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The Interior Designing of Omah Batik in Bayat Annisa Isma; Joko Budiwiyanto
Pendhapa Vol 11, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

The interior Designing of Omah Batik in Bayat is aimed at accommodating the activities of developing traditional batik, especially in Bayat by presenting the theme of several motifs on batik which are packaged in art deco style. This design offers facilities such as galleries, shops, vehicle repair shops, cafes, and lobbies. This goal is achieved by a design method that uses a design process including input, synthesis, and output. The input is in the form of literature, field data, and synthesis through the design analysis process; whereas the output is in the design results. The approach used is the approach to function, ergonomics, themes, and styles as well as materials. The design analysis takes ideas from several batik motifs, such as kawung, sidomukti, and parang motifs combined with art deco patterns. The design result is the interior design of Omah Batik in Bayat which has several main facilities such as a lobby, shop, gallery, café, and vehicle repair shop. Supporting facilities include inns, audio-visual rooms, and a library in art deco style.

The Interior Design of a Women’s Health and Beauty Center with Postmodern Style in Surakarta City Putri Widyaningrum; Joko Budiwiyanto
Pendhapa Vol 12, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

The Interior Design of a Women’s Health and Beauty Center in Surakarta City, precisely in a building of fitness and beauty center, applies a postmodern style. This design aims to create the interior design of a Women’s Health and Beauty Center in Surakarta City which is able to facilitate all activity needs in comfortable and safe ways, and provides excellent beauty care and body fitness services. The interior design of a Women’s Health and Beauty Center adopts Kurtz's programming method consisting of orientation stages, basic program creation, programming repetition, until the design reaches approval. The design foundation used is the aesthetic, ergonomic, and functional approaches. This design, with eclectic concept, is objected to gain attraction from the visitors by the creation of a space with a post-modern style that presents the theme of parang batik motifs. Surakarta's local wisdom in the form of such batik motifs aligned with modern elements with tropical nuances will answer the typical Indonesian comfort within several spaces, including: Main Lobby, Fitness Area Lobby, Gymnastics Studio, Fitness, Beauty Area Lobby, Whirlpool Room, Day Spa Room, Facial Treatment Room, Pedicure &Manicure Room, and Sauna Room.

BENTUK DAN MAKNA GEBYOG ÉMPÉR RUMAH TRADISIONAL JAWA Joko Budiwiyanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 13, No 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i1.3653

The background of this research is that the Javanese house gebyog has a variety of shapes, is beautiful, but has almost the same pattern. The shape and size of the gebyog always follow the size of the Javanese house. The number of gebyog is always odd. However, not all Javanese houses use gebyog émpér. Only Javanese houses in rural areas with closed pendhapas have gebyog émpér. The relationship between the form of gebyog émpér and the spatial pattern of a traditional Javanese house in the meaning that is hidden behind its beauty is interesting. This study aims to determine the form and meaning of the Javanese house gebyog émpér. The research strategy uses qualitative. The research locations include the cities of Surakarta, Wonogiri, Sragen, Sukoharjo, Klaten, and Karanganyar. Sources of data extracted include informants and artifacts. Data collection techniques used in-depth interviews and observation techniques. The analysis technique uses interactive techniques. The results of the study are as follows, the pattern of gebyog forms is varied and symmetrical. Gebyog èmpèr controls the entrance from an unlimited free area to a restricted space due to possession and more.

GAYA INTERIOR RUMAH DINAS BUPATI BLITAR Mohammad Nur Farchan Attamami; Joko Budiwiyanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 12, No 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v12i1.3197

