaikan dengan kultur
meningkatkan penjualan produk gel Aloevera mereka industri Aloevera paska Korean Wave, dimana tampilan
dengan adanya tren ini. Produk Wardah hadir sebagai produk adalah elemen identitas yang tak kalah penting
alternatif, karena meskipun tidak menggandeng artis dengan keunggulan manfaat produk. Namun perlu
Korea untuk endorsement dan memiliki tampilan
diingat bahwa dalam pemanfaatan momentum tren
kemasan yang lebih sederhana, Wardah mampu menjaga Aloevera Korea untuk memperkenalkan Aloevera lokal
harga produknya lebih rendah sehingga tetap terjangkau Kota Pontianak harus tetap dapat mempertahankan nilai
untuk sebagian besar masyarakat Indonesia. kultur yang dimiliki oleh Indonesia, khususnya Kota

Pontianak. Dengan demikian momen tren dapat [7] http://www.soompi.com/2016/01/30/korean-beauty-brands-

dimanfaatkan tanpa harus mengikuti arus Korean Wave reveal-their-best-selling-products/ ,tanggal akses 20 Agustus
2016, pukul 19.21 WIB.
dan kehilangan kekhasan kultur asli.
[8] http://forum.femaledaily.com/showthread.php?7511-NATURE-
REPUBLIC/page1, tanggal akses 1 Agustus 2016, pukul 18.34
REFERENSI WIB.
[1] Holt, Douglas. (2004) How Brands Become Icons: The [9] http://www.halabea.com/2016/03/wardah-hydrating-aloe-vera-
Principles Of Cultural Branding. Harvard Business School gel.html, tanggal akses 15 Agustus 2016, pukul 16.34 WIB.
Publishing, USA [10] http://reviews.femaledaily.com/moisturizer-
[2] Kertajaya, Hermawan dan Setiawan I. (2010) : Marketing 3.0. 36/lotions/wardah/wardah-hydrating-aloe-vera-gel, tanggal
Erlangga, Jakarta akses 15 Agustus 2016, pukul 16.25 WIB.
[3] Lelono, Bejo (2014) : Pengaruh Brand Identity Dan Brand [11] http://www.imgrum.net/tag/lipbalmexo
Positioning Terhadap Pembentukan Brand Image Pt Pos [12] http://i.ebayimg.com/00/s/NTAwWDUwMA==/z/AkcAAOSwF
Indonesia (Studi Kasus Pada Pt Pos Indonesia Kota Samarinda), 1dUPzpc/$_35.JP
Jurnal Ekonomika UWGM, Vol 4, No 1 (2014), 53 – 70.
[13] www.yes24.co.id/Upload/ProductImage/beautykoreastock/1000
[4] Yulianti, Levina (2014) : MarkPlus Insight Consumer Survey 851_M.jpg
Update Youth Woman Netizen 2014. Marketeers Jakarta
[14] MarkPlus Insight Consumer Survey Update 2014
[5] Bulyadi.S, Kepala Bidang Industri Agro dan Kimia, Dinas
[15] Surat Keputusan Menteri Pertanian Nomor: 532/ Kpts/ Pd.210/
Perindustrian dan Perdagangan Provinsi Kalimantan Barat,
10/2003
Wawancara: 2015
[16] Keputusan Walikota Pontianak No.129 Tahun 2003
[6] Febri, Annisa (2015): Produk Aloevera Gel dari Brand Asal
Korea, (http://beautynesia.id/4123, tanggal akses 20 Agustus [17] http://www.beautinesia.id
2016, pukul 21.13 WIB).

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 89

ART IN ORDER TO DEVELOP CREATIVE COMMUNITIES
IN TROWULAN
Setyawan, Anung Studyanto, Kustiawan Arifin
PENGARUH KEGIATAN KARNAVAL TERHADAP 94

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
CRAFTSMEN VERSUS DESIGNERS: THE DIFFERENCE OF 99

IN-DEPTH COGNITIVE LEVELS AT THE EARLY STAGE OF
IDEA GENERATION
Deny Willy Junaidy, Yukari Nagai, Muhammad Ihsan
MAPPING SURABAYA CREATIVE INDUSTRY’S 105

MOVEMENT
Kumara Sadana Putra, Ramok Lakoro, Muhammad Cahyo
THE FLEXIBLE BUILT-IN FURNITURES TO COPE WITH 112

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

Reinterpreting the Legacy of Majapahit

Visual Art in order to Develop Creative
Communities in Trowulan
Setyawan
Kustiawan Arifin
Department of Crafts/Textile
Department of Interior Design
Faculty of Arts and Design
Sebelas Maret University
Solo, Indonesia
Solo, Indonesia
e-mail: setyawan@staff.uns.ac.id
e-mail: kustiawan.evan@yahoo.com
Anung Studyanto
Department of Interior Design
Solo, Indonesia
e-mail: anungbs@staff.uns.ac.id
Abstract—This article will discuss the outcome of the The Majapahit visual art legacy contains an esthetic,
research project "Reinterpreting the Legacy of Majapahit iconographic, symbolic and philosophical potency and
Visual Art in order to Develop Creative Communities in visual art of historical value. Until now, this visual art
Trowulan". It is an applied research to develop the legacy has not been exhausted and developed to the end.
reconstruction of cultural values and local society. In Still these potencies offer an opportunity to be
particular, this research was set in motion out of a concern reinterpreted, to be re-explained and to be developed into
about the legacy of Majapahit visual art in relation with the visual products that could become cultural capital made
creative communities supporting this legacy in Trowulan. out of the genius loci being visual products based on the
The research profited from the positive side of issues faced
Majapahit visual art legacy produced by a contemporary
by the creative industry by applying creativity, innovation
and cultural resources in order to increase economic
creative industry.
productivity and competitiveness. This project used the These potencies are available in abundancy in
method of qualitative research in the form of field research. Trowulan. Trowulan itself is a village that is surrounded
The form of action will be the creation of a model for the by vast archeological sites, covering approximately 100
development of design products based on the Majapahit square kilometers. This is a rich environment of cultural
visual art legacy and the development of creative materials together with archeological findings of
communities in Trowulan to support the development of the
Majapahit remainders. This abundancy of findings of
mentioned visual products. The research will be done at
visual art artifacts with an admirable esthetic and artistic
Trowulan, Mojokerto, East Java.
quality until now has not often been taken advantage of to
Keywords—reinterpreting; legacy; visual art; creative produce contemporary products. Nevertheless, the artistic
communities richness of these artifacts may become cultural capital
that is useful in dealing with the present-day era of
I. INTRODUCTION creative industry. If this approach well-managed, it could
become the 21st century high value commodity [19].
Majapahit is an icon of Javanese civilization that left
us many cultural-artistic artifacts, including a legacy of To achieve this, a research and development regarding
visual art. The Majapahit visual art legacy comprises terra the Majapahit visual art legacy are needed. This research
cotta objects which form the highlights of terra cotta will have to reveal the Majapahit visual art that has
creative art in Nusantara [2][15], architectural works like survived time until now and will have to find at the same
temples, graves and residential buildings from the 14th time visual art concept in the Majapahit tradition that will
and 15th century with a strong local touch [12], Majapahit be used to develop contemporary visual art products.
statues that became a sign of the appearance of local Managing the artistic expression of the Majapahit visual
effigies (Javanese people) taking the place of Arian art legacy will open a space of innovation and will
figures to represent gods [6], several visual art products preserve what has been inherited from Majapahit. Cultural
that rely on workmanship and craftsmanship of a high richness that is managed with creativity and innovation
level like creases, decorations, small coins (uang kepeng), will become a creative industry, whereas creative industry
ornaments used for buildings both from bricks, stone and becomes the spearhead of present-day economic forces
metal [20], illustrative art in the form of special Majapahit [14].
temple reliefs [8] and several visual art legacies including
This research becomes important since in Trowulan
clothing and batik [18].
appeared several communities that are working on

managing the Majapahit culture and art legacy in a that is a sort of Wayang performance with sketches that
creative way. Besides this, this research is also important are painted on a sheet of wooden skin (dlacang) or fabric
to answer Indonesian national problem in the field of as performing objects [11].
visual art creativity (design and craftsmanship), as
The Majapahit visual art legacy may also be traced
explained by Nugraha [13]. That is, as Adhi wrote, how to
increase design and craftsmanship in a qualitative and from the richness of decorations and several sorts of
ornaments that are to be found among the remaining
quantitative way in the middle of the present-day tide of
Majapahit artifacts. In the Majapahit era, decoration styles
creative industries. And there is also the problem of how
to enlarge creative human resources that are capable of were enriched with patterns developing and making
perfect several geometric and floral patterns. Apart from
becoming creators and motors of making appear different
creative industries of the people economic system. that, organic and geometric decoration patterns that are
visible on temple reliefs were reprocessed and applied to
II. METHOD batik. Several patterns of plants and animals, together
with symbolic patterns taken from the Hindu-Buddha
This research has the character of "research and religion, also appear in batik decoration styles [6].
development". Research as such when it comes to study
and reinterpret the Majapahit visual art legacy as a The remainders of the Majapahit visual art can also be
cultural product, to register a sketch of the socio-cultural directed to findings of traces of the development of batik.
context of creative communities based on visual art Traces of Majapahit batik can be seen on temple reliefs of
creativity from the remainders of Majapahit and to the Majapahit inheritance, like the reliefs of Panji and
explore the possibilities of developing visual products and Ramayana. On these reliefs the use of batik fabric and
corresponding creative communities . There are two kebaya worn by women can already be seen [6]. Traces of
methods used in this research. Firstly, the ethnographic Majapahit batik are also seen on the statues representing
method, which is used to describe in detail and to analyze kings and queens made by Majapahit artists; batik as
the Majapahit visual art legacy based on intensive Small palace clothing has already been painted on these statues
Industries and Culture fieldwork. Secondly, the design [20]. The archeological finding of a statue in the temple
method to identify, analyze and develop the Majapahit Candi Nrgimbi near Jombang shows the representation of
visual art legacy in such a way that it can be transformed the person of Raden Wijaya, first king of Majapahit
into visual products of this time. (governing 1294-1309), who is wearing fabric decorated
with palm leaves (kawung). The decoration style of that
The research result in the form of an ethnographic fabric shows fine lines and dots from which it can be
registration will become the standard to draw up a derived that the batik technique has been used to make
working framework for the development of creative this fabric. Traces of batik can also be read in the Serat
communities in Trowulan, for the development of visual Pararaton batik already put forward as material for
design concepts, for the development of products and for clothing with a pattern of Gringsing and rosettes as batik
a creative technology with which problems can be solved decoration style. In this book it is told how Raden Wijaya
and challenges from the arrival of an era of creative distributes lancingan (kind of trousers) with a Gringsing
industry can be answered. These problems and pattern to his servants Sora, Rangga Lawe, Dangdi and
challenges are how to profit from concepts of traditional Gajah [5].
art (local skills) to develop current design.
These works of Majapahit visual art give an idea of
III. RESULTS the richness of Majapahit visual art products. It is
A. Reinterpreting the Majapahit Visual Art Legacy interesting that the Majapahit visual art products take up
local elements that are more secular than those used by
Although the Majapahit visual art legacy has a long the art of Middle Java, which is full of Indian scents and
history and an attractive potency of esthetic expression, it sacredness. The statues that express the official Majapahit
is not widely known. This is caused by the fact that there religion, the gods, use symbols that are more local, have
has not been a research and development that was their faces shaped in a more individual way and actually
sufficient yet. Studies related to Majapahit mostly focus look like Javanese people [6]. Take for instance the statue
on social-politic inquiries into the existence of Majapahit of Harirara, the connection between Wisnu and Siwa, a
from its origin to its downfall. Whereas researching the statue from the 13th century that has been found in the
Majapahit visual art legacy is also important since temple Candi Sumberjati, Desa Simping, East Java, which
archeological excavations also found remnants of is nothing else than the materialization of the first
industrial activity, craftsmanship, art and design that led Majapahit King, Raden Wijaya. The same is to be seen on
to different visual arts products. pottery, terra cotta and small statuettes, which like other
The traces of Majapahit visual art may be followed objects of the Majapahit inheritance offer a strong local
using the result of fine arts (painting) using fabrics as color.
medium. For instance, the Portuguese book Canstanheda, These artifacts of the Majapahit visual art legacy
which was published in the middle of the 16th century, become a cultural text which when analyzed in several
gives a report dated on 1511. It describes a painting (on ways, with the help of written and oral sources as well as
fabric that is completely decorated) that together with ethnographic analogies, can be studied and read to
other goods was sent by the "great king in Java", that is understand what is behind the mentioned artifacts, like
the King of Majapahit, as sing of respect to Alfonso their function, the meaning of the symbols et cetera [17].
d‘Albuquerque, the Portuguese captain-general that As has been said by Baxandall, there is a "period eye" that
recently had taken his position in Malaka [21]. Similar pushes towards the stimulation of visual work. A visual
report is found with Ma Huan, a Chinese who visited work is sensitive with regard to forms of interpretative
Majapahit on his journeys in the beginning of the 15th skills that are brought to them by reflection [3]. By
century, writing about a performance of Wayang Beber,

