Cerdika: Jurnal Ilmiah Indonesia, Desember 2024, 4 (12), 1098-1111
p-ISSN: 2774-6291 e-ISSN: 2774-6534
Available online at http://cerdika.publikasiindonesia.id/index.php/cerdika/index
Design Of The Indonesian Film Museum 1098
DESIGN OF THE INDONESIAN FILM MUSEUM
Afifah Anzila Syahriani Ramadhan1, Nutrian Galupamudia2, Kemal Affandi3
Universitas Faletehan, Indonesia
Email: afifahansyara125@gmail.com
Abstract
The increasing public interest in Indonesian cinema accompanied by a lack of insight into the history and
development of film technology, as well as the absence of museums that highlight this theme, are challenges
that need to be overcome. This research aims to design the Indonesian Film Museum as a forum for
education and information about the history and technology of film, so that people can get to know and
appreciate local works better. The method used is qualitative with a descriptive approach. The research
population consists of people who are interested in film, with a sample of 30 respondents taken purposively
through interviews and observation. Data collection includes literature study, in-depth interviews, and
field observations. Data analysis is carried out by organizing, classifying and interpreting the data
obtained. The research results show that the design of the Indonesian Film Museum can meet educational
needs related to film history, equipped with facilities such as exhibition rooms, workshops and a mini
cinema. This museum is expected to attract visitor interest and function as a film information center. The
conclusion of this research states that the design of the Indonesian Film Museum can make a positive
contribution to the development of the film industry and increase public knowledge about the history of
film in Indonesia. Previous research, such as that conducted by Angkirawan (2017) and Nugroho (2020),
highlighted the importance of developing museums as a means of education and preserving film history.
The theoretical framework focuses on thematic architectural concepts and the role of museums in society
as educational centers that offer interesting learning experiences for visitors.
Keywords: museum; thematic; film; technology; history.
*Correspondence Author: Afifah Anzila Syahriani Ramadhan
Email: [email protected]
INTRODUCTION
Indonesia holds the substance of abundant human resources, culture and culture. So
that Indonesia's creative industrial area is growing rapidly. The productivity of Indonesia's
industrial sector is based on a survey of creative companies conducted by the Ministry of
Trade of the Republic of Indonesia, with the video, film, and photography sectors as its
sectors (Angkirawan, 2017).
Indonesian cinema has a long history. The first Indonesian film screenings were during the
colonial period, when the films were only limited to viewing in Europe and America. According to
Kristiyani (2012) Since the production of Lotoeng Kasaroeng's first film in 1926, and reached its
peak in the 1970s where film production reached 100 titles a year. Although its development has
lasted more than a century from the colonial era to the current digital era, until now there has been
no opportunity to bring the richness of the Indonesian film world to the public. The world of cinema
seems to be moving so fast that new films appear in commercial cinemas and then disappeared to be
replaced by new films (NUGROHO, 2020).
In Indonesia, there is only one institution that stores and collects data on film
archives, namely Sinematek Indonesia, which is located in Jakarta. This archive is the first
film archive in Southeast Asia (Prasetyo, 2015). Sinematek has about 2,700 films, most of
which are Indonesian films, and several reference books. Sinematek is located at the Usmar
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Ismail Hajj Hall in Kuningan, South Jakarta, and is managed by the Usmar Ismail
Foundation which has owned the site since 1977. According to Elisa (2020), Sinematek
Indonesia only functions as a film archive, so there is a lack of facilities for the public and
students who want to learn the history of film technology (Elisa et al., 2020).
Figure 1. Graph of museum visitors in West Java
(Source : https://opendata.jabarprov.go.id/id/dataset/jumlah-pengunjung-museum-
berdasarkan-kabupatenkota-di-jawa-barat)
The city of Bandung not only has a number of natural attractions, but also has
educational tourism, namely museums. There are quite a lot of museums in Bandung such
as the Geological Museum, the Sribaduga Museum, the Gedung Sate Museum and others.
In the graph above is the number of museum visitors in West Java where the residents of
the city of Bandung with the most visitors in 2021 are 48,424 visitors. More specifically,
visitors to the Geology museum are average students and per day reach 4000 visitors.
