Journal articles on the topic 'RESTORING: Furniture'

BIM is one of the main technical ways to realize building informatization, and the model’s texture is essential to its style design during BIM construction. However, the texture maps provided by mainstream BIM software are not realistic enough and monotonous to meet the actual needs of users for the model style. Therefore, an interior furniture BIM style restoration method was proposed based on image retrieval and object location using convolutional neural network. First, two types of furniture images, namely grayscale contour images from BIM software and real images from the Internet, were collected to train the following network model. Second, a multi-feature weighted fusion neural network model based on an attention mechanism (AM-rVGG) was proposed, which focused on the structural information of furniture images to retrieve the most similar real image, and then some furniture image patches from the retrieved one were generated with object location and random cropping techniques as the candidate texture maps of the furniture BIM. Finally, the candidate ones were fed back into the BIM software to realize the restoration of the furniture BIM style. The experimental results showed that the average retrieval accuracy of the proposed network model was 83.1%, and the obtained texture maps could effectively restore the real style of the furniture BIM. This work provides a new idea for restoring the realism in other BIM.

The Evangelic Church in Bistriţa city is one of the important gothic monuments in Romania. Inside the church there have been preserved a series of furniture pieces from different centuries, and the stall that has been analysed in this study is one of them. The study presents the investigations that were made on the occasion of restoring the stall. The nature and the status of the wooden supports and also the composition of the painting layer which covers the front side of the stall were investigated by several methods: Fourier transform infrared (FTIR) spectroscopy, X-ray diffraction (XRD), and differential scanning calorimetry (DSC) analyses. The back side of the stall was made of spruce fir wood and its status was also investigated. The nature of the component elements and the heritage value of the ensemble were also established.

Robert Jackson examines the work of the German artist Florian Slotawa. Beginning with his first works, “Hotelarbeiten”, Slotawa recomposes and reconfigures the order of ordinary objects – in this case, the furniture of hotel rooms. In reconstructing these rooms in another order without altering these objects in any way, photographing them, and then subsequently restoring them to their previous configuration, the artist reveals the ordinary function of the objects and by withdrawing from their function shows their material and factual character. To elucidate the specificity of Slotawa’s intervention, Jackson critiques Heidegger’s conception of facticity in its exclusive account of Dasein and its being-in-the world, in contrast to the factuality of “things-within-the world.” Drawing on Harman’s extension of finitude beyond Dasein to all things, he encourages us to see Slotawa as engaged in “facticity of things” that is characterized by dispossession, lack of reason, and radical contingency. As Jackson argues, Slotawa is trying to find a way to dwell in a world that has no room or possibility for the given coordinates of dwelling; a world that is a fact without reason. In concluding he explores a reading of Slotawa that explores the intersecting yet radically different approaches to thinking about a speculative realism in the work of Harman and Meillassoux, and their differing attitudes to the finite and the infinite, facticity and factiality, contingency and necessity, without presuming to assume that either of these accounts cover the speculative facticity of things revealed in Slotawa’s work.

Saat ini beragam jenis restoran menjadi tempat tujuan untuk menikmati berbagai macam hidangan, pada restoran tentu saja terdapat beberapa area. Area makan pengunjung merupakan salah satu area yang sangat penting karena pada area tersebut pengunjung akan merasakan bagaimana aktivitas makan dan minum pada suatu restoran. Pada saat hidangan di letakan di atas meja dan pengunjung melakukan aktivitas makan dan minum maka akan berpengaruh pada dimensi furniture yang digunakan. Setiap restoran menerapkan sistem makan yang berbeda salah satunya adalah sistem makan a la carte. Sistem makan ini tentunya berpengaruh terhadap dimensi furniture pada suatu restoran yang berhubungan dengan aktivitas di restoran dan teritori personal yang dirasakan oleh pengunjung. Tujuan dari penelitian ini adalah untuk mengetahui hubungan dimensi meja makan dengan teritori personal pada braga permai pengaturan makan a la carte. Analisa data di dapatkan dengan cara mengumpulkan data dan dengan survey langsung pada restoran braga permai yang menerapkan sistem makan a la carte kemudian data tersebut diolah secara deskriptif. Hasil dari penelitian ini untuk merekomendasikan dimensi pengaturan meja makan yang sesuai dengan teritori pengguna terhadap furniture dan hidangan yang disajikan.

