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All Journal E-Journal Of Cultural Studies Jurnal Ilmiah Desain & Konstruksi Gorga : Jurnal Seni Rupa MUDRA Jurnal Seni Budaya PRABANGKARA Gondang: Jurnal Seni dan Budaya Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan Idealog: Ide dan Dialog Desain Indonesia Jurnal Syntax Transformation International Journal of Social Science Jurnal Vastukara: Jurnal Desain Interior, Budaya, dan Lingkungan Terrbangun International Journal of Multidisciplinary Research and Literature (IJOMRAL) Jurnal: International Journal of Engineering and Computer Science Applications (IJECSA) Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Prosiding Seminar Nasional Sastra, Bahasa, dan Seni (Sesanti) Global Art Creativity Conference Jurnal Desain
I Gede Mugi Raharja
Institut Seni Indonesia Bali
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ARSITEKTUR PURA PENULISAN: INTERAKSI DESAIN DENGAN SISA GUNUNG PURBA Raharja, I Gede Mugi; Wasista, I Putu Udiyana
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 4 (2024): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Interaksi desain arsitektural tempat suci dengan alam pegunungan sudah dilakukan oleh beberapa suku bangsa di dunia, termasuk di Bali. Pura Penulisan sudah dibangun sebagai tempat suci sejak masa prasejarah, yang dibangun pada sebuah bukit di pegunungan Desa Sukawana. Permasalahannya, bagaimana undagi Bali masa prasejarah merancang tempat suci yang berinteraksi dengan alam pegunungan dan bagaimana konsep desainnya. Secara garis besar metode yang digunakan dalam penelitian, menggunakan studi kasus dan penelitian lapangan, untuk mempelajari secara intensif tentang latar belakang objek yang diteliti, dan interaksi lingkungan sosial budaya, khususnya terkait konsep ruang arsitektur Pura Penulisan. Dari hasil penelitian, diketahui Pura Penulisan dibangun pada sisa lereng Gunung Penulisan purba. Undagi Bali prasejarah berhasil mendesain tempat suci Pura Penulisan berupa teras-teras bertingkat. Pola ruang arsitektur teras bertingkat merupakan pola punden berundak, warisan budaya megalitik prasejarah.
THE TRANSFORMATION OF TORAJA ORNAMENT’S MEANING ON DHARMAWANGSA SQUARE TATOR CAFÉ APPLYING HERMENEUTIC THEORY Lily Wijayanti; I Gede Mugi Raharja; Ida Ayu Dyah Maharani; I Made Pande Artadi
International Journal of Social Science Vol. 4 No. 5: Februari 2025
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i5.9836

Abstract

This research aims to analyze the transformation of the meaning of Toraja ornament, particularly, Pa’ Barre Allo motive, using Jakarta Dharmawangsa Tator café Square as the primary data. This study employs Hermeneutics theory by Paul Ricoeur stating that it explains about the rules of the interpretation of texts, signs, and symbols. Moreover, this research discusses about how the traditional Toraja ornament is applied in modern commercial space. Toraja ornament, having sacred meaning traditionally, shifts its meaning as it is implemented in café interior elements of the public spaces. It means that the ornament does not only function as aesthetic elements, but it also has great values, representing the sensibility of Toraja culture on commercial interior design. Furthermore, this study reveals about the application of Pa’ Barre Allo motive on café Tator transforming its sacred meaning to aesthetic elements in order to strengthen the attraction and brand identity of the space of the café. The results of this research are expected to enhance the comprehension of the transformation of the cultural values in commercial interior design. Finally, they can contribute to the preservation of Indonesian history and culture
ADI PARVA, AN INDIAN CLASSIC LITERATURE AS THE SOURCE OF TAMAN GILI DESIGN PHILOSOPHY, A RELIC OF THE KLUNGKUNG KINGDOM OF BALI I Gede Mugi Raharja
International Journal of Social Science Vol. 4 No. 6: April 2025
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i6.10074