Bandung as the city where the first film in Indonesia was released makes the city
of Bandung the right solution for the location of the Indonesian Film Museum. This design
is located on Jl. Banten, Kebonwaru, Batununggal District, Bandung City. Precisely in
Kiara Artha Park which is an iconic integrated area in the city of Bandung with an area of
+ 2.9 hectares. This design is to design a film museum with a thematic architectural theme
that is educational, informative and attractive. According to Rita (2022) in architecture,
people understand the information and skills shown through the construction and design of
the façade of a building in order to produce experience, knowledge from a person or a group
of people is disseminated back to individuals, then the information is spread to other people
and society in general (Rita et al., 2022).
Based on the above statement, the purpose of this design is how to design a film
museum with an educational, informative and attractive thematic architectural theme
(Ardiansyah, 2020; Tzortzi, 2016). According to Syahroni (2014) in the preparation of an
exhibition display there are several elements that need to be considered, namely: basic
elements, interior elements and structuring principles (Nurhidayat et al., 2018). The basic
elements of the exhibition must pay attention to points, lines, planes, volumes and colors.
The scale of this museum will be built with an area of 250,000 people (4830 m2 – 9800 m2)
– 500,000 people ( 7600 m2 – 15000 m2), according to Coleman (1925) The scale of the
museum area is measured by the large number of local residents of the area (Brown &
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Mairesse, 2018; Kuswandanu, 2021). Where the population of Indonesia in 2023 is 273.52.
This Film Museum will also be designed with facilities such as a showroom for film
technology from time to time, cinema, press conference room, workshop room, library, café
and Souvenir shop with the application of thematic themes.
RESEARCH METHODS
The method used in this study is a qualitative method, namely exploring thematic
architecture in the design of the Indonesian Film Museum. The subjects of this research are
the community and visitors in the city of Bandung who are involved in the creative industry.
The object of the research is thematic architecture in the design of the Indonesian Film
Museum.
Population and Sample
In this study, the target population consists of the general public who have an interest
in Indonesian cinema, including students, students, film professionals, and potential
visitors to the Indonesian Film Museum. Students and students studying art or film will
provide an academic perspective, while professionals such as filmmakers and producers
will contribute practical insights into the film industry. The research sample will be taken
purposively, involving 15-20 respondents through in-depth interviews consisting of
professionals and academics. In addition, a questionnaire will be distributed to 100-150
potential visitors to collect data on their interest and expectations for the museum. Field
observations will also be conducted at historical locations in Indonesian cinema, such as
Sinematek Indonesia and old cinemas, to obtain more in-depth information. This approach
is expected to produce representative and relevant data for the design of the Indonesian
Film Museum.
Data Collection Methods
The data collection process began by analyzing the city of Bandung as an opportunity
in the creative industry. The researcher conducts field observations, referring to the opinion
of Susanti (2020), where the observation stage involves a direct visit to the research site to
obtain in-depth and descriptive information about the object being studied (Susanti et al.,
2020). In this case, observations are focused on Kiara Artha Park, which has various
functions such as settlement, trade, education, services, recreation, and other functions
within limited land. In addition, a SWOT (Strength, Weakness, Opportunity, Threats)
analysis was carried out to evaluate the location. Literature reviews are also carried out by
utilizing books, journals, and other sources, which are then combined with comparative
studies on film museums and thematic architectural themes. All of this information is a
strong background for the design of the Indonesian Film Museum.
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Data Analysis Methods
In this research, this method uses a qualitative method. Namely it was carried out
on the analysis of thematic architectural concepts and the collection of information on
museum buildings, especially film museums. The qualitative method is more based on
phenomenological characteristics that prioritize evaluation. Qualitative research
understands the object being studied to explain the reality related to literature search as a
source of theoretical study and the development of understanding of one or more of the
phenomena faced (Gunawan, 2022)
RESULTS AND DISCUSSION
Theoretical Foundations
1. Definition of Museum
The background of film museum design has two words, namely museum and film.
The meaning of the museum itself is etymologically derived from the classical Greek Muze
which means a collection of nine goddesses as a symbol of science and art.
According to Komarac, museums are part of a broader cultural and entertainment
environment visited by discerning visitors seeking engaging (educational) experiences and
time-saving environments (Elkadi et al., 2021; Gao & Yu, 2024).
In government regulations, museums are an institution that has a mission to protect,
develop, use and communicate collections to the public.
2. Definition of Film
The background of film museum design has two words, namely museum and film.
The meaning of the museum itself etymologically comes from the classical Greek word
Muze which means a collection of nine goddesses as a symbol of science and art.
According to Komarac (2015), museums are part of a wider cultural and
entertainment environment visited by discerning visitors looking for engaging (educational)
experiences and time-saving environments.
In government regulations, museums are an institution that has a mission to protect,
develop, use and communicate collections to the public.
