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INDONESIA
Jurnal Dimensi Seni Rupa dan Desain
Published by Universitas Trisakti
ISSN : 25275666     EISSN : 25497782     DOI : https://doi.org/10.25105/dim
Core Subject : Humanities, Art,
Arts Humanities
Jurnal Dimensi Seni Rupa dan Desain diterbitkan oleh Fakultas seni Rupa dan Desain. Jurnal ini terbit 2 (dua) kali dalam setahun, yaitu Februari dan September. Jurnal Dimensi Seni Rupa dan Desain merupakan jurnal bidang seni dan desain yang terbilang aktif sejak pertama kali diterbitkan dari tahun 2003 sampai sekarang. Menjadi salah satu jurnal seni dan desain yang banyak diminati oleh para penulis dari berbagai perguruan tinggi di Indonesia
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 376 Documents
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SIFAT MEKANIS LAMINASI LENGKUNGAN BAMBU BETUNG (Dendrocalamus asper (Schulters f.) Backer ex Heyne) dan TALI (Gigantochloa apus (J.A. & J.H. Schultes) Kurz). Noermalicha Noermalicha
Jurnal Dimensi Seni Rupa dan Desain Vol. 4 No. 2 (2007)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (996.164 KB) | DOI: 10.25105/dim.v4i2.1241

Abstract

AbstractPreface study shows a possibility of bamboo to be bent and also proves that species affects to the results of mechanical properties. Bamboo was bent with the radius of curvature of 28 CM, as an example, used PVAc (industrial specification), and _formed manually in cold pressed at pressure setting at room temperature for 24 hours. In order to examine the best composition of optimal laminate effect, influence of node existing, and effect of shape; 24 samples of 2 cm x 2 cm x 30 cm were made and three replicates were prepared. In order to compare species influence were selected Dendrocalamus asper (Schultes f) Backer ex Heyne and Gigantochloa apus (J.A. & Schultes) Kurz that have different anatomical structure.Results indicate that node presence not significantly affects mechanical properties of Betting bamboo but significantly for Tali bamboo. To get the optimum mechanical properties, thickness of laminate is about 4 mm to 5 min. Decreasing of mechanical properties of laminated bended bamboo is not caused by node presence but by shape influence. The modulus of elasticity (MOE) value of Belling bamboo is decreasing almost 50% from the mechanical properties. Meanwhile, the MOE value of laminated straight bamboo of Tali decreases until 5 times from its mechanical properties, and the MOE value of laminated ['ended bamboo of decreases until 25% from laminated straight bamboo. Conversely, the modulus of rupture (MOR) of both of laminated bamboo is not significantly.
POTENSI TERSEMBUNYI KEKAYAAN "ARSTEKTUR HERITAGE" DI KOTA PEKALONGAN Sri Puji Astuti
Jurnal Dimensi Seni Rupa dan Desain Vol. 4 No. 2 (2007)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1023.864 KB) | DOI: 10.25105/dim.v4i2.1242

Abstract

AbstractAs every Indonesians know, Pekalongan is the one of batik's Indonesian producers. The batik of Pekalongan has a special charateris tic, therefore this makes the Pekalongan's batik famous in all over the world. But, this is not such the only one cultural product in Pekalongan. Based mi the history background. Pekalongan was a big harbour town in past, so that many merchants in over the world came to this town for trading. In the period of Dutch colonialist, Many government buildings had built by Dutch. Dutch government buildings in Pekahmgan as we know as well today as heritage architectures. Dutch heritages architectures in Pekalongmt not just government buildings, there are also public buildings and residences. But, there is no enough attention from us, especially Pemerintah Kota Pekalongan, that the heritage architectures in Pekalongan have a hidden potential as a cultural tourism. By reading this article there will be a new awareness of us about one of our cultural products, especially architecture. This article also gives the image of Dutch heritages architectures in Jakarta and Malang, as a comparison.AbstrakSetiap orang Indonesia pasti tahu bahwa Pekalongan adalah salah satu kota penghasil batik di Indonesia. Batik Pekalongan memiliki ciri khusus, hal ini menjaciikan Batik Pekalongan terkenal di seluruh dunia. Tetapi batik hukanlah satu-satunya produk budaya yang ada di Pekalongan. Berdasar latar belakang sejarahnya ciahulu Pekalongan adalah sebuah kota pelabuhan besar sehingga banyak pedagang di seluruh dunia melakukan perdagangan di kota tersebut. Dalam masa penjajahan Belanda, banyak gedung pemerintahan yang clibangun oleh Belanda pada masa itu. Bangunan-bangunan pemerintahan Belanda tersebut sekarang kita kenal sebagai arsitektur heritage. Arsitektur heritage di Pekalongan tidak hanya berupa gedung-gedung pernerintahan, tetapi juga gedung-gedung
PRINSIP SKETSA DAN VISUALISASI PADA PROSES DESAIN Artini K R
Jurnal Dimensi Seni Rupa dan Desain Vol. 4 No. 2 (2007)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2074.814 KB) | DOI: 10.25105/dim.v4i2.1243

