KATARUPA - Jurnal Literasi Budaya Visual

STUDY OF POSTMODERNISM ASPECTS IN THE DESIGN WORK OF THE Wiggle Side Chair - by Frank Gehry, 1972

mahendra anang, Muh. Satria Nusantara — Wed, 27 Sep 2023 00:00:00 +0700

Pada akhir abad ke-20, postmodernisme telah berkembang menjadi fenomena yang signifikan di bidang seni dan desain. Wiggle Side Chair, diciptakan oleh Frank Gehry pada 1972, adalah desain yang paling menggambarkan postmodernisme. Tujuan dari penelitian ini adalah untuk meneliti estetika postmodern dalam design The Wiggle Side Chair. Data yang digunakan dalam penelitian ini diambil dari sejumlah literatur yang relevan dengan topik penelitian, seperti buku, jurnal, dan artikel. Hasil penelitian menunjukkan The Wiggle Side Chair menampilkan beberapa karakteristik postmodernisme, termasuk penggunaan bahan-bahan yang mudah ditemukan, bentuk-bentuk yang tidak konvensional, serta teknologi kontemporer dalam proses manufaktur. The Wiggle Side Chair mengeksplorasi dan mempertanyakan perubahan tentang fungsi dan bentuk elemen desain. Wiggle Side Chair dapat dilihat sebagai desain postmodern yang menentang dan berlawanan dengan konsep desain konvensional serta menawarkan alternatif segar yang mengeksplorasi unsur-unsur dasar desain tradisional. Selain itu, desain ini telah memberikan kontribusi yang signifikan untuk pengembangan desain pasca-modern dan berfungsi sebagai inspirasi bagi desainer masa depan
Kata kunci: Postmodernisme, Desain unik, Mengeksplorasi

By the end of the 20th century, postmodernism had developed into a significant phenomenon in the fields of art and design. The Wiggle Side Chair, created by Frank Gehry in 1972, is the design that best represents postmodernism. The purpose of this research is to examine postmodern aesthetics in the design of The Wiggle Side Chair. The data used in this research was taken from a number of literature relevant to the research topic, such as books, journals and articles. The research results show that The Wiggle Side Chair displays several characteristics of postmodernism, including the use of easily found materials, unconventional shapes, and contemporary technology in the manufacturing process. The Wiggle Side Chair explores and questions changes regarding the function and form of design elements. The Wiggle Side Chair can be seen as a postmodern design that challenges and contradicts conventional design concepts and offers a fresh alternative that explores the basic elements of traditional design. Additionally, this design has made a significant contribution to the development of post-modern design and serves as an inspiration for future designers.
Keywords: Postmodernism, Unique design, Exploring

KONSUMERISME PADA BATIK DALAM PERSPEKTIF IDENTITAS, KOMODITAS, DAN GAYA HIDUP

Yusron Falahi, Handi Hermawan — Wed, 27 Sep 2023 00:00:00 +0700

Batik is an Indonesian cultural heritage recognized by UNESCO as an Intangible Cultural Heritage. The development of batik in Indonesia has received government support through initiatives such as intellectual property clinics and collaborations with local governments. Technological advancements have also allowed for the creation of batik motifs through printing techniques. However, these advancements have had an unintended consequence: batik has become entangled with the fast fashion industry. As a result, there has been a shift in the production and consumption of batik, leading to increased demand, impulsive consumption, and rapid changes in batik fashion trends. This, in turn, has had an impact on the traditional high culture associated with batik. Despite these challenges, batik remains a symbol of pride and continues to be popular as a cultural identity among the public.

Keywords: batik, cultural identity, commodity, lifestyle, fast fashion, consumerism

KAJIAN SEMIOTIKA TERHADAP DESAIN PAKAIAN KARAKTER DALAM GAME "MEMORIES ; RED WHITE CINDERELLA"

Radifa Cendana Putri — Wed, 27 Sep 2023 00:00:00 +0700

Industri game kini membuka peluang bagi kreator untuk mengembangkan kreasinya. Salah satu elemen penting dalam pembentukan karakter dalam game adalah desain pakaian. Di kehidupan sehari-hari pakaian berfungsi sebagai pelindung tubuh, ekspresi diri, dan lambang dari status sosial seseorang. Fashion dalam game juga mempunyai peran yang sama, terutama untuk memberikan kesan kepribadian dan status sosial yang tepat untuk karakter. Penelitian terhadap desain pakaian karakter dalam game “Memories : Red White Cinderella” ini mempelajari hal tersebut. Hubungan kedekatan antar para karakter juga dapat terlihat dari elemen-elemen pada pakaian ini. Oleh karena itu, makna yang terkandung pada pakaian karakter penting untuk dipelajari agar pesan ini tersampaikan dengan baik.

