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KAJIAN RELASI ARSITEKTURAL CANDI HINDU ERA MATARAM KUNO DALAM KAITANNYA DENGAN VĀSTUŚĀSTRA Aditya Bayu Perdana ; Rahadhian P. Herwindo
Riset Arsitektur (RISA) Vol 4 No 03 (2020): RISET ARSITEKTUR "RISA"
Publisher : Department of Architecture, Faculty of Engineering Parahyangan Catholic University

Abstrak - Berbagai prinsip dan tradisi arsitektur klasik India telah dikumpulkan dan dilestarikan dalam kajian yang dikenal sebagai Vāstuśāstra. Cabang keilmuan klasik India ini merupakan perwujudan arsitektural dari nilai-nilai Hindu ideal, dan karena itulah ide-ide di dalamnya memiliki pengaruh signiﬁkan terhadap arsitektur keagamaan dalam wilayah budaya India Raya yang mencapai Pulau Jawa kuno. Meskipun pengaruh India dapat dikenali dalam desain candi Hindu Jawa era Mataram Kuno, seberapa jauh vāstuśāstra India dijadikan panutan lebih sulit untuk diamati, mengingat bahwa candi Jawa memiliki sejumlah elemen arsitektural yang tidak ditemukan dalam vāstuśāstra maupun kuil India. Dengan mengidentiﬁkasi dan membandingkan bagian-bagian vāstuśāstra yang relevan serta purwarupa India kuno dengan peninggalan candi Jawa, maka dapat terlihat elemen arsitektural yang merupakan bagian dari kontinuitas lingkup budaya India serta bagian yang merupakan local genius. Penelitian ini menggunakan metode komparasi kualitatif dengan pendekatan historis dan tekstual. Penulis berfokus pada sosok serta penataan sosok dan rupa. Penelitian ini mengumpulkan dan membandingkan berbagai bagian vāstuśāstra yang relevan serta contoh-contoh India dari studi pustaka untuk dibandingkan dengan data dari enam sampel candi era Mataram Kuno, tiga dari masa tua dan tiga dari masa tengah.Perbandingan oleh penulis menunjukkan sejumlah hasil. Pertama, sosok candi Hindu Jawa era Mataram Kuno sesuai dengan bentuk dasar kuil Hindu India sebagaimana yang dituturkan dalam vāstuśāstra, dengan tujuh bagian vertikal yang disebut Upapīṭha, Adhiṣṭhāna, Pada, Prastara, Gala, Śikhara, dan Stūpi. Namun begitu, sejumlah detil arsitektural dari elemen-elemen tersebut memiliki perbedaan yang kentara dengan desain tipikal India serta penuturan dalam vāstuśāstra. Sebagai contoh, Kala-Makara Jawa tidak mengikuti Toraṇa-Makara India sebagaimana yang dituturkan dalam Mānasāra. Beberapa elemen Jawa bahkan tidak memiliki purwarupa India sama sekali. Kedua, tata massa dan tata ruang candi Jawa memiliki perbedaan yang lebih kentara lagi dengan kuil India. Pada kasus orientasi, candi Jawa dapat menghadap barat atau timur sementara sebagian besar kuil India menghadap timur. Sementara itu dalam perihal penataan massa, penataan tipikal Jawa dengan satu candi utama yang berhadapan dengan jejeran tiga candi sekunder sama sekali tidak ditemukan di India. Sebaliknya, penataan India yang memiliki Maṇḍapa di depan menara kuil utama juga sama sekali tidak terlihat pada candi Jawa.Penelitian ini menunjukkan bahwa relasi antar candi Jawa dan vāstuśāstra tampaknya renggang dan ﬂeksibel; kitab vāstu pada tataran tertentu digunakan pada aspek bentuk dasar, namun tidak diikuti dalam detil pengolahan. Para perancang candi Jawa mengikuti dan mengabaikan berbagai bagian vāstuśāstra sesuai kondisi. Kondisi ini bisa jadi disebabkan oleh perbedaan material maupun perbedaan selera yang membentuk local genius. Perancang Jawa tidak pernah sekedar membangun imitasi akurat kuil India di pulau Jawa, rancangan candi Jawa menunjukkan adanya kreativitas dan sifat selektif dalam meyikapi pengaruh asing sehingga tercipta rancangan inovatif yang unik. Pada fase klasik tua, pengaruh India masih dapat terlihat sedemikian rupa sehingga candi dapat dianggap sebagai suatu fenomena India yang dilokalkan. Namun seiring waktu dari masa pembangunan Candi Prambanan hingga seterusnya, purwarupa India menjadi semakin sulit dideteksi sehingga candi menjadi produk arsitektur yang sepenuhnya lokal.