3. History of Film in Indonesia
The history of cinema in this country has also developed from time to time. In an
introduction to mass communication, Stanley J. Baran (2012) explained the development
of Indonesian films from time to time as follows:
1. Between 1900 and 1920, film entered Indonesia.
2. In 1929, the first film in Indonesia.
3. In 1955, the Indonesian Film Festival (FFI) was established
4. 1960s-1970s, the sluggishness and revival of Indonesian cinema.
5. In the 1980s and 1990s there was competition with foreign films and television soap
operas.
6. In 2000, the revival of Indonesian cinema.
The recognition of film as a work of art certainly begins with a long history, when
filmmakers appeared in various countries and finally films were recognized as works of art
(Alfathoni & Manesah, 2020).
4. Development of Film Technology in Indonesia
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Film technology in Indonesia has undergone significant development since the
beginning of the film industry in Indonesia in 1926. The following are some of the
developments in film technology in Indonesia to date divided into 6 masses, namely:
1. Early Period: The Silent Era (1926-1930)
In this era, movies were still in silent format and could only be watched through
projectors. The first film produced in Indonesia was "Loetoeng Kasaroeng" in 1926.
Examples of films: Loetoeng Kasaroeng, Robok Preanger and Si Ronda.
2. Transition Period: The Early Sound Era (1931-1940)
In this era, movies began to use sound technology for the first time. The films produced
at this time were still in black and white format and the sound still sounded stiff and
unnatural.
Examples of films: Boenga Roos from Tjikembang, Si Pitoeng and Terang Boelan.
3. Golden Age: The Sound Era ( 1940-1950 )
In this era , sound technology is getting better and more natural In addition, camera
technology and lighting on film are also developing so that they produce clearer and
sharper images.
Examples of films: Serba Salah, Tiga Dara and Blood and Prayer.
4. Stagnant Period: FTV Era (1950-1980)
In this era, the film industry in Indonesia experienced a decline due to the entry of the
television industry. However, during this time, camera and lighting technology on film
began to develop rapidly and become more modern.
Movie Example: Through Curfew, Si Doel Anak Betawi and Servant of Satan.
5. Revitalization Period: The New Indonesian Film Era (1980-2000)
In this era, Indonesian films began to rise again and produce quality films with
increasingly sophisticated camera, lighting, and special effects technology.
Examples of films: The Betrayal of G30S / PKI, It Can Be Arranged (Warkop) and
Friday Night Kliwon.
6. Present: The Digital Age ( 2000 - present )
In this era, digital technology in films is increasingly developing and producing better
and higher quality. Film production has become easier and faster with the existence of
increasingly sophisticated editing and special effects technology. Some of the ones in
this era include " Laskar Pelangi ", " Negeri 5 Menara ", and " The Raid ".
Examples of films: Laskar Pelangi, Negeri 5 Menara, The Raid, Dilan 1990 and Nussa.
5. Definition of Thematic Architecture
According to Paryoko (2019), the theme is to be the starting point for discussion,
evaluation, and intellectual action (Paryoko, 2019). In short, themes underlie any
transformation, intellectual or artistic act in creation.
Thematic architecture is to fulfill one main goal, usually at the expense of the usual
building purpose, having the meaning of fulfilling several objectives simultaneously, clarity
of all the objectives encompassed, as well as the scope of the discussion based on theories
of architectural synthesis (AlOmani & El-Rayes, 2020; Poerwoningsih & Santoso, 2019).
important factors that must be considered in choosing a thematic concept include, according
to Istiningsih (2020), that is, packaging the concept of an idea in an interesting way can be
done by looking at the vision and mission of a building to be designed.
In his book Architectural Design, Broadbent divides the subject into three analogy
methods, namely personal analogy, direct analogy, and symbolic analogy.
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1. Analogi personal
The personal analogy means that the architect thinks of himself as part of the
designed goal. For example, we become a tree or plant that grows in nature, as seen in the
picture, how the tree feels if it is blown by the wind. An example of a building in the Note
Dame Du Haut church.
Figure 2. Personal Analogy
(Source: Broadbent in Octaverina 2021)
2. Direct analogy
Direct analogy is an easy-to-understand analogy concept. Because this type of analogy
analogies analogize an object with an object that has the same basic characteristics, then a design
idea arises. An example of application at the Aceh Tsunami Museum, Ridwan Kamil's architectural
design uses an in-depth theme concept for tourists who visit. Apart from being a tsunami memorial,
the building can also remind tourists of the experience of the Aceh tsunami event.
