JID

WIDAGDO
Esthetics in History: Its Role and Significance to Design. (page 3 - 16)

Summary
Design always associated with aesthetics. Not only within the scope of apparent visual perception but furthermore abstract concepts such as: truth, order and function. This paper begins with the nature of aesthetics of possessing characteristics of transcendental, order ness, pragmatic. Aesthetics faced the early challenges when modernism attempted to segregate “esthetics” and “functionalities”. Similar also prevailed in art and design. Furthermore, postmodernism exacerbated by detaching esthetics from perception of beauty to simply pluralism of meaning. The design education in Indonesia is therefore expected to revive this noble thought from prominent philosophers thousand years ago. Designer, in particular interior designer, should strive for the truth of aesthetics because design should be perceived as ‘emerging wisdom’.

IMAM BUCHORI ZAINUDDIN
Design, Design Science and Science of Design: a philosophical review. (page 17 - 34)

Summary
The idea of design has been expanded: it is not merely referred to drawing or rendering but furthermore a scientific work. Despite discourse on its scope, whether it is a subset of engineering or simply an intuitive exercise, design in essence always deals with values. It depends on the reference of norms understood by the decision maker. Design therefore will always develop itself through two main streams: engineering and humanities approaches. This exposition traces back the philosophy of science behind the inception of design science and attempts to clarify that design, either from concepts, theory and the artifact structures point of view, should always be perceived contextually.

KIYOSHI MIYAZAKI; DUDY WIYANCOKO
The Progress of Design Education and Design Science in Japan. (page 35 - 48)

Summary
The modernism of Japan implies that design is identical to appliances. The design education furthermore has shifted the meaning to system that bears functionalities. In anticipating the future challenge, higher education of design should embrace on the awareness of the artifact making by first: creating synergy between design as a creative visual entity with engineering disciplines and humanity sciences. Second, promoting lectures on real design, and partnership with industries. Third, establishing an open postgraduate design program. Fourth, introducing design science from elementary school level. It is expected that as the time elapses the science of design will subsequently narrow down into several interests: design and culture, product design, visual communication design, environment design, design and material, and so forth.

INDRA NURHADI, WIRANTO ARISMUNANDAR, DJOKO SUHARTO, FARID R. MULYA.

Mechanical Engineering as a Science from Design Perspective. (page 49 - 62)

Summary
If design is understood as endeavor to seek solution over certain needs, it is plausible to state that this discipline flourishes among departments in ITB. This paper is prepared in order to unify the perspective and embrace various academic units in design. The focus will be on the specific aspects of mechanical engineering design. Examples explored in this paper will be on the design featured in ‘pure’ mechanical engineering and that which requires other expertise as the means to assess the contribution of each constituent. Finally in order to build the common ground of perspectives, communication and synergy a matrix of competencies are constructed to indicate the role of various disciplines in design which will be more appropriate for problems of higher complexity degree.

YASRAF AMIR PILIANG
The Plurality of Visual Language: An Attempt to Comprehend the Mind of Primadi Tabrani. (page 63 - 74)

Summary
Visual language are understood from various point of views by scholars. The understanding of visual language proposed by Primadi Tabrani (Professor, Faculty of Art & Design, ITB), however, possesses a particular focuses: the language of visual aspects depicting pre-historical figures up to children drawing. Tabrani’s perspective is different from typical visual language concepts from semiotics standpoint. Yet there exists intersection in terms of storytelling and denotation. Furthermore Tabrani explores other issue unidentified by common semiotics i.e., the denotation of storytelling and illustration. These issues have been put aside by visual art devotees which prioritize more on conotative aspects. It is evident therefore to recognize the significant contribution of Tabrani to widen visual semiotic perspective comprehensively.

• jid-vol1-no1.pdf
• jid-fsrd-itb-vol1-no1-2006.pdf