Ragam Langgam Aksara Jawa dari Manuskrip hingga Buku Cetak Aditya Bayu Perdana
Manuskripta Vol 10 No 1 (2020): Manuskripta
Publisher : Masyarakat Pernaskahan Nusantara (The Indonesian Association for Nusantara Manuscripts, Manassa)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33656/manuskripta.v10i1.140

Abstract: In its contemporary usage, the Javanese script is often introduced through a few serviceable yet unvaried typefaces which give an impression of monotony and lack of style capable of carrying various design expressions. This current state of style deficiency is unfortunate because a cursory survey on the history of the Javanese script up to the 20th century reveals a rich tradition of calligraphic and typographic styles. Throughout the island, many scribes used regional stylistic variations, sometimes with striking differences and unique quirks no longer seen in today’s writing. The introduction of printing and metal typefaced also brought western typographic practice into the design of the Javanese script, creating a unique design environment where Javanese and European traditions mingled. This paper would introduce the varied styles of the Javanese script in manuscripts and printed books from the 16th ce to the mid 20th ce in the hopes that it will enrich the contemporary use of the Javanese script. --- Abstrak: Dalam penggunaan terkini, aksara Jawa kerap diperkenalkan melalui sejumlah typefaces yang memadai namun sayangnya tidak bervariasi, sehingga contoh-contoh kontempora seringkali memberi kesan monoton dan kekurangan gaya yang mampu menyampaikan berbagai ekspresi desain. Hal ini sangat disayangkan karena napak tilas sejarah aksara Jawa hingga abad ke 20 menunjukkan tradisi kaligrafis dan tipografis yang sangat kaya. Di seantero pulau, juru tulis di berbagai daerah menggunakan variasi gayanya masing-masing. Terkadang dengan berbedaan yang sangat mencolok atau kekhasan tulis tidak lagi terlihat dalam penulisan masa kini. Kedatangan teknologi cetak dan metal typeface juga turut memperkenalkan aspek tipografis barat ke dalam desain aksara Jawa, hingga terciptalah suatu ranah desain yang unik dari persilangan tradisi tulis Jawa dan tipograf barat. Tulisan ini akan memberikan uraian singkat mengenai ragam langgam aksara Jawa pada naskah tulisan tangan dan cetak antar abad 16 M hingga 20 M awal sebagai perkenalan awal yang dapat memperkaya penerapan aksara Jawa di abad 21 M.

Islands, maps, and Lontara’; Bugis counter-mapping on a nineteenth-century map of Nusantara Perdana, Aditya Bayu; Buana, Muhammad
Wacana, Journal of the Humanities of Indonesia Vol. 24, No. 3
Publisher : UI Scholars Hub

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This article focuses on a Bugis nautical chart of Nusantara (the Malay Archipelago) from the early nineteenth century known as the Utrecht Map. There are only a few surviving copies of similar Bugis maps, all confiscated from local “pirates” during the colonial era. While graphical elements of the map undoubtedly point to prototypical European maps, careful analysis of its annotations reveals extensive linguistic modification better to reflect Bugis maritime knowledge. Not only are they completely written in Lontara’, the indigenous script of the Bugis, Euro-centric toponyms from contemporaneous maps are consistently replaced by locally derived toponyms from an oral and written tradition unknown to Europeans. In colonial frameworks, maps could be used as powerful instruments of control which eroded indigenous spatial knowledge. As part of an ongoing efforts to decolonize our understanding of maps, critique of western maps should be complemented by discussions of non-western maps which foreground indigenous knowledge or counter-mapping elements. The use of indigenous elements can be regarded as a fascinating case of counter-mapping and a decolonial effort initiated by the anonymous, everyday people of Nusantara.

Diverse Scripts, Same Mistakes: Identifying Common Pitfalls in the Typographic Designs of Indonesian Traditional Scripts Aditya Bayu Perdana
Jurnal Desain Komunikasi Visual Nirmana Vol. 24 No. 2 (2024): JULY 2024
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/nirmana.24.2.167-178