Indonesia has around 4000 wood species, and 10% (400) of species are categorized as commercial wood. One species is kayu kuku (Pericopsis mooniana Thwaites), native to Southeast Sulawesi. This species is considered a fancy wood used for sawn timber, veneer, plywood, carving, and furniture. The high demand for wood caused excessive logging and threatened its sustainability. In addition, planting P. mooniana has presented several challenges, including seedling production, viability and germination rate, nursery technology, and silviculture techniques. As a result, the genera of Pericopsis, including P. elata (Europe), P. mooniana (Sri Lanka), and P. angolenses (Africa), have been listed in the Convention on International Trade in Endangered Species (CITES) Appendix. Based on The International Union for Conservation of Nature (IUCN) Red List of Threatened Species, P. mooniana is categorized as Vulnerable (A1cd). This conservation status has raised issues regarding its biodiversity, conservation, and sustainability in the near future. This paper aims to review the conservation of potential and endangered species of P. mooniana and highlight some efforts for its species conservation and sustainable use in Indonesia. The method used is a systematic literature review based on P. mooniana’s publication derived from various reputable journal sources and additional literature sources. The results revealed that the future demand for P. mooniana still increases significantly due to its excellent wood characteristics. This high demand should be balanced with both silviculture techniques and conservation efforts. The silviculture of P. mooniana has been improved through seed storage technology, improved viability and germination rates, proper micro and macro propagation, applying hormones, in vitro seed storage, improved nursery technology, and harvesting techniques. P. mooniana conservation can be conducted with both in situ and ex situ conservation efforts. In situ conservation is carried out by protecting its mother trees in natural conditions (i.e., Lamedae Nature Reserve) for producing good quality seeds and seedlings. Ex situ conservation is realized by planting seeds and seedlings to produce more wood through rehabilitating and restoring critical forests and lands due to its ability to adapt to marginal land and mitigate climate change. Other actions required for supporting ex situ conservation are preventing illegal logging, regeneration, conservation education, reforestation, agroforestry system applied in private and community lands, and industrial forest plantations.

Abstract Jakarta is one of cities that continuously growing in number, proportion and density of its population. The increasing will also has result in number of consumption (especially food) of Jakarta’s Resident. Along with the development, a growing number of human needs must be met. Nowdays, human faced a lot more options to fulfilled their need, entertainmentis one of it. Restaurant is a perfect place for those who want to relax, sipping a cup of tea or coffee accompanied by relaxing music. Today, the development of restaurant in Indonesia, especially in Jakarta is growing rapidly. There are many Betawi restaurant using foreign design, furniture dan material without considering about locality. In fact, Indonesia has excellent quality of local content, in particular Betaw, even exceed the imported goods quality. Also, Betawi is rich in culture and arts. During this time, people tend to assume that local stuff is not impressive, old-fashione or out-of-date compared imported goods. Therefore, as an effort an applying local content on public facilities especially Betawi restaurant, its required an interior designer’s intuition in order to create a restaurant which using local content that can be applied in the organization of space, the application of color, decoration, and furniture. So that, the visitors who came to enjoy dish can experience not only good food but also good atmosphere of the restaurant, as well as gaining experience and knowledge about Betawi culture. Keyword: local content, restaurant, lifestyle. AbstrakJakarta adalah salah satu kota yang terus mengalami peningkatan dari segi jumlah, proporsi, dan kepadatan penduduknya. Peningkatan jumlah, proporsi, dan pertumbuhan penduduk di DKI Jakarta tersebut akan mengakibatkan peningkatan jumlah konsumsi (terutama untuk makanan) penduduk DKI Jakarta. Dengan meningkatnya jumlah konsumsi makanan, dimanfaatkan oleh pihak tertentu untuk mendirikan usaha penyedia makanan, salah satunya dalam bentuk restoran. Seiring dengan perkembangan yang semakin maju maka, kebutuhan manusia semakin banyak yang harus dipenuhi. Dulu, didalam memenuhi kebutuhannya, manusia selalu memprioritaskan pada kebutuhan-kebutuhan pokok saja. Tetapi dengan seiring berjalannya waktu, manusia dalam memenuhi kebutuhannya tidak hanya dihadapkan kepada satu pilihan saja, salah satunya adalah kebutuhan akan hiburan. Restoran merupakan salah satu tempat yang tepat bagi mereka yang ingin bersantai, sambil menghirup secangkir teh ataupun kopi, ditemani alunan musik yang santai. Dewasa ini perkembangan restoran di Indonesia khususnya di Jakarta cukup berkembang dengan pesat. Seiring perkembangan desain yang ada, masih banyak restoran khas Betawi di Jakarta yang menggunakan desain, furniture, dan material dari luar negeri (impor) tanpa memikirkan kelokalan. Padahal konten lokal yang ada di Indonesia sekarang ini khususnya Betawi, memiliki kualitas yang sangat baik bahkan ada yang melebihi kualitas impor dan juga Betawi memiliki kekayaan ragam hias dan budaya yang menarik. Selama ini, masyarakat juga cenderung menganggap sesuatu yang lokal terkesan tidak keren, terbelakang atau ketinggalan jaman dibandingkan dengan sesuatu dari luar. Maka dari itu dalam upaya mengaja konten lokal pada fasilitas publik khususnya Restoran khas Betawi perlu adanya intuisi seorang desainer interior. Agar tercipta sebuah restoran yang memiliki spesialisasi dengan menggunakan lokal konten yang dapat diterapkan di dalam organisasi ruang, pengaplikasian warna, ragam hias, dan furnitur. Agar pengunjung yang datang menikmati makanan khas Betawi dapat merasakan dua manfaat yaitu makanan yang enak dan suasana Restoran yang baik, serta mendapatkan pengalaman serta pengetahuan mengenai budaya Betawi.Kata Kunci: Lokal konten Betawi, Restoran, gaya hidup