following the thought of Baxandall, the meaning of the artists, experts of culture and creative craftsmen. They
artifacts of the Majapahit visual art legacy may be open a landscape of creativity which has unlimited
approached in accordance with a present-day context. opportunities in the managing of art by connecting it with
This is caused by the fact that the meaning of a work does a social practice and culture. They also have an awareness
not take an end when its producer deceases. To the about organizing a creative community in a professional
contrary, it is just at that moment that the interpretation of way and of building a local or global network by
the work starts and new meanings start rolling out [4]. benefiting from new media like the internet and social
media. These new media are not only used to give
B. Creative Communities in Trowulan information about the activities of their community, but
In Indonesia [1], communities occupy a unique place, also as a road to the exchange of knowledge.
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]. Fig. 1. Creative Communities activity in Trowulan A. craft stone
sculptures, B. terracotta craft, C. crafts cast metal
In the world of fine arts these spaces are better known
by the term "alternative space". The development and These motors of creative communities in Trowulan
appearance of alternative spaces allows important issues are aware of the potency and force of the Majapahit
of the exchange of cultures ideas to be translated into cultural legacy that may become the glue and stimulator
different interpretations that do no longer consider the of the appearance of creative communities. These creative
center of art (formal) as its own source of justification. communities will be based on the skills and crafts that are
Being aware of this, the alternative spaces acquired the practiced. Until now, the following products of culture
right to interpret or even fight the interpretative power of and art are being developed in the Kecamatan Trowulan:
leading views [16]. Following from the same awareness, wayang related art, gamelan music, performances of
the alternative spaces acquire a role in the hierarchy of "kuda lumpingan-bantengan", "reok", "jatilan" (dancing
cultural production levels. They build an idea of culture horses), "ludruk"- theatre, dramatic theatre, Javanese
by creating separate spaces for an alternative vision and poetry, Majapahit theatre, traditional music and special
imagination of the way they understand and intend culture Majapahit food and drinks. In the field of creative
to be, so that distinct sociocultural dynamics are taking industry the products based on visual art are: making of
place within them. bronze statues, terra cotta statues, stone statues, Buginese
What is written above gives an understanding a wooden sailing boats, Majapahit batik, beads and wayang
number of important factors of the of sociocultural spaces paintings.
availability for the creative communities existence and The appearance of creative communities in Trowulan
development. There are two important points of departure is a cultural phenomenon that shows the interwovenness
for studying the creative communities of Trowulan. of matters regarding the Majapahit legacy tradition,
Firstly, from a conceptual point of view creative locality, creativity and the penetration of a creative
communities are on the same level as alternative spaces. industry based on traditional arts. The interrelatedness of
This can be seen from the sameness of the spirit of these these problems, when managed well, may become
movements and the foundation of the way of working cultural capital made out of the genius loci for the
which is independent, self-controlled and stressing the Trowulan society, helping them to deal with the
part of the work that is collaborative or collective. The challenges of the era of creative industry. In this context,
system of collective labor gives an opening to other creative communities may become cultural crossroads
possibilities outside the field of art. that enable citizens to regain their identity, to revive the
Secondly, being an alternative space, the motors of the civil spirit and to reinforce a social cohesion of solidarity.
creative communities in Trowulan are the circles of

IV. DISCUSSION will give life and will be given life together. This
―Reinterpreting the Majapahit Visual Art Legacy in landscape of creativity may become a turning point of the
order to Develop Creative Communities in Trowulan" is a Trowulan economy because it opens a field of
research and development of visual present-day design employment and may employ manpower.
that is a collaboration of the Majapahit visual art legacy Those who are involved in a creative community
with the creative communities of Trowulan. move within a sector of industry that is not far away from
Reinterpreting the Majapahit visual art legacy takes place matters of creativity like cast metal craft, handmade batik
in order to bridge the gap between understanding visual Majapahit, stone sculptures, terracotta, beads, wood waste
art of past times and the "sophisticatedness" of modern material handicrafts, bamboo, and patchwork. By means
ideas or concepts to make it acceptable to the present of the creative communities that they have formed they
public. The result of this research will also be used to will solve and debate together the problems that are
provide the Majapahit visual art legacy with a "good related to their products, materials, marketing and
reputation" and to make this known to a wider public both business development.
by means of its visual products as by means of academic
writings. Spreading these products and writings will have The primary strength of creative communities is to be
an important effect for the existence of Majapahit visual found in having the courage to bring about their own logic
art and the creative communities that will be represented. of "artistry" that is of a more participatory character. By
means of this logic of artistry they create a space for their
The existence of the Majapahit visual art legacy in vision and imagination with regard to the way they
itself contains an extraordinary potency. The artistic, understand and give meaning to art and different types of
conceptual and socio-historical richness that is included in socio-cultural dynamics that take place around them. This
it may become cultural capital for the creative industry of logic of artistry also becomes a basis to manage creativity
these times. Visual products based on Majapahit visual art together and to fight for a shared space that is more
has the opportunity to open a wider market (global egalitarian for the art they are embracing. With this
market). As is well known, modern people (who are awareness, the creative communities will be active on the
pragmatical and want everything to be fast and immediate level of cultural production in an indirect way, no longer
and who sometimes lose their starting point in the past) as producing visual and artistic products only, but also by
keep a longing for things that are unique, traditional, rare making the community as an agent of social change
or have a special value. The visuality of Majapahit has around them. They will create cultural production spaces
those identification marks. Visual products of the that are oriented towards reinforcement of the
Majapahit visual art legacy may become a cultural surrounding society.
phenomenon which shows the interwovenness of the
tradition based legacy, locality, history and creativity. An V. CONCLUSION
interwoven structure like this could give color to the This article offers a new dimension to reinterpreting
creative process which has a direct effect not only on the the Majapahit visual art legacy of reinterpreting the
products that result from it, but also on the process and Majapahit visual art legacy or give it a new meaning in
the people behind it. order to develop creative communities in Trowulan. There
By means of the development of the products meant are two conclusion that can be drawn from this. Firstly,
above, the Majapahit visual art will not only become a the Majapahit visual art legacy is something interesting to
tradition-based legacy, but also a source of economic be developed towards design products remembering us of
profit for the region and it could even become a regional this visual art, since it contains extraordinary visual
icon when well managed. To attain this it should be potencies from the point of view of expression, shape,
understood that the development of products based on symbolic, craftsman's technique end artistic
Majapahit visual art is not only about creating from achievements. These potencies deep-seated inside it and
digging into inspiration, finding contents and shaping it the existence of a legacy that is connected with the
in the form of an object. A process like that would keep it Majapahit civilization are exactly what can be exploited
at a distance of the socio-cultural space that contains the as a concept for the development of modern design
creative process that takes place within it. To the contrary, products. These design products may create a bridge the
the development of products in this case includes creative between the artistic richness of the past era of Majapahit
communities that indeed from the start have an intimate with present-day concepts and visuality.
relationship with this visual art legacy. Secondly, the creative communities that appear in
The creative communities of Trowulan become a Trowulan may be developed in order to benefit from the
strategic meeting point for distinct elements of society total of ideas communicated by the Majapahit visual art
that care about the Majapahit visual art legacy. The legacy. These ideas become important because they glue
appearance and development of creative communities the creative communities together and can be used in a
opens mutual awareness about the importance of the role practical way to explore in-depth the potencies of
of citizens and communities in the preservation of the creativity based on the local culture. By means of these
tradition-based legacy and its development in a present- ideas the creative communities of Trowulan may produce
day context. The concern of citizen and community several types of visual products by means of symbols that
regarding this tradition-based legacy will glue them relate to the existence of their community. By means of
together and will increase their creative energy to open this development the creative communities will become
new possibilities in managing creative ideas together. The communities that are directly involved with cultural
attitude of the community towards this creativity becomes activity by spreading the ideas of creativity and
important to give shape to a landscape of creativity that reinforcement of surrounding society.

REFERENCES [11] Lombard, Denys. 1996. Nusa Jawa: Silang Budaya; Kajian
Sejarah Terpadu Bagian II: Jaringan Asia. Jakarta: PT Gramedia
[1] Atton, Christ. 2006. Alternative Media. London: Sage Pustaka Utama.
Publications Ltd.
[12] Miksic, John. (2002). Indonesian Heritage: Sejarah Awal. Jakarta:
[2] Damais, Soedarmadji J.H. (2012). Majapahit Terracotta. Jakarta: Buku Antar Bangsa untuk Grolier Internastional, Inc.
BAB Publishing Indonesia.
[13] Nugraha, Adhi. 2013. Desain dan Kriya: Mencari Batas dan
[3] Geertz, Clifford. 2003. Pengetahuan Lokal (edisi terjemahan oleh Peluang Kolaborasi dalam Biennale Desain & Kriya Indonesia
Vivi Mubaikah dan Apri Danarto). Yogyakarta: Merapi Rumah 2013. Jakarta: Galeri Nasional Indonesia.
Penerbitan.
[14] Patt, Andy C. dan Jeffcut, Paul (ed). 2009. Creativity, Inovation
[4] George, Kenneth M. 2005. Politik Kebudayaan Di Dunia Seni and The Cultural Economy. London dan New York: Routledge.
Rupa Kontemporer: A.D. Pirous Dan Medan Seni Indonesia (edisi
terjemahan oleh Fadjar I. Thufail dan Atka Savitri). Yogyakarta: [15] Rangkuti, Nurhadi. (2001). ‖Terakota Masa Sejarah Di Indonesia
Cemeti Art Foundation / Yayasan Seni Cemeti. Fungsi dan Teknologinya‖ dalam Kajian Ilmiah: Wawasan Seni
dan Teknologi Terakota Indonesia. Jakarta: Museum Nasional.
[5] Hasanudin. 2001. Batik Pesisiran: Melacak Pengaruh Etos
Dagang Santri pada Ragam Hias Batik. Bandung: PT Kiblat Buku [16] Rath, Amanda Khaterine. 2003. ―Perihal Seni Alternatif dan
Utama kerja sama dengan Yayasan Adikarya IKAPI dan The Ford Ruang Alternatif‖ dalam Jurnal Karbon 5, Mei 2003. Jakarta:
Foundation. Ruang Rupa.
[6] Holt, Claire. (2000). Melacak Jejak Perkembangan Seni Di [17] Sedyawati, Edi. 2006. Budaya Indonesia: Kajian Arkeologi, Seni,
Indonesia (edisi terjemahan oleh Prof. Dr. R.M. Soedarsono). dan Sejarah. Jakarta: PT Rajagrafindo Persada.
Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia). [18] Setyawan, dkk. (2013). Terakota Majapahit Sebagai Sumber Ide
[7] Juliastuti, Nuraini. 2004. ―Menempuh Perjalanan Antarkota - Pengembangan Desain Batik Majapahit. LPPM Universitas
Antarnegara‖ dalam Fixing The Bridge. Yogyakarta: Cemeti Art Sebelas Maret.
Foundation. [19] Smiers, Joost. (2009). Arts Under Pressure: Memperjuangkan
[8] Kieven, Lydia. (2014). Menelusuri Figur Bertopi Dalam Relief Keanekaragaman Budaya di Era Globalisasi (edis terjemahan oleh
Candi Zaman Majapahit.Jakarta: Kepustakaan Populer Gramedia Umi Haryati). Yogyakarta: Insist Press.
dan Ecole Francaise d‘Extreme-Orient. [20] Yudoseputro, Wiyoso. (2008). Jejak-Jejak Tradisi Bahasa Rupa
[9] Kurniawan, Agung. 2003. ―Pemberontakan dari Ruang Tamu‖ Indonesia Lama. Jakarta: Yayasan Seni Visual Indonesia.
dalam Jurnal Karbon 5, Mei 2003. Jakarta: Ruang Rupa. [21] Yuliman, Sanento. 2000. 2001. Dua Seni Rupa. Jakarta: Yayasan
[10] Kusno, Abidin. 2009. Ruang Publik, Identitas, dan Memori Kalam.
Kolektif: Jakarta Pasca-Suharto. Yogyakarta: Ombak.

