Isvs e-journal 

Abstract: For centuries, traditional bazaars, or Souqs have been integral to urban life and the economic landscapes of Arabic-Islamic regions. The tangible and intangible heritage that shapes the identity of a place and contributes to its economy is essential to the functioning of these bazaars. With appropriate spatial configurations, they could foster creative industries, handcrafts, and customs, which can generate new services, create jobs, diversify a city’s economic distribution and promote small businesses. This paper explores Souq alsaffarin, which is also known as the copper market in old Rusafa in Baghdad. It is a heritage urban landscape and has a role in shaping the sense of place in this area. It has been subject to many socio-economic and political events that have influenced the importance and character of its profession, in terms of production and selling. It is a landmark of Baghdad that has maintained its position despite difficulties. The distinctive handicrafts produced and their relationships with people’s social practices highlight their impact on tourism and their role as an economic source for the region. They provide economic permanence that helps to develop the historical core of the city, preserve its historical identity, and promote cultural tourism. However, the market faces a significant problem of declining numbers of shopkeepers and craftsmen, which threatens the continuation of its local small businesses. This research examines this issue. It employs site observations, questionnaires, and interviews with craftsmen and shop owners who still run the market, as a research methodology. SWOT analysis is employed to identify the best solutions to develop the souq and preserve its identity. The paper concludes that the significance of Souq Alsaffarin lies in its deep connection to the rich history and culture, which defines the identity and heritage of the community. Thus, it argues that preservation and conservation are essential. This requires an approach that considers both tangible and intangible aspects of the souq, engaging the local community, and promoting sustainable practices, so that this souq can thrive as a living testament to its rich history and culture.

Abstract: This study delves into the Begalan performing arts, a cultural tradition in Banyumas Regency associated with weddings. It aims to identify the forms of begalan performing arts in Karangsari Village, Kebasen District, Banyumas Regency, Central Java, unravel the symbolic meanings of the began tradition in traditional marriages and establish the values of traditional ethics education Begalan. The research employed qualitative methods with case studies involving data collection through observations, interviews, and documentation. It interviewed community leaders, brides and grooms as well as Begalan actors and was carried out in Karangsari Village, Kebasen District, Banyumas Regency, Central Java. The findings reveal performance time, sequence, and Begalan accompaniment as well as symbolic meanings of the properties, such as dian (Javanese traditional light), ilir (wind source useful for cooling rice), kukusan (tool for steaming rice), pedaringan (crate for storing rice), layah, muthu, irus, siwur (dipper), beras (rice), wangkring (a carrying device made of bamboo called a bamboo rope.), sapu sada (lidi broom), suket (java grass), cething (Javanese utensil), daun salam (Indonesian bay-leaf), and tampah (winnowing tray) and in the song lyrics which contain advice for the wedding couple. The Begalan tradition is steeped in intricate symbolism and multifaceted meanings, contributing to the realm of community ethics education. The Begalan tradition, embedded in Javanese ethics and customs, imparts several local wisdom values, including community ethics, harmony, self-control, saving, and respect. These values are essential for a harmonious marital life and broader social interactions.

Abstract: This study quantifies the overall impact of urban growth on the ecology of Mumbai by using an Ecological Footprint analysis. Its aim is to help determine the natural resource consumption of existing urban settlements. The objective is to assess the environmental impact resulting from the existing urban layouts on Mumbai's region. The research employs a comparative analysis of footprint and land ratio for different urban layouts of Mumbai. There are different layouts in Mumbai, primarily by MHADA (Maharashtra Housing and 10 Development Authority) & private builders. Footprints and land ratio of these layouts are calculated as per the Development Control Rules of Mumbai. The results are referred to as footprint per capita and land ratio required for the layout. The land ratio is the ratio of land required for the building's total footprint to the actual built-up area of land on which the building is erected. The land ratio is directly proportional to the quantity and type of material used for building. The land ratio required in case of MHADA (Maharashtra Housing and Development authority) layout is almost double than layout by private builders as much more material quantities is required in case of MHADA layout due to more no buildings, and extra FSI utilized i.e., FSI of 2.50 as against 1.33 for private layout. Hence, layouts like private builders shall be preferred for Mumbai city to achieve the region's environmental sustainability.

Abstract: Inspiration is a crucial factor in the conception and development of innovative design products. In the contemporary creative world, an innovative product transcends mere aesthetic factors, encompassing intrinsic values. This study investigates a framework for transforming Mamuli pattern, found in East Sumba woven fabric, into a contemporary and innovative product, in the form of a standing lamp. This effort aimed to guide designers and design students in the precise and effective transformation of local culture. Innovation was done through materialization, observation and experimentation (IMOE). They were applied to cultural artifacts, structured across four levels, namely the inner, middle, outer, and experimental. The experimental element assumed a central role in the methodology. The inner level encompassed the meanings and symbols of the cultural artifact (Mamuli pattern), while the middle level involved its creative process. The outer level represented the physical appearance, including materials, colors, and ornaments. The experimental element involved the creative process of transforming the cultural artifact into a contemporary form. The experiment targeted designers and design students, facilitating the creation of contemporary products through a culturally-sensitive transformation, fostering innovations. Developed through an ethno-mathematical theory and experimental folding techniques, it generated experimental innovative product designs. It transformed Mamuli pattern from East Sumba woven fabric into Kandunnu standing lamp, drawing inspiration from both the outer and inner levels.