Abstract

AbstractAny design task requires a very complicated process of searching for an aesthetic as well as functional solution that can be reached in a practical and effective way. Designing involves various elements that must be considered and related to each other within the constraints, in order to create a satisfying solution. According to Michael Angello's analysis, the design process consist of two basic types of activity ; problem­structu ring and problem-solving. They argued that the ill-structured nature of the design-task environment influences the extensive use of problem- structuring during design sketching and visualization. Design is an iterative process in which solutions emerge gradually as a process of structuring, composing and decomposing the problem as a basic of sketching.Keywords: design process, problem-solving, sketchnisAbstrakUntuk menyiapkan suatu tugas desain dibutuhkan proses yang sangat kompleks dan rumit untuk mencari pemecahan dalam segi keindahan maupun dalam segi fungsional baik secara praktis maupun efisien. Desain mencakup berbagai macam elemen yang merupakan satu kesatuan yang saling berkaitan, bahkan terkadang sating bertentangan dalam usaha mendapatkan solusi yang terbaik serta menyenangkan. Menu rut analisa Michael Angello, proses desain mencakup dua jenis kegiatan dasar, yaitu penyusunan problema dan pemecahan problema. Ada pendapat bahwa lingkungan desain yang tidak terstruktur dengan balk akan mempengaruhi proses penyusunan problerna selama proses sketsa desain dan visualisasi. Desain adalah suatu proses interaktif, di mana pemecahan masalah muncul secara bertahap dalarn proses menyusun serta mengubah berbagai problema sebagai dasar sketsa.
PERHIASAN DI INDONESIA FUNGSI, TEKNOLOGI, DAN PERKEMBANGANNYA Gihon Nugrahadi
Jurnal Dimensi Seni Rupa dan Desain Vol. 4 No. 2 (2007)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1980.298 KB) | DOI: 10.25105/dim.v4i2.1244

Abstract

AbstractThis is not a new matter of the human hobby to °liniment is new one but it started since since the ancient era in also in lndonesk.thgre are'various usages of bead and gold ornaments since prehistoric era. Higli..civilization yields to the best value and technique and gives influences to get best products..This article as a presentation of function, Usage, teehnOlogy and the growth also the understanding of the people to the concerning ornaments role. By taking a sample of the usage of ornaments of the Bali society, which'the development of thefunctional objects.are also applied to the design elethents to.be accesories that become.        Abstrak    Kesukaan manusia sejak masa purba terhadap perhiasan bukan sesuatu , hal yang baru. Dan i berbagai temuan di Indonesia Menunjukkan bahwa penggunaan perhiaSan errias dan manik-manik sejak zaman prasejarahtelah ada, ditandai dengan semakin tinggi peradabannya, semakin tinggi pula teknik dan mutu perhiasan yang dihasilk‘annya.Tulisan ini mencoba mengetengahkan fungsi, penggunaan, perkem­bangan dan teknologi serta pemahaman manusia terhadap peranan perhiasan. Dengan mengambil contoh dari perhiasan masyarakat Bali, yang dalarn perkembangannya kemudian, benda-benda tersebut secara fungsional dipadukan dengan unsur kegunaan sehingga menjadi benda pakai
PERANAN KAYU SEBAGAI MATERIAL PADA DESAIN PRODUK DAN DESAIN INTERIOR Arijanto Salmoen Wargadinata
Jurnal Dimensi Seni Rupa dan Desain Vol. 4 No. 2 (2007)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1389.588 KB) | DOI: 10.25105/dim.v4i2.1245