Ciri khas sebuah ruang dapat diperoleh melalui pengaplikasian suatu gaya dalam desain interior. Bagaimana cara memaksimalkan sebuah gaya pada interior. Salah satu gaya , dengan karakter tradisional yang kuat adalah Jepang. Gaya desain interior Jepang memiliki karakteristik simpel, menggunakan bentuk geometris, material alam, dan elemen-elemen khas Jepang. Metode yang digunakan dalam penelitian ini yaitu pengumpulan data, analisa data, dan tahapan desain. Penelitian ini akan mencoba mengolah karakter Jepang ke dalam elemen interior, furnitur, dan material yang dapat menghasilkan sebuah desain interior dengan memaksimalkan pengaplikasian gaya Jepang.

Industri furniture interior merupakan usaha yang menjadi trend dan dinikmati di kawasan pariwisata khususnya area Bali. Furniture interior mengedepankan kesan kenyamanan, kualitas tampilan yang tinggi, dan diproduksi secara semi otomatis. UKM Saka Gemilang merupakan UKM yang sudah cukup lama berkecimpung dalam produksi furniture interior yaitu sejak tahun 1993. Sejalan dengan usahanya, UKM ini terkadang mengalami penurunan penjualan. Hal ini disebabkan karena proses penjualan yang saat ini dilakukan masih belum optimal, yaitu dilakukan secara door-to-door ke lokasi seperti perkantoran, villa, hotel dan restoran dengan menunjukkan buku list produk. Sehingga dalam hal ini proses produksi dan jumlah produksi dari UKM sangat tergantung dari hasil pemasaran yang saat ini dilakukan. Untuk menangani permasalahan penjualan produk UKM, maka diusulkan kegiatan pelatihan pemanfaatan pelatihan pemanfaatan toko online yaitu OLX dan tokopedia yang digunakan sebagai media pemasaran. Kegiatan ini bertujuan untuk memberikan pelatihan pemanfaatan toko online dengan harapan bahwa penjualan produk dapat meningkat. Evaluasi kegiatan dilakukan dengan cara pengukuran kemampuan mitra dalam menggunakan aplikasi dengan mengikuti sepuluh skenario yang telah ditentukan. Hasil pengukuran sebesar 80 % yang artinya mitra sudah bisa mengoperasikan aplikasi Olx dan tokopedia.