The writing traditions of Indonesia are characterized by scriptural diversity, although today most of the traditional scripts have been supplanted by Latin in everyday use. There are revitalization efforts and design attempts to use these scripts in more contemporary settings. However, many efforts suffered from substandard typographic quality that does not represent the inherent nature or design spirit of authentic materials. To better understand and problematize this phenomenon, this study conducts historical and literature review using qualitative methods. The typographic quality of some key materials is described and presented in chronological order to show how flawed representation in some materials seem to be perpetuated into contemporary design. A review of archival materials from the 20th century onward reveals that a drop in typographic quality happens concurrently with the disappearance of traditional script from everyday use. The public’s unfamiliarity with traditional scripts was then exacerbated by flawed representation in secondary material references published privately and by the government alike throughout the 1980s to the early 2000s. Notwithstanding their scholarly content, their representation of traditional scripts often shows typographic sloppiness that poorly represent normative and variant letterforms found in primary materials. Some contemporary designs pitfalls of traditional scripts can be traced to the uncritical over-reliance to these secondary materials, such as diacritic miniaturization and graphic stereotyping. There are some indications that typographic awareness and quality is improving in some communities in conjunction with increase of digital use and better access to primary materials. But whether this improvement proved sustainable in the long run remains to be seen. The author hopes that by identifying these pitfalls, future designers will pay more attention to typographic issues in Indonesian traditional scripts and can apply more informed design decisions that contribute to the revitalization of this heritage.

Ragam Langgam Aksara Jawa dari Manuskrip hingga Buku Cetak Aditya Bayu Perdana
Manuskripta Vol 10 No 1 (2020): Manuskripta
Publisher : Masyarakat Pernaskahan Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33656/manuskripta.v10i1.112

In its contemporary usage, the Javanese script is often introduced through a few serviceable yet unvaried typefaces which give an impression of monotony and lack of style capable of carrying various design expressions. This current state of style deficiency is unfortunate because a cursory survey on the history of the Javanese script up to the 20th century reveals a rich tradition of calligraphic and typographic styles. Throughout the island, many scribes used regional stylistic variations, sometimes with striking differences and unique quirks no longer seen in today’s writing. The introduction of printing and metal typefaced also brought western typographic practice into the design of the Javanese script, creating a unique design environment where Javanese and European traditions mingled. This paper would introduce the varied styles of the Javanese script in manuscripts and printed books from the 16th ce to the mid 20th ce in the hopes that it will enrich the contemporary use of the Javanese script. === Dalam penggunaan terkini, aksara Jawa kerap diperkenalkan melalui sejumlah typefaces yang memadai namun sayangnya tidak bervariasi, sehingga contoh-contoh kontempora seringkali memberi kesan monoton dan kekurangan gaya yang mampu menyampaikan berbagai ekspresi desain. Hal ini sangat disayangkan karena napak tilas sejarah aksara Jawa hingga abad ke 20 menunjukkan tradisi kaligrafis dan tipografis yang sangat kaya. Di seantero pulau, juru tulis di berbagai daerah menggunakan variasi gayanya masing-masing. Terkadang dengan berbedaan yang sangat mencolok atau kekhasan tulis tidak lagi terlihat dalam penulisan masa kini. Kedatangan teknologi cetak dan metal typeface juga turut memperkenalkan aspek tipografis barat ke dalam desain aksara Jawa, hingga terciptalah suatu ranah desain yang unik dari persilangan tradisi tulis Jawa dan tipograf barat. Tulisan ini akan memberikan uraian singkat mengenai ragam langgam aksara Jawa pada naskah tulisan tangan dan cetak antar abad 16 M hingga 20 M awal sebagai perkenalan awal yang dapat memperkaya penerapan aksara Jawa di abad 21 M.

VIDEO GAME SEBAGAI REPRESENTASI ARSITEKTUR DAN PERSILANGANNYA DENGAN SEJARAH DALAM SERI ASSASSINâ€™S CREED Perdana, Aditya Bayu
Jurnal Arsitektur ARCADE Vol 8 No 2 (2024): Jurnal Arsitektur ARCADE Juni 2024
Publisher : Prodi Arsitektur UNIVERSITAS KEBANGSAAN