Abstract

AbstractAs you know wood is natural material as acomposite material is usingfor construction building, interior need, household equipment and (Act; that's way we are talking about wood. We were descript ing woods for a tropical wood as tropical hard wood and tropical soft wood. The process production of it's are variaties, many of processes like's tradi timid processes and modern process style has been knew and now we are talking about the type of wood, the characteristic of wood and special properties of wood. I hope the discription above can opened mind of the product designer for looking more deeply to wood material's. Therefore a professional ity thinking and practice skill for material matters especially wood material's are very importance and should be decided for the future .Abstrak.Seperti kita ketahui kayu adalah bahan alami non komposit, yang banyak digunakan untuk berbagai kebutuhan, antara lain: konstruksi bangunan, kebutuhan interior, peralatanrumah tangga clan sebagainya. Tulisan mi membahas mengenai keberadaan kayu tropis, jenis hard wood clan soft wood. Proses produksi / pengolahan kayu sangat bervariasi, yaitu dengan cara tradisional dan cara modern. Disamping itu juga dibahas jenis, karakter kayu clan manfaatnya. Tulisan ini diharapkan dapat rnembuka wawasan bagi para perancang interior dan perancang produk dalam memanfaatkan bahan kayu untuk kepentingan masa depan.
SENIKERAJINAN BATIK DI INDONESIA Julius Andi Nugroho
Jurnal Dimensi Seni Rupa dan Desain Vol. 4 No. 2 (2007)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1806.607 KB) | DOI: 10.25105/dim.v4i2.1246

Abstract

AbtractBatik is one of the hzdonesian indentities which is diHerwzt from othercountries long time ago. Batik used to be wom by sultmz, his family and friends- Nozu, everyone can wear batik to go to work and special event it proves that people have been loving the beauty of Batik for hundred of year. All we have to do is preserving the existence of batik so that our generation will not lose Batik as one of the Indonesian identities.AbstrakBatik Lelah lama dikenal sebagai kesenian khas Indonesia yang merupakan salah satu identitas bangsa Indonesia yang berbeda dengan Negara-negara lain. Batik pada awalnya dipakai oleh kerabat dan keluarga Sultan, saat ini batik banyak dipakai untuk pergi bekerja dan pada acara-acara pesta, hal ini membuktikan bahwa orang telah tertarik akan keindahan batik sejak ratusan tahun. 
LUKISAN KACA NAGASEPAHA, BULELENG -BALI Eddy Hadi Waluyo
Jurnal Dimensi Seni Rupa dan Desain Vol. 3 No. 2 (2006)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (808.697 KB) | DOI: 10.25105/dim.v3i2.1248

Abstract

AbstractGlass painting is a kind of painting that is being drawn and painted from the back side of a glass plain, and it is done in a reverse way. The painters that did not have ample formal education, prefer to use glass as their material, because of the low price, and the result is much more fascinating. Glass painting is regarded as a folk art, for it is indeed made by ordinary people who want to express their religious affirmations, feelings, hopes and their aspirations, or even their disappointment and fears. Along with its growth, glass painting has had many kinds of development. Quality wise, many of them are inclining, but some are showing to decline. Glass painting found in Bali, shows various social constructs with its dynamics and development, either individually or socially.AbstrakLukisan kaca adalah jenis lukisan yang digambari dan diwarnai dari sisi belakang bidang kaca, clan ciikerjakan dalam keadaan terbalik. Para pelukis yang pada umumnya tidak memiliki pendidikan formal yang tinggi, memilih bahan kaca karena harganya yang murah dikategorikan dalam folk art karena memang lahir dari masyarakat kebanyakan yang ingin mengungkapkan rasa religiusitasnya, perasaan-perasaannya, hara­pan dan aspirasinya, atau juga kekecewaan dan kecemasannya. Dalam perjalanannya, seni lukis kaca telah melalui berbagai perkembangan, balk yang bersifat inklinatif maupun deklinatif. Lukisan kaca Bali, Buleleng-Nagasepaha mencerminkan berbagai konstruk sosial dengan dinamika clan perkembangannya, baik secara individual maupun ke­masyarakatan.
FOTOGRAFI SENI SEBAGAI EKSPRESI BUDAYA: SEBUAH TINJAUAN SENI FOTOGRAFI PERTUNJUKAN Makmum Raharjo
Jurnal Dimensi Seni Rupa dan Desain Vol. 3 No. 2 (2006)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1824.596 KB) | DOI: 10.25105/dim.v3i2.1249

