BTS Tower Camouflage Products Design based on Zonation of Urban

Area

Rahmawan Dwi Prasetya

, Nor Jayadi

and Endro Tri Susanto

Department of Product Design, Indonesia Institute of the Arts Yogyakarta, Yogyakarta, Indonesia

Keywords: zonation, BTS tower, camouflages design.

Abstract: The era of industrial revolution 4.0 which was marked by digitalization in almost all lines of human life

demands the availability of supporting physical facilities and infrastructure. BTS tower (Base Transceiver

Station) is one of the important components to accommodate digital activities in the industrial era 4.0. The

problem that arises is that there are still negative perceptions from several parties in the community. They

assume that the existence of BTS towers in their area has a negative impact on them such as bothering

environmental aesthetics, causing health problems, and bringing insecurity. Even though they are unaware,

the main users of this facility are actually the community itself. This condition raises challenges for creating

telecommunications tower design innovations that are better able to adapt to the environment. Camouflage

Tower BTS is a term for BTS towers that are designed to be able to adjust to their environment through

their ability to camouflage. The five design criteria formulated by Jayadi and Prasetya, namely friendly,

proportional, safe, redesignable, and thematic, and in accordance with the zone of the urban area where the

tower was built and used as the BTS tower camouflage design following the criteria. The research was

conducted in the city of Yogyakarta using the 6-stage design development method from Ulrich and

Eppinger. The result is five selected designs that meet the specified technical requirements and the design

criteria.

1 INTRODUCTION

In the present era, which is called the industrial

revolution era 4.0, there is a belief that the more the

population of a region, the more the number of

cellular telephone network needs. Such conditions

occur in cities in almost all countries in the world,

including Indonesia. The era of industrial revolution

4.0 has a digitizing feature on all fronts (Schwab,

2017). The industrial revolution which began with

the use of steam engines in the 18th century

(Industrial Revolution 1.0) reached its peak today

with the birth of digital technology that had a

massive impact on human life throughout the world.

The latest industrial revolution or fourth generation

encourages automation systems in all processes of

human activity. The increasingly massive internet

technology not only connects millions of people

around the world but also has become the basis for

online trade and transportation transactions

(Rosyadi, 2018). To face the industrial revolution

4.0, the Ministry of Industry of the Republic of

Indonesia has launched the initiative "Making

Indonesia 4.0." The initiative was declared to

implement the strategy and Roadmap 4.0 (Industrial

Revolution 4.0/ 4IR) in Indonesia (Kementerian

Perindustrian Republik Indonesia, 2018; Soesatyo,

2018). Through the Indonesian Ministry of Industry,

Indonesia will encourage 10 national priorities in the

initiative "Making Indonesia 4.0", namely (Ministry

of Industry of the Republic of Indonesia, 2018),

1. Improved flow of goods and materials

2. Redesign of industrial zones

3. Accommodating sustainability standards

4. Empowering MSMEs

5. Building a national digital infrastructure

6. Attract foreign investment

7. Improving the quality of human resources

8. Development of an innovation ecosystem

9. Incentives for technology investment

10. Harmonization of rules and policies

One of the national priorities mentioned above is

building national digital infrastructure. Specifically,

the Ministry of Industry of the Republic of Indonesia

states that Indonesia will accelerate the development

Prasetya, R., Jayadi, N. and Susanto, E.

BTS Tower Camouﬂage Products Design based on Zonation of Urban Area.

DOI: 10.5220/0008526800680076

In Proceedings of the 1st International Conference on Intermedia Arts and Creative Technology (CREATIVEARTS 2019), pages 68-76

ISBN: 978-989-758-430-5

of digital infrastructure which includes high speed

internet, and digital capabilities in an effort to

support the Making Indonesia 4.0 Road Map. The

infrastructure development will involve investment

cooperation between the government, the public and

the private sector in the field of digital technology

such as cloud, data center, security management, and

broadband infrastructure.

Indonesia itself, as reported by APJII

(Association of Indonesian Internet Service

Providers), internet users in 2017 have reached

143.26 million people, equivalent to 54.7% of the

total population of the Indonesian people (APJII,

2018b). This number shows an increase from the

previous year (132.7 million people). The latest data

shows that the number of internet users in Indonesia

in 2018 has reached 171.18 million or 64.8% of

Indonesia's total population of 264.16 million

(Kusnandar, 2019). Most internet users in Indonesia

are dominated by people in Java (55%), followed by

Sumatra (21%), Kalimantan (9%), and the rest

Sulawesi, Maluku and Papua (10%), as well as Bali

and Nusa Tenggara ( 5%).