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Abstract: Throughout its history, abstract ideas in architecture are conveyed through representational media such as writing and drawings. Video games are among the newest medium of representation with their own unique advantage: games necessitate active participation in a virtual space that has become increasingly realistic thanks to technological advancements. This short paper aims to explore how games can be situated with other forms of architectural representation by discussing historical shifts that predated it. This paper also aims to show one of video gameâ€™s strength in representing architecture by using Assassin's Creed game series as an example case. The series shows how careful craft and detailed research on historical details within the game can create engaging and immersive architectural experience with educational value. This immersivity however is also limited by gameplay constrains and require extensive resource investment. The author hopes that this exploration could be useful stepping stone in Indonesia to expand new studies of architectural representation and exploration of more engaging learning tools.Keyword: game, architectural representation, historical setting, educational mediaAbstrak: Sepanjang sejarah, ide abstrak arsitektur disampaikan melalui sejumlah media representasional seperti tulisan dan gambar. Video game merupakan salah satu media representasi yang paling baru dengan keunikannya sendiri: game menuntut partisipasi aktif dalam ruang virtual yang semakin realistis berkat perkembangan teknologi. Tulisan singkat ini bertujuan untuk menempatkan game sebagai representasi arsitektur dengan mengulas pergeseran media representasi yang telah terjadi di masa-masa sebelumnya. Tulisan ini juga bertujuan untuk menunjukkan salah satu kekuatan media game dalam merepresentasikan arsitektur dengan menggunakan sebuah seri game berjudul Assassinâ€™s Creed sebagai contoh kasus. Game tersebut menunjukkan bahwa kriya telaten dan riset mendalam akan detail sejarah dalam game dapat menghasilan pengalaman arsitektural yang menarik, dan imersif dengan nilai edukatif. Namun begitu imersivitas ini juga dibatasi oleh kekangan gameplay dan membutuhkan sumber daya yang tidak sedikit. Penulis berharap eksplorasi ini dapat menjadi landasan di Indonesia untuk memperluas kajian media representasi arsitektur sekaligus eksplorasi alat pengajaran yang menarik.Kata Kunci: game, representasi arsitektur, setting sejarah, media pembelajaran

PERANCANGAN ULANG INTERIOR RUANGAN PENUNJANG MASJID ISTIQLAL DENGAN PENDEKATAN PLACE MAKING Adilla, Nafs; Firmansyah, Rangga; Perdana, Aditya Bayu
eProceedings of Art & Design Vol. 12 No. 2 (2025): April 2025
Publisher : Telkom University

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Abstrak : Masjid bukan hanya digunakan sebagai tempat ibadah, tetapi juga sebagaitempat untuk memberdayakan umat Islam. Masjid Istiqlal, sebagai masjid negara,menjadi salah satu tempat yang menunjukkan realitas peradaban Islam yang tengahberlangsung di Indonesia. Sebagai Masjid terbesar di Indonesia dan jumlahpengunjung yang mencapai 200.000 pengunjung setiap bulannya membuat MasjidIstiqlal menjadi salah satu landmark Indonesia. Dalam upayanya menjadi masjid yangterus hidup, Masjid Istiqlal merancang program-program yang bertujuan untukmeningkatkan kesejahteraan umatnya. Program tersebut dikandung dan dilahirkanmelalui kolaborasi ide dan kinerja yang dilakukan oleh Badan Pengelola Masjid Istiqlal(BPMI) yang digodok di ruangan penunjang yang berada di lantai dasar Masjid Istiqlal.Namun, ruangan penunjang tersebut memiliki bebarapa permasalahan yangmembuat proses kolaborasi ide berjalan tidak maksimal. Ketidakpastian fungsi ruangkarena intensitas perubahan layout yang tinggi, tidak adanya ruangan komunal, sertakurangnya identitas Masjid Istiqlal di lantai dasar menjadi permasalahan utama yangakan dijawab melalui solusi desain. Tujuan perancangan ini adalah untukmenciptakan ruangan penunjang yang baik sesuai dengan semangat tujuan yangberlaku di Masjid Istiqlal yaitu sebagai pusat pemberdayaan umat melalui metodepengumpulan data observasi, wawancara, kuesioner, dan studi literasi. Hasil dariperancangan tersebut dirumuskan pendekatan Place Making yang dapat menjawabpermasalahan yang ada.Kata kunci : masjid, Istiqlal, ruangan penunjang, permasalahan, place making

A Glance At Furnitur Bertutur: A Temporary Exhibition At Jakarta History Museum Perdana, Aditya Bayu; Syahid, Mush'ab 'Abdu Asy
PURBAWIDYA Vol. 14 No. 1 (2025): Vol 14 (1) Juni 2025
Publisher : Badan Riset dan Inovasi Nasional (BRIN)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55981/purbawidya.2025.8257