Abstract

Adi Parva's classical literature is the beginning of the great epic Mahabharata which originates from ancient Indian culture. Adi Parva entered Indonesia at the same time as the arrival of Hindu culture at the beginning of the AD century, that this literature was well received. It is proven by a temple complex that has been built with the names of the buildings taken from the Mahabharata story in 716 AD, as well as an inscription about a wayang show with Bhima Kumara play in 907 AD. However, this ancient Indian literature entered Indonesia in the form of a verbal art, not a written text. Adi Parva's literary text from India was only translated into ancient Javanese in the 10th century, after which Adi Parva's literary works entered Bali. The most popular thing is the part of Samudramantana story or the churning of the Ksirarnawa Sea using Mount Mandhara. This literary work used as a holy hymn in religious ceremonies, is made in the form of relics and becomes the design philosophy of the royal garden. This article was written based on the results of several studies using hermeneutics approach, then summarized and a deeper study is carried out, to create a stronger study result. The research object of Taman Gili, a relic of the Klungkung Kingdom, is very representative and has a unique design concept. The embodiment of the design is adapted to local Balinese wisdom, even though the design philosophy comes from ancient Indian literature. Adi Parva's texts are translingual and cross-cultural, but have been part of Balinese culture since ancient Balinese times
INTERAKSI VISUAL PADA KOMIK DIGITAL TAHILALATS DI INSTAGRAM BERTEMA NOSTALGIA MASA KECIL Hidayat, Syarip; I Gede Mugi Raharja; I Nyoman Larry Julianto; Ira Wirasari
Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) Vol 10 No 1 (2025): demandia - Jurnal Desain Komunikasi Visual, Manajemen Desain dan Periklanan
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/demandia.v10i1.8155

Abstract

Interaksi visual yang mendalam dengan khalayak sasaran telah menjadi ciri khas dari komik digital Instagram, khususnya dalam karya Tahilalats, yang secara efektif memanfaatkan kapasitas interaktif platform untuk memvisualisasikan nostalgia masa kecil. Melalui gambar-gambar dan narasi yang menarik, Tahilalats berhasil membawa kembali kenangan masa kanak-kanak yang polos dan penuh keceriaan bagi para pembacanya. Format digital Instagram tidak hanya menjadikan karya ini lebih mudah diakses di seluruh dunia, tetapi juga memperkuat interaksi dua arah yang menciptakan ikatan antara komikus dan pembaca, membangun komunitas yang solid di antara mereka. Penelitian ini menggunakan teknik kualitatif menunjukkan bahwa penceritaan visual yang dihadirkan oleh Tahilalats sangat efektif dalam membangkitkan emosi dan membangun hubungan yang lebih dalam dengan khalayak sasaran. Lebih jauh lagi, strategi ini memungkinkan komikus untuk berbagi berbagai narasi dengan cara cepat secara langsung, memberikan sudut pandang yang berharga dalam ranah kreatif. Karya komik digital Tahilalats dapat membawa kembali kenangan masa kecil melalui komik digital di Instagram menjadi contoh penting dari pengaruh kuat budaya digital dengan visualisasi dan penceritaan terhadap keterlibatan khalayak sasaran dan ikatan emosional. Kata kunci: Interaksi visual, Instagram, komik digital Abstract: Deep visual interaction with the target audience has become a hallmark of Instagram digital comics, particularly in the work of Tahilalats, which effectively leverages the platform's interactive capacity to visualize childhood nostalgia. Through engaging images and narratives, Tahilalats manages to bring back memories of childhood innocence and joy to its readers. The digital format of Instagram not only makes the work more accessible worldwide, but also strengthens the two-way interaction that creates a bond between comic artists and readers, building a solid community between them. This research using qualitative techniques shows that the visual storytelling presented by Tahilalats is highly effective in evoking emotions and building a deeper connection with the target audience. Furthermore, this strategy allows comic artists to share various narratives quickly and directly, providing a valuable perspective in the creative realm. Tahilalats' work of bringing back childhood memories through digital comics on Instagram is an important example of the strong influence of digital culture with visualization and storytelling on target audience engagement and emotional bonding. Keywords: Digital comics, Instagram, Visual interaction,
Animation Design Stage in Merarik as a Medium for Introducing Culture and Customs Satria, Christofer; Raharja, I Gede Mugi; Suteja, I Kt; Swandi, I Wayan
International Journal of Engineering and Computer Science Applications (IJECSA) Vol. 4 No. 2 (2025): September 2025
Publisher : Universitas Bumigora Mataram-Lombok

