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Abstrak :
ABSTRAK
Munculnya isu penelitian ini diawali dengan adanya tingkat kesenjangan yang signifikan di bidang studi perancangan arsitektur, yaitu antara konsep verbal yang diinginkan oleh seorang perancang dengan konsep figural yang dihasilkan. Hasil pengamatan banyak menunjukan pola hubungan yang tidak signifikan atau tidak sejalan. Peneliti merasa tertarik untuk meneliti lebih jauh terhadap fenomena tersebut.

Melalui kajian bidang psikologi khususnya psikologi pendidikan, peneliti menganalisis beberapa teori yang relevan seperti; teori kreativitas khususnya pada proses berpikir kreatif teori perancangan arsitektur, dasar-dasar teori neurologi, dan teori belajar. Hasil analisis beberapa teori tersebut disintesakan oleh peneliti dalam bentuk model pembelajaran yaitu ?model pembelajaran transfomasi kreatif dalam proses berpikir?.

Tujuan penelitian adalah ingin membuktikan pengaruh model pembelajaran transformasi kreatif dalam proses berpikir terhadap prestasi belajar di bidang perancangan arsitektur (bangunan). Sedangkan masalah utama penelitian ini adalah ?apakah ada perbedaan yang signifikan antara prestasi belajar pada matakuliah perancangan arsitektur yang disebabkan oleh model pembelajaran transformasi kreatif dalam proses berpikir dan model pernbelajaran konvensional (analisis tugas)?.

Prosedur penelitian meliputi: sampel berasal dari mahasiswa arsitektur, metode yang digunakan untuk interpretasi hasil penelitian menggunakan rancangan eksperimen, alat analisis datanya menggunakan Uji-U, dan koefisien jalur atau path analysis.

Dari hasil analisis atau olah data, diperoleh hasil yang menunjukkan bahwa terdapat perbedaan yang signifikan terhadap prestasi belajar antara kelompok yang diberi model pembelajaran transformasi kreatif dalam proses berpikir dan model pembelajaran konvensional (analisis tugas), disamping itu terdapat juga peningkatan yang signifikan pada kemampuan berpikir transformasi kreatif pada kelompok yang diberi model pembelajaran transformasi kreatif dalam proses berpikir serta mampu menghasilkan karya-karya kreatif dan inovatif.

Model pembelajaran transformasi kreatif dalam proses berpikir ini merupakan inovasi terkini (2005) dalam ilmu psikologi khususnya bidang kreativitas dan perancangan arsitektur.

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Abstract
The emergence of the research topic was initiated by the significant discrepancies found in the field of architectural designs, particularly between the verbal concept, which is desired by a designer and the figural concept, which results in. The results of the observation have indicated that the relationship is not significant or inconsistent. The researcher is interested to explore such phenomena further.

Based on the analysis in the psychological Held, particularly the educational psychology, the researcher attempted to analyze some relevant theories, such as: creativity theory - particularly the creative thinking process, theory of architectural designs, basic theory of neurology, and theory of learning. The results of the analysis on the theories are synthesized by the researcher in the form of a learning model, which is ?the creative transformational learning model of the thinking process".

The objective of the research is to prove the influence of the creative transformational learning model of the thinking processes on the academic achievements in the areas of architectural designs. Whereas the main problem of this research is whether there is a significant difference between the academic achievements in the architectural design class, caused by the creative transformational learning model of the thinking process and the conventional learning model (based on the assignment analysis)

The research procedure includes the following aspects: samples taken from the architect students. The research methods used to interpret the data were based on the experimental design. The data analysis tools used were the U-Test and path analysis.

Based on the data analysis, it is indicated that there is a significant difference towards die academic achievements between the groups where the creative transformational learning model was applied and the groups where the conventional learning model was applied. Some significant components, which have contributed to the academic achievements, are as follows: the improvement of the creative transformational abilities and the works produced are innovative and original.

The creative transformational learning model of the thinking process is the most recent innovation in Psychology, specifically in the areas of creativity and architectural designs.

Abstrak :
ABSTRAK
Kehilangan kekuasaan politik sejak tahun 1950, Keraton Kasunanan Surakarta menjalani masa survival untuk mempertahankan eksistensi kerajaan yang dibangun pada tahim 1745 ini. Setengah abad kemudian tampak bahwa usaha keraton mulai menuai basil. Tradisi-tradisi yang semula hilang bangkit kembali, dan upacara-upacara ad at Jawa semakin marak dijalankan baik di dalam maupun di luar keraton. Gelar kebangsawanan dikejar oleh berbagai kalangan pada skala nasional; dari orang biasa, usahawan, sampai pejabat tinggi pemerintah.

