scholarly journals UNGKAPAN BENTUK DAN MAKNA FILOSOFI DALAM KAIDAH ARSITEKTUR RUMAH TRADISIONAL MINANGKABAU, PADANG, INDONESIA

2021 ◽  
Vol 4 (2) ◽  
pp. 307-316
Author(s):  
Cecep Supriatna ◽  
Sri Handayani
Keyword(s):  
Architectural Design ◽  
Design Concept ◽  
Ordinary People ◽  
Islamic Architecture ◽  
Good Design ◽  
Islamic World ◽  
West Sumatra ◽  
Design Idea ◽  
Geometric Elements ◽  
Islamic Values

Abstract: Islamic architecture appears not only as mere ornament, but is a media that plays an important role that has its own charm for every visitor/user, because a good design must respond to geography, location, climate, size, culture and others. The dome-shaped mosque building has thrived in the Islamic world and has become a symbol of expression of the structure and identity of a mosque. However, in the last two decades, many mosques without domes have appeared in Indonesia. Mosques with modern geometric elements are increasingly standing majestically in several areas in Indonesia. Some architects began to eliminate the dome element in the mosque, but still displayed Islamic values. One of the mosques without a dome is the Great Mosque of West Sumatra. The design is a square building that instead of a dome but instead forms a gonjong. The design of the Great Mosque of West Sumatra was criticized by several figures in West Sumatra, who said that the design of the mosque was unusual because it did not have a dome due to some literature stating that one part of the mosque was a 'dome'. news about the existence of a mosque ornament which is claimed to be a form of motif commonly used by Jews (Pentagram). The purpose of the study was to identify the design idea of the Roof of the Great Mosque of West Sumatra which describes the shape of the stretch of cloth used to carry the Hajar Aswad stone, the concept of three symbols: the springs (the elements of nature), the crescent moon and the Gadang House. The method used in this research is descriptive qualitative. The results of the study indicate that the value and meaning of the architectural design philosophy of the roof of the Great Mosque of West Sumatra, which is represented by the architect in its design concept, has a lot of compatibility with the mosque building that has been designed. The concept is very clearly visible so that even ordinary people are very easy to understand.Keywords: Mosque Roof, Bagonjong Roof, Representation Abstrak: Arsitektur Islam muncul bukan hanya sebatas ornamen semata tetapi merupakan media yang berperan penting yang memiliki daya tarik tersendiri bagi setiap pengunjungnya/pemakainya, karena sebuah desain yg baik harus merespon geografi, lokasi, iklim, ukuran, budaya dan lain-lain. Bangunan Masjid berbentuk kubah telah tumbuh subur dalam dunia Islam dan menjadi sebuah simbol ekspresi struktur dan identitas dari sebuah masjid. Namun dua dekade terakhir ini di Indonesia mulai banyak bermunculan bangunan masjid tanpa kubah. Masjid dengan unsur-unsur geomotrik modern semakin banyak berdiri dengan megah di beberapa wilayah di Indonesia. Beberapa arsitek mulai menghilangkan unsur kubah pada masjid, namun tetap menampilkan nilai-nilai Islami. Salah satu masjid tanpa kubah tersebut adalah Masjid Raya Sumatera Barat. Rancangannya berupa bangunan persegi yang alih-alih berkubah tapi justru membentuk gonjong. Hasil rancangan Masjid Raya Sumatera Barat pernah dikritik oleh beberapa tokoh di Sumatera Barat, yang menyebutkan rancangan masjid tidak lazim lantaran tidak memiliki kubah karena adanya beberapa literatur yang menyatakan bahwa salah satu bagian dari masjid itu adalah ‘kubah’, bahkan ada beberapa keraguan tersebut yang berhembus kabar tentang adanya bentuk ornament masjid yang diklaim sebagai bentuk motif yang biasa dipakai orang Yahudi (Pentagram). Tujuan penelitian adalah untuk mengidentifikasi gagasan desain Atap Masjid Raya Sumatera Barat yang menggambarkan bentuk bentangan kain yang digunakan untuk mengusung batu Hajar Aswad, konsep dari tiga simbol: sumber mata air (the springs: unsur alam), bulan sabit dan Rumah Gadang. Metode yang digunakan pada penelitian ini adalah deskriptif kualitatif. Hasil penelitian menunjukkan bahwa nilai dan makna filosofi desain arsitektur atap masjid Raya Sumatera Barat yang direpresentasikan oleh arsitek dalam konsep desainnya, terdapat banyak kesesuaian dengan bangunan masjid yang sudah dirancangnya. Konsep tersebut sangat nampak jelas terlihat sehingga orang awam pun sangat mudah untuk memahaminya.Kata Kunci: Atap Masjid, Atap Bagonjong, Representasi

scholarly journals Islamic Center Design with Islamic Architecture Design Approach

