Interior Photograph Experiment of The House Tour Hotel Bandung

The rapid advancement of information and communication technology influences the growth of creative industries such as firms in the fields of architecture, real estate and interior. The firm uses the advantages of information and communication technology, namely the internet and social media to conduct marketing. The use of social media as a marketing strategy of real estate and interior firms today is increasingly used as a promotional medium. The use of photos especially for interior promotion requires good photography techniques, has the power to stir consumer perception of interior services. This research aims to conduct photography experiments on the interior of The House Tour Hotel, designed by an architecture firm called Be Good Design Architect, this experiment was conducted to find out the techniques of photography in photographing the interior. The method used is photography experimentation using photography techniques based on literature and photographic methods from interviews with professional photographer Mario Wibowo. The result of this experiment is interior photo taken from the bedroom room of The House Tour Hotel.

Space Structure of Rumah Panjang (Radakng) of Dayak Kanayatn People in West Kalimantan

Dayak people live on the island of Kalimantan and live in groups such as, Iban, Kayan, Bidayuh, Kanayatn and other groups scattered in small groups and have different characteristics from each other. They live in longhouse (rumah panjang ) the traditional houses that have space for some families to live in. The problem is that many People of Kalimantan do not use rumah panjang as a place to live, this is due to various factors, such as technological and economic advances that have an impact on changing ways of life. Rumah panjang has traditional values to be preserved as a cultural treasure of Indonesia. If the values of the tradition are extinct along with the loss of (radakng) rumah panjang in West Kalimantan also lost the wealth of Indonesia. The research was conducted to find out the structure of the division of the room from the rumah panjang (radakng) building. A descriptive approach is used to describe parts of the rumah panjang (radakng). The results of the study are rumah panjang (radakng) consisting of Pante (outer terrace), Sami (porch or inner terrace), Bilik (core room of (radakng) longhouse), Jungkar (kitchen) and Dango (barn), there is also a part of the house that does not blend with the core house and each part of the room has a diverse function and rumah panjang as a place of growth of various cultural heritage such as traditional ceremonies, beliefs, dances, musical instruments and gotong royong (community service).

Aesthetic Study of Malioboro Trash Can

Malioboro Street in Special Region of Yogyakarta, Indonesia is a tourist area. Both sidewalks on the street facilitated with garden chairs, ornamental plants, ornamental statues, ready to drink tap water, and trash cans. Product aesthetic of Malioboro trash cans is important to be studied since the product will be placed in public facility. Research on trash cans in Malioboro area was conducted to see the content of product aesthetic of the trash can. The analysis method uses the aesthetic theory of Dr. Dharsono, M.Sn (Sony Kartika), which consists of color, shape, texture and proportion.. The results showed the color and natural texture obtained from the aluminum, terrazzo, and sand/Merapi mountain ash. The shape consists of blocks/boxes and tubes with aluminum lids using traditional forging techniques namely kenteng, balanced proportions. Malioboro trash can has product aesthetic value that supports Malioboro tourist area.

Expression Analysis of Big Mom Characters in One Piece Comic 89 (Badend Musical)

One Piece comics are about the world of pirates, and are the best-selling comics in history. Like most comics, One Piece comics consist of protagonist and antagonist. The depiction of One Piece comics is the same as the usual depiction of Japanese comics, namely using Mango style with narrative content and the use of black and white. Depictions of moments, image details and character expressions become important in black and white comics to bring the narrative to life. For character portrayals, comics look for alternatives to emphasize expression in their comic images. This research focuses on the analysis of one of the most antagonists in the one piece comic is Big Mom. This study aims to find out the characteristics of visualizing the expression of Big Mom characters in One Piece comics using visual language by means of wimba 4 (depiction). The research method used is Bahasa Rupa by classifying images of Big Mom's expression through a form language method. The results of the analysis showed a depiction of expression, using a detailed draw of lines on the eyes, eyebrows, nose and mouth. The way it is portrayed in Big Mom's expressions uses expressive depictions, distortions and lines. Expressive depictions use thick lines that give a wrinkle effect on the forehead, eyes, nose and around the mouth. Depiction of enlarged distortion, used on parts of the eyes, nose, mouth and teeth. The depiction of the line is used as a shadow and effect so that the antagonistic expression of Big Mom feels sharp.