ABSTRAKTujuan dari penelitian ini adalah untuk mengetahui teritori personal yang sesuai dengan kebutuhan aktivitas pada area makan. Area makan, merupakan hal paling utama pada suatu restoran yang menentukan pengalaman ruang bagi penggunanya, untuk itu kenyamanan ketika aktivitas di meja makan perlu diperhatikan. Setiap restoran menerapkan sistem makan yang berbeda, salah satunya adalah sistem makan berbagi, yaitu beberapa menu hidangan yang dinikmati lebih dari satu orang. Sistem ini tentunya mempengaruhi dimensi meja makan yang digunakan dan teritori personal area makan seorang pengunjung dalam aktivitas makan-minumnya. Analisis data diolah secara deskriptif dengan data kualitatif yang diperoleh dari observasi langsung pada restoran yang memiliki sistem makan berbagi yaitu restoran Al-Jazeerah dan Miss Bee Providore yang berlokasi di kota Bandung. Hasil dari penelitian ini menunjukan bahwa kebutuhan teritori personal pada suatu restoran dapat berbeda sesuai bentuk dan ukuran peralatan makan dari menu hidangan yang disediakan.Kata Kunci: Meja Makan, Restoran, Teritori PersonalTHE EFFECT OF FURNITURE DIMENSION FOR PERSONAL TERRITORY TABLE SETTING WITH SHARING SYSTEM IN THE RESTAURANT ABSTRACTThe purpose of this research is to find out personal territory that suitable for the activity in the dining area. Restaurant is one of the sector in the hospitality industry, an intresting destination for the general public and tourists to enjoy many various of culinary both food and drinks. Dining area, is the most important thing in the restaurant that determines the experience of space for the users, so customer comfortable when doing activities at the dining table need to be considered. Every restaurant uses a different dining system, one of them is food sharing system, which is a dish that are eaten by more than one person. This system affects the dimensions of the dining table and the territories of customer private areas in their eating and drinking activities. Data analysis was processed descriptively with qualitative data obtained from direct observation on restaurants that have shared dining systems, that is Al-Jazeerah and Miss Bee Providore restaurants located in Bandung. Results of this study indicate that the needs of personal territory in a restaurant can be different according to the shape and size of cutlery from the menu of dishes. Keywords: Dining Table, Personal Teritory, Restaurant

Perancangan desain interior Japanese BBQ Restaurant ini dilatar belakangi oleh perancangan bisnis dalam bidang kuliner, yaitu restoran Jepang yang bernama Kiyoku Japanese BBQ Restaurant yang berlokasi di Kuta, Bali. Restoran tersebut menjual masakan khas Jepang, yaitu yakiniku (masakan panggang) dan shabu-shabu (masakan rebus), dimana restoran menerapkan sistem ‘self-service with assistance’. Maksud dari sistem ‘selfservice with assistance’ adalah customer melayani diri sendiri dengan cara memilih bahan masakan yang diinginkan dan memasaknya sendiri pada meja makan yang telah disediakan,namun tetap mendapatkan pelayanan profesional dari pegawai. Oleh karena menggunakan sistem self-service, maka diperlukan perancangan furnitur dan sistem kebakaran yang baik dan sesuai dengan standar. Restoran menggunakan lahan yang memanjang ke belakang, dengan bangunan yang merupakan bekas rumah tinggal, sehingga diperlukan perancangan interior yang menyeluruh dan zoning area yang tepat untuk menghindari kesan melorong dan memanjang. Gaya desain yang diangkat adalah gaya Jepang, sesuai dengan jenis masakan yang dijual di restoran, sedangkan tema desain diangkat dari rumah petani (farmhouse) Jepang pada zaman Edo. Lahan bangunan restoran memiliki luas total sebesar kurang lebih 865,22 meter persegi dan memiliki sepuluh kebutuhan ruang utama yakni, area makan, area display, area kasir, area dapur, area kantor, area pegawai, area guide, area toilet, area penyimpanan, dan area akuarium.

Keberhasilan tercapainya tematik ruang oleh persepsi pengunjung salah satunya dipengaruhi oleh desain interior dan elemen pendukungnya. Sebuah kajian tentunya akan sangat bermanfaat untuk mengukur sejauh mana suatu tematik mampu menciptakan suasana dalam persepsi pengunjung. Restoran Donwoori merupakan kafe dan restoran bertema Korea yang terletak dijalan Lombok, Kota Bandung. Menurut hasil wawancara dengan beberapa pengunjung, nuansa drama Korea sangat kuat dirasakan dalam interiornya. Penelitian bertujuan mengetahui bagaimana peran drama Korea menjadi acuan dalam sebuah gaya desain interior yang menarik dan juga mewujudkan tematik Korea dalam ruang. Metode yang dilakukan secara kualitatif berupa pengumpulan data melalui pengamatan, dokumentasi, dan wawancara dengan pengunjung. Hasil menunjukan bahwa pemanfaatan nuansa drama Korea untuk mempengaruhi gaya interior yang ada pada restoran Donwoori, setiap bagian mempunyai varian fungsi dan elemen interior sebagai pembentuk suasana drama Korea seperti peralatan makan, elemen dekoratif, plafon, pencahayaan, penerapan warna dan furnitur. Bentuk implementasi interior yang dilakukan terhadap elemen interior memanfaatkan latar pada serial drama Korea dengan genre komedi romantis pada usia remaja yang digemari oleh para mayoritas pecinta drama Korea. Hasil penelitian ini dapat dimanfaatkan oleh para desainer interior sebagai referensi desain dalam menciptakan tematik Korea pada interior, sehingga pengguna secara perseptual akan mampu optimal merasakan suasana Korea dalam ruang khususnya bertemakan drama Korea.

