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"Setiap kota akan memberikan citra yang berbeda ketika kita menelusuri bagian-bagiannya. Skripsi ini memaparkan pembentukan citra yang dapat diwujudkan dari tampilan visual kota pada façade. Peran serta warga kota dalam membentuk citra kota merupakan hasil dari perwujudan pemenuhan kebutuhan mereka dalam berkota. Seni visual, khususnya Mural dan Graffiti menjadi bahasan pada skripsi ini dalam pembentukan townscape dan juga sebagai bentuk pemenuhan kebutuhan warga. Pemilihan lokasi penyajian seni visual juga terkait dengan beberapa faktor tertentu. Hasil analisis dari studi pustaka dan studi kasus menunjukkan bahwa peranan seni visual yang yang muncul akan menghadirkan dampak yang beragam. Demikian pula dalam hal kemunculannya yang memiliki pola berbeda. Kota Yogyakarta menjadi lahan observasi untuk mendukung penulisan ini.

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Every city will impress their image differently when we through its parts. This paper tries to reveal how the image of a city emerges from the city visual display appeared on façade. Citizen needs is the motive of them to participating on city image making (townscape). Visual Art especially Mural and Graffiti is the main topic in this paper to making townscape beside to accomplish citizen needs. The locations are choosing with concerned on certain factor. The analysis results from theory and case study shows that visual art which appeared on city façade represent different impact on townscape. The character of location is divers from each other. Yogyakarta City becomes the case study in this paper."

"Perkembangan seni di ruang kota mengalami transformasi seiring berkembangnya kota di dunia. Beberapa jenis seni yang muncul di ruang kota sebagai manifestasi dari dialektika sosio-spasial adalah seni jalanan dan graffiti. Meskipun dikonstruksikan sebagai aktivitas laki-laki, namun di Indonesia terdapat sebuah komunitas bernama Ladies on Wall, yang mewadahi perempuan yang aktif pada dua bidang seni tersebut. Penelitian ini bertujuan untuk menganalisis bagaimana seniman perempuan menggunakan mural dan graffiti sebagai strategi dalam mengakses dan mengklaim ruang kota. Dengan menggunakan pendekatan kualitatif dan metode etnografi, penelitian ini menunjukan bahwa seniman perempuan memiliki tantangan yang lebih besar daripada laki-laki yang menggeluti hal yang sama. Penulis melihat hal ini disebabkan oleh keterbatasan perempuan dalam mengakses ruang publik yang dalam penelitian ini dipengaruhi oleh tiga faktor yaitu psikologi, budaya dan kebijakan. Selain itu, penelitian ini menunjukan bahwa tantangan juga datang dari dalam subkultur graffiti itu sendiri yang berupa tekanan dari graffiti writer laki-laki dan fenomena poser pada kelompok graffiti perempuan. Meskipun demikian, perempuan-perempuan tersebut dapat bernegoisasi dengan keadaan ruang kota yang tidak aman dan ramah terhadap mereka melalui beberapa strategi. Melalui mural dan graffti, seniman perempuan tersebut dapat mengakses ruang kota secara penuh dan mengklaim kembali ruang kota dengan menciptakan ruang sosial dan diferensial baru bagi mereka.

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The development of art in urban spaces have experienced a massive transformation as the city itself grows. Some of the arts that are found in cities as a manifestation from socio-spatial dialectics are street art and graffiti. Even though it is constructed as a commotion for male, in Indonesia, there is a community called Ladies on Wall, that enables female to be present in that two types of arts. This study aims to analyze how female artists uses mural and graffiti as a strategy to access and claim urban spaces. Using the qualitative and ethnography method, this study will show how female artists faces various challenges that are far bigger than what male faces in the same area of interest. Writer sees this as a cause of females limitation in accessing public places in which there are three main factors; psychology, culture and policy. Other than that, this study shows that challenges also come from graffiti subculture itself, which is the pressure from male graffiti writers and poser phenomenon from female graffiti groups. Even so, the female artists are able to negotiate with the current situation of the urban space-not safe but still accessible with strategies. Through mural and graffiti, female artists are able to fully access urban places and claim their space by creating new social places for themselves. "