2021 ◽  
Vol 5 (2) ◽  
pp. 182-192
Author(s):  
Sri Gunana Sembiring ◽  
Hastari Furqani
Keyword(s):  
Design Concept ◽  
Local Culture ◽  
Religious Activities ◽  
Economic Activities ◽  
Islamic Architecture ◽  
Design Problems ◽  
Surrounding Environment ◽  
Activity Center ◽  
The City ◽  
Islamic Values

 At the time of the Prophet, the mosque was a center for worship activities and economic activities, learning, socio-politics, etc. From this mosque environment, great figures in Islam were born who were not only strong in religion but also intellectually and mentally. However, the mosque has decreased in function now so that it is only a place of prayer. This phenomenon also occurs in the city of Medan, which is one of the largest cities in Indonesia, with the majority of the population being Muslim. Therefore, Medan often becomes the center of various activities, including Islamic religious activities in the area. Unfortunately, Medan does not yet have adequate facilities that can accommodate various Islamic religious activities, so it needs an activity center known as an Islamic center. The design of the Islamic center in the city of Medan solves design problems with an approach methodology ranging from literature studies, site surveys, and design concept analysis. This Islamic center applies a design concept by taking Islamic values ​​that are not indifferent to the surrounding environment so that elements of the local culture are still considered. It is hoped that this Islamic center will not only be able to become a center of activity, especially Islamic religious activities in Medan, but also an area of ​​learning about Islamic and local values ​​in its design

HERITAGE IN THE LIVED ENVIRONMENT OF THE UNITED ARAB EMIRATES AND THE GULF REGION

2017 ◽  
Vol 11 (2) ◽  
pp. 55 ◽  
Author(s):  
Joseph John Hobbs
Keyword(s):  
Built Environment ◽  
United Arab Emirates ◽  
Architectural Design ◽  
Social Sustainability ◽  
Gulf Region ◽  
Planning And Design ◽  
Spatial Features ◽  
Gulf Countries ◽  
The Social ◽  
Islamic Values

This paper examines how the architectural, social, and cultural heritage of the United Arab Emirates and other Gulf countries may contribute to better development of this region’s lived environment. Modern urbanism has largely neglected heritage in architectural design and in social and private spaces, creating inauthentic places that foster a hunger for belongingness in the UAE’s built environment. The paper reviews recent urban developments in the UAE and the Gulf Region, and identifies elements of local heritage that can be incorporated into contemporary planning and design. It proposes that adapting vernacular architectural heritage to the modern built environment should not be the principal goal for heritage-informed design. Instead we may examine the social processes underlying the traditional lived environment, and aim for social sustainability based on the lifeways and preferences of local peoples, especially in kinship and Islamic values. Among the most promising precedents for modern social sustainability are social and spatial features at the scale of the neighborhood in traditional Islamic settlements. Interviews with local Emiratis will also recommend elements of traditional knowledge to modern settings. 

The art reconstruction of waste ribbons based on encouraging people to overcome coronavirus disease 2019

2021 ◽  
pp. 004051752110533
Author(s):  
Fangdong Zou ◽  
Zhou Qi ◽  
Li Na ◽  
Ziyin Xiong ◽  
Shiqing Huang ◽  
...  
Keyword(s):  
Home Environment ◽  
Added Value ◽  
Positive Energy ◽  
Ordinary People ◽  
Composition Design ◽  
Color Design ◽  
Design Idea ◽  
Hospital Wards

To achieve efficient and environmental reuse of waste ribbons, artworks reconstructed from waste ribbons for decorative occasions were inspired by the dedicated and determined people working against coronavirus disease 2019 (COVID-19) and developed through a handmade and delicate strategy. With the theme of ‘Ordinary * Extraordinary,’ the artworks aim to convey endless positive energy and hope to people suffering from COVID-19. To fulfill the art reconstruction, the design idea, composition design and color design were comprehensively considered and carefully described. The artworks were applied for decoration in hospital wards and the home environment. Their composition and color gave medical workers, patients and ordinary people suffering from COVID-19 a sense of comfort and warmth. All positive energy from our artworks accompanied people and encouraged them never to give up and overcome COVID-19. The art reconstruction of waste ribbons proposed in this study may provide an excellent way for the reuse of waste ribbons. More importantly, it improves the added value of products and strengthens people's determination to overcome COVID-19.

scholarly journals HOTEL RESORT DI TELAGA SARANGAN

Arsitektura ◽  
2017 ◽  
Vol 14 (1) ◽  
Author(s):  
Dewi Saraswati ◽  
Ahmad Farkhan ◽  
Amin Sumadyo
Keyword(s):  
Architectural Design ◽  
Negative Impact ◽  
Design Method ◽  
Building Design ◽  
Problem Formulation ◽  
Design Concept ◽  
Preliminary Design ◽  
Literature Study ◽  
Initial Idea ◽  
Resort Hotel