Pucuk Rebung Motif on Kain Tapis in Pepadun Community, Lampung, Indonesia

Each ethnic group in Indonesia has its own traditional fabric. The fabric contains meaning and is functioned in accordance with customary rules. Lampung as a province in Indonesia has traditional fabrics found in the Sabitain (coastal) and Pepadun (inland) communitys. Kain Tapis is a traditional fabric from Pepadun community, has a variety of motifs and functions. The diversity of Kain Tapis motifs is very interesting to be researched especially on pucuk rebung motif as the dominant motif found in Kain Tapis. Data obtained from the literature and interview, the results of the analysis of literature obtained the motif of pucuk rebung have aload of meanings of basic strength and meaning related to its function, so that its use is regulated by custom, used only for women, and should not be used by sutan and penyimbang titles are also only used by the Abung clan.

MONUMENT STATUE STUDY OF NANI WARTABONE STRUGGLE THROUGH BACKGROUND AND ITS VISUALIZATION

This study aims to find out how to study the Nani Wartabone statue in terms of visuals, to provide knowledge to the people of Gorontalo the meaning of the Nani Wartabone statue and to describe the background study and visualization of the Tilongolo Nani Wartabone monument statue. This research was written using descriptive qualitative research methods, the authors observed in detail the background and visualization of the Tilongolo Nani Wartabone monument, the results of this study allow the writer to know the historical background of the Tilongolo Nani Wartabone monument statue and the writer can also know the visual meaning of the Tilongolo Monument statue Nani Wartabone. The research results obtained by the author are quite good because there are two sources who are quite helpful in the process of writing this research, the conclusion or the final result of this study is that the writer and the public can find out the background of the Nani Wartabone statue made to commemorate his services in fighting the invaders and the meaning of the visualization of the statue of the struggle of Nani Wartabone, namely: (1) The pointing hand has a meaning, namely his birthplace, Bube Village, Suwawa District, Bone Bolango Regency, Gorontalo Province; (2) Bayonet in the left pocket is made by Suwawa which has the mystical power to protect Nani Wartabone in certain situations; (3) The pistol in the right pocket is used as a helper for the main weapon in the left hand of Nani Wartabone; (4) The weapon in the left hand of Nani Wartabone is a long rifle (hunting rifle) that can be used on the battlefield; (5) The Safari uniform used by Nani Wartabone has patriotic meaning and strength; and (6) Base of 2 and the curve of base of 3 represents the number 23 celebrated as patriotic day by the people of Gorontalo.

STUDY OF ORNAMENTS IN HUNTO SULTAN AMAY MOSQUE GORONTALO

This research is aimed at studying the Hunto Sultan Amay Mosque located in Gorontalo City. Hunto Sultan Amay Mosque is the oldest mosque in the city of Gorontalo The Hunto Sultan Amay Mosque was built as proof of Sultan Amay's love for a daughter and is a representation of Islam in Gorontalo. Researchers will investigate the visual form of the Hunto Sultan Amay Mosque which was originally like an ancient mosque in the archipelago. can be seen from the shape of the roof which initially used an overlapping roof and then converted into a dome as well as mosques in the world, we can be sure the Hunto Sultan Amay Mosque uses a dome roof after the arrival of Dutch Colonial. The researcher used a qualitative method by observing the existing form in detail from the building of the mosque with an aesthetic approach, reviewing objects and selecting the selected ornament giving a classification of the shapes, so that the section became a reference for the author as research material. Based on the analysis of this thesis, the form of the Hunto Sultan Amay mosque as well as the mosques located in the archipelago and the existence of ornaments in the Hunto Sultan Amay Mosque as a decorative structure support the grandeur of a mosque. On the other hand, Hunto Mosque ornaments reveal a teaching. The form of a teaching is manifested in the form of motives and does not depict living beings in a realist or naturalist manner. the decorative forms of the Hunto Sultan Sultan Mosque in general tend to lead to a form of flora, geometric ornaments, and ornament of calligraphy dominated by the distinctive colors of Islam, namely gold, white, red, yellow and green.

STUDY OF ORNAMENTS IN HUNTO SULTAN AMAY MOSQUE GORONTALO

This research is aimed at studying the Hunto Sultan Amay Mosque located in Gorontalo City. Hunto Sultan Amay Mosque is the oldest mosque in the city of Gorontalo The Hunto Sultan Amay Mosque was built as proof of Sultan Amay's love for a daughter and is a representation of Islam in Gorontalo. Researchers will investigate the visual form of the Hunto Sultan Amay Mosque which was originally like an ancient mosque in the archipelago. can be seen from the shape of the roof which initially used an overlapping roof and then converted into a dome as well as mosques in the world, we can be sure the Hunto Sultan Amay Mosque uses a dome roof after the arrival of Dutch Colonial. The researcher used a qualitative method by observing the existing form in detail from the building of the mosque with an aesthetic approach, reviewing objects and selecting the selected ornament giving a classification of the shapes, so that the section became a reference for the author as research material. Based on the analysis of this thesis, the form of the Hunto Sultan Amay mosque as well as the mosques located in the archipelago and the existence of ornaments in the Hunto Sultan Amay Mosque as a decorative structure support the grandeur of a mosque. On the other hand, Hunto Mosque ornaments reveal a teaching. The form of a teaching is manifested in the form of motives and does not depict living beings in a realist or naturalist manner. the decorative forms of the Hunto Sultan Sultan Mosque in general tend to lead to a form of flora, geometric ornaments, and ornament of calligraphy dominated by the distinctive colors of Islam, namely gold, white, red, yellow and green.

