Abstract (English): The architecture of Papua's Lake Sentani region is part of its rich cultural heritage. In order to comprehend the distinctive cultural and architectural values of the churches in the area, it is necessary to consider both the acculturation of local culture and external influences, which are reflected in the distinctive architectural form of the churches on the island. In order to comprehend the distinctive cultural and architectural values of the churches in the area, the architecture is distinctive and represents the acculturation of local culture as well as other influences. The purpose of this research is to characterize and examine the architectural features of the churches on the island of Lake Sentani, Papua. When gathering data through observation, documentation, literature reviews, and interviews, qualitative descriptive methods are employed. According to the study's findings, churches on Lake Sentani Island, Papua, have a range of architectural styles, from modern designs influenced by Western architecture to traditional styles influenced by the traditional homes of the area. It is anticipated that this study would advance knowledge of the diversity of Papuan architecture, particularly that of the churches in Papua Lake Sentani.

Creative kampongs play a crucial role in the preservation of cultural heritage while simultaneously fostering local economic growth; however, they encounter significant challenges in attaining sustainability across economic, environmental, and social dimensions. Addressing these challenges necessitates the adoption of innovative approaches that harmoniously integrate these objectives into cohesive development strategies. This study employs the Triple Layer Business Model Canvas (TLBMC) to establish a structured framework for promoting sustainable innovation in creative kampongs, thereby facilitating a balance between cultural preservation, economic resilience, and environmental sustainability. This study aims to investigate the potential of the Triple Layered Business Model Canvas (TLBMC) in facilitating the sustainable development of creative kampongs by enhancing economic, social, and environmental resilience. The research employs a qualitative case study methodology, concentrating on three batik-producing kampongs in Surakarta: Kampong Laweyan, Kampong Kauman, and Kampong Sondakan. Data collection was conducted through semi-structured interviews, focus group discussions, and document analysis. The TLBMC framework was utilized to analyze sustainability initiatives across economic, environmental, and social dimensions. Findings indicate that each kampong exhibits varying levels of sustainability-oriented innovation. Kampong Sondakan and Laweyan have made significant advancements in environmental and economic sustainability through initiatives such as waste reduction and the implementation of eco-friendly production methods. Kampong Kauman demonstrates progress in the preservation of cultural heritage while concurrently integrating practices related to the circular economy. The TLBMC framework effectively illustrates the interconnected nature of sustainable development initiatives within these creative kampongs, revealing opportunities for enhanced stakeholder engagement and community empowerment.

Ngadisari Village, located in the mountainous region of Mount Bromo, has characteristics of local wisdom in organizing its settlements. The uniqueness lies in the religious context related to ancestral regulations and policies. The Tengger settlements have distinct spatial patterns, especially regarding the placement of sacred sites (punden/pedanyangan) that are linked to their belief system. This research aims to identify the local wisdom of the settlements and the spatial patterns of settlements in Ngadisari Village. The data collection methods used in this research were literature studies, observation, and interviews, with a descriptive qualitative approach. The results of the research showed that Ngadisari Village is predominantly inhabited by the Tengger Tribe, and the community's behavior is still governed by the customs and laws of the Tengger Tribe. The Tengger people believe that Mount Bromo is the center of orientation and the axis of spiritual activities for the entire Tengger community. Ngadisari Village has a customary spatial formation that starts from the village cemetery, Pura Tunggal Jati, and Pura Brahmana. The institutional structure of Ngadisari Village is divided into roles and functions between the administrative area and the customary area. In Ngadisari Village, there are two territorial divisions: the administrative area, led by the village head, and the customary area, led by the customary chief. The settlement patterns in Ngadisari Village are linear, scattered, and clustered. Linear settlement patterns are dominated by trading areas, while scattered settlement patterns represent traditional communities in the hillside areas. Meanwhile, clustered settlement patterns are seen among communities living around temples or sacred places of worship

Indonesia's cultural diversity provides a unique backdrop for understanding the dynamics of cultural assimilation, especially on Gili Iyang Island in Sumenep, Madura, where migration has shaped social and architectural aspects. This study explores the influence of cultural adaptation on architecture among the Bugis-Makassar, Buton-Binongko, and Sumenep-Madura communities on Gili Iyang Island. Utilizing a case study method, this research focuses on how these maritime-oriented communities adjust and modify architectural aspects in response to cultural interactions. The findings indicate that the assimilation affecting the architecture of Gili Iyang Island includes: (1) spatial organization and division from east to west and north to south, reflecting a balance between gender aspects and spiritual symbolism; (2) color concepts based on natural elements such as brown (earth), green (sea), blue (sky), and red-orange (fire); (3) ornaments inspired by the surrounding environment including plants, animals, and repetitive geometric patterns; (4) courtyards serving as the focal points for orientation and transition between buildings; (5) buildings that are closely spaced