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30812/ijecsa.v4i2.5161

Abstract

The creative industry today, animation is one of the popular media used by many entertainment industries and to introduce the customs and culture of a region. Animation is a process in which an image or object is manipulated to create a predetermined movement flow. Merarik is the escape or kidnapping of a girl from the supervision of her guardian and her social environment has been formed as a cultural heritage that is passed down from generation to generation for the Sasak people in general and merarik has several stages that must be passed through to run it. The purpose of this design is where the designer wants to provide information about the meaning and stages in the design. The methodology used in this design is the pipeline method, which is a method that includes several stages (pre-production, production and post-production). The results of this design are in the form of animations of the stages in merarik which are designed with 2D techniques as a medium that explains the process of elopement (merarik) in Sasak culture. Animation is made with the limited animation genre which is usually done in Japanese animated films. The implications of the results of this study as a medium for learning and preserving the Merarik culture which has recently been rarely found among the Sasak people
KONSEP RUMAH IMPIAN PADA RUMAH TINGGAL DI JL. AURORA ULUWATU, JIMBARAN Utami, Anak Agung Gita Asri; Raharja, I Gede Mugi; Mulyati, Made Ida
Jurnal Vastukara: Jurnal Desain Interior, Budaya, dan Lingkungan Terbangun Vol 4 No 1 (2024): Jurnal Vastukara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/vastukara.v4i1.3459

Abstract

Rumah adalah bangunan gedung yang berfungsi sebagai tempat tinggal yang layak huni sehingga diperlukan kenyamanan dan keamanan untuk berada di dalamnya. Seiring berkembangnya jaman dan perubahan kondisi sosial ekonomi membuat tatanan hidup manusia berubah menjadi tempat yang kompleks untuk itu diperlukan solusi kreatif, baru dan implementasi tepat pada desain interior. Rumah tinggal di Jl. Aurora, Uluwatu, Jimbaran, Kuta Selatan, Bali, milik sepasang suami istri asal Australia merupakan salah satu rumah tinggal yang ditujukan untuk tempat tinggal, tempat bekerja, tempat bersosialisasi, tempat hiburan, dan tempat menaungi inspirasi serta ide-ide baru. Rumah ini memiliki konsep rumah impian atau dream house. Tujuan penulisan ini adalah untuk memaparkan tahapan dan hasil proyek rumah tinggal Jl. Aurora, Uluwatu. Metode yang digunakan dalam pengumpulan data adalah penelitian kualitatif, hal ini didasari studi kasus rumah tinggal sehingga metode analisis yang digunakan yakni wawancara, observasi, partisipasi dan dokumentasi yang melibatkan manusia. Hasil yang diperoleh adalah tercapainya kajian tahapan proses pengerjaan proyek, data proyek dan 3D rendering model disertai gambar kerja pengembangan. Kedua hasil ini menjadi acuan untuk mewujudkan gambar sesuai dengan kondisi lapangan, setelah melalui seluruh proses ini selama 6 bulan terdapat beberapa kendala seperti gagalnya komunikasi yang teratasi dengan melakukan diskusi bersama tim dan senior desainer.
PENERAPAN GAYA MODERN MINIMALIS PADA PROJECT KLINIK KECANTIKAN BEAUTY HEAVEN DI CANGGU OLEH DEWI DECO Paramitha, Kadek Dinda Maharani Putri; Raharja, I Gede Mugi; Darmastuti, Putu Ari
Jurnal Vastukara: Jurnal Desain Interior, Budaya, dan Lingkungan Terbangun Vol 4 No 1 (2024): Jurnal Vastukara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/vastukara.v4i1.3489