<em>The design of Sarangan Lake resort done by the needs of tourist on its area, unfullfield of tourist needs on accommodation facilities, increasing number of uncare building towards negative impact to the environment, so the purpose from this design is to get a building design that could provide accommodation facilities to the tourist of Sarangan Lake, with the design that concern about environment. The design issue is how ecological architect can be applied into design of Sarangan Lake resort. Design method is using architectural design, started from initial idea, preliminary understanding of architecture about the planned object, research and problem formulation, literature study as substantial reference, data analysis and information, analysis of general and specific approach towards designed object and formulation of design concept, analysis of design concept approach which more specific about the to-be-designed object, and architectural design transformation and preliminary design as well. The result is a design concept of resort hotel facilities as lodging accommodations by applying the characteristic of the ecological architect to the building design.</em>

scholarly journals JAVANESE ISLAMIC ARCHITECTURE: ADOPTION AND ADAPTATION OF JAVANESE AND HINDU-BUDDHIST CULTURES IN INDONESIA

2021 ◽  
Vol 45 (1) ◽  
pp. 9-18
Author(s):  
Noor Cholis Idham
Keyword(s):  
The Other ◽  
13Th Century ◽  
Islamic Architecture ◽  
Cultural Products ◽  
High Culture ◽  
Other Hand ◽  
The Temple ◽  
New Religion ◽  
Islamic Values

Javanese Islamic architecture appears to be highly influenced by previous cultures, even though Islam has brought a new civilisation since the 13th century in Indonesia. The classical mosques and houses seem to follow Javanese and Hindu-Buddhist principles in their buildings, elements and spatial arrangements. This paper examines how the Javanese adapted their architecture to meet Islamic values while preserving their previous traditions. The concept of architectural synchronisation in Javanese architecture is examined from the traces observed in the temple dioramas, depictions of contemporary cultural products, and several traditional buildings. The adoptions and adaptations that appear in some significant objects such as old mosques and houses are traced back to previous transformation principles. Architectural harmonisation for new needs seemingly bases on religion as the most potent driving aspect. However, what is interesting is that in the case of Java, embracing a new religion does not mean forgetting existing traditions. On the other hand, the principle of acculturation has created a peaceful transition in architecture. Some evidence suggests that Javanese high culture, such as the classical grand mosque and the joglo house, succeeded in translating Javanese and Hindu-Buddhist ideas into Islamic architecture in very distinctive ways.

scholarly journals Experience and Theory in Architectural Design: Digital Chain Case

2017 ◽  
pp. 121
Author(s):  
Mariela Cvetić ◽  
Slađana Marković
Keyword(s):  
Architectural Design ◽  
Design Code ◽  
Gothic Architecture ◽  
User Input ◽  
Main Driver ◽  
Design Idea ◽  
Main Component ◽  
And Behavior ◽  
The Impact ◽  
Testing Design

The aim of this paper is to research the impact to emerging theory based on the relation between the architect and his work in a digital approach to the process of design and realization by the principle of Digital Chain. Digital Chain is an uninterruptible digital process consisting of design (idea, coding, geometrics), through construction (structure, junction, prototyping) to production (fabrication) with every step as a programmed entity connected by CAAD/CAM technology universal interfaces. The term Digital Chain is defined and researched (theoretically, experimentally and practically) by the CAAD Chair at ETHZ within the research projects of this institute. Digital Chain is not continuous without the role and position of the architect as the fluid energy and expert that investigates how digital technology is changing, i.e. the entire process of the chain, simultaneously adapting to it.In that sense architecture appears as an open work (Umberto Eco) without final definitions and in a constant process of information motion as the main component of the architectural product caused by the demands of context, function, form and user input. Testing design code through changes of parameters in iterations, as well as checks in prototype on the next level, makes the theoretical playground between experiment and experience, through education and expertise. It is examplary that interest in the process (performance) was larger than the representation (appearance), what Deleuze and Guattari call supremacy of the Gothic spirit over the spirit of Romanesque or classical spirit, where Gothic deals with the generation of Gothic architecture by understanding the forces, trends and behavior of the material from the bottom to the top, contrary to the classic generation that deals with the imposition of visual aspects such as the proportion of top-down. This paper considers experience or posteriori knowledge as the main driver of the emerging theory of the Digital Chain. Article received: December 26, 2016; Article accepted: January 23, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Cvetić, Mariela, and Slađana Marković. "Experience and Theory in Architectural Design: Digital Chain Case." AM Journal of Art and Media Studies 12 (2017): 121-134.