Abstract

AbstractIn its early time, photography has a function as a supporting tool for painting with its prototype called 'camera obscura' which keeps on developing together with the emergence of new discoveries on the lense, camera, and light-sensitive chemical evolved from the glass plate into film and photo papers. Now, photography is not simply functioning as a medium to perpetuate a moment but internally as a medium to record objects.AbstrakFotografi pada awal sejarah ditemukan, memiliki fungsi sebagai alat bantu melukis, dengan prototipnya yang disebut sebagai 'camera obscura' yang kemudian terus berkembang seiring dengan bermunculnya penemuan baru tentang lensa, kamera, bahan kimia peka cahaya yang berkembang dari plat kaca menjadi film dan kertas foto. Kini fotografi tidak hanya memilliki fungsi sebagai media untuk mengabadian sebuah peristiwa, tetapi lebih kedalam fungsi sebagai sebuah media perekam objek.
PENGARUH EKSTERNAL DAN LINGKUNGAN ALAM PADA PERKEMBANGAN MOTIF BATIK CIREBON JAWA BARAT Mawardi Hermansyah
Jurnal Dimensi Seni Rupa dan Desain Vol. 3 No. 2 (2006)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1569.605 KB) | DOI: 10.25105/dim.v3i2.1250

Abstract

AbtrakThe motif development of Batik Pesisir in general, particularly Batik Cirebon is the major discussion in this thesis. It begins with prevailing order of the value systems and the artist beliefs interacting with the primary-secondary needs as well as combining external culture and nature as the idea resources followed tc be patterns and attitudes of the artist / craftsmen in their creations. The creativity of those artists/craftsmen refers to the value systems and beliefs poured into the works based on the themes, characters/styles, techniques, and symbols attached to the batik motifs.AbtrakPerkembangan motif batik pesisir secara umum dan khususnya batik Cirebon menjadi bahasan utama. Pembahasan dimulai dari berlakunya tatanan sistim nilai dan keyakinan seniman, berinteraksi dengan kebutuhan primer-sekunder termasuk memadukan budaya luar dan lingkungan alam sebagai sumber ide yang dianut menjadi pola dan perilaku seniman/pengrajin dalam berkarya. Kreativitas para se­niman/pengrajin mengacu pada sistim nilai dan keyakinan yang di­tuangkan dalam berkarya berdasar pada tema, sifat/gaya, tehnik, dan perlambangan yang melekat pada motif batik.
PENDIDIKAN T1NGGI SENIRUPA & DESAIN DI INDONESIA: SEBUAH RENUNGAN Primadi Tabrani
Jurnal Dimensi Seni Rupa dan Desain Vol. 3 No. 2 (2006)
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1817.805 KB) | DOI: 10.25105/dim.v3i2.1251

Abstract

AbstractThe visual arts education generally and the high education of visual arts and design in Indonesia particularly, have sonic lacks to comprehend urgently comparing to other art education. Visual arts education is important to a nation to advance the visual quality in design and art as well in the future so that it may produce works, products, and human resources with good identity and integrity. This thesis is to present a model of visual arts education capable of competing in the global market in the third millenium.AbstrakPendidikan seni rupa umumnya, dan khususnya pendidikan tinggi senirupa & desain di Indonesia, memiliki kekurangan yang harus segera dikejar dibanding dengan pendidikan seni lainnya. Pendidikan seni­rupa penting bagi suatu bangsa untuk kelak dapat meningkatkan mutu rupa balk desain maupun seni. Sehingga mampu menghasilkan karya, produk, SDM yang punya identitas dan integritas. Tulisan ini mengetengahkan mengenai pola pendidikan Senirupa yang mampu bersaing di pasar global millenium ke tiga.Kata kunci: pendidikan tinggi seni, senirupa, globalisasi.

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