into any statues or monumental objects. It gives ease of replicating objects into mimesis on spatial
objects in public spaces. The artificial nature found in spatial objects in public spaces create a
new interpretation by the city community. The purpose of this research is to explore the shift of
symbolic significance of spatial built visualization using digital technology.
Research on public spaces and the growing monumental build-up and its challenges to public
art is a comparison of the changing society in living the art of public spaces (Remesar 2005).
Public pedagogy is part of the process of a learning society in public spaces through public art
(Schuermans et al. 2012). Monuments function as witnesses to cultural identity (Johnson 2002).
The statue as an urban monument is the basis of its regional culture (Jixin 2019).
In other research, it is stated that the current spatial build in public spaces has a relationship
with the lifestyle of urban society, namely as a tool of individual and communal expression as
a universal part (Nursaiman 2012). The research only discusses spatial stimulate functions that
are more associated with people’s emotional approaches, especially on lifestyles in public spaces.
Other research on spatial builds and public spaces were also discussed in Aulia (2014) that viewed
the space of the interior and some technical standards that should be considered in its design.
Another related research with a different study object is the research on monumental spacial
builds in tourist areas in Yogyakarta. Many typographies are applied in public spaces as identity
as well as branding but less emotive from psychosocial aspect, especially typographic approached
with the value of a region (Noordyanto 2017). The study emphasizes the branding elements that
can affect perception in public spaces. In other research it was also discussed that the use of public
spaces as gathering places for communities at the thematic park in Bandung (Ilmiajayanti 2015).
This research discovers a spatial build development in the monumental ornaments of the city
that are used as a form of decorative elements, a marker of cultural identity, which uses digital
technology. It is also determined to deepen the influence of these objects on the direction of a
symbolic meaning desired by the proponents on the development of an urban society.
2 METHOD
In this research, Barthes’ semiological theory was applied to reveal the meaning of the artificial
monumental symbolic object. Ethnographic studies were used as a benchmark for text narrative
analysis contained in an object. Advanced analysis was done by linking text with a micro understanding of the community related to symbols contained in each object of inclusion (Piliang 2003).
It implies that the meaning begins with an understanding of the denotative conception continued
by knowing its connotative meaning.
The research was done in the qualitative descriptive method with semiological disclosure of
meaning through the analysis of content on awakened objects. It found meaningful relationships
based on narrative structures that have been built up through generations with current artificial
replication. Textual analysis of the development of digitalization through technology relates to
contemporary styles that are imitations of cultural philosophical traditions. The data was collected
through an object’s deep understanding and community interpretation based on the character of the
traditional icons.
3 RESULT AND DISCUSSION
The city square, once a place used as a dialogue space between the city’s stakeholders and citizens,
now is the center of crowd and celebration. It is the trigger for changes in function and historical
significance of the place. The change in the layout of the square is a sign of the development of
social civilization in the city of Bandung (Figure 1).
The Bandung City Square had changed into a modern space. Digital technology plays a role in
its design. Its conception today is more open and heterogeneous. Restoration was carried out by
the government, functionally and structurally, by designing the square for the people (Figure 2).
289
objects in public spaces. The artificial nature found in spatial objects in public spaces create a
new interpretation by the city community. The purpose of this research is to explore the shift of
symbolic significance of spatial built visualization using digital technology.
Research on public spaces and the growing monumental build-up and its challenges to public
art is a comparison of the changing society in living the art of public spaces (Remesar 2005).
Public pedagogy is part of the process of a learning society in public spaces through public art
(Schuermans et al. 2012). Monuments function as witnesses to cultural identity (Johnson 2002).
The statue as an urban monument is the basis of its regional culture (Jixin 2019).
In other research, it is stated that the current spatial build in public spaces has a relationship
with the lifestyle of urban society, namely as a tool of individual and communal expression as
a universal part (Nursaiman 2012). The research only discusses spatial stimulate functions that
are more associated with people’s emotional approaches, especially on lifestyles in public spaces.
Other research on spatial builds and public spaces were also discussed in Aulia (2014) that viewed
the space of the interior and some technical standards that should be considered in its design.
Another related research with a different study object is the research on monumental spacial
builds in tourist areas in Yogyakarta. Many typographies are applied in public spaces as identity
as well as branding but less emotive from psychosocial aspect, especially typographic approached
with the value of a region (Noordyanto 2017). The study emphasizes the branding elements that
can affect perception in public spaces. In other research it was also discussed that the use of public
spaces as gathering places for communities at the thematic park in Bandung (Ilmiajayanti 2015).
This research discovers a spatial build development in the monumental ornaments of the city
that are used as a form of decorative elements, a marker of cultural identity, which uses digital
technology. It is also determined to deepen the influence of these objects on the direction of a
symbolic meaning desired by the proponents on the development of an urban society.
2 METHOD
In this research, Barthes’ semiological theory was applied to reveal the meaning of the artificial
monumental symbolic object. Ethnographic studies were used as a benchmark for text narrative
analysis contained in an object. Advanced analysis was done by linking text with a micro understanding of the community related to symbols contained in each object of inclusion (Piliang 2003).
It implies that the meaning begins with an understanding of the denotative conception continued
by knowing its connotative meaning.
The research was done in the qualitative descriptive method with semiological disclosure of
meaning through the analysis of content on awakened objects. It found meaningful relationships
based on narrative structures that have been built up through generations with current artificial
replication. Textual analysis of the development of digitalization through technology relates to
contemporary styles that are imitations of cultural philosophical traditions. The data was collected
through an object’s deep understanding and community interpretation based on the character of the
traditional icons.
3 RESULT AND DISCUSSION
The city square, once a place used as a dialogue space between the city’s stakeholders and citizens,
now is the center of crowd and celebration. It is the trigger for changes in function and historical
significance of the place. The change in the layout of the square is a sign of the development of
social civilization in the city of Bandung (Figure 1).
The Bandung City Square had changed into a modern space. Digital technology plays a role in
its design. Its conception today is more open and heterogeneous. Restoration was carried out by
the government, functionally and structurally, by designing the square for the people (Figure 2).
289