Kegiatan pariwisata menciptakan realitas paralel dalam ruang urban berupa ruang pariwisata. Dalam ruang pariwisata, elemen urban mengalami transformasi melalui tourist gaze. Kawasan Kota Tua Jakarta bertransformasi dari pusat administrasi VOC (Perusahaan Hindia Timur Belanda) menjadi kawasan wisata di Provinsi DKI Jakarta. Bangunan-bangunan VOC berhenti menjadi objek arsitektur fungsional dan bertransformasi menjadi latar foto bagi wisatawan dalam suatu narasi pariwisata. Penelitian ini membahas produksi dan konsumsi ruang pariwisata di Kota Tua Jakarta melalui teknologi dan tourist gaze kontemporer, yaitu melalui selfie (swafoto) dan situs media sosial Instagram. Penelitian ini merupakan penelitian deskriptif kualitatif yang meninjau deskripsi historis Kota Tua Jakarta dan swafoto turis Kota Tua Jakarta yang diunggah ke Instagram. Produksi ruang di Kota Tua Jakarta dibaca berdasarkan teori Lefebvre mengenai produksi ruang sosial dan konsep yang diajukan Farías dalam membingkai ruang urban menjadi ruang pariwisata. Kemudian, swafoto wisatawan dianalisis menggunakan qualitative content analysis untuk menemukan pola konsumsi ruang pariwisata Kota Tua Jakarta. Penelitian menemukan bahwa wisatawan hampir selalu tampil lebih dominan dibandingkan bangunan yang turut ditampilkan dalam swafoto. Penelitian menyimpulkan bahwa swafoto wisatawan membingkai dan mereduksi elemen urban Kota Tua Jakarta menjadi komoditas visual dalam sebuah ruang pariwisata. Penelitian ini diharapkan berkontribusi dalam diskusi mengenai kegiatan pariwisata kontemporer terkait tempat-tempat bersejarah. PRODUCTION AND CONSUMPTION OF TOURISM SPACE THROUGH INSTAGRAM SELFIES. A CASE STUDY OF KOTA TUA JAKARTATourist activities create destination space as a parallel reality in an urban space. In destination space, urban elements are transformed through the tourist gaze. Kota Tua Jakarta began as the administration center of VOC (Netherlands East Indies Company) and turned into a tourist destination in Jakarta Special Capital Region. VOC administrative buildings stopped serving their original functions and transformed into mere backgrounds for tourists’ selfies. This study aims to explore the production and consumption of the destination space in Kota Tua Jakarta in regard to technology and the contemporary tourist gaze (selfie and Instagram). This article is a descriptive qualitative study in which historical narratives of Kota Tua Jakarta and tourist selfies in Kota Tua Jakarta are analyzed. The production of space in Kota Tua Jakarta in this article follows Henri Lefebvre’s production of social space and the concept presented by Ignacio Farías in framing urban space into destination space. Tourist selfies in Kota Tua Jakarta are analyzed with qualitative content analysis to find the consumption pattern of the destination space. This study finds that tourists almost always dominate the selfie scene relative to the buildings in the photograph. The study concludes that tourist selfies frame and reduce the urban elements of Kota Tua Jakarta into mere visual commodities inside a destination space. This study will offer a perspective on the discourse of contemporary tourist practice regarding historical sites

Worship is an essential aspect for every human being, but it is still rare to find a house with a particular prayer room. This study seeks to capture the various phenomena of worship in the dwelling, consisting of intrinsic and extrinsic motivation. In general, the choice of space for worship at home departs from intrinsic motivation from within. This research seeks to find extrinsic motivation, a characteristic of the environment that is then analyzed and compiled into design principles. This research was conducted using a qualitative grounded theory approach. Data was collected by distributing open questionnaires distributed freely (non-random sampling). The data obtained from 192 respondents were analyzed using content analysis, which was carried out in three stages, namely open coding, axial coding, and selective coding. The analysis results found that there were 7 (seven) designs for special prayer rooms in the house. These principles include comfort, privacy, tranquillity, minimal distraction, flexibility, cleanliness, and closeness. This study also revealed that the presence of a special room for worship could increase religious activities at home and increase interaction between family members in spiritual and religious aspects.

Title: David Frank Adjaye’s Design Thinking: The Unfold Cinematically Approach   Design thinking is fundamental to every designer because it becomes a strategy that creatively solves design problems. Adjaye, an architect with various degrees and awards, explicitly stated that the approach used was "The Unfold Cinematically". The excellence of this approach deserves to be expressed to provide insight and inspiration, that designing is not by generalizing the form of design, because every place has its uniqueness. The method used is descriptive qualitative. Data was collected from literature studies, books, articles, and official websites that refer to Adjaye and his works. The results of this study show that this approach reflects his life journey from moving countries so that the character to respect differences in cultural values is formed. "The Unfold Cinematically" then developed into a link between the process consisting of "The Inside" and "The Outside". The conclusion is that the formation of design thinking is a process of a long life journey. Sensitivity to various conditions determines the formation of an architect’s design thinking. The approach of "The Unfold Cinematically" summarizes Adjaye’s focus on the livelihood of social activities and physical forms that are formed from the environment of values held by the community.