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All Journal Dimensi Interior Gorga : Jurnal Seni Rupa SINEKTIKA: Jurnal Arsitektur MUDRA Jurnal Seni Budaya ARTEKS : Jurnal Teknik Arsitektur Naditira Widya Jurnal Arsitektur ARCADE Jurnal Arsitektur ZONASI Jurnal Rupa Waca Cipta Ruang: Jurnal Ilmiah Desain Interior Jurnal Abdimas Berdaya : Jurnal Pembelajaran, Pemberdayaan dan Pengabdian Masyarakat Jurnal Vastukara: Jurnal Desain Interior, Budaya, dan Lingkungan Terrbangun Jurnal Pengabdian Masyarakat Bidang Sosial dan Humaniora Jurnal Dimensi Seni Rupa dan Desain eProceedings of Art & Design Journal of Architecture and Human Experience Berkala Arkeologi Naditira Widya Jurnal Arsitektur ARCADE
Agus Dody Purnomo
Universitas Telkom
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ANALISIS WARNA DAN BENTUK PADA INTERIOR PRODIA CHILDREN’S HEALTH CARE TERHADAP PSIKOLOGI ANAK Laksitarini, Niken; Purnomo, Agus Dody
Jurnal Dimensi Seni Rupa dan Desain Vol. 18 No. 2 (2022): Jurnal Dimensi Seni Rupa dan Desain
Publisher : Fakultas Seni Rupa dan Desain, Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25105/dim.v18i2.10174

Abstract

The use of color in the interior has a very important role. Color is a basic element of an interior space design. The use of the right color will be able to motivate or even reduce a human psychological condition. Especially if the health clinic has been identified by a small child with something scary, because it is often associated with needles, blood and disease. Prodia Children’s Health Care as a service provider in the field of health specializing in the services of young children, seeks to change that paradigm. Qualitatively, this study aims to identify the effect of the color used in the interior of Prodia Children, s Health Care on children's psychology. The findings obtained are expected to be input and consideration in the planning, design and development of special health facilities for children in the future.Keywords: color, interior, children
PERANCANGAN INTERIOR HOTEL BUTIK DI KAWASAN PECINAN KOTA BANDUNG Putri, Kharisma; Purnomo, Agus Dody; Sarihati, Titihan
eProceedings of Art & Design Vol. 10 No. 3 (2023): Juni 2023
Publisher : Telkom University

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Abstract

Kota Bandung merupakan  kota wisata  yang menjadi unggulan provinsi  Jawa Barat saat ini. Salah satu kawasan di kota Bandung yang menjadi destinasi wisata kuliner adalah  area  Pecinan.  Kawasan  tersebut  juga  memiliki  bangunan  bersejarah  yang berkaitan  erat  dengan masyarakat  Tionghoa  di  Kota  Bandung  tempo  dulu  sehingga kawasan Pecinan menjadi destinasi wisata yang unik.   Berdasarkan hal tersebut perlu adanya  akomodasi hotel  yang memfasilitasinya  sesuai dengan  standar pada  kawasan tersebut. Tujuan perancangan interior hotel butik yakni menciptakan interior hotel butik yang mengangkat kekhasan kawasan Pecinan kota Bandung. Metodologi perancangan interior  hotel  butik  ini diawali dengan  pengumpulan  data  primer  dan  data  sekunder. Data-data tersebut kemudian dianalisis hingga menghasilkan sintesa dan pengembangan desain.  Untuk  perancangan  hotel  butik  ini  dilakukan  pendekatan  desain  lokalitas khususnya Pecinan dengan konsep perancangan Chinese Urban.  Implementasi desain pada perancangan hotel butik juga mengangkat elemen dekoratif China sebagai elemen interiornya.  Penerapan  elemen  dekoratif  China  dan  dimodifikasi  bentuknya  lebih sederhana  khas urban. Perancangan  interior hotel butik dengan pendekatan  lokalitas diharapkan dapat menjadi solusi  terkait akomodasi hotel pada kawasan Pecinan kota Bandung. Kata kunci: Bandung, hotel butik, interior, Pecinan
DE TJOLOMADOE - Implementasi Penggunaan Kembali Mesin eks Pabrik Gula: - Purnomo, Agus Dody; Agus, Cecep
Berkala Arkeologi Vol. 44 No. 1 (2024)
Publisher : BRIN