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
Khozinatus Sadah
Jurusan Teknologi Industri Program Studi Magister Desain
Fakultas Teknik
Universitas Negeri Malang (UM) Fakultas Seni Rupa dan Desain
Malang, Indonesia Institut Teknologi Bandung (ITB)
e-mail: samsuga72@gmail.com Bandung, Indonesia
e-mail: sadahkhozinatus@gmail.com
Abstract—A carnival has a specific purpose, lively, many para penonton, (b) berfungsi sebagai ilmu pengetahuan
visitors and filled with a variety of entertainment treats. yang membawa pesan-pesan yang dibawa pakaian, (c)
Visitor density is an opportunity to increase the effort in fungsi seni berupa fungsi pokok atau dasar, dan fungsi
introducing the culture, the economy, and the community sosial fisik) [4]. Berdasarkan atas dasar fungsi dari busana
creativity. Various parties and stakeholders from culture karnaval tersebut maka dibutuhkan sebuah kajian antara
and tourism departments from various regions in Indonesia pengaruh pelaksanaan kegiatan karnaval dalam
has aware of this potency. Such carnival events are pelestarian budaya, perekonomian dan kreativitas
increasingly present in various cities in Indonesia, including masyarakat. Karnaval juga merupakan kegiatan tahunan
Jember Fashion, Carnival, Solo Carnival, Malang Flower
yang dilaksanakan hampir di seluruh daerah di Indonesia.
Carnival, and so on. Considering such potential it needs to
conduct a study of the carnival activities influence in terms
Setiap karnaval daerah tersebut memiliki perbedaan
of cultural preservation, economy, and creativity of the signifikan akan makna yang terkandung dalam busana
community, since it will help the stakeholders in carrying karnaval yang ditampilkan. Sejatinya pengadaan busana
out the carnival activities appropriately and with karnaval juga dapat mempengaruhi dan mendorong
standardized activities. The case study in this research is kreativitas masyarakat, terutama masyarakat yang
about Malang Flower Carnival 2016 that is already global. berpartisipasi sebagai peserta karnaval.
The method is analyzing the fashion function of a carnival
Salah satu dari puluhan kegiatan karnaval yang
with an aesthetic qualitative approach. The theory used is
terkenal di Indonesia adalah karnaval yang berada di kota
about the clothing function of Roland Barthes and art
theory of functionality from Edmund Burke Feldman. The
Malang, yaitu Malang Flower Carnival (MFC). Berbeda
results obtained some benefits, namely: (1) attract domestic dengan busana karnaval yang lain, busana karnaval di
and foreign visitors, (2) become a medium to revive Malang kota Malang selalu mengusung tema bunga dan memiliki
as flower City, (3) motivate the community to take part and fungsi yang sama yaitu sebagai media pengenalan
be aware of cultural preservation, (4) as a medium of identitas Malang sebagai kota Bunga. MFC dipilih karena
entertainment, local cultural performances, and telah berkembang dari tahun ke tahun dan telah banyak
introducing other Malang's potential, (5) improve the memotivasi masyarakat untuk turut serta berpartisipasi
economy through the sale of souvenirs for visitors and other dalam pembuatan kostum karnaval berbentuk bunga.
economic activities.
MFC merupakan salah karnaval terbesar di Indonesia
Keywords—carnival activities; cultural preservation; dan memiliki ciri khusus berupa parade berkostum bunga.
community creativity; malang flower carnival Karnaval ini diselenggarakan setiap tahun oleh komunitas
MFC, pemerintah kota Malang, penggiat kesenian dan
I. PENDAHULUAN kebudayaan, mahasiswa Tata Busana Universitas Negeri
Malang (UM) dan peran serta masyarakat luas [5].
Menurut KBBI karnaval merupakan kegiatan pawai Kostum-kostum yang hadir dalam karnaval biasanya
yang dilaksanakan berdasarkan perayaan tertentu. Dalam berukuran besar-besar, glamour, dan berasal dari bahan
pelaksanaannya kegiatan karnaval dapat dimanfaatkan limbah dan barang sisa pakai. Kegiatan ini telah mampu
untuk beberapa hal terutama sebagai media pelestari menarik minat penonton dari lokal hingga turis
kebudayaan. Salah satu komponen utama dalam karnaval mancanegara. Selain itu, kegiatan ini telah menjadi
adalah berupa kostum atau busana karnaval. Busana agenda rutin pariwisata kota Malang bahkan Jawa Timur.
karnaval merupakan hasil dari perwujudan kreativitas Kehadirannya telah mengharumkan nama bangsa hingga
seniman di bidang seni rupa yang dapat menghasilkan tingkat internasional. Penyelenggaraan yang selalu
berbagai persepsi dari para penonton [4]. menggabungkan antara fashion, tari-tarian dan musik
Fungsi dari busana karnaval antara lain (a) dapat perkusi menjadi penunjang tampilan penyelenggaraan
menghasilkan persepsi yang bebas diinterpretasikan oleh MFC.

Secara umum tujuan dari penyelenggaraan MFC eksplorasi ide pembuatan busana dan identifikasi nilai-
adalah (a) sebagai identitas akan melimpahnya nilai budaya yang terdapat dari detail busana yang telah
komoditas bunga di kota Malang, (b) untuk dibuat.
menghidupkan kembali kejayaan Malang sebagai 4) Memiliki fungsi komunikasi, secara tidak
Malang kota Bunga (Makobu), (c) manfaat langsung busana karnaval tersebut berkomunikasi kepada
perekonomian, meningkatkan penjualan bunga, dan penonton atau orang yang melihat dan lingkungan
memperkenalkan dan meningkatkan identitas Malang sekitar. Karena busana tersebut hadir di suatu
sebagai kota bunga. kesempatan, memberikan suatu data, bahwa pakaian
Pemaparan akan tujuan dari MFC yang berkaitan karnaval yang dihasilkan merupakan alat komunikasi,
dengan pengaruhnya terhadap pelestarian budaya, sarana berinteraksi dengan lingkungan sosial (perancang,
perekonomian, dan kreativitas masyarakat akan konsumen), menunjukkan nilai-nilai tertentu yang
dibahas secara terperinci dalam bagian hasil. hal ini terkandung di dalamnya. Komunikasi yang hadir dalam
perlu dibahas secara terperinci agar pelaksanaan busana karnaval ini termasuk komunikasi non-verbal,
karnaval tidak hanya menjadi event tahunan yang dimana dapat berinteraksi dan mempengaruhi penonton.
bersifat komersial semata namun juga dapat dijadikan Baik berupa motivasi atau adanya semangat dan
fungsi sosial yang dapat membangun masyarakat. kekaguman dalam unsur visual.
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
Gbr. 1. Juara 1 MFC 2016 bertemakan Bali
yang didapatkan dari artikel review ini adalah berupa
pemaparan analisis busana MFC yang menggunakan Analisa fungsi budaya karnaval menurut teori fungsi
pendekatan fungsi busana Roland Barthes dan teori fungsi seni Edmund Burke Feldman, yaitu berupa alam pikiran
seni Edmund Burke Feldman. Adapun analisa tersebut manusia dan konsep-konsep yang tertata dan dikemas
digunakan dalam salah satu busana karya peserta MFC sebagai sarana penyampai pesan kepada orang lain [4].
yang telah menjadi juara kesatu (Gbr.1). Analisa tersebut Komunikasi tersebut adalah seperangkat alat yang tidak
digunakan sebagai perwujudan akan pelestarian budaya dimaksudkan untuk mengatur kenapa seniman berkarya,
yang telah dihasilkan melalui penyelenggaraan MFC. tetapi lebih melihat pada hasil dan nilai kegunaan atas
Analisa fungsi busana karnaval menurut Roland karya seni yang diciptakan. Pada akhirnya, karya seni
Barthes, antara lain: sebagai produk dan alat komunikasi seniman terus
diciptakan dalam gagasan yang senantiasa berkembang,
1) Busana karnaval, menghasilkan suatu seiring dengan evolusi yang terjadi di dunia seni itu
interpretasi bagi para penonton berupa eksplorasi budaya sendiri. Ketiga fungsi seni menurut Feldman, yaitu: fungsi
Indonesia yang melimpah, salah satunya Bali. pokok atau dasar, fungsi sosial, dan fungsi fisik
2) Eksplorasi ilmu pengetahuan, dalam busana (Setiawan, dkk. 2010: 424). Adapun analisa ketiga fungsi
karnaval tersebut terdapat pengetahuan yang melatar tersebut dijelaskan sebagai berikut:
belakangi pembuatan meliputi, teknik pembuatan busana,
1) Fungsi pokok atau dasar, fungsi pokok atau
identitas yang dibawa dari bahan dan warna yang ada,
dasar yaitu sebuah fungsi yang menekankan pada unsur
dan ragam hias yang digunakan. Dalam analisa tersebut
kemampuan seseorang dalam berkreasi. Kreativitas ini
juga dikemukakan unsur-unsur yang membangun sebuah
erat kaitannya dengan peran perancang busana karnaval
busana karnaval yaitu berupa unsur pengetahuan fisik
dalam menghasilkan karya yang bervariasi. Dalam
dan unsur pemaknaan kebudayaan.
busana karnaval MFC dapat dianalisis bahwa terdapat
3) Fungsi eksplorasi dan identifikasi, yaitu

proses kreativitas yang tinggi, dan desainer dituntut agar lomba desain busana karnaval, produksi busana karnaval,
dapat menterjemahkan berbagai kebudayaan yang ada dan fashion show. Tentunya dari berbagai kegiatan
menjadi suatu bentuk busana karnaval yang estetik tanpa tersebut telah menarik antusiasme dari warga Malang dan
meninggalkan nilai-nilai yang terkandung dalam warga di luar Malang. Hingga tahun 2016 kegiatan MFC
kebudayaan tersebut. telah ditonton sedikitnya ratusan ribu penonton. Berikut
paparan data perkembangan MFC berdasarkan jumlah
2) Fungsi sosial, suatu busana karnaval dikatakan peserta dan kisaran pengunjung. Data tersebut disajikan
telah berfungsi sosial jika busana tersebut mampu dalam Tabel 1.
berdialog dengan para penonton, sehingga dapat
mempengaruhi penonton dalam situasi umum dan MFC merupakan karnaval fenomenal yang telah
menggambarkan aspek kehidupan bersama. Sehingga dikenal tidak hanya di Indonesia bahkan di luar negeri.
busana karnaval akan dikatakan berfungsi sosial jika Setiap tahunnya hampir MFC menjelajahi berbagai
busana tersebut sering dijadikan topik pembicaraan belahan dunia guna memenuhi undangan dalam pameran
mengindikasikan bahwa busana tersebut dapat menarik kebudayaan. Selama memenuhi undangan tersebut, MFC
minat penonton agar dapat menonton busana secara pun berproses dalam meningkatkan kreativitasnya,
terutama dalam penciptaan dan pengembangan busana
langsung.
karnaval. Undangan tampil di luar negeri juga dapat
3) Fungsi fisik, memiliki nilai fungsi pakai dari dijadikan sebagai media pengenalan kebudayaan dan
sebuah busana yaitu dapat memenuhi kebutuhan fisik pencitraan Indonesia di mata dunia.
manusia. Dalam hal ini adalah nilai keterpakaian busana Dalam setiap tahunnya MFC memiliki agenda untuk
yaitu sebagai busana karnaval serta penggunaan ragam melakukan fashion show di berbagai belahan dunia, dari
hias yang ada. Sehingga dari fungsi fisik tersebut akan kunjungan tersebut MFC telah mengunjungi sebanyak 15
menghasilkan fungsi psikis yaitu pemenuhan kepuasan negara dan telah keluar negeri sebanyak 22 kali. Berikut
penonton terhadap pengalaman estetis. paparan nama negara dan jumlah kunjungannya, antara
lain Tokyo 3 kali, London 3 kali, USA 2 kali, Hong Kong
TABEL 1. PERKEMBANGAN JUMLAH PESERTA DAN PENGUNJUNG MFC
3 kali, Berlin, China, Taiwan, Korea, Swiss,
No Tema Penjelasan Ta Jumlah Kisaran Jumlah Johannesburg Afrika, Malaysia 2 kali, Singapura, Papua
MFC tema hun peserta pengunjung New Guinea, Melbourne, Mumbai-India, dan Port
Moresby.
1 Bunga Malang kota 2010 156 50-70 ribu
bunga
Kesuksesan yang diraih MFC melalui beberapa
tahapan proses kreatif selama pembuatan busana
bunga
karnaval. Tahapan tersebut antara lain:
3 Bunga Malang kota 2012 163 50-70 ribu  Penentuan tema,
bunga
 Membuat moodboard desain berdasarkan tema
4 Bunga Malang kota 2013 145 Di atas seratus yang sudah dipilih,
bunga ribu
 Membuat desain berdasarkan moodboard yang
bunga telah dibuat,
6 Bunga Malang kota 2015 134 120-150 ribu  Pemilihan bahan yang sesuai dengan desain yang
bunga
telah dibuat,
7 Archipela- Budaya 2016 200 120-150 ribu
go cultural nusantara,  Pemilihan bahan sesuai dengan desain yang telah
festival perwujudan dibuat,
berupa bunga
 Membuat pola berdasarkan desain yang telah
dibuat,
Kesimpulan dari hasil analisa tersebut adalah busana
karnaval tersebut memiliki konsep kebudayaan Bali,  Memotong bahan sesuai dengan pola yang telah
tercermin dari bentuk rambut seperti pura di Bali, hiasan dibuat,
warna emas, unsur ornamen, dan bentuk gestur tubuh  Menghias bahan yang sesuai dengan pola,
yang melambangkan keelokan tarian di Bali. Dapat
dikatakan bahwa busana karnval tersebut berfungsi  Merangkai pola-pola bahan yang sudah dihias
sebagai representasi kebudayaan Bali dan memiliki unsur- berdasarkan desain yang telah dibuat,
unsur kesenian khas Bali.  Menyusun dan menggabungkan berbagai
B. Dampak kreativitas masyarakat yang dihasilkan rangkaian kostum yang telah dibuat sehingga
menjadi kostum karnaval yang utuh,
Sejalan dengan adanya penyelenggaraan MFC dari
tahun ke tahun menghasilkan sebuah konstruksi  Fitting dan latihan pemakaian kostum oleh model
kreativitas yang ditekankan kepada konsep bunga, sebagai yang akan menggunakan.
perlambangan Malang kota Bunga. Tinggi rendahnya
kreativitas yang ada dapat diketahui dari kuantitas jumlah Selain proses kreatif tersebut, kesuksesan MFC tidak
peserta sebagai pembuat busana karnaval dan penonton bisa dilepaskan dari kepanitiaan MFC sendiri yang
sebagai penilai busana tersebut. Penyelenggaraan MFC berasal dari mahasiswa, siswa, karyawan dan masyarakat
dalam setiap tahunnya telah mengusung beberapa tema umum. Adapun susunan kepanitiaan antara lain dijelaskan
budaya yang berbeda salah satunya adalah Archipelago pada Gambar 2.
cultural festival. Serangkaian kegiatan MFC, antara lain