Abstract

Klinik kecantikan merupakan sebuah klinik yang menawarkan jasa pelayanan untuk perawatan tubuh khususnya pada kulit, rambut, serta kuku (dermatologi). Fungsi klinik kecantikan adalah sebagai suatu tempat untuk melakukan konsultasi dan perawatan terhadap tubuh, wajah, kulit, rambut dan kuku yang dilakukan oleh ahli kecantikan dan dokter spesialis, mengembalikan kebugaran tubuh, serta mempercantik penampilan dari setiap pengunjung yang menggunakan fasilitas dari klinik kecantikan. Meningkatnya minat masyarakat untuk melakukan perawatan diri, baik itu perempuan maupun laki-laki membuat bisnis klinik kecantikan kian berkembang pesat. Saat ini banyak klinik kecantikan yang berlomba untuk memberikan pelayanan yang baik demi kepuasan pelanggan. Selain dengan meningkatkan kualitas pelayanan dalam setiap perawatan yang diberikan, desain arsitektur dan interior klinik kecantikan juga menjadi hal yang perlu diperhatikan. Hal ini dilakukan dengan tujuan untuk menjadikan tampilan klinik memiliki nilai estetika sehingga dapat menarik minat pelanggan untuk mengunjungi klinik tersebut. Beauty Heaven merupakan salah satu proyek klinik kecantikan yang dikerjakan oleh Dewi Deco Studio Interior yang berlokasi di Jl. Pantai Batu Bolong, Canggu, Badung. Proyek Beauty Heaven ini sekaligus menjadi proyek yang melibatkan penulis selaku mahasiswa yang menjalani program kegiatan magang/praktik kerja MBKM (Merdeka Belajar - Kampus Merdeka) di Dewi Deco. Perancangan proyek klinik kecantikan Beauty Heaven menekan pada tampilan visual dengan menerapkan gaya modern minimalis dengan titik fokus suasana hangat dan lembut yang diharapkan mampu menarik minat pengunjung untuk mengunjungi klinik Beauty Heaven, selain dari segi estetika visual, perancangan interior tetap memperhatikan fungsionalitas agar dapat mendukung kegiatan yang berlangsung di dalam klinik dengan baik dan aman.
THE CONTEXT OF MARGINALISATION OF WOMEN IN THE FILM 'KARTINI' Dwiyani, Ni Kadek; Raharja, I Gede Mugi; Negara, I Nengah Sudika
Proceeding Bali-Bhuwana Waskita: Global Art Creativity Conference Vol. 4 (2024): Proceedings Bali-Bhuwana Waskita: Global Art Creativity Conference
Publisher : UPT Pusat Penerbitan LP2MPP ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/bbwp.v4i1.609

Abstract

"Kartini" The Movie (2017) directed by Hanung Bramantyo can be considered as a work of appreciation for the struggle of women in Indonesia. Kartini as one of the Indonesian heroines who fought for women's rights in Indonesia is worthy of being called a symbol of the struggle against the marginalisation of women. The nature of a woman in the culture attached to Kartini as the daughter of noble descendants often exposes her to situations where the clash of culture and logic she has raises inner conflicts, which tends to make her considered a child who dares to break the rules in her family. Kartini's figure is not portrayed as a woman who is only silent when she is faced with a situation where her "rights" as a human being are never taken into account. However, the treatment of women that she felt at the time, made her moved to have her own strength to dare to voice what she wanted for her life and nature as a woman. The context of marginalisation that appears in the film "Kartini" is heavily influenced by cultural factors and mindsets that at that time were still very closed to providing equal space for women. Kartini's struggle in this film is depicted as having a very strong desire to fight for the marginalisation of women in that era through her intelligent thoughts. The life journey of the figure of "Kartini" in fighting for equal rights and dignity of Indonesian women is at least able to be heard to a wide audience, so that the film "Kartini" can function as a medium of education for women who are currently still experiencing injustice in the context of marginalisation, to be more courageous in fighting for the rights they should get.
Analisis kebutuhan pengguna dalam merancang tata letak website Singasana Smart Pocket Made Ayu Diah Pramesti Wiguna Putri; SettingsI Gede Mugi Raharja; Anak Agung Gde Bagus Udayana
Jurnal Desain Vol 13 No 1 (2025): Jurnal Desain
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/jd.v13i1.56