Pada zaman modern sekarang, bisnis property sedang marak berkembang di Indonesia. Bisnis property tidak hanya di bidang jual beli tanah ataupun rumah, namun juga membangun bangunan baru yang berguna untuk masyarakat. Kota Malang adalah kota terbesar kedua di wilayah Jawa Timur setelah kota Surabaya. Perkembangan property di kota Malang masih terus berkembang hingga saat ini. Kota Surabaya merupakan jantung kota propinsi Jawa Timur yang memiliki banyak potensi perkembangan kota terutama berinvestasi di sektor property. F.E.I Interior Design Studio adalah sebuah konsultan desain yang bergerak di bidang desain interior yang menerima segala bidang proyek seperti komersial, residensial, dan hospitality yang terspesialisasi pada proyek restoran dan kafe dengan adanya layanan tambahan yaitu custom desain furnitur. Proyek Club House Samatha merupakan salah satu proyek dari F.E.I Interior Desain Studio yang terletak di pulau Bali. Bangunan yang terdiri dari empat lantai yang memiliki berbagai macam fasilitas, diantaranya adalah toko retail, restoran, dan spa. Bagian yang dirancang oleh perusahaan merupakan restoran dan spa. Klien menginginkan adanya unsur kultur Bali dalam desain interiornya. Konsep dari perancangan untuk club house Samatha ini adalah Tropical Paradise. Konsep desain interior untuk Club House Samatha Citra Kuta pada restoran dan spa dengan adanya kultur Bali dalam desain dan membuat sirkulasi menjadi lebih baik. Konsep ini terdiri dari elemen konsep Tropical dengan perpaduan kultur Bali dan juga konsep sirkulasi pada restoran dan spa club house Samatha.

Mellaca Eatery is a restaurant with a Malaysian specialty located in Malang. In this project, the owner wants a refresh and a new concept for the restaurant that will be built in Jl. Bukit Dieng Permai. The owner wants this new restaurant to reflect more about “Kota Melaka” but on the other hand it can still maintain the DNA of the old restaurant that was dominated by an Industrial Style. Therefore, in this project the Sense of Place design approach is the ideal approach. In the Sense of Place approach, the atmosphere in the restaurant can be formed from the images, forms, and activities. The design style applied as the main image / theme for this restaurant is a combination of Industrial and Peranakan Style which is authentic in Malaysia. This main theme is shown through the use of materials, furniture, color palette, and accessories in the interior spaces. Meanwhile from an architectural perspective, the effort made is to combine various types of Historicism Building and Elements such as the famous Christ Church in Melaka, the Shophouses, and the ambience of Jonker Street to give the impression of Sense of Place on the shape of the building. In this project, the building is also designed to encourage activities such as a demonstration area for “Roti Canai” & “The Tarik” and many instagrammable spots filled with murasl depicting the sense of place of “Kota Melaka”. Through a combination of images, forms and activities, a Sense of Place will be formed in Mellaca Eatery.

<p><strong>Abstract</strong><br />Nowadays, more and more people are turning to modern and contemporary style when it comes to choosing furniture for their homes, offices, restaurants, or hotels. In the past we might tend to back the use of natural elements, and one of the many popular products are bamboo. Bamboo as one of the most important non-timber forest products and fastest-growing plants in the world. As it known that bamboo craft is a folk craft products that has been around for a long time and developed hereditary, therefore we should preserve it. At first the user<br />of bamboo furniture is from the family environment which later evolved to reach a wider market. Many craftsmen developed an appreciation of the existing ones to create a new design that is estimated to sell in the market. The hope is to make<br />our bamboo furniture craft products can compete with the products of other countries.</p><p><br /><strong>Abstrak</strong><br />Saat ini semakin banyak orang yang beralih ke gaya modern dan kontemporer dalam memilih mebel untuk rumah tinggal mereka, kantor, restoran, atau bahkan hotel. Dahulu mungkin kita cenderung untuk memilih desain dan gaya klasik, tetapi sekarang ini orang cenderung kembali mempergunakan unsur-unsur alam, dan salah satu produk alam yang banyak digemari adalah bambu. Bambu sebagai salah satu produk non-kayu yang penting serta tanaman yang pertumbuhannya paling cepat di dunia. Seperti diketahui bahwa kerajinan bambu merupakan produk kerajinan rakyat yang telah ada sejak lama dan dikembangkan secara turun temurun, maka sudah<br />selayaknya hal ini perlu dilestarikan. Pada mulanya pemakai kerajinan mebel bambu hanyalah dari lingkungan keluarga yang kemudian berkembang hingga mencapai lingkungan pasar yang lebih luas. Banyak para pengrajin mengembangkan apresiasi yang sudah ada dengan membuat desain baru yang diperkirakan akan laku di pasaran. Harapannya adalah agar produk kerajinan mebel bambu negara kita dapat bersaing dengan produk negara lainnya.<br /><br /></p>