TABEL 2 PERKEMBANGAN TEMA BEC DALAM SETIAP TAHUNNYA [6][7]
No Tema BEC Penjelasan Tema Pelaksanaan
1 Gandrung, Gandrung dan Kundaran 22 Oktober
Damarwulan, adalah jenis tarian Kesenian 2011
dan Kundaran tradisional khas Banyuwangi,
sedangkan Damarwulan
merupakan jenis teater rakyat
2 Re Barong Kostum pernak pernik Barong 18 November
Using (bukan khas Using Banyuwangi dan 2012
Barong biasa terbagi menjadi 3 defile, yaitu
dan berbeda Barong merah, Barong
dengan kuning, dan Barong hijau.
aslinya)
3 The Legend of Budaya Kebo-keboan yang 7 September
Gbr. 2. Struktur Kepengurusan Panitia MFC Kebo-keboan berasal dari desa Alas Malang, 2013
Banyuwangi dan termasuk
Secara garis besar, keterangan bagan di atas adalah perwujudan doa dan harapan agar hasil
panen bisa melimpah
sebagai berikut (Gbr.2):
4 The Mystic Termasuk ritual upacara adat 22 November
1) Ketua, bertanggung jawab dan memimpin semua Dance of suku Using Banyuwangi 2014
Seblang sebagai wujud ras syukur atas
anggota kepengurusan. melimpahnya rejeki. Bentuk
2) Sekretaris, berfungsi sebagai inventory kegiatan ritual ini berupa tari
serta mengelola keluar masuknya surat. Seblang
5 The Usingnese Mengangkat Konsep 17
Pengantin
Oktober di Suku
3) Bendahara, mengatur keuangan. Royal Wedding Using. Dibagi menjadi 3 2015
defile yakni Mupus Braen
4) Divisi humas dan kerjasama, berfungsi menjalin Blambangan, Sembur
kerjasama dan mengajukan kerjasama dengan instansi Kemuning, dan Sekar Kedaton
atau perusahan yang potensial dan dapat dijadikan Wetan
sponsor. Selain itu, divisi ini juga berfungsi membantu 6 The Legend of Kisah sumpah pati Sritanjung 12 November
penyampaian surat perijinan kepada pihak-pihak terkait. Sritanjung 2016
Sidopakso
5) Divisi pengembangan acara dan program,
berfungsi mengatur jalannya acara serta program-
program acara yang hendak disajikan dalam run-down Berbeda dengan BEC, MFC merupakan kegiatan
kegiatan. Divisi ini juga termasuk dalam team kreatif karnaval tahunan yang konsisten dengan tema bunga,
acara. Agar kegiatan berjalan tepat waktu dan tidak dan segala bentuk busana yang diciptakan tentu tidak
monoton. meninggalkan soul busana karnaval yaitu berupa bunga.
Jika pelestarian dan pengenalan budaya khas
6) Divisi pengembangan desain dan produksi, Banyuwangi adalah melalui kegiatan karnaval yang
bertugas mengembangkan desain busana MFC dan dilakukan dengan totalitas, maka dalam MFC
mengkoordinasikan jalannya produksi, baik dalam pengenalan budaya itu diwujudkan dalam bentuk
pengadaan bahan, revisi, maupun quality control. serangkaian kegiatan MFC dan ditunjang dengan
7) Divisi workshop dan pelatihan, berfungsi dalam kegiatan-kegiatan lain yaitu MFM (Malang fashion
pengadaan program pelatihan dan kerjasama ke kota-kota Movement) dengan pengangkatan tema topeng Malang
atau sekolah sebagai wujud sumbangsih dan peran MFC dll. Baru sejak tahun 2016 ini, MFC mengusung tema
dalam membantu memajukan kreativitas masyarakat baru yaitu Archipelago Cultural Festival atau Festival
terkait dengan pembuatan busana karnaval maupun Budaya Nusantara. Sehingga dalam kegiatan MFC
kegiatan-kegiatan serupa lainnya. Masing-masing disuguhkan berbagai kebudayaan yang ada di Nusantara.
anggota dalam divisi terdiri dari dua sampai empat orang Berkaitan dengan kedua jenis karnaval tersebut MFC
menyesuaiakan dengan jumlah deskripsi pekerjaan yang dan BEC masing-masing memiliki cara sendiri dalam
perlu dilaksanakan, sehingga masing-masing divisi dapat melestarikan budaya daerah. Perbedaan tersebut
berjalan sesuai dengan tanggung jawabnya. menjadikan setiap kegiatan karnaval yang ada di daerah
menjadi bervariasi dan memiliki identitas masing-masing.
IV. DISKUSI
Pembahasan diskusi pada artikel ini akan membahas V. KESIMPULAN
perbedaan BEC (Banyuwangi Ethno Carnival) dengan MFC merupakan kegiatan karnaval tahunan yang
MFC (Malang Flower carnival). Berdasarkan sejarah bekerjasama dengan berbagai pihak baik mahasiswa,
lahirnya, MFC lahir lebih dahulu dibandingkan dengan pelajar, hingga masyarakat umum. Penyelenggaraan
BEC. BEC lahir setelah JFC, SBC, dan MFC. Adapun sejenis dapat dijadikan sebagai media pengenalan
tema-tema yang diusung dalam BEC adalah berbasis kebudayaan dan dapat meningkatkan kreativitas dalam
tema-tema lokal khas Banyuwangi. Banyuwangi pembuatan busana karnaval, baik melalui partisipasi atau
merupakan salah satu kabupaten yang memiliki objek pelatihan pembuatan busana karnaval. Sedangkan BEC
pariwisata yang tinggi [3]. Menunjang hal tersebut, BEC merupakan kegiatan karnaval tahunan yang mengusung
adalah karnaval tahunan Banyuwangi yang unik dan tema budaya khas Banyuwangi. Dari kedua jenis karnaval
menampilkan adat dan kesenian tradisional khas tersebut memiliki cara tersendiri dalam melestarikan
Banyuwangi. Sehingga setiap tahunnya BEC hadir budaya lokal.
dengan tema yang berbeda-beda. Berikut pemaparan tema
yang diusung BEC yang dijelaskan dalam Tabel 2.

PERNYATAAN index.php/swara-bhumi/article/view/9233. Diakses 3 November
2016
Artikel ini dibuat penulis yang juga presiden MFC [4] Setiawan, Deni, dkk. (2010). Analisis Fungsi Pakaian Karnaval di
sejak awal berdiri hingga kini dan bertujuan untuk Yogyakarta Menurut Roland Barthes dan Fungsi Seni Edmund
mengulas sekilas perjalanan MFC dan Membandingkan- Berke Felmand. Online: researchdashboard. binus.ac.id/.../
nya dengan kegiatan karnaval lain sebagai bahan diskusi 15_DKV_Deni_Analisis%20Fungsi%20Pakaian%2.... Diakses 1
November 2016
akan beberapa cara pelestarian budaya.
[5] Sunandar, Agus (2016). Proposal Kegiatan Malang Flower
Carnival Archipelago Cultural Festival.
REFERENSI [6] The Legend of Sritanjung Sidapeksa. Online:
[1] Karnaval banyuwangi ethno carnival. Online: http://www. [7] http://www.banyuwangibagus.com/2016-/08/banyuwangi-ethno-
Banyuwangi bagus. com- /2014- /09/ k arnaval-banyuwang i- carnival-2016- legend-sritanjung-sidopekso.html. Diakses 1
ethno-carnival.html. Diakses 1 November 2016 November 2016
[2] KBBI. Online: http://kbbi.web.id/karnaval [8] http://www.banyuwangibagus.com/2014 /09/ karnaval- banyuwa
[3] Kholifah, Ma‘rifatul (2014). Pengetahuan, Sikap dan Partisipasi ngi- ethno-carnival.html
Masyarakat Lokal Dalam Upaya Pengembangan Pariwisata di
Kabupaten Banyuwangi. Online: http://ejournal. unesa.ac.id/

Craftsmen Versus Designers:

The Difference of In-Depth Cognitive Levels at
the Early Stage of Idea Generation
Deny Willy Junaidy
Muhammad Ihsan
Faculty of Architecture and Ekistics
Man and Industrial Design Research Group
University of Malaysia Kelantan (UMK)
Bandung Institute of Technology
Kelantan, Malaysia
Bandung, Indonesia
e-mail: deny.wj@umk.edu.my
e-mail: ecoethno@gmail.com
Yukari Nagai
School of Knowledge Science
Japan Advanced Institute of Science & Technology
Ishikawa Prefecture, Japan
e-mail: ynagai@jaist.ac.jp.
Abstract—This paper investigates the in-depth cognitive that lead to the resolution of a recognized difficulty
levels at the early stage of idea generation for craftsmen and (Houtz & Patricola, 1999). Following are general steps of
designers. Examining this early stage may explain the design thinking; the early stage of idea generation is the
fundamental thoughts in observing and defining design step mainly discussed:
problems. We conducted an experiment using think-aloud
protocol, where verbalized thoughts were analyzed using a 1. Early stage of idea generation: the stage to
concept network method based on Associative Concept observe and reframe the design problem.
Network Analysis (ACNA). Furthermore, we identified 2. Later stage of idea generation: the stage
semantic relationships based on Factor Analysis. The employing sketches, graphs, or paper models to generate
findings showed that craftsmen tended to activate low- ideas visually.
weighted associative concepts at in-depth cognitive level
with a smaller number of polysemous features, thus The early stage of idea generation is one of
explaining their concerns about tangible-related issues, such observation by craftsmen and designers through first-hand
as proportion and shape. Designers, however, activated experiences. This stage is associated with greater diversity
highly weighted associative concepts with more polysemous of ideas (Leijnen & Gabora, 2010); therefore, it is
features, and they were typically concerned with intangible reasonable to assume that one‘s fundamental thoughts are
issues, such as surroundings context (i.e., eating culture) captured fairly at this point.
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 Fig. 1. Focus of this research: capturing the in-depth cognitive level
subjects. However, we examined the in-depth cognitive
levels of the creators (craftsmen and designers), who
attempt to grasp users‘ feelings when producing B. In-depth Cognitive Level
successful impressions of products (Cross, 2006; Nagai, It is generally known that designers cannot express
et al., 2011). We conducted an experiment using think- their thoughts explicitly; their latent sensitivity is widely
aloud protocol, where verbalized thoughts were analyzed researched in cognitive psychology. It is known as
using a conceptual network based on associative concepts implicit cognition, which is understood to be that which is
and semantic relation analysis. not explicitly recognized or verbalized (Reingold &
Colleen, 2003). Explicit expression, which is presumably
A. Early Stage of Idea Generation a shallow analysis, is referred to as surface-level
Idea generation, which consists of observation and cognition, and underlying cognition that is difficult to
ideation, is the essential step in the design thinking express is referred to as in-depth cognitive level (e.g.,
process. It is the interplay of cognitive and affective skills feeling, taste, impression) (Nagai et al., 2011; Georgiev &