Therefore, in the millennial era marked by the

4.0 industrial revolution characterized by

digitalization on all lines, internet service providers

were required to improve the quality of their

services, including the scope of their operations. Not

only are ISPs (Internet Service Providers) preparing

themselves to improve their service infrastructure,

but also cellular mobile telecommunications

operators as mobile internet providers. Cellular

telecommunications operators operating in Indonesia

have 5, namely Telkomsel, XL Axiata, Indosat,

Three, and Smartfren (Ariansyah, 2014). The five

operators, based on a survey of the Emarketer

Digital Marketing Research Institute, are expected to

serve more than 100 million active smartphone users

in 2018 (Rahmayani, 2015). Keep in mind,

smartphones are the most widely used devices when

accessing the internet beside a computer / laptop. Its

use is also spread to several areas as follows, in

urban areas smartphone ownership reaches 70.96%,

rural urban (45.42%), and rural (42.06%). The use of

computers themselves tends to be stagnant, namely

urban area (31.55%), rural urban (23.42%), and rural

(23.83) (APJII, 2018a). With the description of these

conditions, Indonesia is projected to rank fourth in

the world with the largest active smartphone users in

the world, under China, India and US.

Yogyakarta city, which is a heterogeneous

community, is also not expected to be much

different in circumstances related to cell phone use.

The need for cellular communication networks in the

city which can be said as a representation of

Indonesia's diversity is increasing from year to year.

To improve service quality and coverage of cellular

network areas, cellular operators such as Telkomsel,

XL Axiata, Indosat, Three, and Smartfren, build

more telecommunications towers (BTS / Base

Transceiver Station towers) in certain locations in

the city. The location of the tower placement must

be in accordance with business interests that are in

line with the regulatory aspects (Fauzi, 2014;

Widyatmoko & Mauludiyanto, 2015). But the

problem arises when one operator and another

operator points to the same area to set up a tower.

The existence of several towers in an area will

certainly damage the environment visually, and

potentially lead to rejection from the community

(Hidayah, 2015; Zam/din, 2014). Even according to

a research, the existence of 1 telecommunications

tower (BTS tower) alone has the potential to disrupt

the environment in terms of beauty (Nagle, 2012).

The solution to this problem is usually to use 1

tower that can be used together. The solution will be

even better if there is a treatment for the tower itself.

The intended treatment is to give a different visual

appearance to the tower. The visual appearance is

usually applied to monopole type towers (1 pole)

which are then referred to as camouflage towers.

To suit the city of Yogyakarta which has a

variety of nicknames, from city students, city

tourism, cities of struggle, cities of culture, cities of

artists, to cities that are warm, it is necessary to

design a visual form of camouflage BTS towers that

are in harmony with the environmental conditions in

the area . Some designs have been obtained with a

visual form of taking inspiration and philosophy of

the local community, by applying the criteria that

have been formulated in previous research, namely

friendly design, proportional, safe, redesign, and

thematic (Jayadi & Prasetya, 2017), and in

accordance with the zone where the tower was built

(Jayadi & Prasetya, 2018).

2 MATERIAL AND METHOD

2.1 Camouflage Tower

Why is it called a camouflage tower? So called

because the tower design is able to disguise its

existence in the middle of the environment where

the tower was erected. Camouflage was originally

known as one of the techniques to defend animals in

the face of threats. Camouflage is the deployment of

all abilities involving colour, lighting, or materials to

BTS Tower Camouﬂage Products Design based on Zonation of Urban Area

hide themselves so that they are not detected by their

opponents. Basically there are 2 types of

camouflage, namely cryptic and mimesis. Cryptic

makes animals or objects difficult to see. Cryptic is

the ability of animals to avoid observation or

detection by other animals. Cryptic can also involve

olfaction (with pheromones), or hearing

concealment. Visual cryptic can be achieved in

various ways, such as living underground or only

active at night, and with various other camouflage

methods (Forbes, 2009). Changing the colour of its

body to the colour of the surrounding environment is

included in this visual cryptic. Some animals, such

as chameleons and octopuses, are able to actively

change their skin pattern and colour, both for

camouflage and for signalling.