Hasil penelitian mengungkapkan bahwa keberadaan Keraton Kasunanan dapat dipertahankan karena peran sentral Raja Paku Buwono XII dalam melestarikan tradisi dan memelihara ritual keraton. Dari sudut pandang antropologi politik, upaya sang raja ini dapat diartikan sebagai bentuk strategi peneguhan kekuasaan melalui pemeliharaan dukungan, legitimasi, dan otoritas. Pemeliharaan tradisi dan ritual yang sarat dengan makna simbolik (bila perlu menciptakan tradisi baru yang tampak seolah tradisi kimo) berperan besar dalam meneguhkan legitimasi kekuasaan. Di samping itu, keraton juga menggimakan basis sakral sebagai strategi politik. Konsep keraton sebagai jelmaan alam semesta {imago mundi) dan raja sebagai pusat alam semesta {axis mundi) dipakai sebagai alat untuk meneguhkan eksistensi kerajaan yang sesungguhnya tidak lagi memiliki kekuasaan politik.

Dari sudut pandang antropologi perkotaan, strategi survival berbuah pada bentukbentuk kompromi penggunaan ruang dan tata ruang keraton berumur 250 tahun ini. Di sini dapat dilacak pola perubahan dan konstansi tata ruang, yang menyangkut elemenelemen tetap, setengah-tetap, dan tidak tetap.

Di balik kisah kebangkitan keraton yang tampak fenomenal ini, jika ditempatkan pada skala yang lebih luas (skala kota Surakarta atau negara Indonesia), geliat Keraton Kasunanan masa kini masih terlihat bagaikan "negara teater" yang mengandalkan suguhan tradisi sebagai menu utamanya. Semangat mendukung keberadaan keraton nampaknya masih merupakan minat individual.

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ABSTRACT
Losing its political power in 1950, Keraton Kasunanan Surakarta has endured a survival period in preserving the existence of this kingdom that was established in 1745. Half a century later, seems that the kingdom has gained a considerable success. Vanishing traditions have restored, while the practice of old Javanese rituals have blossoming both inside and outside the kingdom wall. Nobility titles have been demanded by broad range of people in nation-wide; from ordinary people, businessmen, until highrank government officers.

The research reveals that the existence of Keraton Kasunanan has survived because of the central role of King Paku Buwono XII in preserving traditions and maintaining keraton's rituals. From the viewpoint of political anthropology, all the king's efforts can be meant as strategy of strengthening the power by maintaining supports, legitimacy, and authority. Maintenance of traditions and rituals, which full of symbolic meanings (and if necessary, inventing new tradition that looks like ancient tradition), takes an important role in building up power legitimacy. The kingdom has also made use of sacred base as political strategy. The idea that puts the palace complex as representation of the universe (imago mundi), and the king as center of the universe (axis mundi) has been used as a tool to strengthen the existence of the kingdom that in fact has no more political power.

From the viewpoint of urban anthropology, the strategy of survival has resulted in the compromise in the use of space and the spatial order of this 250-year old kingdom. Here can be traced the change and constancy of urban order, which cover the fixed-feature, semifixed-feature and nonfixed- feature elements.

Behind the revival story of the kingdom that looks phenomenal, ifplaced in larger scale (city-wide Solo, or country-wide Indonesia), the struggle of Keraton Kasunanan today appears no more than a "theater state " that relies on performing tradition as its main menu. The spirit of supporting kingdom's existence seems to be individual interests.