Nagai, 2011, Taura, et al., 2010) (see, Fig. 1). words, were transferred onto vector graphs (conceptual
network on the basis of the USF norms database) to
Taura et al. (2010) explain that implicit impressions obtain extraction of highly weighted associative words
could exist in the feelings and are implied underneath indicated by the out-degree centrality score (ODC).
explicit impressions that are related to deep impressions.
Humans establish extremely rich metaphorical concepts 3. Differences in the concept network structures
(within in-depth impression) as key features of cognition were identified by analyzing the following:
in creative design; thus, a designer is able to capture a
profound understanding of an object (Nagai et al., 2011). a. Density of connection, which exhibits the
Previous studies have focused on capturing in-depth property of idea within the associative concept network.
cognitive levels (impressions) of users based on created b. Semantic relation, which finds the
artifacts, but our study focuses on the creators of the characteristics of the associative concepts at the in-depth
artifacts (craftsmen and designers). cognitive levels using an orthogonal semantic map based
on factor analysis.
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 Fig. 2. Research framework: capturing craftsmen‘s and designers‘
of an expression associated with the individual‘s mental associative concept at in-depth cognitive levels at the early
state. The associative concept is comprised of six sub- stage of idea generation
types: connotative, collocative, social, affective, reflected,
and thematic (Mwihaki, 2004). It is latent within implicit IV. EXPERIMENT
cognition. Therefore, a conceptual network is suitable as A. Subjects
an associative analysis tool for exploring the latent links Eight subjects (four Indonesian craftsmen and
among concepts. In the field of psychology, the four Indonesian designers in the age range of 27–51
conceptual networks depict human memory as an years) participated in this experiment. The four designers
associative system, where a single idea can contain were university graduates with experience in craft design
multiple meanings (polysemous). The concept dictionary and concern for natural material utilization. Each of the
utilized in conceptual network is from the University of four craftsmen, known as master craftsmen, who has
South Florida free association, rhyme, and word fragment acquired special skills in artistry and apprehends design as
norms database (USF norms database) (Nelson, et al., an artistic or decorative creation. They gained their
2003; Maki & Buchanan, 2008). special expertise, passed down from one generation to
another in the local village‘s traditional bamboo crafts.
II. AIM
The aim of this research is to capture the differences B. Procedure
in associative concepts at in-depth cognitive levels of The experiment was set up simply; the subjects
craftsmen and designers at the early stage of idea (craftsmen and designers) were not required to engage in
generation in design thinking. Thus, we conducted an specific activities, such as drawing or observing stimuli.
experimental study using think-aloud protocol, where They were deliberately conditioned with minimum
designers and craftsmen freely expressed their ideas instruction to be able to capture fundamental associative
verbally. concepts. Rigid instructions about determining design
theme, market segmentation, or design function were
avoided since they might provide excessive information
III. METHOD that would be unfair and misleading. Minimum
In this study, we used a concept network method instruction maintains a fair stage for noting craftsmen‘s
based on the associative concept dictionary to extract and designers‘ first-hand experiences in observing and
verbalized thoughts. The framework of this research was reframing design problems. There were no constraints on
comprised of the following steps (see, Fig. 2): the subjects for expressing their ideas verbally and
engaging in spontaneous thinking. All procedures were
1. Four craftsmen and four product designers
recorded as verbal data and transcribed word by word.
conducted a think-aloud protocol. They were instructed to
imagine designing a fruit basket/container and freely Grammatical rules were followed for connecting
express their ideas verbally without necessarily drawing words, such as prepositions, a few general verbs, articles,
or observing the object. Verbal data were recorded, and and pronouns; also, other less relevant explanations were
the sorted verbal expressions were then transcribed into omitted (Georgiev & Nagai, 2011). Finally, the sorted
English. verbal data consisting only of nouns, adjectives, adverbs,
and verbs were translated into English and further
2. The verbal data, which consisted of explicit
analyzed according to the concept network method on the TABLE 1. SORTED VERBAL EXPRESSIONS
basis of the USF norms database (also visualized as Category List of sorted verbal expressions (partly shown)
graphs using Pajek 2.05 with the algorithm of Craftsmen capacity, dimension, measure, standard, super, big,
Fruchterman Reingold (Batagelj, 2003). 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):
Fig. 3. Associative concept networks of craftsmen‘s and designers‘
before reduction (words and scores not shown due to  Craftsmen (total: 202 words): 0.000 = 75 words;
complexity) 0.040 = 94 words; 0.053 = 27 words; 0.067 = 6
words
C. Concept Network Analysis  Designers (total: 81 words): 0.000 = 48 words;
At the first stage of analysis, 107 sorted verbal 0.083 = 23 words; 0.104 = 8 words; 0.125 = 1
expressions (nouns, adjectives, adverbs, and verbs) were word; 0.146 = 1 word
obtained from craftsmen; 102 were sorted from designers.
Expressions of craftsmen tended to focus on tangible
aspects, such as technique, material, and production (bold Hereafter, we selected the top 10 highly weighted
text). Designers, however, paid more attention to associative words from each group for further analysis.
intangible-related issues, such as users‘ affective
preferences and the environment (bold text) (Table 1).
Fig 4a. Simplified concept networks of craftsmen‘s in-depth cognitive Fig. 4b. Simplified concept networks of designers‘ in-depth cognitive
level level
TABLE 2A. EXTRACTED VERBAL EXPRESSIONS OF IN-DEPTH COGNITIVE TABLE 3. IDENTIFIED CHARACTERISTICS OF CRAFTSMEN‘S AND
LEVEL (AFTER REDUCTION) DESIGNERS‘ ASSOCIATIVE CONCEPTS LIST OF IDENTIFIED
CHARACTERISTICS
List of 202 extracted verbal expressions (ordered by the
Category List of identified characteristics
highest ODC score)
Craftsmen body, clothes, idea, length, shape, waist, broad, butt,  (Proportion) length, inch, oval, portion, size, tall, tight, wide,
chest, corner, creativity, exercise, fresh, great, grow, centimeter, width, thin, thick, form, rectangle, measurement,
grown, growth, ideal, impression, inch, oval, plaid, narrow, weight, etc.
portion, replace, sample, size, slender, stripe,  (Shape) body, shape, waist, butt, chest, corner, round, leg, hip,
suggestion, tall, tight, weigh, wide, advice, bag, etc. giant, cube, prism, etc.
 (Operation) exercise, grow, replace, advice, bold, blend, bond,
TABLE 2B . EXTRACTED VERBAL EXPRESSIONS OF IN-DEPTH COGNITIVE decision, firm, fit, perfect, stain, form, combine, cover, tie, trace,
LEVEL (AFTER REDUCTION) use, etc.
 (Companion) fruit, apple, orange, peel, banana, carrot, cherry, fig,
List of 81 extracted verbal expressions (ordered by the grape, green, lemon, olive, orchard, pear, etc.
Category
highest ODC score)
 (Appeal) salad, peel, juice, soup, process, produce, display,
Designers fruit, produce, apple, basket, booth, orange, peel,
method, rotten, put, save, buy, shop, stand, fresh, etc.
silverware, style, Tupperware, banana, carrot, cherry,
common, computer, fig, grape, green, juice, lemon,  (Scene) booth, silverware, tupperware, market, public, store,
market, olive, orchard, pear, position, process, public, crowd, leaf, tree, wood, etc.
rot, sale, soup, store, wait, etc.
B. Analysis of Semantic Relation Based on Factor

Up to this stage, data extraction according to the
Analysis
associative model suggested that craftsmen tended to
activate low-weighted associative concepts, as We distributed 120 associative words corresponding
demonstrated by the surface-level cognitive score of to identified characteristics of associative conceptual
169/202 (83.6%). Designers, however, activated more structures; ODC scores ranged from highest to lowest
highly weighted associative concepts concerning issues (Table 3). Identified characteristics were proportion,
linked to the presence of the fruit basket/container, as shape, operation, companion, appeal, and scene—six
significantly demonstrated by a high ODC score and variables used in factor analysis. Furthermore, the
lower surface-level cognitive score of 48/81 (59.2%). correlation among variables was extracted into two
Following are identified characteristics of craftsmen‘s and factors; the KMO score of 0,571 was significant. The
designers‘ associative concepts after reduction: factor matrix and corresponding names are as follows:
TABLE 4. ROTATED FACTOR MATRIX 1997; Martindale, 1995). We also found that
Adjectives (+) Adjectives (-) F1 F2 approximately 24% of 202 extracted words derived from
Scene Less Scene ,942 ,009
craftsmen and 35% derived from designers were highly
Appeal Less Appeal ,932 ,193 polysemous. As Yamamoto et al. (2009) argue, the
Companion Less Companion ,891 -,199 polysemy of a design idea has significant correlation with
Proportion Less Proportion -,757 ,613 its originality. It indicates that designers‘ in-depth
Shape Less Shape -,722 ,636 cognitive levels have greater probability of reaching
Operation Less Operation ,140 ,912 creative solutions.
Eigenvalue (After rot): 3,66 1,6
KMO: 0,571
TABLE 5. CORRESPONDING NAME
Factor Adjectives Eigenvalue Factor Name

Scene,
Appeal,
Companion, SURROUND-
F1 3,66
Less INGS
Proportion,
Less Shape,
OBJECT-
F2 Operation 1,6
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).
Fig. 5. Semantic relation map
VI. DISCUSSION
The findings of this research suggest that the roles of
From the initial stage, the sorted verbal expressions closely and remotely associated concepts at the in-depth
showed that craftsmen paid attention to appearance and cognitive level during the early stage of idea generation
technical aspects of the fruit basket/container. They are different for craftsmen and designers as they observe
described such features as height, length, stack, capacity, and define design problems. Craftsmen‘s in-depth
standard, coating, and form (e.g., duck, heron). The cognitive levels, with fewer polysemous features, explain
extracted word obtained from concept network analysis their concerns about tangible-related issues, such as
were identified, as well as the characteristic of operation. proportion and shape. Designers‘ in-depth cognitive
In contrast, designers‘ sorted verbal expressions levels, with more polysemous features, concern intangible
concerned issues pertaining to the presence of the fruit issues, such as surroundings context (i.e., eating culture)
basket/container. Descriptive words included place, and users‘ affective preferences (i.e., companion, appeal).
kitchen, hang, pluck, tree, wood, inform, remind, children, The semantic relation map confirms that craftsmen focus
salad, and dignity. Some interesting comments were, ―I on the physical properties of an artifact instead of the
don‘t want to put it on the table; I want to hang it,‖ “I surroundings and the user‘s affective preferences.
want it to be inviting so the children will reap its fruits,” Designers, on the contrary, are much more concerned
“How attractive to serve a salad in a fruit container,” about issues pertaining to the presence of the artifact and
and “It‟s like a traditional banana-leaf container with less attentive to physical properties (see, Fig. 6).
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) Fig. 6. Craftsmen and Designers
are best suited to such solutions (Baer, 1993; Eysenck,
VII. CONCLUSION Craftspersons to Inform Design Education: A Comparative Study

of Rural Craft Practitioners in Indonesia and in the UK. Journal of
In general, we can easily differentiate between Design Research, 13(4), 395–423.
artifacts created by craftsmen and designers by describing [9] J. Leskovec, J. (2008). Dynamics of Large Networks, PhD thesis,
their appearance. However, it is difficult to describe the Carnegie Mellon University, September 2008.
nature of creative cognition that influences the respective [10] Leijnen, S. and Gabora, L. (2010). An Agent-based Simulation of
design thinking processes. This study has revealed the the Effectiveness of Creative Leadership. Proceedings of the
differences between in-depth cognitive levels of Annual Meeting of the Cognitive Science Society, Portland,
Oregon. Pp. 5.
craftsmen and designers at the early stage of idea
[11] Maki, W. S., Buchanan, E., (2008). Latent Structure in Measures
generation. Further, these findings can be developed as a of Associative, Semantic and Thematic Knowledge, Psychon Bull
reference for a co-created educational program (design Rev, 15(3), 598–603.
training) that suits craftsmen‘s creative cognition. [12] Martindale, C. (1995). Creativity and Connectionism. In The
Creative Cognition Approach, Edited by S. M. Steven, T. B.
REFERENCES Ward, and R. F. Finke, The MIT Press, Cambridge, MA, 249-268.
[1] Baer, J. (1993). Creativity and Divergent Thinking: A Task [13] Mwihaki, A. (2004). Meaning as use: a functional view of
Specific Approach. Lawrence Erlbaum Associates, Hillsdale NJ, semantics and pragmatics. Swahili Forum, Vol. 11, pp.127–139.
1993. [14] Nagai, Y., Georgiev, G.V., Zhou, F. (2011). A Methodology to
[2] Batagelj, V., Mrvar, A., (2003). Pajek – Analysis and Analyze In-depth Impressions of Design on the Basis of Concept
Visualization of Large Networks. In: Jünger M, Mutzel P, editors. Networks. Journal of Design Research, Vol. 9, No. 1, pp 44-64.
Graph drawing software. Berlin: Springer, p. 77–103. [15] Nelson, D. L., McEvoy, C.L., Schreiber, T.A., (2004). The
[3] Cross, N. (2006). Designerly Ways of Knowing, Birkhauser. University of South Florida free association, rhyme, and word
[4] Ericsson, K. A., Simon, H. A., (1993). Protocol Analysis: Verbal fragment norms, Behav Res Methods, 36:402–7.
Reports as Data, MIT Press, Cambridge. [16] Reingold, E. and Colleen, R. (2003). Implicit Cognition. in
[5] Eysenck, H. J. (1997). Creativity and Personality. In Creativity Encyclopedia of Cognitive Science, Nature publishing group,
Research Handbook, edited by Mark A. Runco, Hampton Press. 481–485.
Cresskill NJ, 1, 41-66. [17] Taura, T., Yamamoto, E., Fasiha, M. Y. N., and Nagai, Y. (2010).
[6] Georgiev, G. V. and Nagai, Y., (2011). A Conceptual Network Virtual Impression Networks for Capturing Deep Impressions.
Analysis of User Impressions and Meanings of Product Materials Design Computing and Cognition DCC‘10. J.S. Gero (ed), pp. xx-
in Design. Materials and Design, Vol. 32, No. 8-9, pp 4230-42. yy. Springer.
[7] Houtz, J. C. and Patricola, C. (1999). Imagery, In Mark A. Runco; [18] Yamamoto, E., Mukai, F., Fasiha, M. Y. N., Taura, T and Nagai,
Steven R. Pritzker (Eds.), Encyclopedia of Creativity, Vol.2. Y. (2009). A Method to Generate and Evaluate Creative Design
Idea by Focusing on Associative Process. Proceedings of the
[8] Junaidy, D. W., Kaner, J., Ioras, F., Nagai, Y. (2015). Capturing
Characteristics of the Conceptual Ideation Process of Master
[19] ASME2009. California, USA, 2009.
Mapping Surabaya Creative Industry‘s Movement