"ABSTRAKJalan layang adalah salah satu solusi untuk masalah persinggungan titiktransportasi jalur darat. Namun keberadaan jalan layang berdampak pada munculnya ruang bawah jalan layang tempat kolom-kolom penahan jalan layang tersebut. Jalan layang yang berbeban besar membutuhkan kolom berukuran besar pula, dan kolom berukuran besar membutuhkan ruang yang berukuran besar pula. Pada ruang-ruang bawah jalan layang ini kerap dijumpai tindakan vandalisme. Vandalisme menjadi sampah visual di wajah kota dan menimbulkan rasa tidak aman bagi masyarakat kota. Namun dalam beberapa kasus, ruang-ruang bawah jalan layang justru dimanfaatkan sebagai taman graffiti, sebuah tempat berekspresi dan menyampaikan pesan-pesan sosial yang positif bagi masyarakat kota. Studi kasus dilakukan dengan membandingkan vandalisme dan graffiti yang terjadi di beberapa jalan layang yang terdapat di kota Jakarta. Lokasi, kepadatan lalu lintas, dan kondisi sekitar yang berbeda dari jalan layang ternyata memberikan perbedaan hasil yang mucul di ruang bawah jalan layang, apakah vandalisme atau seni graffiti. Dengan melakukan perbandingan analisis dalam studi kasus antara ruang bawah jalan layang yang mendapat tindakan vandalisme dan seni graffiti, akan didapat jawaban apa faktor dibalik terjadinya vandalisme seni graffiti di ruang bawah jalan layang.

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abstrackFlyover is one of solution for the contiguity of land transportation tracks problem. However, a flyover give an impact for its existence and it is the emergence of space underneath that flyover. Space underneath a flyover is an absolute impact of the flyover?s big columns. A flyover with huge load require a lot of big colums, and a lot of big colums require a big underneath space. It is not a shocking fact if people have seen many vandalism acts in these underneath spaces. Vandalism is visual trashes for urban face and make people feel insecure. But in some cases,spaces underneath the flyovers were used as graffiti parks, places where people express and deliver positive massages for urban people through graffiti art. Writer do the case studies by comparing vandalism act and graffiti art in several flyovers? spaces underneath in Jakarta. Different location, traffic density, and sorrounding environment of each flyover turn out to be some causes of the result difference, whether it is vandalism act or graffiti art. By comparing analysis of thespace underneath a flyover with vandalism act and the space underneath a flyover with graffiti art, writer will know the causes behind emergence of vandalism act and graffiti art in space underneath the flyovers."

"Graffiti dalam bentuk tertulis telah ditemukan di Prancis sejak 1758. Dengan masuknya budaya hip hop Amerika pada akhir 1980 ke Prancis, hal itu mengubah gaya graffiti Prancis. Graffiti yang semula merupakan salah satu aksi vandalisme, perlahan-lahan berubah menjadi sesuatu yang memiliki nilai seni. Gaya dan teknik baru dalam membuat graffiti pun bermunculan dan membuat semakin banyak orang tertarik untuk membuatnya. Seiring dengan berjalannya waktu, dinding-dinding kota semakin dipenuhi oleh graffiti dan masyarakat merasa terganggu dengan banyaknya graffiti yang dianggap mengotori keindahan kota. Hal ini kemudian memicu keresahan masyarakat dan membuat pemerintah akhirnya memutuskan untuk bertindak. Pemerintah Prancis pun mulai melakukan berbagai cara untuk menangangi masalah graffiti. Artikel ini memaparkan langkah yang diambil pemerintah untuk menghadapi masalah graffiti, yaitu dengan melakukan tindakan yang bersifat preventif, represif, dan pemberian solusi.

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Graffiti in written forms founded in French since 1758. The invasion of American hip hop at the end of 1980s in France, has transformed French graffiti style. Graffiti was one of the type of vandalism, however eventually, it has been changed into an art form. New styles and techniques in the making of graffiti were created and the number of people who grew interests in it has increased. Due to that, the city became over embellished by graffiti and the citizen was disturbed by the amount of it, as it pollutes the city. This condition alarmed both society and the government to take control over the graffiti issue. The French government has started various methods to handle the graffiti. This article explains the policies that the rench government has taken to control the graffiti, which are action of preventing, repressing, and providing solutions."

"The gulf between those who practice grassroots leadership and those who theorize about leadership has been shrinking for some time. Much of this is due to changingimages of who leaders are and what they should do. In the pasthalf century, notions about the essence of leadership have shifted from a hierarchical view that leadership flows from a leadership position to a much more lateral view that leadership roles are available to everyone. James MacGregor Burns’ Leadership (1978), which popularized “transformative leadership,” was one of the first to describe the shift from a command-and-control vision to one that is more inclusive and participatory. Robert Greenleaf’s notions about “servant leadership” (1977) held that leadership should at its core attend to matters of inequity and social injustice. A third seminal work, one that left solely hierarchical views of leadership behind forever, theoretically if not always in practice, was Ronald Heifetz’ 1994 book, Leadership Without Easy Answers. In it, Heifetz introduced the notion of what he calls adaptive work, or the learning required when neither the problem norits solution is clearly defined (a term cited in several of the chapters in this book). Learning is the key term in adaptive work. Because there are no easy answers or singular solutions in adaptive work, achieving agreement on a course of action means first that participants must recognize that their existing perspectives won’t lead them to a resolution, and second that they must suspend assumptions, entertain fresh questions, and try on the perspectives of others. They must realize that a solution is not a matter of applying technical solutions more expertly, but rather one of framing problems differently."