IMAGINING JAPANESE AS A MUSLIM: THE NARRATIVE OF NON-OPPOSITIONAL RELATIONS BETWEEN JAPANESE CULTURE AND ISLAMIC VALUES WITHIN MULIYATUN N.’S “AKATSUKI”

2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Himawan Pratama
Keyword(s):  
Military Occupation ◽  
Japanese Culture ◽  
The Novel ◽  
Literary Works ◽  
Islamic World ◽  
Japanese Military ◽  
Romantic Novel ◽  
Positive Images ◽  
The Relationship ◽  
Islamic Values

Within the so many positive images of Japan produced and reproduced in Indonesia, there seems to be a convention to portray the relationship between Japanese culture and Islamic values as an oppositional one. This is evident in the depiction of the clash between the two in various stories of the Japanese Military Occupation Period in Indonesia, as well as in Indonesian Islamic literary works until the 2000s. However, through her Islamic-romantic novel “Akatsuki” (2009, 2012, 2017) Muliyatun N., by creating a story that entirely takes place in Japan and with all Japanese characters, depicts Japanese culture and Islamic values relations as non-oppositional and non-confrontational. This paper first describes the depiction of Japanese culture-Islamic values relations within “Akatsuki”. Furthermore, by considering contexts lingering the production of the novel, it analyzes how the “Akatsuki” marks the shift in Indonesian Muslim’s perception towards Japan in the decade of 2010s. My argument is that this shift is in line with the trends of creating a global and successful image of Muslims through literary works, and the recent development of the relationship between Japan and Islamic world.

scholarly journals ISLAM NUSANTARA (DESKRIPTIF-ANALITIS)

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Ryandi Ryandi
Keyword(s):  
Human Rights ◽  
Analytical Description ◽  
Religious Leaders ◽  
Ordinary People ◽  
Intellectual Elite ◽  
Islamic Countries ◽  
Islamic Values

<p align="center"><strong>ISLAM NUSANTARA</strong><strong></strong></p><p align="center"><strong>(DESKRIPTIF-ANALITIS)</strong></p><p align="center"> </p><p align="center"><strong>Ryandi</strong></p><p align="center">Universitas Islam Negeri Sumatera Utara (UINSU) Medan</p><p align="center"><a href="mailto:[email protected]"><em>[email protected]</em></a><em></em></p><p align="center"> </p><p><strong>Abstrak</strong></p><p>Tulisan ini merupakan uraian deskriptif-analitis tentang Islam Nusantara (selanjutnya disebut IN), yang belakangan ini banyak diperbincangkan baik di kalangan elit intelektual, agamawan dan bahkan masyarakat awam. Dari sini dapat disimpulkan bahwa terdapat dua pemaknaan terhadap Islam Nusantara. <em>Pertama</em> merujuk pada praktik orang-orang Nusantara dalam ber-Islam, ini artinya secara implisit, makna tersebut berarti Islam di Nusantara, yang tentunya berbeda dengan orang-orang Islam di negara-negara Islam lainnya. <em>Kedua</em>, merujuk pada peleburan nilai-nilai Islam pada Nusantara dalam kerangka HAM, Demokrasi, Kearifan Lokal, dan Pancasila, tanpa memperhatikan aspek-aspek pokok atau <em>tsawabit</em> dalam Islam. Namun demikian, menurut penulis, walaupun pada pemaknaan pertama, maksud Islam Nusantara adalah baik, pengistilahan tersebut juga kurang tepat. Kata “Islam” adalah istilah kunci (<em>key concept</em>) yang tidak perlu ditambahi atau dikurangi. Penambahan kata dalam Islam tentunya mereduksi makna Islam itu sendiri.<strong></strong></p><p><strong>Kata Kunci : </strong>Deskriptif-Analitis, Islam, Nusantara<strong><em></em></strong></p><p> </p><p><strong><em>Abstract</em></strong><em></em></p><p><em>This paper is a descriptive-analytical description of Nusantara Islam (hereinafter referred to as IN), which has recently been much discussed among both the intellectual elite, religious leaders and even ordinary people. From this it follows that there are two meanings of Nusantara Islam. The first refers to the practice of Archipelago people in Islam, this means implicitly, the meaning means Islam in the Archipelago, which is certainly different from the Muslims in other Islamic countries. Second, it refers to the fusion of Islamic values </em><em></em><em>in the archipelago within the framework of human rights, democracy, local wisdom, and Pancasila, without regard to the basic aspects or tsawabit in Islam. However, according to the writer, although in the first meaning, the meaning of Nusantara Islam is good, the terminology is also not quite right. The word "Islam" is a key concept (key concept) that does not need to be added or subtracted. The addition of words in Islam certainly reduces the meaning of Islam itself.</em></p><p><strong><em>Keywords: </em></strong><em>Descriptive-Analytical, Islam, Nusantara</em><strong><em></em></strong></p>

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