Kumara Sadana Putra.
Product Design
University of Surabaya (UBAYA) Muhammad Cahyo
Surabaya, Indonesia Institut Teknologi Sepuluh November
e-mail: kumy01@yahoo.com Surabaya, Indonesia
e-mail: madcahyo@yahoo.com
Ramok Lakoro
Product Design
Institut Teknologi Sepuluh November
Surabaya, Indonesia
e-mail: ramok@prodes.its.ac.id
Abstract—Surabaya claim to be the capital of East industry such as steel, machinery, ships, automotive and
Indonesia, is now stretching the industrial economy and others. Until the third decade after Indonesia independent,
trade developed rapidly. So it is with the creative industry, Surabaya still in stagnant industry. In the mid-1970s the
a sector that is predicted able to support the economy of establishment of Surabaya Industrial Estate Rungkut
Indonesia since announce by President 6th Indonesia. But (SIER) marked the start of a new era in the city of
150 years ago the city of Surabaya is a city-based sugar Surabaya industrialization. Stand up and development of
industry, steel, machinery, ships, automotive and others. the SIER as well as with the increasing decline of the role
Until the third decade after Indonesia became independent of industrial center Ngagel which has stood since 1915
state in Surabaya stagnant industry. In the mid-1970s the
because it does not correspond with the development of
establishment of Surabaya Industrial Estate Rungkut
(SEER) marks the beginning of the era industrialization.
the city.
Within the last 10 years, Surabaya showed symptoms of After the monetary crisis that hit Indonesia in 1997-
growth in the sectors of the creative economy that leads to 1998 became one important marker for the city of
economic independence. Led by young people aged 15-45 Surabaya were based services and trade. Once our
years, the creative sectors can generate optimism that the economy is centered on the conglomerate, after the
people of Surabaya, with all its potential to strengthen the monetary crisis marked the birth of a new generation in the
knowledge-based sector and this creativity. In order to
economy, namely the SME sector which turned out to be
realize gradual independence and the actualization of the
one of the main support and essential in supporting the
perpetrators of the creative economy need to design a road
map (roadmap) in the short term, medium term and long
country economies. The outbreak of the SME sector is
term to accommodate the development and produce a increasingly gaining a place and its role as the movement
competitive climate both at the level of the city of Surabaya, of creative industries and creative economy began to
East Java regional and national. Ease of current spread throughout the world in the last decade. Nowadays
technologies open up opportunities to access creative every city even in every village has immediate
economic actors and speak in the global competition. opportunities in direct contact with the outside world
Development Plan of Creative Economy for of Surabaya is without having to go through the role of the state.
structured for short-term 2014-2015 is an early view to
Surabaya‘s economic profile has shifted and significant
providing recommendations for the creation of a
comprehensive road map and is expected to run all growth after the financial crisis of 1997, one of which is
stakeholders from the perpetrators creative economy, called the creative economy sector. However it is the lack
academia and government as a facilitator and regulator. of statistical data that can describe the profile of the
Furthermore, it can be developed into an action plan for creative economy is making this sector to be 'important
each element of Surabaya. Then proceed with the Creative presence but not legible' so that when the government
Economy Development Plan Surabaya medium term 2015- wants to have the right policies to this sector in a
2019. The five-year medium-term Plan of the creative comprehensive and sustainable it is necessary to begin a
economy Surabaya This is the translation of creative program that deals with profiling The creative economy
economic development master plan that includes an action sector first.
plan stakeholders to develop the creative economy 2015-
2019. Global changes in terms of management requires each
local authority area to divert the orientation of the local
Keywords—creative economy, mapping, program orientation to become a global-cosmopolitan. This brings
recommendation, Surabaya further competition for every region, not only to the
surrounding areas, but also in other regions on a global
I. INTRODUCTION scale. Introduction of Law No. 32/2004 on Regional
Government and Law No. 25/2004 on National
A. Era of the Creative Economy in Surabaya: Development Planning System provides a sign of the
shifting pattern of the previous government management
Surabaya city 150 years ago is a city-based sugar centralized to decentralized and demanding more
industry, which later developed into a base of heavy participatory management. The condition can be seen as
an opportunity for each region to develop themselves to be adapted.

their potential.
David Throsby [7] introduced a classification model
These conditions prompted the government needs to 'Concentric Circles' where the core sectors of the creative
change the paradigm to one that observant and always economy is an original idea of a creative product
accommodating in reading and taking advantage of
opportunities for prosperity and improved quality of life in C. Surabaya Creative Economy Profile
society [2]. It needs to be supported by the urge to
compete in providing the best possible public services Creative economy that stands in Surabaya [8] is a sub-
(entrepreneurial-competitive government). Other changes sector (1) Design (32%), (2) Fashion and Crafts (15%) and
are the need for more customer oriented and stakeholders (3) Publishing and Printing (12%). The perpetrators of the
in the development scenario of investment in the region creative economy quite intensively interact with fellow
(customer-driven government). community and meet with other communities, only needs
to be pursued more comprehensive description of the type,
magnitude, extent and distribution of creative business
B. Creative Economy Overview networks in which they live. Most profile creative
Edna dos Santos [6] describes the development of the economy based on personnel and capital involved in the
definition of the Creative Economy since expressed by the category of SMEs but not all SMEs belonging to the
Working Group on Creative Industries UK Government creative economy.
(1997) adapted the Ministry of Trade as: "The industry
derived from the use of creativity, skill and talent of II. METHOD
individuals to create wealth and jobs through the creation Surabaya is preparing the creative economy roadmap.
and the use of creativity and inventiveness of the people Surabaya through City Development Planning Board
"evolved into a creative city as a tool for urban innovation, (Bappeko) initiated a development program of creative
where the creative sector is positioned as the sector that economic development in the city of Surabaya more
brings vitality of the city [3] ; entered into the era of the thorough, gradual and sustainable. Aim was placed on the
creative economy in which people earn income from the Creative Economy Development Team Surabaya in
idea [4]. Dos Santos [6] and then went on these ideas to cooperation with various stakeholders such as the creative
define the Creative Economy as: a set of knowledge-based economy: the entrepreneurs, SMEs, academia,
economic activities with cultural values and connectedness practitioners, communities and municipalities. This
that intersect with other economic sectors. In the creative program has been initiated by the Bappeko which was
economic activity is driven by the creative industries, followed by the Focus Group Discussion (FGD). Thus, the
namely: the goods and services that have creative content, Creative Economy Development Team Surabaya
economic value and marketing purposes. 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
Fig. 1 UNCTAD Classification • Qualitative methods using observation to compare the
literature study and data with the real condition
In contrast to the Working Group on Creative
Industries UK Government that charted the creative • Qualitative methods using Focus Group Discussion to
economy sector into 14 sub-sectors include: Advertising, gather ideation from Surabaya Creative Economy
Film and Video, Architecture, Music, Art Market and Stakeholder
Antiques, Performing Arts, Computer and video games,
Publishing, Craft, Devices software, Design, Television III. RESULT
and radio, fashion design, currently some countries like
Italy developed the concept of the different sub-sectors. In A. Strategy Platform
practice, subsector above are considered less Although there are no data that can be referenced
accommodating in some ways, namely (1) Less can quantitatively, the preparation of a road map seeks to base
strengthen aspects of the uniqueness of the culture the creative economy is better for the city of Surabaya.
symbolic, (2) is so extensive that less can be united with Several aspects need to be considered as a framework for
one another, (3) raises exclusivity on some sectors, (4) understanding it is an aspect of Insan (creative person),
definition is national in the country concerned, not all can aspects of Wirausaha (Creativepreneur, diversity sub
creative sector growing), aspects of the Wahana (space, performance areas that can support a variety of creative
the infrastructure that supports the creative activities that activities. The initiator of this activity can be raised by the
impact the economy) as well as aspects of Sambung institution concerned as well as events in cooperation with
(network, activity carried out both individually and the city government.
collaboratively between creative economic actors). These
aspects will be the glasses in an attempt to understand the 3) Sambung (Creative Network), the activity of
economic landscape of creative Surabaya 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)
Fig. .2 Platform of applied strategy
some communities with other communities, academia, or
government with investors, sponsors, organizers up to
1) Wirausaha (Creativepreneur), when national
tourists.
creative entrepreneurial sector that provides the highest
contribution to the national economy is the sector of 4) INSAN, drive Surabaya creative economy can be
fashion, craft and advertising, creative entrepreneurial viewed from a variety of backgrounds. The creative
sector in Surabaya, the data cannot be presented in a industry consists of creative workers in the field of: arts
precise figure. The entire sub-sector grew in the city of and crafts, product design, interior design, visual
Surabaya, but there is no adequate record keeping to be communication design, animated film producer, producer
analyzed more comprehensively. Research last recorded of software, media workers television, radio and print
on this subject held in 2009 by Indrojarwo, et al. One of media. It could be divided into some sources, like
the things that surfaced is the position of Surabaya as a vocational and higher education that supports the
brand in the public perception is not in the same quadrant availability of human resources beside community and
with Jakarta and Bandung, but are in the same quadrant government, the details are as follows:
with Solo, Yogyakarta and Bali. This perception is
measured based branding Surabaya today "Sparkling (a) Insan: SMK (Sekolah Menengah Kejuruan),
Surabaya". Creative sectors in the field of media such as Vocational School, at the secondary school level
television, radio, film, photography, printing and vocational contained 11 SMK public school and more than
publishing companies are still controlled by Jakarta and a hundred private school in Surabaya, and all have
have not been able to emulate the effect of exposure departments in accordance with the 15 subsectors of
nationally. Opportunities to compete there in the same Creative Industries, among others majors animation,
quadrant with the city of Bandung by lifting the benefits of broadcast, graphic design, multimedia, software
research and development. In the media sector, Surabaya engineering, engineering construction, dressmaking,
has several television stations operating regionally East cookery, ICT and craft. The availability of agency data
Java, among other television media JTV, SBO, TV9. supporting creative people (creative pool) at the level of
Network media news publishing among others Jawa Pos vocational education over vocational concluded that: 1)
News Network, Surya, Radar Surabaya but have not been from 11 vocational public school, all of them have majors
able to rival the dominance of national media networks. related to the creative economy; 2) equitable has become
a trend since 2009 when the President declared in the
2) Wahana (Creative Space), Surabaya city has creative industries in Indonesia, 3) uptake of the vocational
many rides as physical infrastructure with high potential. graduates to fill many small and medium industries in
Bungkul Park for example, since the park has been named Surabaya and surrounding areas, while some also went to
as one of the best cities in the world, can give an incentive college concerned. The distribution details require further
when associated with a variety of activities that led to the research, 4) concentrations of the main department /
economic interaction in the community in various layers. specialization is a multimedia, design (visual
Additionally you view the number of vocational schools communication design, interior design, product design).
and universities supporting the creative economy, can be Concentration of specialization are many sub-sectors
mapped many rides that has been used internally contributed to the multimedia, design
institution concerned can be utilized more widely for
collaborative activities with the community or investor (b) Insan: Universities, In higher education,
college education provides based on creativity, among
(sponsor, head hunter, etc.). As a supporter of creative
economic activity, it can be assumed every college and others, State University of Surabaya, 10th November
Institute of Technology, Petra Christian University,
vocational associated with it have the infrastructure
showrooms (both permanent and temporary) and University of Surabaya, Veterans National Development
University, the University of Ciputra. The universities
have departments of Visual Communication Design, economic activities in the city of Surabaya
Interior Design, Industrial Design, Fine Arts and Crafts.
Sector projects, performing and culinary arts are supported It is expected of each category will be mapped and the
by the development of the sectors that support tourism and potential of its core strengths, challenges and solutions
elusive, chances are identified and appropriate
travel. It can be said that the creative human factor in
recommendations for each category. The profile that has
Surabaya has (1) Creative Participation: many (but been disclosed in the previous section is the current state
sporadic militant) spread has not formed a big movement; and needs to be deepened with a quantitative assessment.
(2) Creative Workers: empirically large yet been mapped
yet comprehensive manner; (3) Institution: vocational (a) Insan:
schools and colleges with the majors in the subsector
 Challenges
creative economy; (4) Creative Communities: moving
sporadically, the expression of a community of special o Based on the profiles creative people in
interest, activity aimed at non-profit and social. the previous section, the creative
resources of Surabaya abundant but not
(c) Insan: Community, Surabaya has so many being managed and developed properly.
creative community developed by individuals, social Labor absorption in the creative sector
institutions and business-based. These communities do not is not comparable with the availability
often make the collaboration if related activities in their of labor every year so of them choose to
communities. Initiator of even this diverse communities work in the city that favor the
ranging from businesses, practitioners, academics and development of her like Jakarta or
even community activists often is a freelance investigator Denpasar
who works with social motives. Although there has been o To provide economic and social benefits
no comprehensive enough data about the presence of the need creative people need more
creative community in Surabaya, some of which can be opportunities for wider participation,
identified based on data collected between the players in should be provided opportunities
the creative community. While no such data began to be together for creative production and
collected through a community ayorek, an initiative to consumption sectors.
build knowledge about the city of Surabaya-based creative o Combining and organizing enormous
activities. creative potential of human resources in
a movement / joint program of massive
(d) Insan: Government, besides the parties so that they can have an impact on the
above, there are also government agencies related either economic development of urban society
directly or indirectly help strengthen the creative people of in general and in particular the
Surabaya through facilitation programs and policies that development of creative economy
support. Surabaya
B. Potential Analysis  Opportunities
1) Conceptual framework o Full creative initiative to empower
themselves well to join a company
This report is the result of the findings of the various
(media, software developers, home
studies that have been done other cities both in Indonesia
design, consultants and planners
and in other countries and a special study of the creative
design), work independently (freelance)
economy in Surabaya and the results of discussions with
or establish a business with several
the various stakeholders of the creative economy that is
colleagues with minimal capital.
centered on the power of quarto helix is: (1) entrepreneurs,
SMEs, practitioners, (2) academia, (3) community and (4) o The sector that can create collaborative
the city government. To achieve the objectives of this opportunities such as tourism events can
report, we divided into four categories: personnel; trigger the development of the
entrepreneurship; rides; and Connect. Furthermore, each performing arts sector, culinary, music
category will be framed by the four objectives above can and craft a sustainable and solid
be illustrated by the following diagram. 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
Fig. 3 The analytical framework of every aspect assessed on creative Surabaya. Entrepreneurial and
companies interested in the market that o Some old and historic building that is
are more specific and sophisticated need not functioning optimally.
incentives. o Construction of new buildings as a
o A successful creative sector and creative center.
emerging needs to be appreciated and
supported strategically as it needs  Opportunities
handling differently between SMEs o Government through Bappeko along
based, SMEs based creative with non- with relevant agencies have started to
creative. open up to the stakeholders
o There are no adequate data on the map entrepreneurs and the creative
around the creative economy in community to maximize the role and
Surabaya, both sectors were seeded, the utilization of assets and buildings
culprit groups, field / creative sector, belonging to the city government to
data on products, etc. marketing reach. support the development of creative
activities and programs both in terms of
o The absence of a forum / network that quantity, quality and objectives.
synergize quadrohelix (Business,
Intellectual Property, Government and o There have been several non-
Community) in the field of creative governmental parties that provide space
industries in Surabaya or building that is managed for the arts,
culture and creative can be used for free
 Opportunities or cost friendly for the creative
o Received the title of the most efficient community.
cities in Asia, the cost of living in the o There have been several non-
metropolitan city of Surabaya as cost government parties that are specifically
friendly classified into a potential and consistently provide assistance and
attraction for entrepreneurs to strive in facilitate the activities for community
this town especially among business arts, culture and creative with their
practitioners starter (start-up business). assets
o Government through Bappeko has o Some shopping centers have started
initiated and opening up the creative opening up to activities for young
economy stakeholders to design a people in the context of the creative
program of short-term, intermediate and economy in an activity that is quite
long for entrepreneurial development massive with the response from the
based creative Surabaya and global community are quite massive as well.
competitiveness o Several private companies entrust the
o One-stop service system (Surabaya implementation of its CSR program run
Single Window), which has begun to be by the City of Surabaya and for the
applied in Surabaya is expected to benefit of residents of the city of
become the driving force for ease of Surabaya.
administration and bureaucracy, o Surabaya City Government already
especially the creative entrepreneurial since nearly three decades of attention
world. Data on creative entrepreneurs to infrastructure development for the
will help determine policy villages of the city.
 Challenges (c) Sambung
o Some financial assets and buildings
belonging to the Surabaya City  Challenges
Government designated cultural arts o Creative community has been quite
activities is not maximized in the role often initiate collaborative activities to
and utilization both in terms of quantity, produce an independent knowledge of
quality and target activities or programs. the city but not yet accommodated to be
o The number of MICE facilities in the in contact with a wider public
field did not necessarily make it o Creative activities in Surabaya recorded
accessible for the creative community. quantitatively quite a lot but have not
o Public space is also available (parks) are arranged to comprehensively roadmap
still aimed at the community do not have a clear direction for the
travel on the creation of productive development of creative economy
culture of the city. sectors. It takes focus to strengthen the
advantages of
o The lack of space or building that is
managed for the arts, culture and o The activities are still sporadic and not
creative can be used for free or cost ready to integrate and link the whole
friendly for the creative community. potential of the city. It takes a mutually
reinforcing activities among actors and
the creative economy in the long term o Mapping of creative entrepreneurs in the city
can build branding Surabaya as a city of Surabaya to know the status, visibility on
that also has particularly excellence in employment, labor availability and the
the creative sector. economic potential of the creative sector
owned. Data were extracted in the form of the
 Opportunities name and the business owner / creative
o The physical assets Surabaya City can agencies, legal status, field of creative effort
begin to be used to bring together involved in, capital, turnover, range of
communities more massive. Several marketing, promotion strategy and business
activities have been implemented are development, copyrights owned, linkages
working to integrate though still limited third parties (investors, partners, clients, etc.).
to only a few communities This data can be used also to determine the
o Several activities have been organized seed sector and policy development
regularly by the community, o Promote creative programs for creative
practitioners, academics and businesses, middle schools / vocational and
government. By mapping this agenda college level, for example through the
can be obtained an activity that has a exhibition of creative products that can
massive impact on the opportunities for accommodate vocational existing sectors as
the development of the creative widely as possible by displaying a featured
economy sector. from each sector
o There have been several non-
government parties that are specifically o To provide economic and social benefits,
and consistently continue to develop creative people need more opportunities to
programs to facilitate community interact and work together more widely,
activities for the arts, culture and should be organized special activities for the
creative. creative sector entrepreneurs. Is expected to
open opportunities together for creative
C. Recommendation production and consumption sectors.
In the short and medium term recommended some idea Government can facilitate a business meeting
of creative economic development in the city of Surabaya activities with partners and stakeholders
Surabaya
1) Recommendation for Insan
o Develop creative culture in the productive age o Combining and organizing enormous creative
group of Surabaya through community potential of human resources in a movement /
empowerment, development of joint events, joint program of massive so that they can
education and organization. Some are already have an impact on the economic development
running regular eg. DIY Festival or Sunday of urban society in general and in particular
Market the development of creative economy
Surabaya, such as creative weeks or months
o The budget allocation for the education sector of creative, such as Surabaya Creative Week
also accommodate the needs of human
resource development of the creative 3) Recommendation for Wahana
economy sector, for example, funding for the o Required intermediary institutions that
development of creative business incubators represent a variety of creative community in
at vocational level Surabaya to communicate with municipalities
and stakeholders in bridging the aspirations
o The development of creative business and ideas of the various sub sectors of the
incubators in various levels, ranging from creative cluster. These institutions can also
micro, small to medium-sized. These play a role in organizing collaborative
activities may involve practitioners and activities between the communities with other
academics to the selection process, mentoring communities in Surabaya
and evaluation
o Required Co-Working Place for intermediary
o Providing incentives held within a certain institutions that can manage the needs of the
period to initiate and trigger creative human entire creative community, as well as a place
achievement Surabaya at the municipal level, of intensive interaction between communities.
the provincial, national or global, for Co-working place can serve as a meeting
example, through the grace of creative people place and creative community interaction.
yearly. Incentives can also be the licensing Examples of this kind of vehicle is owned
and access to capital. Bandung (Bandung Digital Valley, Bandung
Creative Center), Jakarta (Code Margonda,
o Facilitation of publishing newsletters and
Comma), Yogyakarta (Jogja Digital Valley,
directories to update the data and the business
hackerspace YK) and Bali (Hubud)
development of creative economic actors
Surabaya o Development of Surabaya Creative District to
become storefronts all creative activities in
2) Recommendation for Wirausaha
various sectors which are the advantages, as professionally and socially.