Abstract

Penelitian ini menganalisis kebutuhan pengguna dalam merancang tata letak website Singasana Smart Pocket dengan pendekatan User-Centered Design (UCD). Pengguna yang dimaksud meliputi masyarakat umum serta pegawai pemerintahan di Kabupaten Tabanan yang membutuhkan akses mudah dan cepat terhadap informasi publik seperti pemetaan struktural pejabat publik, informasi wilayah desa, dan kontak darurat. Studi ini dilaksanakan melalui observasi, wawancara dengan stakeholder pemerintah, serta analisis literatur terkait. Hasil penelitian menunjukkan bahwa tata letak website yang optimal harus memperhatikan beberapa faktor utama, seperti kemudahan navigasi, penyajian informasi yang relevan, responsivitas desain di berbagai perangkat, penempatan fitur penting secara strategis, konsistensi visual, dan aksesibilitas bagi seluruh lapisan masyarakat. Penerapan pola-F dalam desain interface terbukti efektif untuk mengarahkan perhatian pengguna pada informasi penting. Evaluasi desain interface menunjukkan bahwa kebutuhan pengguna telah terakomodasi dengan baik, meskipun masih diperlukan perbaikan minor pada label konten dan kontras visual. Dengan demikian, tata letak website Singasana Smart Pocket diharapkan mampu menjadi sarana informasi yang efisien, inklusif, dan mudah diakses oleh semua kalangan.
THE VISUAL METAPHOR OF WATER IN FLAT AND SPATIAL MOTION ARTISTRY IN THE CREATION OF ANIMATED FILMS TOYANING MAHAGUNA Wijaya, I Kadek Adi Putra; Raharja, I Gede Mugi; Suardina, I Nyoman; Pramana, I Made Bayu
International Journal of Multidisciplinary Research and Literature Vol. 5 No. 2 (2026): INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY RESEARCH AND LITERATURE
Publisher : Yayasan Education and Social Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53067/ijomral.v5i2.422

Abstract

Water constitutes a fundamental element of the universe and functions as a primary source of life for all living beings on Earth. In Hindu cosmology, Bhuana Alit (the microcosm of the world) is composed of five essential elements Pertiwi (earth), Apah (water), Teja (fire), Bayu (air), and Akasa (ether) that together structure both the physical environment and human existence. Among these elements, water occupies a particularly vital position, as it is directly perceivable through the human senses and indispensable for biological, social, and spiritual continuity. In Gianyar Regency, especially within the Traditional Village of Tegallalang, natural springs represent not only essential ecological resources but also sacred cultural sites that sustain community life. This research employs a qualitative methodology with an ethnographic approach to examine the animated film Toyaning Maha Guna as a cultural narrative that articulates the significance of water through historical, mythological, and folkloric perspectives. The study integrates observations on water utilization, environmental conditions, and spiritual values embedded in local traditions. Structurally, the film adopts the temporal framework of Tri Semaya Kala, particularly emphasizing Atita (the past) in its opening sequence. This segment portrays the descent of the Trimurti Brahma, Vishnu, and Iswara to rescue the Earth from destruction, symbolizing divine intervention as a response to ecological imbalance. From a Hindu philosophical perspective, the visualization and narrative construct water not merely as a physical resource but as a sacred medium of purification, regeneration, and cosmic harmony. The voluntary descent of the gods signifies an ethical model of responsibility and care toward nature, projecting an ideal relationship between humanity, divinity, and the environment. Through this narrative strategy, Toyaning Maha Guna functions as both an aesthetic expression and an environmental discourse, reinforcing the moral imperative to preserve water sources as the foundation of life, civilization, and spiritual well-being.
Co-Authors Anak Agung Gde Bagus Udayana Angga Maha Putra, I Komang Artadi, I Made Pande Balika Ika, I Wayan christofer satria EKA JAYA PUTRA, WAYAN I Dewa Ayu Sukma Indriawati I Gusti Ayu Agung Ana Berliana I Ketut Muka I Made Bayu Pramana I Nengah Sudika Negara I Nyoman Artayasa I Nyoman Larry Julianto I Nyoman Wiwana I Nyoman, suardina I Wayan Mudra, I Wayan I Wayan Sukarya I Wayan Sukarya I Wayan Sukarya I Wayan Swandi Ida Ayu Anindya Chintya Aridewi Ida Ayu Dyah Maharani, Ida Ayu Dyah Indah Pradnya Pramesti Ira Wirasari Kadek Dwiyani Kelvin Darma Putra Lily Wijayanti Made Ayu Diah Pramesti Wiguna Putri Made Ida Mulyati, Made Ida Ni Wayan Sri Wahyuni Noorwatha, I Kadek Dwi Paramitha, Kadek Dinda Maharani Putri Putu Ari Darmastuti Putu Ariella Peggy Sabella Remawa, Anak Agung Gede Rai Siti Zubaidah Suteja, I Kt Syarip Hidayat Utami, Anak Agung Gita Asri Wasista, I Putu Udiyana Wijaya, I Kadek Adi Putra