The research entitled Interior Style of the Blitar Regent's Official House aims to determine the interior style of the house. Blitar was originally the kingdom of the Surakarta Sunanate. In 1830, the Surakarta Sunanate began to hand over Blitar to the Dutch as a consequence of Dutch assistance to the Kasunanan after the end of the Diponegara War. The Dutch government subsequently appointed a new regent as the ruler of Blitar complete with government support facilities, including the regent's official residence. The uniqueness of the official residence of the Blitar Regent is that it was built by combining the Surakartanan and Dutch styles to produce a new interior style. To achieve the goal, a descriptive qualitative research method is used with an interior style approach. The sources used in this research are sources, literature data, places/buildings, and pictures. The interior of the Blitar Regent's official residence is a combination of Javanese style and Dutch style called Indis style. The application of the Javanese style can be found in the arrangement of spaces, space zoning, and direction towards space. From a visual point of view, the Javanese style is more prominent in the front room area, especially the pendapa with the form of an open space composed of saka and the use of Javanese-style ornaments. The Indies style is more prominent in the main house area. Indische style in the main house can be seen from the space plan and the elements that form the space, especially the pillars lining the veranda area and the shape of the towering buildings. The Javanese style that appears on the front is the government's attempt at that time to show that Blitar is still part of Javanese society, especially the Surakarta Sunanate Kingdom. The colonial-style manifestation of the main house was an attempt by the Colonial government to show that the Blitar government was under the control of the colonial government at that time. AbstrakPenelitian dengan judul Gaya Interior Rumah Dinas Bupati Blitar bertujuan untuk mengetahui gaya interior pada rumah tersebut. Blitar pada awalnya merupakan wilayah kerajaan Kasunanan Surakarta. Pada tahun 1830, Blitar mulai diserahkan oleh Kasunanan Surakarta kepada Belanda sebagai konsekuensi atas bantuan Belanda kepada Kasunanan setelah berakhirnya Perang Diponegara. Pemerintah Belanda selanjutnya mengangkat bupati baru sebagai penguasa Blitar lengkap beserta fasilitas pendukung pemerintahan, di antaranya adalah rumah dinas bupati. Keunikan rumah dinas Bupati Blitar adalah dibangun dengan menggabungkan gaya Surakartanan dan Belanda sehingga menghasilkan gaya interior baru. Untuk mencapai tujuan digunakan metode penelitian kualitatif deskriptif dengan pendekatan gaya interior. Sumber-sumber yang digunakan dalam penelitian ini adalah narasumber, data literatur, tempat/bangunan, dan gambar. Interior rumah dinas Bupati Blitar merupakan gabungan gaya Jawa dan gaya Belanda yang disebut gaya Indis. Penerapan gaya Jawa terdapat pada susunan ruang, zonasi ruang, serta arah hadap ruang. Dari segi visual gaya Jawa lebih menonjol pada area ruang depan terutama pendapa dengan bentuk ruang terbuka yang disusun oleh saka-saka serta digunakannya ornamen-ornamen bergaya Jawa. Adapun gaya Indis lebih menonjol pada area rumah Induk. Gaya Indis pada rumah Induk dapat dilihat dari denah ruang serta elemen pembentuk ruang, terutama adanya pilar-pilar yang berjajar di area beranda (teras) serta bentuk bangunan yang tinggi menjulang. Gaya Jawa yang nampak di bagian depan merupakan usaha pemerintah pada masa itu untuk menunjukkan bahwa Blitar masih bagian dari masyarakat Jawa, khususnya Kerajaan Kasunanan Surakarta. Wujud gaya Kolonial pada rumah induk merupakan usaha pemerintah Kolonial untuk menunjukkan bahwa pemerintah Blitar berada dalam kendali pemerintah kolonial pada masa tersebut.

BENTUK, FUNGSI, DAN MAKNA LUKISAN PADA INTERIOR ALTAR GEREJA ST. ANTONIUS KOTABARU YOGYAKARTA Regina Ratih Nugraheni; Joko Budiwiyanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 14, No 1 (2022): Brikolase Juli 2022
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v14i1.4238

This research is motivated by Catholics who come to church increasingly do not understand the meaning and message contained in the church building, even though the symbols and everything contained in the church building are made not only as decoration, but every part in the church has meaning. related to Catholic life. One church that has a message framed in the form of a painting in its interior is the Catholic Church of St. Antonius in Kotabaru, Yogyakarta. The paintings on the walls of this church have very interesting forms, functions, and meanings because they are related to the contents of the holy book of the Gospel of John. This study aims to determine the form, function, and meaning of the painting on the interior of the altar of the Catholic Church of St. Antonius Kotabaru, Yogyakarta. The results of the study are as follows, the form of painting on the church wall is a decorative painting. The function of painting is to beautify the interior of the church room, as an identity for the Catholic church that uses elements of regional inculturation in the interior of the room, and as a medium of da'wah in introducing the holy book of the Gospel of John to Christians. The form of the painting has a meaning, that a leader should know the needs of the community, just as Jesus knew the needs of his people.

Revitalization of Railway Station in Situbondo Regency Shela Rachim; Joko Budiwiyanto
Pendhapa Vol 13, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/pendhapa.v13i2.4541

The revitalization of the railway station in Situbondo Regency is an effort to revitalize the function of the station and commercial function as a maintenance measure of a cultural heritage building in Situbondo Regency. This design aims to renew Situbondo Railway Station with facilities following the Indonesian Railway Station Service Standards. The design method includes input, synthesis/analysis, and output. This design uses the theme "Modern Meets Heritage," which is an effort to process the physical condition of building architecture as a heritage building in very rapid technological and design developments. The Interior Style used is the Art Deco interior style. Thus this design produces an interior design of a train station with hall facilities, counters, customer service, waiting rooms, executive waiting rooms, platforms, and other supporting facilities with aesthetic and good function value.

Fraktal Geometri sebagai Sumber Ide Perancangan Interior Mental Healthcare Clinic di Yogyakarta Nurina Ramadhanty; Joko Budiwiyanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 15, No 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v15i1.4897

Interior Design Mental Healthcare Clinic in Yogyakarta is a facility designed as a mental health service, especially to overcome stress disorders, depression, schizophrenia, and addictive substance use disorders. This Mental Healthcare Clinic is in the form of an outpatient clinic that provides diagnosis, therapy, and prevention services for mental health disorders carried out by the disciplines of psychiatry, psychology, and social work. This design aims to design the interior of the Mental Healthcare Clinic as a facility for people with mental health disorders that is safe, comfortable and informative, and applies the theme of geometric fractal patterns in a contemporary style. The design method used includes the input, synthesis and output stages. Design results in the form of Interior Design for Mental Healthcare Clinic which has lobby facilities, multipurpose room, café, consul room, fitness therapy room, children's speech therapy room, child sensory integration therapy room, art therapy room, pharmacy, and management office

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