Abstract: The types of small and medium business sectors that are spread in the Kota Kisaran Timur District vary widely, including fashion, handicrafts, furniture, cafes, restaurants. One of the obstacles that are often faced by SMEs is the limited promotional media and the absence of mapping the location of these SMEs. The Department of Cooperatives and Trade of Asahan Regency has provided information on SMEs but it is still static in archive form and has not been computerized. The community, business actors, and parties who need information about these SMEs must visit the Cooperatives and Trade Office of Asahan Regency directly, which takes a long time and is less effective. The geographic information system used is web-based and uses the Google Maps API for mapping locations by determining coordinates. The use of WebGIS can make it easier for people to find information and the location of SMEs that are displayed in the form of regional mapping accurately and quickly. In addition, it also makes it easier for the Asahan Regency Cooperative and Trade Office to view information on the spread and growth of SMEs. Keywords: Mapping; WebGIS; Small and Medium Enterprises (SMEs); Eastern Kisaran Abstrak: Jenis sektor usaha kecil menengah yang tersebar di Kecamatan Kota Kisaran Timur sangat bervariasi meliputi usaha fashion, kerajinan tangan, furniture, cafe, restoran, Salah satu kendala yang sering dihadapi oleh UKM yaitu media promosi yang terbatas dan belum adanya pemetaan lokasi UKM tersebut. Dinas Koperasi dan Perdagangan Kabupaten Asahan telah menyediakan informasi mengenai UKM tetapi masih bersifat statis dalam bentuk arsip dan belum terkomputerisasi. Masyarakat, pelaku usaha, dan pihak-pihak yang membutuhkan informasi mengenai UKM tersebut harus mengunjungi Dinas Koperasi dan Perdagangan Kabupaten Asahan secara langsung, dimana hal tersebut membutuhkan waktu yang lama dan kurang efektif. Sistem informasi geografis yang digunakan berbasis web dan menggunakan Google Maps API untuk pemetaan lokasi dengan menentukan titik koordinat. Pemanfaatan WebGIS dapat mempermudah masyarakat dalam mencari informasi dan lokasi UKM yang ditampilkan dalam bentuk pemetaan wilayah secara tepat dan cepat. Selain itu juga mempermudah Dinas Koperasi dan Perdagangan Kabupaten Asahan dalam melihat informasi penyebaran dan pertumbuhan UKM. Kata Kunci: Pemetaan; WebGIS; Usaha Kecil Menengah (UKM); Kecamatan Kota; Kisaran Timur.

Artikel ini berisi tentang rancangan desain interior Papuk kafe dan resto di Surabaya. Desain dibuat berdasarkan kebutuhan klien yang ingin menggabungkan 3 fungsi bangunan yang berbeda, yakni kafe, rumah tinggal dan klinik yang dimana pemilik Papuk Kafe juga mengharapkan desain Papuk Kafe dan resto dapat memiliki fungsi lain selain kafe dan restoran yaitu fungsi sebagai tempat acara seperti acara ulang tahun. Desain ini diharapkan mampu membagi zona dan aktivitas dari 3 fungsi tersebut dan masing – masing memiliki ruang privasi yang proporsional. Selain tuntutan fungsi dan pembagian zona bangunan, klien juga membutuhkan suasana dan nuansa modern di dalam ruangan yang ada. Pada rancangan desain Papuk kafe dan resto ini penulis akan memberikan unsur sebuah multifungsi di dalam desainnya. Untuk multifungsi tersebut dapat diaplikasikan pada furnitur, dinding, panel dinding dan lainnya. Dengan memberikan fungsi multifungsi ini Papuk kafe dan resto akan mendapatkan sebuah kelebihan, keunikan dan seni di dalam desainnya. Fitur multifungsi ini adalah sebuah inovasi desain yang diberikan oleh Vrainz Konsultan agar berbeda dan mampu bersaing dengan konsultan lainnya. Bangunan Papuk kafe dan resto ini menghadap utara sehingga tidak terpapar cahaya matahari langsung yang dimana hal ini menjadi salah satu pertimbangan untuk dapat membantu konsultan Vrainz untuk mendesain pencahayaan alami Papuk Kafe ini dengan optimal.