Abstrak :
ABSTRAK
Kehadiran ide "Arsitektur Panggung" merupakan visualisasi ideologi Penguasa melalui karya arsitektur terdorong oleh trilogi hasrat, intervensi, dan rasa seni. Di Indonesia terwujud sebagai ekspresi kekuasaan Soekarno 1960-an menjadi ruh tergubahnya karya arsitektur "Projek Mercusuar"di Jakarta. Teori "Arsitektur Panggung" sebagai Arsitektur Non Material yaitu "sesuatu‟ yang tak teraga mendahului fisik material Arsitektur memiliki karakteristik sebagaimana konsep Khora. Sejumlah data metafisik berdasar data kesejarahan menunjuk bekal Soekarno Muda sebagai arsitek, politisi, dan penulis naskah drama tonil yang memampukannya di saat menggaungkan Nation Pride melalui karya arsitektur. Fenomena serupa di mancanegara ditampakkan pada arsitektur warisan Adolf Hitler di Jerman, Joseph Stalin di Soviet Uni, Kubitchek di Brazilia dan Mao Tze Dong di Cina, serta Nehru di India. Akan tetapi bekal pengetahuan tacit kearsitekturan khas Timur yang dipadukan dengan Barat yang dimiliki Soekarno telah membedakannya dengan Penguasa lainnya. Soekarno telah memberi warna kehadiran ide "arsitektur panggung" dengan pesona ke-Indonesia-an khas Jawa Kuno berupa ornamentik yang dilekatkan pada bangunan Arsitektur Modern, telah membedakannya dengan Hitler ketika menggubah gaya Fuhrer, Stalin ketika menggubah Gothic Stalinist, Kubitcheck dalam menggubah Ibukota Brazilia, Nehru ketika menggubah Chandigarh ataupun ketika China menggubah diri sebagai "Paris dari Timur". Melalui penelitian Grounded Theory dan cara pengamatan fenomenologis pada sepilihan karya arsitektur "Projek Mercusuar" melalui pengamatan visual, pengalaman keruangan, serta penghimpunan data metafisik yang dipertautkan keterhubungannya secara hermeneutik- interpretatif terungkap adanya proses memutu dalam kehadiran arsitektur. Ketika urutan demi urutan keruangan juga dipertautkan tersingkap adanya kesepadanan struktural yang membingkai ruh dan raga dari ide "Arsitektur Panggung" gagasan "Arsitek" Soekarno sebagai ekspresi kesepadanan pengetahuan arsitektural dan jiwa dramaturgi yang melingkupinya.

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ABSTRACT
The presence of the idea of "Architecture Stage" is a visualization of the Ruler through the architectural work as his ideologies are driven by trilogies of his passion, his intervention and his sense of art. In Indonesia Soekarno manifested his ideologies as his expression in the 1960‟s with the architectural masterpiece known as the "Project‟s Lighthouse" in Jakarta. The theory of the "Architecture Stage" was found as part of a "Non-material Architecture‟, that is "something‟ regarded as an intangible architecture that precedes the materiality with similar characteristics as the concept of space " Khora. Some of the metaphysical data as historical archives was collected through the historical of event, starting from young Soekarno as an Architect, Politician, and the Playwright of drama tonil, which empowered him in echoing the Nation‟s Pride ideology through his works and architectural masterpieces. The same phenomena abroad was revealed in the architectural legacies of Adolf Hitler in Germany, Joseph Stalin in the Soviet Union, Kubitchek in Brazilia, Mao Tze Dong in the People‟s Republic of China, and Nehru in India. However, there are different types in Indonesia. Soekarno‟s architecture tacitly expressed architectural knowledge in the manner of "Eastern meets Western‟, resulting in a combination of differences between them. Soekarno has given "color‟ as sense of presence in the ideas of the "Architecture Stage". Combining the charm of the Indonesian culture by exploring Ancient Javanese form, Soekarno distinguished his architectural style by attaching building ornamentation to Modern Architecture. This was done at a time when Hitler was composing his architectural style, when Stalin was composing the Stalinist Gothic, when Kubitcheck was designing the capital city of Brazilia, when Nehru was composing Chandigarh and when Shanghai, China was declared as the "Paris of the East‟. By using the "Grounded Theory‟research method, which refers to Glaser and Strauss, phenomenological observations are noted in several architectural works concerning the "Project‟s Lighthouse" in Jakarta in the 1960‟s. Through visual observation and spatial experiences as well as metaphysical data collection, the idea of connectedness was found. Through a Hermeneutic-Interpretive method, the process of deriving quality from an architectural presence is revealed. By connecting the spatial sequences in architecture, Tugu Nasional, known as the "Project‟s Lighthouse" reveals the structural equivalence of the spirit as the body and soul of the idea of an "Architecture Stage." This was Soekarno‟s idea as an expression of his architectural knowledge with his dramaturgy representation. Soekarno composes the idea of a "Soekarnoestic Architecture Stage" as the metaphor for representing himself as the "Stage of Indonesia".