REPRESENTASI IDOLA FILM ANIMASI SHINGEKI NO KYOJIN PADA TOKOH LEVI DAN MIKASA

Penelitian ini bertujuan untuk mengidentifikasi aspek visual dan kepribadian Levi dan Mikasa yang menjadikannya sebagai idola. Metode yang digunakan ialah kualitatif-analisis deskriptif, dengan pendekatan desain untuk mengkaji aspek visual pada bagian wajah, rambut, dan pakaian, serta pendekatan psikologi dan sinematografi yang mengkaji kepribadian tokoh melalui adegan di dalam film. Hasil dari penelitian ini menunjukkan bahwa tokoh idola pada film Shingeki No Kyojin lebih dipilih berdasarkan kepribadiannya daripada tampilan visualnya. Tokoh yang dijadikan idola ialah tokoh yang memiliki kepribadian yang tenang, dingin, dapat mengesampingkan perasaan namun masih memiliki rasa kepedulian, tidak banyak bicara, kuat dan kekuatannya diakui oleh banyak orang, pemberani, dan cekatan. Secara visual tokoh idola ditampilkan melalui tema warna yang cenderung hitam, putih, dan abu, juga bentuk mata dan bibir yang memiliki makna kekuatan. Aspek lain seperti pencahayaan, pewarnaan, ukuran pengambilan gambar, sudut pengambilan gambar, dan garis-garis tambahan berpengaruh dalam memperkuat kepribadian tokoh yang ditampilkan dalam adegan film.

STUDY OF FORM AND MEANING OF SYMBOLIC INDIGENOUS HOUSE OF GORONTALO

This research generally aims to gain knowledge about the traditional values of the Bantayo Po 'Boide Traditional House by trying to express the cultural values of the people of Gorontalo Regency. Specifically: First describe the architectural components of the Bantayo Po' Boide Traditional House of Gorontalo Regency including the roof, parts of the body and the bottom of the building; and second Expressing the meaning of the symbols in the Bantayo Po 'Boide Traditional House of Gorontalo Regency. This research uses descriptive method by collecting various qualitative and quantitative data relating to the form and symbolic meaning of the Bantayo Po' Boide Traditional House of Gorontalo Regency, while the data collection uses the method of Observation, Documentation, Interview and Literature Study. The results of this study are: 1) Total of poles house supporting totaling 32 is known as the symbol of 32 directions of the compass. This means that the leaders must have attention to all aspects of people's lives without knowing favoritism; 2) Total of the front steps that amounted to 8 as a symbol of 8 small kingdoms that helped so that the kingdom of Limutu became large; 3) The main pillars, total 2, are embedded directly into the roof frame, as a symbol of the pledge of unity between the kingdoms of Hulonthalo and Limutu; 4) 6 pillars have 6 main characteristics of the Gorontalo people, namely: Tinepo (tolerance), Tombulao (respect), Tombulu (devotion to the government), Wu'udu (according to fairness), Adati (obedient to regulations), and Buto'o (obedient to judges decisions). In addition to the meaning of construction, the writer also found a variety of decorative meanings found in the Bantayo Po' Boide traditional house. 1) The front of the house there is a stylized ornament of lotus and breadfruit plants and grouse. Symbol of lotus ornament of leaders who love democratic life. The meaning of breadfruit plants as protectors, while the grouse described as Gorontalo people who are small but agile and smart. 2) Ornaments on the edge of the banyan and triangular tree ceiling. The meaning of the banyan tree is strength and unity, while the triangle is the 3 elements of life (God, King, People). 3) Ornaments in the ventilation of doors and windows are stylized in the form of spears and shields, which have the meaning of guardianship or vigilance. 4) The living room ceiling ornament is a combination of lotus flowers and chains. Where the lotus means the leader of the people while the chain means the kinship ties of the kingdoms of Hulonthalo and Limutu. 5) Ornaments on lyst plank are stylized from jasmine plants which have the meaning of glory and friendliness.