As an area close to Indonesia’s capital city, Thousand Island have both nature and human ecosystem problems. From a nature perspective, the high levels of carbon produced by human activities in the capital cause marine pollution and imbalance of the Java Sea ecosystem. Meanwhile, from a human perspective, the high dependence of the people of the Thousand Islands on the capital city to meet their daily needs has made it difficult for the quality of life and the local economy to develop. In addition, the Thousand Islands has potential to grow seaweed, but didn’t catch local people’s interest because of the low selling value due to a lack of knowledge on how to process seaweed properly. The author designed the ‘Seaweed Chronicle : An Industrial and Aesthetic Hybrid Project’ which aims to solve the problems of the Thousand Islands, especially Pari Island, with the principles of ecological architecture. The industrial program utilizes an abundance of seaweed commodities to be processed into daily necessities for the community to improve the quality of life. The application of the theme 'beyond ecology' in the form of a program to appreciate the aesthetics of seaweed, which aims to change the human perspective to appreciate and appreciate the existence of other creatures (not just objects that are enslaved, but as subjects that are equal to humans) so as to increase awareness of nature. The program details for the project are industrial workshops (processing seaweed into paper, plastics, fertilizers, building materials, and furniture), seaweed development galleries (consisting of painting galleries, aquariums, seaweed appreciation with light, sea waves, time travel, and reflection), restaurants, educational stages, and stalls selling seaweed products. The project can be enjoyed by the people of Pari Island as well as attracting tourists. Keywords: aesthetic; ecology architecture; industry; seaweedAbstrakSebagai daerah yang berdekatan dengan ibukota Jakarta, Kepulauan Seribu memiliki permasalahan ekosistem alam dan manusia. Dari segi alam, tingginya kadar karbon akibat aktivitas manusia di ibukota menyebabkan pencemaran laut dan rusaknya keseimbangan ekosistem Laut Jawa. Sedangkan dari segi manusia, tingginya ketergantungan masyarakat Kepulauan Seribu terhadap ibukota Jakarta untuk memenuhi kebutuhan sehari-hari menyebabkan kualitas kehidupan dan ekonomi setempat sulit berkembang. Selain itu, Kepulauan Seribu memiliki potensi budidaya rumput laut, namun kurang diminati masyarakat karena nilai jual rendah akibat kurangnya pengetahuan cara mengolah rumput laut. Penulis merancang proyek ‘Seaweed Chronicle : Sebuah Proyek Hibrida Estetika & Industri Rumput Laut’ yang bertujuan menyelesaikan permasalahan Kepulauan Seribu, khususnya Pulau Pari, dengan prinsip arsitektur ekologi dan menyatukan fungsi estetika dan industri. Program industri memanfaatkan komoditas rumput laut yang melimpah untuk diolah menjadi barang kebutuhan sehari-hari masyarakat guna meningkatkan kualitas hidup. Penerapan tema ‘beyond ecology’ berupa program penghayatan estetika rumput laut yang bertujuan mengganti cara pandang manusia agar lebih menghayati dan menghargai keberadaan makhluk lain (bukan hanya sekedar objek yang diperbudak, namun sebagai subjek yang setara dengan manusia) sehingga meningkatkan kepedulian terhadap alam. Rincian program pada proyek adalah workshop industri (pengolahan rumput laut menjadi kertas, plastik, pupuk, material bangunan, dan furniture), galeri penghayatan rumput laut (terdiri dari galeri lukisan, aquarium, penghayatan rumput laut dengan cahaya, gelombang laut, perjalanan waktu, dan refleksi), restoran, panggung edukasi, dan kios penjualan hasil rumput laut. Proyek dapat dinikmati oleh masyarakat Pulau Pari sekaligus menarik wisatawan.

