The purpose of this article was to identify the Jepara chairs based on its style and period. Qualitative research such as doing interviews with the Jepara chairs observer, observation to some centres and workshops of Jepara chairs, literature study from various books consisting the style and process of Jepara chairs production were conducted. The identification of Jepara chairs started with Islamic and Hinduism influence in the 16th to the 17th century when the missionary and sailor from Portuguese entered Java until the style of Jepara chair in the 20th century. The alteration that mirrors the changes in socio-cultural aspect was being analysed as the style foundation that was used periodically in the making of the Jepara chairs. The categories a chair to have a Jepara style is a chair made by the craftsman in Jepara that, includes local factors both technically and material based that is combined with foreign culture, religion, and designs that brought at the time the chairs have been made. This research finds that chairs with Jepara style are a combination of the international world with a glimpse of local wisdom, with a touch of the maker’s personality that makes it unique and a bit different with its origin style.

This paper discusses how the Dayak Iban community of Sui Utik, Kalimantan, with the help of Sekar Kawung, a social enterprise foundation, uses the indigenous system of Tembawang to challenge deforestation and concomitant problems of air pollution through creative works based on the materials of the local rainforest. The research for this paper includes interviews with the founder of Sekar Kawung foundation, literature reviews, photographs, social media reports and community summaries. Sui Utik, in collaboration with Sekar Kawung, has developed creative works including weavings, an innovative application of tattoos, food and beverage products, and eco treks. The research found that the Sui Utik community, which started producing creative works in 2015, have continued their practice as social entrepreneurs. It is suggested that they should now expand their practice by working together with other indigenous entrepreneurs to challenge Indonesian craftsmen and designers to take their creativity, skills and knowledge to an international market. As part of this move, the development of innovative marketing tools using new technologies should be explored, while maintaining local wisdom as the core value for making creative works.

This research aimed to explore the concept of sustainable urban escape through the lens of gentrification as a tipping point for adaptive reuse. The chaotic backdrop of a fast-paced city addresses a research gap at the intersection of urban culture and interior architecture design. This study revealed how the historical narrative could serve as the foundation for a concept of sustainable urban escape —gentrification, as a subset of adaptive reuse by reclaiming the glory of the past. Keywords: sustainable urban escape, adaptive reuse, gentrification

This paper aims to create a concept for the UI (User Interface) design for the NTWDR (Nusantara Traditional Wastra Digital Repository) with a touch of Indonesian local wisdom focusing on the implementation of Visual Communication Design and the implementation of eight golden rules of UI web-based and mobile applications to the NTWDR (Nusantara Traditional Wastra Digital Repository). The research is essential as kick-off research to the UX (User Experience) research that will be conducted after the UI (User Interface) is done. The research adapted the Design Thinking method of IDEO and Stanford d.School: Empathize, Interpretation, Ideation, Experimentation, and Test. It was designed with a simple sitemap that easy to follow and directly to the core of data. The uses of Nusantara colors and the interweaving of the intangible culture values of each NTW (Nusantara Traditional Wastra) are visual concepts behind each page of the NTWDR UI (Nusantara Traditional Wastra Digital Repository User Interface) design. The Result is the enchanting visual design representing Nusantara’s diversity that attracts to be experienced and surfed.

Braga Street is famous for its identity as an exclusive fashion and commercial center. Unfortunately, the region’s popularity faded with the start of the war and Japan’s struggle for power. Thus, their owners abandoned many buildings and no longer functioned, which made the area neglected and not maintained. The city government’s efforts in revitalizing heritage areas in the city have been going on for the past two decades, one of which is the Sarinah shopping center located in the Braga area. The building is now turning into a mixed-use commercial complex with the existence of shopping centers and hotels with a change in function has become a significant effort on revitalizing the Braga area. Sarinah is a humble name with a powerful icon that represents the Indonesian society of the past. This paper aims to review new lifestyle adaptations to the interior design of the revitalization of Gedung Sarinah Braga. It uses a descriptive method of Qualitative methodology by doing the Perceptual Mapping, survey, and document analysis. The result shows that the interior space revitalization does not represent the name of Sarinah.