The Furnitur Bertutur exhibition, held at the Jakarta History Museum from October 2024 to January 2025, presents an overview of Dutch East Indies or Indies style furniture as a manifestation of material encounters and hybridity between European and Nusantaran societies in colonial Jakarta/Batavia. This exhibition showcases various types of historical furniture mostly from the Verenigde Oostindische Compagnie (VOC) period, such as chairs, tables, and cabinets, highlighting craftsmanship and cross-cultural influences mirroring the multi-layered history of Jakarta. This paper aims to inquire the exhibition practice while providing constructive criticism regarding its substance from critical museology, art history and interior architecture perspectives. The method used is a comparative architectural criticism, involving direct observation towards the exhibition’s presentation, an analysis of its narrative and displayed information, spatial layout, and curatorial approach, then compare them with relevant historical and theoretical references. The exhibition manages to display the richness of Indies furniture in an attractive and engaging setting. The integration of digital catalogue as explanatory medium is effective and the catalogue itself is well designed. There are however notable shortcomings. In the display space, several items seemed to be out of scope thematically and chronologically, while reconstructed rooms show anachronistic elements that may misled casual observers. In its narrative, some of the omitted information obscure the exhibition’s scope, as well as crucial aspects of Batavian live which could have enhanced understanding of the displayed pieces. Some statements seem to contradict referenced sources and are not sufficiently discussed, giving the negative impression of a didactic revision. Nevertheless, this exhibition deserves appreciation for reigniting interests in Indies furniture as a complex historical heritage. Some of its significant elements have the potential to be preserved as part of the museum’s permanent exhibition.

Sebuah Perbandingan Visual Preliminer antara Ceki dan Ujang Omi: Dua Kartu Permainan Tradisional Indonesia dan Leluhur Masing-masing Perdana, Aditya Bayu; Pollard, George
JURNAL RUPA Vol 9 No 1 (2024): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i1.7301

Historically, three kinds of game cards are known to be played in Indonesia: remi (the standard French deck), ceki, and ujang omi. Existing literature has established that the now niche ceki and ujang omi are descendants of Chinese and Portuguese cards, based on evidence such as game mechanics and terms. Discussion of their visual characteristics, however, is still limited. Through archival comparative analysis, this paper compiles relevant samples from existing publications and digital repositories, then qualitatively describes visual similarities and dissimilarities (particularly in the suit system and court figures) in exemplary decks. The overall suit systems of ceki and ujang omi still preserve many aspects of their ancestors, but their design underwent considerable stylizations and abstractions. The visuals of ceki, which have been homogenized, are characterized by strong geometric stylization of the Chinese prototype. The underlying suit and rank are obscured, due to the stylization and Sino-centric references which are not widely understood by Indonesian players. The visuals of ujang omi are based on looser standards. Naturalistic depictions in the prototype Portuguese deck are generally simplified. Suit symbols tend to become abstract, conflating shapes. Comparison to more variations of ujang omi is needed to make a more definitive evaluation. Thus, despite their now limited usage, the design of ceki and ujang omi still shows historic cosmopolitan influence woven into the everyday life of Indonesians.

PENGENDALIAN PENCAHAYAAN ALAMI BTP INNOVATION GALLERY MELALUI INTERIOR SHADING SYSTEM Abdulhadi, Reza Hambali Wilman; Hapsoro, Agustinus Nur Arief; Perdana, Aditya Bayu; Nugroho, Ardianto
Narada : Jurnal Desain dan Seni Vol 11, No 1 (2024)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2024.v11.i1.001

In the design of a space, daylighting related to space lighting standards, as well as the visual comfort of users are important to fulfill. In terms of lighting control, natural lighting is difficult to control because it always changes based on the weather, time of day, month, building orientation and inclination angle. Architecture, fullfill visual comfort through natural light and it is usually done through building orientation, use of types of openings, glass, landscape elements in relation to control the amount of light entering the room. Meanwhile, in the realm of interior design, the strategy for meeting the level of illuminance is usually carried out through arranging the layout and elements behind the windows such as curtains, vitrasse and roller blinds which are integrated with an artificial lighting system. Another phenomenon encountered is that many buildings use glass facades, thus implementing sun shading on the outside of the building, become a problem. It is necessary to think about other strategies for this problem. This is what researchers suspect is happening in the BTP Innovation Gallery, where the entire building facade uses glass. For this reason, it is necessary to develop interior elements to overcome building problems, especially those that use glass facades on almost the entire building. To provide development of existing technology in interior space, the research carried out was in the form of developing a strategy for controlling indoor light (interior shading system) statically through simulation tests using dialux software. The research method was carried out using quantitative methods by first analyzing the illumination that occurs inside the building. In the next stage, experiments were carried out with different shading system forms and with different opening angles. From the research results, it was concluded that the interior shading system that approaches the uniformity of illuminance ratio value is the interior shading system with a vertical shape of 45 degrees, although the resulting value cannot be said to be perfect because the value is still below the required standard.

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