Figure 3. Direct Analogy
(Source: Broadbent in Octaverina 2021)
3. Symbolic analogy
Symbolic analogy: This is often called an indirect analogy because the part used
can be an image of something or a symbol of an object. An example of a symbolic analogy
is the Montjuic tower which symbolizes a hand with a torch.
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Figure 4. Symbolic Analogy
(Source: Broadbent in Octaverina 2021)
Concept and Design
1. Site Location
The address is located in Indonesia, West Java, Bandung City, precisely in Kiara
Artha Park is in parcel D with an area of ±16,073 m2.
Allocation : K2 (trade and services)
Luas area : 16.073 m2
KDB : 70% x 16.073 m2 = 11.251 m2
KLB : 2.1
2.1 x 16.073 m2 = 33.753 m2
Number of Floors : 33,753 m2 : 11,251 m2 = 3 Floors
KDH : 20% (20% X 16.073 m2) = 3.214
GSB : ½ Rumija (10 : ½ ) = 5m
KTB : Maximum 100% - Kdh (not below Rtnh)
(16,073 m2 - 3,214 m2 = 12,859 m2
Figure 5. Planning Location
(Source: Google.image)
2. SWOT Analysis
Table 1. SWOT Analysis
It
SWOT
ANALYSIS
RESPONSES
1.
Strengths
Location The location is in the
Kiara Artha Park tourist area
Providing access to tourist
travel
Has a large enough land
Providing public facilities
such as toilets and places of
worship such as prayer
rooms and other supports.
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Accessibility is easy to reach by
public transport and private
vehicles
Provides ample parking
Close to Antapani flyover
Can pass through the
flyover from Jl. Terusan
Jakarta to Jl. Banten
2.
Weakness
Being near densely populated
residential areas and campus
buildings
The filling of the Building
Column is made as
comfortable as possible so
that it does not disturb the
surrounding community
Traffic jams often occur during
work hours at 06.30-08.00 WIB
and leave work at 16.30-18.00
WIB.
Provide drop off vehicles
Traffic jams often occur from Jl
Terusan Jakarta and are only
one way
Use the antapani flyover to
the gate on Jl. Jakarta or
pass through Jl. Banten.
3.
Opportunities
Government Support for the
Development of the
Entertainment Sector
Development of facilities
and infrastructure to meet
the needs of the community
with good facilities and
quality
It is located close to many
campuses
Facilitating as a place of
research and history
Bandung which is developing
in the film industry.
Providing facilities for the
film lover community and
workshops
4.
Threats
Located in the middle of the
city
Because the location is close
to campuses and shops so it
can cause traffic jams
The occurrence of traffic jams
on Jl Jakarta and Ibrahim Adjie
You can use alternative
roads such as Jl, Banten.
3. Basic Concepts
The basic concept of this design is to design public buildings that are educational,
informative and attractive. Educational is so that the public knows the development of the
history of cinema in Indonesia, informative is explaining more clearly the museum display
and the flow of the museum in the interior while attractive so that the museum display is
more attractive with a quality film biorama in every history of the development of the film
year. This design serves as an exhibition of the history and development of Indonesian film
technology. Developing the concept of Film Museum Design in order to maximize the
function of the building and be able to accommodate community activities, especially in
Indonesian cinema.
In the application of the theme of this film museum, it uses a direct analogy theme,
namely an analogy whose readability is easier to understand than other analogies using the
celluloid form of film. Where the period is in the form of a circle with a secondary skin like
celluloid film with an oval shape transformation of the shape of the celluloid.
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Figure 6. Facade Pavilion
(Source: Personal Documentation)
4. Planning Concept
1) Ideas and transformations
The idea of the basic shape is inspired by the formation of celluloid film, namely a
circle, from the shape of a circle of mass transforms into an oval and then there is an
addictive into three oval shapes that adjust to the shape of the site.
Figure 7. Mass Concept
(Source: Personal Documentation)
2) Zoning
Public : Plaza, park, ampiteater, sculpture park, online motorcycle taxi drop .
Semi-public : Exhibitions, workshops, cinema, laboratories, press conferences
etc Servis : TPS, parkir, panel outdoor, mushola, toilet.
3) Sirkulasi
On the site there are 2 entrances, namely in and out. For human circulation, there
are 3 circulations (see figure 10), namely general circulation on the blue line, VIV
circulation on the red line, and service circulation such as loading dock, mechanical and
electrical on the yellow line.
