Ferlina Sugata, S.T., M.T.
Ferlina Sugata, S.T., M.T.
Ketua Program Studi Sarjana Arsitektur
NIK: 630080
NIDN: 0406107904
Profil Dosen
Ferlina Sugata menempuh pendidikan Sarjana Teknik Arsitektur di Universitas Katolik Parahyangan Bandung pada tahun 1998 dan melanjutkan studi Magister Teknik Arsitektur pada tahun 2003 di Universitas Diponegoro Semarang dengan konsentrasi Urban Design. Sejak 2007 hingga sekarang aktif mengajar di Program Studi Sarjana Interior di Universitas Kristen Maranatha. Pada tahun 2017 ia juga mengajar di Institut Teknologi Harapan Bangsa Bandung, dan mulai 2019 mengajar di Program Studi Sarjana Arsitektur di Universitas Kristen Maranatha. Disamping mengajar di perguruan tinggi, Ferlina juga mengajar Binaan UMKM di Koperasi Maju, serta menjadi Mentor di Indonesian School of Entrepreneurship yang merupakan partner Kementrian Koperasi dan UMKM serta kerap menjadi Juri Lomba Kewirausahaan tingkat nasional.
- ferlina.sugata@art.maranatha.edu
Ferlina Sugata, S.T., M.T.
Ketua Program Studi Sarjana Arsitektur
NIK: 630080
NIDN: 0406107904
Profil Dosen
Ferlina Sugata menempuh pendidikan Sarjana Teknik Arsitektur di Universitas Katolik Parahyangan Bandung pada tahun 1998 dan melanjutkan studi Magister Teknik Arsitektur pada tahun 2003 di Universitas Diponegoro Semarang dengan konsentrasi Urban Design. Sejak 2007 hingga sekarang aktif mengajar di Program Studi Sarjana Interior di Universitas Kristen Maranatha. Pada tahun 2017 ia juga mengajar di Institut Teknologi Harapan Bangsa Bandung, dan mulai 2019 mengajar di Program Studi Sarjana Arsitektur di Universitas Kristen Maranatha. Disamping mengajar di perguruan tinggi, Ferlina juga mengajar Binaan UMKM di Koperasi Maju, serta menjadi Mentor di Indonesian School of Entrepreneurship yang merupakan partner Kementrian Koperasi dan UMKM serta kerap menjadi Juri Lomba Kewirausahaan tingkat nasional.
Representasi dan Orientasi Simbol Penghormatan dalam Dinamika Ruang Ibadah Agama Buddha (Studi Kasus: Rumah Ibadah Cetiya di Bandung)
2016
Tjandradipura, Carina and Sugata, Ferlina
Every religious community in general has a symbol of respect to worship the majesty and greatness of someone who is considered important in their respective religions. This is motivated by the development of the world of architecture and the adjustment of different worship activities so that it affects the emergence of various spatial arrangements in one of the Buddhist worship spaces, namely the cetiya. In the development of the form of the cetiya space, the activities in this cetiya also underwent changes, namely as a forum for ritual activities and religious interactions so that they had an impact on the essence of meaning for a spiritual activity. The purpose of this study is to explore the history and development of the form, function and meaning of the cetiya from the early days to the present, by identifying the types of cetiya in the public and private spheres, and still functioning according to their initial formation but have undergone a shift in the aspect of their physical container and content; and to find out the extent to which the shift occurred by analyzing the driving factors for this occurrence. The analytical method used is a phenomenological study, which is looking for the driving factors with rationalistic qualitative techniques so that the data processing technique is an analysis of the relationship between the two variables which is translated into factors and then continued by using a simple tabulation, so as to produce a systematic of these factors. At this time the cetiya has changed its shape into a room or building for personal worship or certain groups, namely in the form of a corner of a room or a special room in a residential or office function. The shift in function that is currently happening does not have a significant effect on the arrangement of spatial patterns and can still show the representation of the Buddhist symbol with a centralized spatial orientation and the hierarchy is maintained as a private and solemn worship space, although with different elements of scope and spatial attributes. Based on the findings of this study, it can be concluded that the symbol is still known today but is represented differently from the initial concept of a sacred place or storage of Buddhist sacred objects. The use of names is still used and the function of the cetiya as a place of worship that accommodates reverence activities is still maintained.
Idealog: Jurnal Desain Interior & Desain Produk, 1 (1). pp. 1-25. ISSN 2477-0566
Representasi dan Orientasi Simbol Penghormatan dalam Dinamika Ruang Ibadah Agama Buddha (Studi Kasus: Rumah Ibadah Cetiya di Bandung)
2016
Tjandradipura, Carina and Sugata, Ferlina
Every religious community in general has a symbol of respect to worship the majesty and greatness of someone who is considered important in their respective religions. This is motivated by the development of the world of architecture and the adjustment of different worship activities so that it affects the emergence of various spatial arrangements in one of the Buddhist worship spaces, namely the cetiya. In the development of the form of the cetiya space, the activities in this cetiya also underwent changes, namely as a forum for ritual activities and religious interactions so that they had an impact on the essence of meaning for a spiritual activity. The purpose of this study is to explore the history and development of the form, function and meaning of the cetiya from the early days to the present, by identifying the types of cetiya in the public and private spheres, and still functioning according to their initial formation but have undergone a shift in the aspect of their physical container and content; and to find out the extent to which the shift occurred by analyzing the driving factors for this occurrence. The analytical method used is a phenomenological study, which is looking for the driving factors with rationalistic qualitative techniques so that the data processing technique is an analysis of the relationship between the two variables which is translated into factors and then continued by using a simple tabulation, so as to produce a systematic of these factors. At this time the cetiya has changed its shape into a room or building for personal worship or certain groups, namely in the form of a corner of a room or a special room in a residential or office function. The shift in function that is currently happening does not have a significant effect on the arrangement of spatial patterns and can still show the representation of the Buddhist symbol with a centralized spatial orientation and the hierarchy is maintained as a private and solemn worship space, although with different elements of scope and spatial attributes. Based on the findings of this study, it can be concluded that the symbol is still known today but is represented differently from the initial concept of a sacred place or storage of Buddhist sacred objects. The use of names is still used and the function of the cetiya as a place of worship that accommodates reverence activities is still maintained.
Idealog: Jurnal Desain Interior & Desain Produk, 1 (1). pp. 1-25. ISSN 2477-0566