well as provide space to promote new sectors 3) Phase 3, along the formation of increasingly
develop. As an initial step, city officials can creative economic climate is good, a strong network and a
facilitate through buildings Surabaya assets number of ideas and business initiation and activity, can
untapped be temporary storefront develop programs that support facilitation. The
4) Recommendation for Sambung management functions can be executed by providing
o Develop activities that can be part of sufficient access to individuals and communities that have
Surabaya‘s branding as a creative city through specific activities related to the assets of the city. As it is
collaborative activities among all of the well developed policy products that can build public
business, academic and government sub- appreciation of creative products, such socialization IPR
sectors. Activities that functioned as a liaison awareness, capacity development of creative economic
owner of creative products to the market players through forums that facilitated the city government
(creative marketplace) and so on.
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: Fig. 4 Surabaya Creative Economy Roadmap
1) Phase 1, an important stage in building the REFERENCE

foundation of the development of the creative economy in [1] Cahyo, M., Lakoro, R., Sadana, K. (2013), Rencana
the city of Surabaya is the identification of the full Pengembangan Ekonomi Kreatif Kota Surabaya 2014-2015.
potential of both aspects of Insan, Entrepreneur, rides and Surabaya, Bapeko
Connect to obtain a complete picture of the sectors that are [2] Kartajaya, H. (2005) Winning The Mom Market in Indonesia,
Jakarta, MarkPlus & Co.
the hallmark and sectors that can support the strengthening
[3] Landry, C. (2010), The Creative City: A Toolkit for Urban
of key sectors the. The results are compiled as a profile Innovators., Earthscan
and an inventory of assets that can be used to strengthen [4] Hawkins, J. (2001), The Creative Economy, London, Penguin
this sector. Books Ltd.
2) Phase 2, the next important stage is socio- [5] http://unctad.org/
cohesiveness or glue social actors in various collective [6] Edna dos Santos (2010), The Challenge of Assessing the Creative:
activities that strengthen the collaborative networking of towards Informed Policy-making, Economy
http://www.interarts.net/descargas/interarts538.pdf.
the entire sector. This stage is the stage of vital and
[7] David Throsby (2007), Modelling the Creative/Cultural
requires a great effort from all parties involved in both Industries, Macquarie University, Seminar on ―New Directions in
practitioners, communities, academia and the government Research: Substance, Method and Critique‖, held at Royal Society
as a facilitator in the domain of Surabaya. Ideally, the of Edinburgh, Scotland, 11–12 January 2007.
http://www.acpcultures.eu/_upload/ocr_document/LSE_CreaIndS
government as a patron city can put together a program eminar_DavidThrosby_2007.pdf
with a group that is considered the representation of the [8] Indrojarwo et al, 2009, .....
creative community in Surabaya. A joint program is
expected to be a shared responsibility of both
The Flexible Built-In Furnitures to Cope with