Kata Kunci: semiotika, fashion, karakter, game, memories

The development of the game industry now opens up opportunities for creators to develop their creations. One of the essential elements in the formation of characters in the game is the design of clothes. In everyday life, clothing serves as body armor, self-expression, and a symbol of one’s social status. Fashion in the game also has the same role, especially to give the impression of the personality and social status of the characters. Research of character clothing designs in the game “Memories: Red White Cinderella” learned about this. The close relationship between the characters can also be seen from the elements in this outfit. Therefore, the meaning contained in the character’s clothes is significant to learn so that this message is conveyed properly.
Keywords: semiotic, fashion, character, game, memories

TANDA DALAM SEMIOTIKA RUANG UNTUK DESAIN RUANG TERBUKA PUBLIK KAMPUS

Dinar Pratiwi Aulia — Wed, 27 Sep 2023 00:00:00 +0700

Sunken Court ITB is one of the public open spaces that serves as a venue for various types of Student Activity Units (UKM) at ITB. In addition, this place also serves as a pedestrian pathway connecting the ITB campus with Saraga ITB. By using the theory of spatial semiotics and analyzing it through the semiotic methods of Saussure/Barthes, this research aims to identify the factors in the spatial language that enable this public space, despite being crowded with various types of UKM and different activities, to foster mutual respect, establish boundaries for their activities, and promote good socialization. It was found that there are several factors in the spatial language that enable Sunken Court ITB to fulfill its role as a public open space in addressing these aspects. These factors include distance, framing, and facilities within the public space.

INTERPRETASI IDEOLOGI PANCASILA MELALUI REPRESENTASI VISUAL DALAM LOGO PARTAI GOLKAR

Nadim Arsalam, Sultan Isa, Andri Candra Sambada — Wed, 27 Sep 2023 00:00:00 +0700

Penelitian ini bertujuan untuk menganalisis identitas visual Partai Golkar menggunakan teori semiotika Roland Barthes. Metode penelitian yang digunakan adalah deskriptif analitis dengan teknik analisis konten. Data dalam penelitian ini berupa gambar logo Partai Golkar dan dokumen-dokumen yang berkaitan dengan identitas visual Partai Golkar. Hasil penelitian menunjukkan logo Partai Golkar memiliki makna yang mendalam dan kompleks. Penggunaan simbol dan warna pada logo merefleksikan nilai-nilai seperti stabilitas, kesejahteraan, kerja keras, perdamaian, dan ideologi Pancasila. Analisis semiotika Barthes terhadap logo Partai Golkar dapat menghasilkan interpretasi tiga tingkatan, yaitu konotatif, denotatif, dan mitos. Mitos yang terbentuk di masyarakat akan menjadi sistem semiologis yang membentuk nilai-nilai partai tersebut. Penggunaan teori semiotika dapat membantu memahami makna visual logo Partai Golkar dan merespons pesan yang disampaikan melalui logo tersebut. Penelitian ini diharapkan dapat memberikan kontribusi bagi pengembangan studi desain komunikasi visual dan semiotika, serta pengembangan identitas visual bagi partai politik di Indonesia.
kata kunci: identitas visual, semiotika, logo, Partai Golkar, Pancasila

This research aims to analyze the visual identity of the Golkar Party using Roland Barthes’ semiotics theory through descriptive analytics with content analysis techniques. Golkar Party logo and documents related to the visual identity of the Golkar Party are used as data. The results show that the Golkar Party logo has deep and complex meanings. The use of symbols and colors in the logo reflects values such as stability, prosperity, hard work, peace, and the Pancasila ideology. Barthes’ semiotics analysis of the Golkar Party logo can produce interpretations at three levels: connotative, denotative, and myth. The myths formed in society will become a semiological system that shapes the values of the political party.
The use of semiotics theory can help understand the visual meaning of the Golkar Party logo and respond to the messages conveyed through the logo. This research is expected to contribute to the development of visual communication design and semiotics studies, as well as the development of visual identities for political parties in Indonesia.
Keywords: visual identity, semiotics, logo, Golkar, Pancasila