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55981/jba.2024.5528

Abstract

One concept for utilizing heritage buildings is adaptive reuse. It is applied to industrial heritage such as the Colomadu Sugar Factory. For a long time, the building was abandoned and unproductive. This study aims to examine the changes in the function of the ex-sugar factory machines and their role in the interior design of De Tjolomadoe. The research method uses qualitative methods to identify changes in the function of ex-sugar factory machines as current interior elements. The building is brought back to life with a new spirit. Machines from the former sugar factory are maintained and given new functions, which includes: as a supporting element of the sense of place, museum collections, aesthetic elements, and furniture design. The existence of ex-sugar factory machines is an important and unique interior element as well as authentic proof of the glory of the sugar factory.
KAJIAN GAYA EKLEKTIK PADA INTERIOR RUMAH TJONG A FIE Agus Dody Purnomo; Anisah Maulidya Hasibuan
Naditira Widya Vol. 17 No. 1 (2023): Naditira Widya Volume 17 Nomor 1 April Tahun 2023
Publisher : National Research and Innovation Agency (BRIN)

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Abstract

Gaya eklektik merupakan gaya dalam bidang seni rupa dan desain yang berkembang pada pertengahan abadke-19 Masehi, dan muncul kembali pada akhir abad ke-20-an. Gaya tersebut menggunakan motif dari berbagai periodegaya yang digabungkan dengan gaya lainnya. Salah satu bangunan cagar budaya di Medan yakni rumah Tjong A Fiemenerapkan gaya eklektik. Beragam gaya pada rumah Tjong A Fie menjadi unsur penting dalam gaya eklektik sehinggamenjadi bangunan yang unik. Tujuan penelitian ini untuk memahami penerapan gaya eklektik pada interior bangunancagar budaya, termasuk mebel sebagai pelengkap interior. Metode penelitian yang digunakan adalah metode kualitatifdengan pendekatan deskriptif. Data yang diperoleh kemudian dianalisis terkait penerapan ambience dan gaya interiorbangunannya. Nama rumah Tjong A Fie diambil dari nama pemiliknya. Beliau adalah seorang mayor etnis Tionghoa danpengusaha yang dermawan yang beretnis Tionghoa. Gaya eklektik diterapkan pada pengolahan dinding, lantai,langit-langit, mebel, dan perlengkapan interior lainnya. Beberapa gaya dihadirkan dalam interior yang berbeda tema danambience. Hal ini menjadi suatu keunikan yang ada pada rumah Tjong A Fie. Gaya eklektik rumah Tjong A Fiemerefleksikan pemiliknya yang menghargai keberagaman dan berwawasan luas. Rumah Tjong A Fie sebagai bangunancagar budaya perlu adaptif terhadap tuntutan jaman, dan gaya eklektik menjadi alternatif untuk pengembangan desaininteriornya.The eclectic style is a fashion in art and design that flourished in the mid-19th century and resurged in the late20th century. The Tjong A Fie mansion is a cultural heritage building in Medan that implemented such a style whichmade it unique. This research aimed to understand the eclectic style application to the interior of cultural heritagebuildings. This research used a qualitative method with a descriptive approach. The discussion was concerned with theambience and interior design of the Tjong A Fie mansion. Results show that elements of styles of different themes andambience were recognized and applied to walls, floors, ceilings, interior fittings, and complementing furniture. Theeclectic style of Tjong A Fie mansion reflected the owner's appreciation of diversity and broad outlook on arts. Such style may also be an alternative solution in redesigning the interior of a revived cultural heritage building with altered functions.
KAJIAN ELEMEN ESTETIS DAN SIMBOLIS CANDRASENGAKALA PADA TAMANSARI GUA SUNYARAGI DI CIREBON Agus Dody Purnomo; Yasmin Adila Ramdan
Naditira Widya Vol. 16 No. 2 (2022): Naditira Widya Volume 16 Nomor 2 Oktober Tahun 2022
Publisher : National Research and Innovation Agency (BRIN)