Afifah Anzila Syahriani Ramadhan1, Nutrian Galupamudia2, Kemal Affandi3 /Cerdika: Jurnal Ilmiah
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Figure 8. Zoning and Circulation
(Source: Personal Documentation)
4) Block plan
Figure 9. Blockplan
(Source: Personal Documentation)
In the block plan drawing, there is a museum as the main building located at the
very front. In the backyard area of the building there is a parking lot for VIP cars and
managers. On the far right side of the building there is a plaza for visitors. Meanwhile, on
the far left there is also a plaza for the public as well as an assembly point as a gathering
point for disaster avakuasi. There is also an amphitheater right next to the disaster gathering
point. The back of the building from the other side is the service room (generator, pump,
prayer room). The frontmost area is a guard post located right after the entrance gate. From
the outside, before the guard post there is a drop off for motorcycle taxis. In front of the
service area, still behind the meseum area there is a loading dock point. Then there is a
polling station on the front left of the museum area. The entrance to the parking area is on
the left side of the main entrance. As for the exit from the parking area, it is located on the
side of the museum building near the loading dock.
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5) Floor plan
Figure 10. Basement and 1st Floor
(Source: Personal Documentation)
The basement area has 60 car parks, 10 disabled parking lots, 140 motorcycle
parking and 10 bicycle parking as well as service areas. On the 1st floor there is a reception
room and information center, lockers, and a film club discussion room . Then it is
surrounded by a library, loading dock, location reception, collection warehouse, toilets,
temporary exhibitions, introduction rooms, ATMs, souvenir takes, P3K rooms, and prayer
rooms.
Figure 11. 2nd Floor and 3rd Floor
(Source: Personal Documentation)
The second floor of the museum building is surrounded by exhibitions themed on
the history of film from year to year. The 1926-1930 exhibition, the 1931-1940 exhibition,
the 1940-1950 exhibition, the 1950-1980 exhibition, the 1980-2000 exhibition, the 2000-
2023 exhibition, and the temporary exhibition fill the middle of the second floor. Not
forgetting the exhibition management room.
On the third floor there are rooms for workshops starting from class a, class b, to
class c. Then there are two cinema rooms and their counters. There is a virtual reality room,
as well as a café for visitors and there is a rooftop. On the other side there is a museum
management office. There is a division head room, press conference, meeting room, staff
and admin room, archive warehouse, and makeup room.
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1. Outside
Figure 12. Exterior
(Source: Personal Documentation)
2. Interior
R. Film technology (1940-1950) R. Animation (2000-2023)
R. Digital (2000-2023) Temporary Exhibition
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Reception
Figure 13. Interior
(Source: Personal Documentation)
CONCLUSION
From the results of the study, it can be concluded that in the design of the Indonesian
Film Museum, decorative elements are considered on the façade that uses the shape of
celluloid film rolls to strengthen the identity of the building as a film museum. and
secondary skin film. In addition to considering the façade element, the location is also an
important thing located in Bandung, which is the capital of West Java Province which is
developing in the film industry, the land is in a strategic area and not far from the city center,
the land is easily accessible from various roads, the land is in the Karees City Sub-Region
(SWK) and is in the K2 area which functions as a trade and service area. Precisely located
on Jl. Banten, Kebonwaru, Batununggal District, Bandung City, namely in Kiara Artha Park
which is an iconic integrated area in the city of Bandung with an area of + 2.9 hectares.
Kiara Artha Park is one of the many public spaces with the theme of city parks in Bandung
which is located in the middle of the city of Bandung. The design of the Indonesian Film
Museum is expected to have a positive impact on the development of Indonesian cinema
and will be visited by many tourists. In addition, this institution is also expected to have a
clear knowledge of the history and development of Indonesian cinema, especially the
development of film technology from 1926-1930, 1931-1940, 1940-1950, 1950-1980,
1980-2000, and 2000-2023. This design answers the design solution, which is to create a
design where functions that require a closed space and functions that require open space in
a well-organized exhibition. However, in this design there are several obstacles such as
being on a crowded road, often jammed in one direction and many tourist attractions in
Bandung that are more interesting than museums, so designing is made attractive with
complete facilities and designing according to the situation and conditions. The application
of the theme is also not only seen in the exterior of the building but also in the museum
service system for the comfort and convenience of visitor efficiency. It is hoped that with
the design of the Indonesian Film Museum, it can become a center for education and
performance of Indonesian films, and can also be used as a reference for the construction
of film museums in Indonesia.
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