The pride in the identity of a nation which is associated with the long history can be transformed into a valuable asset for both the present and the future. This can be achieved through the development of cultural heritage in the form of the artifacts owned. The diverse traditions associated with past legacies establish an inseparable connection between Indonesia and cultural history. An example of cultural heritage are the buildings that serve as evidence of the activities conducted in the past. Moreover, the influence of cultural, religious, and social systems caused by acculturation is evident in different forms of mosque buildings in Indonesia, specifically on Java Island. This can be observed from the adoption of ornaments in the Western period, starting from the 16th century. An example was the adoption of Padma Flower also known as the Lotus and Red Lotus by mosque buildings during the early introduction of Islam. The flower is also found in the house of worship, the Gedhe Kauman Mosque in Yogyakarta, built in 1773 AD by Sri Sultan Hamengku Buwono 1. Therefore, this research aimed to explain (1) the form of Padma Flower ornaments based on the shape, and (2) the changes in the form with subsequent influence on the present design. A qualitative method with a Visual Adaptation strategy was used to describe and analyze the form of the flower to determine the formulation process. The adaptation of Padma Flower ornaments in different places was expected to assist the process of using motif as a reference in the field of art and design.

Surakarta is a high tourist attraction due to its local wisdom, associated with tangible and intangible cultural heritage. Gatot Subroto-Ngarsopuro corridor in Surakarta is the regional tourism development area (KPPD) and regional tourism strategic area (KSPD) with urban art urban tourism concept. Urban art aims to enhance the beauty of a city by strenghtening the city’s attractiveness and characteristics. The concept of urban tourism has elements that need to be considered, which can be a measure of its success. This paper aims to determine the suitability of urban art in the Gatot Subroto-Ngarsopuro Corridor of Surakarta to the components of urban tourism. This research uses a deductive approach with a quantitative descriptive research type applied with two components of suitability, namely the availability and existence of urban art in meeting the components of urban tourism. Based on the result of suitability scoring, it shows that the percentage of suitability is 86,66%, which indicates that the Gatot Subroto-Ngarsopuro Street Corridor of Surakarta City has very high suitability in its role as urban tourism. Â

Denpasar is a city in Bali that possesses a robust cultural heritage. One of the temples in Denpasar is the Maospahit Gerenceng Temple. The Maospahit Gerenceng Temple has been in existence for several centuries. The temple in question has been officially recognized by the Denpasar municipal government as a cultural tourist destination. The objective of this study was to identify architectural components within temple structures that possess potential as cultural tourist offerings, thereby contributing to the long-term viability of tourism in Bali. This descriptive qualitative analysis was conducted in the Maospahit Gerenceng Temple located in Denpasar, Bali. The data collection process involved employing participant observation to examine the traditional architecture of the Maospahit Temple, conducting in-depth interviews with the informant, Jero Mangku, and conducting a comprehensive review of relevant literature and documents. The results of the study indicate that the Maospahit Temple has distinctive architectural characteristics, particularly in its utilization of the Panca Mandala concept. The architectural design of this structure emerges from the process of acculturation between Balinese and East Javanese architectural styles, with the primary objective of enhancing the temple's role as a cultural tourist destination. Therefore, these distinctive architectural components serve as the primary focal point of the cultural tourism attraction of Maospahit Gerenceng Temple.

This qualitative descriptive research was conducted to identify ethnomathematics concepts in Wat Arun "Temple of Dwan" in Bangkok, Thailand using the ethnographic approach. The purpose was to explore and examine the mathematical elements or concepts as well as meaning contained in the geometric patterns of temple. The process involved describing the motif associated with temple based on certain categories using the data retrieved from documentation, observation, and literature review. The results showed that mathematical and the geometric concepts such as triangles, squares, and rhombus were depicted in the geometric and floral motifs, offering compelling evidence of the involuntary implementation of mathematics in traditional motifs. Furthermore, these results can also be applied as a reference to develop mathematics teaching materials and interior design or architecture courses based on local wisdom.