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Abstract

Candrasengkala atau kronogram sudah dikenal oleh masyarakat di Jawa sejak zaman Hindu di Nusantara.Candrasengkala merupakan tetenger atau pengingat suatu peristiwa penting, seperti kelahiran, kematian, dan sebagainya. Dalam candrasengkala digunakan bentuk visual figur binatang yang diambil dari cerita pewayangan atau mitologi India. Binatang-binatang ditampilkan dengan pengolahan visual berupa gambar, relief, dan patung. Masing-masing figur binatang tersebut mengandung watak angka tahun dan makna simbolis. Hingga sekarang masih sedikit penelitian yang mengkaji candrasengkala di Tamansari Gua Sunyaragi di Cirebon. Penelitian ini bertujuan untuk mengetahui elemen estetis dan simbolis figur binatang pada candrasengkala yang terdapat di Tamansari Gua Sunyaragi, di Cirebon, Jawa Barat. Penelitian ini merupakan kajian deskriptif terhadap aspek tangible Tamansari Gua Sunyaragi berupa figur-figur binatang yang dilandasi mitologi India. Hasil penelitian memperlihatkan bahwa material batu dan batu karang diolah menjadi karakter-karakter figur gajah, burung garuda, dan ular, sehingga tampilan visualnya membentuk “candrasengkala”, sekaligus sebagai cuplikan kisahdari cerita pewayangan. Dengan demikian, dapat dipahami bahwa candrasengkala merupakan salah satu bentuk seni rupa Nusantara dan kreativitas kearifan lokal. Keberadaanya dapat menjadi sumber inspirasi dalam pengembangan karya seni rupa, desain, dan kriya Nusantara ke depan. Penelitian ini diharapkan dapat menjadi referensi tentang kajian binatang-binatang mitologis dalam candrasengkala di Tamansari Gua Sunyaragi.   The Javanese are familiar with “candrasengkala” or chronogram which developed in Nusantara since the Hindu era.The “candrasengkala” is a “tetenger” or a reminder of important occurrences, such as birth, death, etc. “Candrasengkala” often uses visual forms of animal figures drawn from “wayang” stories or Indian mythology. Animals are featured with visual processing into depictions of figures, reliefs, and sculptures. Each animal figure contains disposition number of years and bears symbolic meanings. Until today there is little research that focuses on “candrasengkala” in Tamansari Gua Sunyaragi in Cirebon. This study aims to determine the aesthetic and symbolic elements of animal figures in “candrasengkala” at Tamansari Gua Sunyaragi, in Cirebon, West Java. This research is a descriptive study of the tangible aspects of Tamansari Gua Sunyaragi in the form of animal figures based on Indian mythology. The study resulted that stone and coral materials are processed into figures of elephants, eagles, and snakes, thus the visual appearance forms a "candrasengkala", as well as snippets of “wayang” stories. Therefore, it is understood that “candrasengkala” is a form of Nusantara art and creativity of local wisdom. Its existence can be a source of inspiration in the future development of Nusantara fine arts, designs and crafts. This research may be used as a reference for further studies of mythological animals in “candrasengkala” at Tamansari Gua Sunyaragi.
Simbol dan citra Bangsawan Jawa pada Pendopo Dalem Wuryaningratan Agus Dody Purnomo; Febry Maharlika; Wahyu Dwi Utami
ARTEKS : Jurnal Teknik Arsitektur Vol 8 No 1 (2023): ARTEKS : Jurnal Teknik Arsitektur | Januari 2023 ~ April 2023
Publisher : Program Studi Arsitektur Fakultas Teknik Universitas Katolik Widya Mandira

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30822/arteks.v8i1.1521

Abstract

For Javanese people, a house serves as both a shelter and a symbol. a representation of one's value, dignity, and perfection as a human being, especially for men. According to Javanese philosophy, a man is considered ideal if he already possesses a wisma, wanodya, turangga, curiga, and kukila. The house can serve as both a symbol and a window into the personality of those who live there. The pendopo serves as a gathering place and performs various tasks while displaying the emblem and persona of the owner. The pendopo performs several roles that reflect social standing and the owner's image in addition to acting as a collaborative or public place. The research aims to examine the Dalem Wuryaningratan in Surakarta. The focus of the study is on the application of the symbol and image of the owner in the pendopo. The research method uses a qualitative approach that produces descriptive data through observing objects, conducting interviews, and reviewing documents. Dalem Wuryaningratan is a well-preserved heritage building in Surakarta. The building is a legacy of KPH Wuryaningrat, the original owner. Meanwhile, the new owner, Haji Santosa Doellah, is a batik entrepreneur in Surakarta. The building is now called the House of Danar Hadi, and it is located in the area of the Danar Hadi batik museum. The building is a mix of Javanese and European (Indische style). Although it is no longer a residential building, the image of Javanese nobility is still maintained to preserve the structure. In particular, the appearance of the pendopo reflects the status symbol and embodiment of Javanese nobility.
Co-Authors Afifah Nurul Jihad Agustinus Nur Arief Hapsoro Amelia Putri Dianty Andreas Handoyo Anggoro Cipto Ismoyo Anisa Nur Fadila Anisah Maulidya Hasibuan Ardianto Nugroho Ataqi Qowiyyun Abadan Cecep Agus Devina Sastrawinata Dirayati, Safira Djoko Murdowo Farida, Ariesa Febri Toni Fitri Meliyani Rahayu Indah Puji Lestari Kahagi, Chelsea Angelica Khadziya Maharani Kusuma Kiki Putri Amelia Kynanti, Nanda Mega Maharlika, Febry Nanda Mega Kynanti Narwastu, Lira Angger Nelsa Siti Nurhaliza Niken Laksitarini Okky Gastri Kusumaningtyas Putri, Kharisma Ranteallo, Kezia Sella Malinda Soni Sadono Terang Eka Saputra Titihan Sarihati Toni Masdiono Toni, Febri Wahyu Dwi Utami Yap, Angel Brielle Yasmin Adila Ramdan