Limited Space Problem in Indonesia Modest
Rented Flat (RUSUNAWA)
Soepono Sasongko Silfia Mona Aryani
Department of Interior Design Department of Interior Design
Sebelas Maret University Sebelas Maret University
Solo, Indonesia Solo, Indonesia
e-mail: soeponosasongko@gmail.com e-mail: silfia.aryani@gmail.com
Abstract—Indonesia modest rented flat (RUSUNAWA) control of Directorate General of Human Settlements,
is a program from the Ministry of Public Works and Local the Ministry of Public Works, in collaboration with
Government, addressed for people with low income. The Local Government. The aim of the program is to
space in every unit of RUSUNAWA can be considered as overcome problems of slum areas in many cities of
limited dimension. When a resident rent a unit in Indonesia.
RUSUNAWA, he will get an empty one without any
furnishing. He must buy new furniture that might not be Law no.20/2011 about flat defines flat as a multi-
easy for him, considering to his income. If a tenant is storey building, built in an area which is functionally
capable to buy furnitures, most of the furniture are too big designed in horizontal and vertical direction, also the
for a small rooms in RUSUNAWA. This research is only place used for a shared residence. Most of the flat
purposed to explain the design process of the furnishings built by the Ministry of Public Works are public and
that are suitable to cope the limited spatial problem but special flats, under the authority of Ministry of Public
still maintain the ergonomical aspect. The research is Works. RUSUNAWA is built and rent for people with
conducted through an exploratory study to find a low income (rented flat: 22). It has the same shape and
furnishing invention. The research strategies are done in design in every city and town of Indonesia. The
some surveys and experiments. Survey collect data about goverment has already made a standard of the design of
perception tendency from the residents on the
the housing, the rule to build that housing, and how to
spaciousness of a unit and the atmosphere in rented flat.
operate it. Every unit in RUSUNAWA provides limited
Experiment was carried out to determine the value. In the
analysis, the research studies the requirements of a room
space to live in. Thus it is difficult for a resident to do
for every activity with a minimal standard for a room in their daily activities in his house. Moreover, there is
each rented flat to see the quality of a housing. The result another problem which is the home appliances. When a
is flexobility as a recommended strategy to overcome the resident rents a RUSUNAWA unit, he will not get a
problem of a small room in rented flat, thus avoiding the fully furnished unit. He must buy new furniture that may
crowding of the house. The result is expected to be a not be easy for the resident, considering his income. If
reference for designing prototype of furniture for rented the local government, like Government of The Province
flat in Indonesia. of Jakarta, provides home appliances for the tenant,
usually they are too big for small rooms of
Keywords—built-in furniture, narrow space, simple RUSANAWA unit. It can cause crowding and hinders
rented flat the residents to enjoy their daily activities, that will
affect their psycological condition.
I. INTRODUCTION
To reduce the phycological impacts of living space
A house is a basic need for human beings, beside with plenty inhabitants the research considers the
food and clothes. It also functions as a centre of culture crowding and density theory in achitecture. Stokols
and education for a family, as well as a manifestation of (1972) theoritically states that density is a special
identity. From the ecological point of view, it is clear constraint, while crowding is a subjective respond to a
that in the future the quality of human ressources will be tight space. Thus density can be defined as the amount
highly influenced by the quality of their residence. of inhabitants in a particular spacial limit. The more
For people in Indonesia, especially those who live people live in that space, the more dense that space will
with low income, a house is a part of capital goods. It is be (Laurens, 2004: 148-149). The impact of density for
a place to support their lives by doing economic activites human is a feeling of claustrophobic due its crowding
in their house. Hence, we can not overlook problems effect on personal, social as well as physical condition.
related to a house or residence. This is a complex This situation is also able to lead to other problems such
situation that affects all parts of human‘s life (Kirmanto, as:
2002.). 1) Illness and social patalogy or mental illness.
Indonesian modest rented flat (known as Rumah However it doesn‘t mean that the high density always
Susun Sederhana Sewa or RUSUNAWA) is a program leads to social patalogy.
from Indonesian government. This project is under the 2) The impact on social behaviour, such as
aggression, isolation from social environment and a total, there are 74 units of residence. The cost for renting
tendency to have a negative impression to other people. a residence here depends on the storey they live in. In
the first floor, the resident has to pay Rp 100.000,- per
3) The impact of bussiness and mood. month. The second floor is Rp 90.000,-, the third Rp
The other consequence of high density is a 80.000, and the fourth Rp 70.000,-.
perception of low human control. We have to share our Block B and C have the same condition of building.
stuff dan making a decision together with other people Each storey has 12 units of residence. The ground floor
(Laurens, 2004: 154). is provided for the dissabled people. Block B has 2 units
The main problem related to furniture is that most of for this typical of residence, while Block
the furniture in the market do not suit to the limited C only has 1 unit. Besides, there are also some rooms
space in a RUSUNAWA unit. Thus we need to design in the ground floor for the managers, for commercial
the furniture for a small room, so that a resident can live managing of the residence, multipurpose room, parking
comfortably in his house. The final result of this lot for motor cycles, and a warehouse. The cost for
research is a prototype model of a furniture for a renting a room here is the same as in the Block A.
RUSUNAWA. It can be used by the Local Government
for a standard of furniture in the same kind of building. The sample for this study is the residence in Block
A, built by Ministry of Public Housing. Meanwhile,
II. METHODOLOGY Block B and Block C were built by The Bureau of
The research is conducted through exploratory Public Works of Surakarta. The management of the
research that aims to find a new invention. It applies a simple rented flat is under the authority of UPTD
normative (based on the rules) and empirical approach, Bureau of Public Works of Local Government of
that is demand-and-supply method (a space provided Surakarta.
compared to the resident‘s perceptions). Qualitative In Block A, each storey is equipped with an open
method is used to address the real condition of a space for laundry in the right and left side of the
research subject. The research collects data based on building. It also provides big garbage boxes that are
field-study. Then the collected data is translated in divided into two cans: for organic and non-organic
accordance with the real object. garbage. They are placed in the right and left side of the
For this study, the research is conducted with a building. These boxes are designed for permanent use in
survey and an experiment as research strategy. Survey the shape like a chimney, directly connected from the
was taken to know a tendency of perceptions from the highest floor to the ground floor. The trash from the
residents about the spaciousness and the condition of a highest floor will go directly down to the ground floor.
living space in a RUSUNAWA unit. Experiment is Every unit of residence consists of main room (2 bed
conducted to determine the value. The primary data is rooms), multipurpose room (living room and dining
collected by visiting the residents in RUSUNAWA unit, room), and service area (1 bathroom and a kitchen).
doing interviews with the tenants, the owners, and the There are two entries which are located in front and
stake holders of RUSUNAWA flat Jurug from UPTD back of the building. The windows are made of
Rusun, Bureau of Public Works of Surakarta. aluminium to make it more durable and to prevent rust.
Meanwhile, the secondary data consist of the physical The floor is made of white ceramics. The wall is from
condition of the building, behavioral aspect, daily the brick with paint coating. The ceiling is of concrete
activities, as well as the resident‘s needs for the material and is exposed. Each residence is facilitated
furniture. with water which is pumped from the ground to every
In the analysis, the research assess the requirements room. The capacity of electrical power is 900 watt.
of a room for every activity. It used a minimal standard
B. Social and Behavioral Aspect
for a room in every RUSUNAWA unit to see the quality
of a housing. The result is a recommended strategy to The residents of Block A meet regularly to create a
overcome the problem of a small RUSUNAWA unit, community, like Rukun Tetangga in Indonesia. They
thus avoiding the stuffiness of the house. make some regulations about the activities in this shared
residence, hosting a guest from other blocks, etc. The
III. RESULT leader of this community works together with the vice
leader, secretary and the leader of each division. Every
A. Physical Aspect of The Building month, the residents have to pay contribution. The other
The object of this research is a RUSUNAWA unit on bills, like for water and electricity, are paid individually.
Jurug which is located in Jl. Maskur, Kentingan,
Kecamatan Jebres, Solo. It is precisely situated in the Most of the inhabitants work in private companies
east of University of Sebelas Maret, Surakarta. This and freelancers. All 74 residences are full occupancy.
housing consists of three blocks. Block A is composed Each unit consists of two until five people. The residents
of 4 stories with units from type 27. Block B and Block don‘t use bed for sleeping. Instead, they utilize a
C, each comprises 5 stories with units of type 24. mattress on the floor. Other facilities for sitting, such as
chairs or sofa, are only found in terrace which also
In Block A there are 20 RUSUNAWA unit for each functions as living room. This situation make them to sit
storey, except for the ground floor, which provides 14 on the floor (known as lesehan). Besides, since the gap
units of residence and shared rooms for praying, rooms between the rooms is very close, they do some shared
for the managers of a simple rented flat, mechanical and activities in the public space in front of the block
technical rooms and lobby, as well as an open space. In building.
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 Reception room
guests
8 Cooking Cupboard/ Rack Kitchen
of cooking
appliances
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
Fig. 1. First Floor Plan of Block A. 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.
Fig. 2. Unit Plan of Residence of Block A. 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 Fig. 4. Dining room.
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 Fig. 5. Master bed room.
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 Unit of Place
required residence in
rented flat
1 Sleeping Parents 7.91 M2 5.62 M2 Bedroom
2 children 8.89 M2 – too small
2 Getting 5.62 M2 Studying
dressed – too small room
Studying/
working
3 Eating/ 4.22 M2 5.62 M2 - Dining room Fig. 6. Kid‘s bed room (for two).
drinking enough space
2
4 Watching 7.18 M 5.62 M2 Living Room
TV – too small B. Merging Rooms
5 Hosting 7.18 M2 5.62 M2 Reception Based on the study of living space that already
guests – too small Room
6 Cooking Kitchen
mentioned above, it can be concluded that a minimal
7 Washing Bathroom space required for each room cannot be applied for type
clothes 27. Thus we need to merge several rooms together. To
8 Drying Laundry do a room-merging we have to think about the comfort
clothes room/outdoor 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 Sitting room The room-merging
-Living room is based on sitting
activity in both
reception and
living room
2 -Dining room No room-merging
Fig. 3. Family room/ living room.
3 -Bedroom Bedroom The room-merging is
No Rooms Merging Rooms Information downward,parallel to the wall. This folded furniture
-Study room based on the need to makes the room looks more spacious. Thus the room can
find a peaceful room 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
Fig. 7. Layout plan of a unit in a simple rented flat type 27. activities, such as cooking or sewing.
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. 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
Fig. 8. Folding direction of the sitting room chair.
stick to the wall permanently. It is placed over the table
In the sitting room, we use chairs that can be folded 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, be solved by merging rooms which have the same
especially the bedroom. 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.
Fig. 11. Folding direction of the bedroom mattress. [4] Peraturan Menteri Pekerjaan Umum No. 60/PRT/1992 tentang
Persyaratan Teknis Pembangunan Rumah Susun.
In the bedroom, to be more efficient, we use a [5] Puslitbang Permukiman. 1995. Penelitian dan Pengembangan
mattress without divan. The room will be clean because Dasar Perencanaan Desain Rumah Susun Serta Lingkungannya.
the residents don‘t have to sweep or clean the divan. To Bandung: Puslitbang Permukiman- Balitbang PU- Dep.
Pekerjaan Umum. Kementerian Pekerjaan Umum, Direktorat
make life more comfortable, use a single bed/mattress. Cipta Karya, 2012, Rusunawa, komitmen bersama penanganan
This kind of bed can easily be stored by sticking it to the permukiman kumuh.
wall and clamped with a specially designed tool (see the [6] Sasongko, Soepono, Aryani, SM, Wahyuningsih IES, 2016,
picture above). With this appliance, a bedroom can also Studi Kebutuhan Dasar Mebel Dan Ergonominya Pada
function as studying room. Rusunawa (Rumah Susun Sewa) Sebagai Rujukan dalam
Penyediaan Fasilitas Mebel di Rusunawa, Hibah Pusat
V. CONCLUSION Keunggulan, Universitas Sebelas Maret, Surakarta.
[7] Sutopo, HB. 2002. Metodologi Penelitian Kualitatif Dasar Teori
Based on the discussion above, we conclude that the dan Terapannya dalam Penelitian. Surakarta: Sebelas Maret
residents think their living space is too small that it Universiy Press.
hinders their activities. Due to this limited room, they [8] Undang-Undang repubilk Indonesia No.4/1992 tentang
prefer to sleep and sit in lesehan way. This problem can Perumahan dan Permukiman.

Proceedings Chapter 1

Uploaded by

Copyright:

Available Formats

Proceedings Chapter 1

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Proceedings Chapter 1

Uploaded by

Copyright:

Available Formats

ISBN 978-602-61467-0-0

Aliansi Desainer Produk Industri Indonesia (ADPII)

© 2016 Indonesia Alliance of Industrial Designer, Indonesia

Technical Support: ADPII (www.adpii.org)

Conference organizing team: PT. Radyatama

Law and Jurisdiction

UNDANG-UNDANG REPUBLIK INDONESIA

2. Barang siapa dengan sengaja menyerahkan, menyiarkan,

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

M. Ridwan Kamil, ST, MUD

M. Ridwan Kamil, ST, MUD

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

Dr. Dwinita Larasati, MA

Bandung, April 30, 2017

Dr. Dwinita Larasati, MA

Bandung, April 30, 2017

Adhi Nugraha, PhD

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

Group 1. Transportation, Culture, and Design

FELIZ- ELECTRIC URBAN BIKE FOR MIDDLE AND HIGH SCHOOL

SECURITY BY DESIGN FOR BIKE-SHARING SERVICES AS SUSTAINABLE 7

PERANCANGAN DESAIN GRAFIS BADAN BUS DENGAN ILUSTRASI 11

PENGEMBANGAN DESAIN FASILITAS KESELAMATAN WISATA BAHARI 14

PENGEMBANGAN DESAIN PRODUK LOW DECK ELECTRIC BUS SEBAGAI 18

IDENTIFICATION OF USER EXPERIENCE RESPONSES IN SEQUENTIAL 23

THIRD GENERATION OF DOCKING BIKE-SHARE IN BANDUNG TOURISM 28

REDEFINING DESIRES, HOPES AND BEHAVIORS FOR THE FUTURE OF 33

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

Group 2. Small Industries and Culture

MANIK-MANIK KACA JOMBANG INSPIRASI UNTUK PENGEMBANGAN 47

PRELIMINARY MARKET RESEARCH FOR GETUK PISANG KEDIRI 51

KAJIAN TENTANG INDUSTRI KREATIF – BUSANA MUSLIM BERBASIS 54

PENGEMBANGAN DESAIN PRODUK TAS BEGAL (BEBAS BERGAYA DAN 59

REVITALISASI DESAIN TUNGKU MASAK (DESA MERUPAKAN RAJUTAN 62

INDONESIANS’ ATTITUDES TOWARD THE CHAIR MATERIAL AND 66

VISCERAL DESIGN DALAM KAIN TENUN SUTERA GARUT 70

VISUAL CHARACTERISTIC OF BANANA STALK FIBER LAMINATION AS AN 74

ADAPTATION OF TEAK WOOD SELECTION ON FURNITURE INDUSTRY TO 78

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

DAMPAK ‘KOREAN WAVE’ TERHADAP INDUSTRI ALOE VERA (KASUS: 83

Group 3. Building a Creative Society and a Design City

PENGARUH KEGIATAN KARNAVAL TERHADAP PELESTARIAN BUDAYA 94

CRAFTSMEN VERSUS DESIGNERS: THE DIFFERENCE OF IN-DEPTH 99

MAPPING SURABAYA CREATIVE INDUSTRY’S MOVEMENT 105

THE FLEXIBLE BUILT-IN FURNITURES TO COPE WITH LIMITED SPACE 112

Group 4. Creativity in Education with a Global Vision

STRUKTURASI DALAM NOVEL DAN FILM “PINTU TERLARANG” 124

KAJIAN AWAL SKEMA WARNA KESUNDAAN (STUDI KASUS WARNA 129

CREATING UNIQUE AND CONTEXTUAL EDUCATIONAL GAME THROUGH 135

REKOMENDASI DESAIN DIGITAL MEDIA KOLABORASI KELUARGA UNTUK 139

DESAIN APLIKASI SUMBER PERMAINAN KEPRAMUKAAN “SUPERKA” 144

PENGEMBANGAN MEDIA AJAR PRAKTIKUM PEMBUATAN KEMEJA MOTIF 148

TRILINGUAL DISCUSSION (INDONESIAN, ARABIC AND ENGLISH) AS THE 153

GAGASAN PENGEMBANGAN DESAIN EDUKASI GEMBATRON “GAME 157

DIGITALISASI TARI TRADISIONAL: TEROBOSAN BIDANG PENDIDIKAN SENI 161

FROM “DEFINITION” TO “MEANING” THROUGH CREATIVE THINKING 166

KLINIK KEKAYAAN INTELEKTUAL MAHASISWA FSRD UNTUK MENINGKATKAN 170

IF. Bambang Sulistyono SK

STRATEGI PENINGKATAN KECERDASAN INTERPERSONAL DENGAN 176

”PASARAN”, LOCALITY EDUCATIONAL GAME OF EARLY AGE GIRLS IN 181