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All Journal Jurnal Arsitektur ZONASI Jurnal Patra Architectural Research Journal
Nyoman Ratih Prajnyani Salain
Universitas Udayana
Arts Civil Engineering, Building, Construction & Architecture Engineering Environmental Science Social Sciences

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REDESAIN INTERIOR SEAWORLD, TEATER 4 DIMENSI TAMAN FESTIVAL BALI DI DENPASAR Ananda Nur Sukarno; I Gusti Agung Haryawan; Nyoman Ratih Prajnyani Salain
Jurnal PATRA Vol 1 No 1 (2019): Jurnal Patra Mei 2019
Publisher : LPPM Institut Desain dan Bisnis Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35886/patra.v1i1.15

Abstract

Tourist area is one of the potential to be developed and managed maximally which is directly related to the community. Tourism area development is generally followed by various efforts carried out, for example, revitalization & redesign. Revitalsasi is building the infrastructure and manage the functions of a place as a tourist destination at the same time a means of recreation for families. The island of Bali has a lot of beauty to be enjoyed by tourists. One is the Padang Galak Beach in Denpasar. Padang Galak Beach has a Festival Park that will be managed like Ancol beach in Jakarta which is equipped with entertainment rides. But in 2000 there was an Asian economic crisis so that the Taman Festival Bali went bankrupt. The government should pay attention to the existence of Taman Festival Bali tourism objects whose conditions need to be redesigned.To reduce the destroyed buildings, it is expected that with the development and revitalization of the Taman Festival Bali, it can be useful to increase the attractiveness of the Bali Garden Festival in the eyes of tourists. Some things in the Taman Festival Bali need addressed both in terms of facilities, the addition of rides, attractions, Sea World Theater 4 dimensions, as well as the comfort of the interior be primary points to revive the Taman Festival Bali. The design method used through some hangovers, namely: Object Identification; Problem Identification Phase; Method of collecting data; Analysis and Design Methods; and Design Methods. The concept applied at Taman Festival Bali is a combination of shades of coastal concepts that aim to solve the problems that exist in this design object.
JEJAK WUJUD ARSITEKTURAL DAN RAGAM HIAS CANDI KURUNG STUDI KASUS: PURA ULUWATU DAN PURA SAKENAN Nyoman Ratih Prajnyani Salain; Ni Made Mitha Mahastuti
Jurnal Arsitektur ZONASI Vol 5, No 3 (2022): Vol 5, No 3 (2022): Jurnal Arsitektur Zonasi Oktober 2022
Publisher : KBK Peracangan Arsitektur dan Kota Program Studi Arsitektur Fakultas Pendidikan Teknologi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/jaz.v5i3.50024

Abstract

This study will discuss the architectural forms and decorations used in the case studies at Uluwatu Temple and Sakenan Temple. The two temples were chosen to be the object of research because they have similar architectural forms and styles although they are not the same as a whole. There are three issues raised, namely analyzing the similarity of shape, form and decoration at Kurung Temple at Uluwatu Temple and Sakenan Temple; the historical connection between the two Kurung Temples; strategies and conservation activities that need to be carried out at Uluwatu Temple and Sakenan Temple.The method used in this research is descriptive qualitative method, with triangulation data collection techniques that combine direct observation, survey and interview techniques. The hope of this research is that the academic community and the general public understand the correlation between architectural forms and decorations in the two Kurung Temples along with their historical values.Keywords:  Architectural Form, Decorative Variety, Kurung Temple, Uluwatu Temple, Sakenan Temple
Bale Banjar as a Space for Deliberation and the Preservation of Balinese Culture in Kuta Mitha Mahastuti; Nyoman Ratih Prajnyani Salain; Ni Made Adriana Murliana Bimar Zakharia
Architectural Research Journal Vol. 5 No. 2 (2025): Architectural Research Journal
Publisher : Program Studi Arsitektur, Fakultas Teknik dan Perencanaan, Universitas Warmadewa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22225/arj.5.2.2025.85-89

Abstract

This study examines the transformation of the functions and architectural form of the Bale Banjar in Kuta as a space for communal deliberation and the preservation of Balinese culture amid modernization, globalization, and the pressures of tourism. Employing a qualitative phenomenological approach within an interpretive paradigm, the research involved participant observation during pesangkepan wargi (customary deliberation meetings), in-depth interviews with 5–8 informants (including kelian banjar and senior krama), and triangulation with historical archival sources, focusing on three Bale Banjar in the Kuta area. The findings reveal hybrid adaptations of the bale pesangkepan to accommodate economic discussions (accounting for 60% of sessions), an increase in the frequency of deliberations to once every two weeks, the persistence of nonverbal interactions and the bale kulkul as a traditional calling symbol, and the addition of modern LPG-based perantenan (kitchens), which extend the duration of krama participation by 30–40% per session through the provision of fast food. The discussion affirms the resilience of the Bale Banjar through the principles of Tri Hita Karana and Nawa Sanga zoning, wherein material adaptations enhance pawongan (human relations) without eroding the spiritual awig-awig, although the growing dominance of material concerns risks shifting customary priorities. The conclusion highlights the Bale Banjar as a hybrid living entity of the Desa Pakraman, and recommends architectural conservation as well as longitudinal mixed-methods studies for national architectural design guidelines. The study contributes a narrative model of deliberative space for the preservation of urban Balinese culture.
Co-Authors Ananda Nur Sukarno I Gusti Agung Haryawan Mitha Mahastuti Ni Made Adriana Murliana Bimar Zakharia Ni Made Mitha Mahastuti