On Mapping community through Sight at Site

Emeh - Design Researcher

Mapping community spaces cannot be adequately supported by involving only one discipline; it requires the engagement of multiple disciplines. The balance between practice and research will sharpen the design industry, extending beyond product outputs to involve multiple disciplines, particularly in the realm of education. Through the 5-order model of design, design progresses from tangible outputs towards more intangible realms, such as strategy and policy-making, ultimately converging on data and cultural dialogues. Between creative spaces and the general community, exists a gap that is being addressed through design system and management approaches.

Creative community spaces should be open to the public to ensure inclusivity of access. "Sight at Site" aims to map creative spaces and understand the various social impacts occurring within these spaces in Bandung. The existence of physical creative spaces is crucial for fostering interaction and communication, creating a dynamic atmosphere conducive to creativity, and fulfilling basic human needs for physical interaction.

Bayu - Graphic Designer

In the creative ecosystem, several crucial elements are often overlooked, such as archiving and mapping. Despite their importance, these aspects are frequently disregarded. Additionally, there is a collective tendency among individuals to break out of their social bubbles and address concrete societal issues. This inclination often arises from formal education, where individuals aspire to extend their impact beyond the confines of higher education institutions.

Top-down initiatives, often designed without active grassroots contributions, frequently fail to be effectively implemented. Conversely, activities driven by grassroots efforts often proceed more smoothly. The context of diversity within creative spaces aims not to dictate what creative spaces should be like but rather to celebrate the diversity inherent within them.

Organic public spaces

Bayu - Graphic Designer

Public spaces and urban planning play vital roles in ensuring the continuity of organic positive activities within a region or city. Activities that arise organically within these spaces tend to be more sustainable than those that are overly rigid and meticulously designed. This organic emergence fosters a sense of community ownership and engagement, contributing to the vibrancy and resilience of the urban environment. It ultimately enhances the overall quality of life for residents and visitors alike.

Emeh - Design Researcher

When something becomes commodified, it frequently becomes outdated under the influence of capitalism. Consequently, for an entity aiming to make a positive impact, the most crucial action is to minimize intervention and, instead, focus on adding support and fostering partnerships. By shifting the emphasis away from excessive commercialization and towards collaborative efforts and sustainable practices, entities can better contribute to positive social change and address pressing societal needs.

Design Minimalism

Bayu - Graphic Designer

Design should ideally be seamlessly integrated into its surroundings, so much so that its presence does not demand direct acknowledgment in the midst of life. This approach allows design to blend harmoniously with its environment, enhancing functionality and aesthetics without imposing itself upon the user
or observer.

Emeh - Design Researcher

At the same time, it's essential for design to be contextual and take into account cultural habits and preferences. For instance, in Indonesia, vibrant designs may be favored because they are affordable and resonate culturally with the local population. By aligning with cultural norms and preferences, design can better connect with its audience and effectively meet their needs and expectations.

Design Universality

Bayu - Graphic Designer

Universal design has emerged as a product of the digital age, influenced by the widespread accessibility of information and references facilitated by digital technology. This accessibility has democratized knowledge and resources, making them more available to a broader audience regardless of geographical location or socioeconomic status.

Emeh - Design Researcher

Within the realm of universality, design also necessitates an identifiable and traceable historical identity. For example, Indonesia boasts the globally renowned Jengki design style, which serves as a distinctive marker of the country's design heritage.

Design Archiving

Luky - Graphic Designer

In the field of design, mapping and archiving efforts must recognize design studios as key contributors. For instance, prominent studios such as Studio Woork or Gema Semesta have emerged from the talent pool within Leboye. These studios play significant roles in shaping the design landscape and deserve acknowledgment for their contributions.

Creative Space Issue

Riski - Graphic Designer

Currently, within the global creative sphere, there are established networks of seamless and robust communication. However, in certain instances, the interconnectedness of creative spaces in Indonesia encounters obstacles and challenges. Addressing these challenges is crucial to fostering greater cohesion and synergy among creative spaces in the country, facilitating the exchange of ideas, resources, and opportunities on both local and global scales.

Emeh - Design Researcher

In certain instances, the professionalism within creative spaces is influenced by their financial sustainability and independence. In Japan, for example, creative spaces often possess a self-sustaining commercial value, which contributes to their professionalism. These spaces are adept at generating revenue and managing their finances, allowing them to operate effectively and maintain high standards of professionalism.

Index

Emeh - Design Researcher | Bayu Kusuma - Graphic Designer
Luky - Graphic Designer | Rizki - Graphic Designer