Unhealthy lifestyles, and the tendency of consumption of unhealthy foods/ junk food are the main causes of obesity. Third Place is the main theme of this research discussion. The issue discussed in this study is "How can a third place support a healthy lifestyle?" The location of the project is on Jl. Kemang raya, South Jakarta which is known for culinary. The site is located near offices, banks, fast food restaurants and furniture stores. The main purpose of this project is to become a place that facilitates the community to living a healthy lifestyle through healthy food. This project supports the Sustainable Development Goals program regarding good health and well-being. The research method used in this study started by finding facilities / programs aimed at solving problems in an area. Then proceed with the process of designing a facility that will produce an amount scale of space in this project. The results of this research is designing a building in the form of a “Healthy Culinary Village in Kemang / Healthy Culinary Village in Kemang”. This project have 5 main program in the form of Sharing Kitchen, Fresh Market, Dessert Bar, Restaurant, Cooking Class, Gym which aims to improve healthy lifestyles and reduce the level of obesity through culinary / healthy food. This project contributing to the environment by providing a Third place as a place to socialize for the community in the project area. Abstrak Pola hidup kurang sehat, serta kecenderungan konsumsi makanan yang tidak sehat/ junk food menjadi penyebab utama terjadinya obesitas. Third Place merupakan tema utama dari bahasan penelitian ini. Maka isu yang dibahas pada penelitian ini yaitu “Bagaimana sebuah Third place dapat mendukung pola hidup sehat?”. Lokasi proyek berada di Jl.Kemang raya, Jakarta Selatan yang merupakan kawasan yang terkenal akan kuliner. Lokasi tapak berada didekat perkantoran, bank, restoran cepat saji, dan toko furniture.Tujuan utama dari proyek ini yaitu menjadi sebuah tempat yang memfasilitasi masyarakat untuk menjalankan pola hidup sehat melalui makanan sehat. Hal ini juga bertujuan mendukung program Sustainable Development Goals perihal kesehatan yang baik dan kesejahteraan. Metode penelitian yang dilakukan pada penelitian ini dimulai dengan menemukan fasilitas/ program yang bertujuan menyelesaikan masalah dari sebuah kawasan. Kemudian dilanjutkan dengan proses mendesain fasilitas yang akan menghasilkan besaran ruang dalam proyek ini. Hasil penelitian ini yaitu mendesain bangunan berupa Kampung Kuliner Sehat di Kemang/ Healthy Culinary Village in Kemang. Proyek ini memiliki program utama berupa Sharing Kitchen, Fresh Market, Dessert Bar, Restaurant, Cooking Class, Gym yang bertujuan meningkatkan pola hidup sehat dan mengurangi tingkat obesitas melalui kuliner/ makanan sehat. Memberi kontribusi kepada lingkungan dengan menyediakan Third place sebagai wadah untuk bersosialisasi bagi masyarakat di kawasan proyek tersebut.

A circular economy (CE) aims to reduce waste and encourages keeping products, components, and materials circulating in the economy. Furthermore, following the European waste hierarchy, preparing for re-use (PfR) is regarded as a better waste management option than recycling. Nevertheless, too many products with a reuse potential end up as waste. This includes residuals from products that have no major value and are therefore not demanded by the current system. As a result, products are prematurely recycled. This contradicts both the priority order of the waste hierarchy and the principles of a CE. This article investigates the potential of and constraints to reusing products that are disposed of at municipal recycling stations. It aims to improve our understanding of these issues and offers possible solutions that could enable municipal waste companies to transition from waste to resource management and reach the upper levels of the waste hierarchy, preparing waste for re-use. Interviews with relevant stakeholders, desk studies and knowledge obtained from participating in waste conferences over the past 3 years are all used to analyze PfR practice at five municipal waste management companies in Denmark. Pioneers with respect to circularity in the waste sector, which have been experimenting with and initiating PfR schemes concerning a range of products, including building materials, furniture, white goods and bicycles, are considered because they support the inner cycles of the CE. However, results reveal that the current transition consists of complex processes connected to an ambivalent legal framework and struggles over access and rights to resources. Further, a more coherent conceptual understanding of PfR is needed as the current understanding has a too narrow focus on restoring product value rather than coupling PfR processes to the market. Thus, challenges to achieving higher PfR rates seem to go beyond engaging in strategic partnerships, creating financial incentives and setting separate targets for PfR. Consequently, a more holistic investigation appears to be necessary to deepen our understanding of processes of resource management and use and the contestation that exists over these. Furthermore, a wider mapping of the actors operating in the tension area of PfR, including their willingness to cooperate and negotiate a zone of agreement, could prove beneficial to practitioners and policy developers alike.

IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. 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