Mimesis is changing animals or things into

something else. In mimesis (also called

masquerade), objects that are disguised look like

something that is not attractive to observers (Gullan

& Cranston, 2014). Some insects have the ability to

change themselves to resemble leaves or tree

branches so as to avoid them from threats

originating from their surroundings. Observer or his

opponents are not aware of its existence because

both the colour and shape are similar to the

environment in which they are located.

In its development, camouflage has become a

more general terminology. Camouflage strategies

are then used in the military field. In warfare, the

ability to hide is one of the keys to victory. Its

existence which is difficult to detect by an opponent

makes a group of troops can attack suddenly without

being noticed by the opposing army. Army uniforms

with unique motifs are one form of their efforts to

camouflage themselves. Or heavy weapons such as

tanks that are designed to resemble unarmed

transport trucks become camouflage strategies.

In other fields, such as communication

construction, it is known as the BTS (Base

Transceiver Station) camouflage tower. BTS tower

is one type of telecommunication tower, which is a

special building that functions as a supporting

facility for placing telecommunications equipment

whose design or form of construction is adapted to

the needs of telecommunications (Kementerian

Keuangan Republik Indonesia, 2017). In general, the

BTS camouflage tower has a shape and colour that

resembles a tree.

Based on the shape and construction, BTS towers

are divided into 3, namely Self-Supporting four-

legged Tower, Self-Supporting three-legged Tower,

and Monopole Tower (single leg). In general, BTS

towers designed to be disguised are monopole

(single-legged) types. The Indonesian Ministry of

Finance, in this case the Director General of State

Wealth, in its Decree numbering 378 / KN / 2017

concerning Technical Guidelines for Building

Evaluation of Telecommunication and / or

Broadcasting towers distinguishes the meaning of

monopole tower and camouflage tower (minaret).

The decree defines monopole tower as one type of

tower in the form of a single pile or has only one leg

using steel plate forming a profile of a large round or

polygon pipe and having a top diameter tends to be

tapered and erected on land (Greenfield). The height

of monopole ranges from 20 to 40 meters.

Figure 1 : The camouflaged BTS tower becomes a tree

(left) and street lights (right). Source: (Jayadi & Prasetya,

2018)

Whereas Camouflage or Minaret towers are not

much different from other types of

Telecommunication towers and / or Broadcasting,

but use certain materials to disguise the devices

installed on the tower itself, so that they are aesthetic

and more environmentally friendly. The naked eye is

no longer like an antenna and a tower, because its

placement tends to be adapted to the design or

camouflaged with the place where the tower is

erected, camouflage examples resemble trees, water

towers, or towers of houses of worship

(Kementerian Keuangan Republik Indonesia, 2017).

With a variety of considerations, this paper is more

directed towards the study on the monopole shaped

BTS camouflage tower.

2.2 Urban Zoning

Definition of zones in Yogyakarta City Regulation

Number 1 of 2015 concerning Spatial Planning and

Zoning Regulations of Yogyakarta City Year 2015-

2035 are areas or areas that have specific functions

CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative

and characteristics (article 1 paragraph 35). The

urban zone is divided into 2, namely the protected

zone and the cultivation zone. A protected zone is an

area within a part of an urban area that is defined by

the main function of environmental preservation

which includes natural resources and artificial

resources.

Figure 2 : Zoning of the Keraton and its surrounding areas

(above) and the Malioboro and surrounding areas (below).

Included in the protected zone are the Cultural

Heritage Zone (SC), the city's Green Open Space

Zone (RTH); and Local Protection Zone (PS).

Whereas the Cultivation Zone is an area within a

part of an urban area that is defined by the main

function for cultivation activities on the basis of the

conditions and potential of natural resources, human

resources, and artificial resources.

Without ignoring the significance of other zones,

this paper will only raise the themes of the BTS

Tower camouflage design in the Cultural Heritage

Zone. The consideration of determining this zone is

inseparable from the predicate of the City of

Yogyakarta which has many buildings and heritage

areas. The Regional Regulation of Yogyakarta City

Number 1 of 2015 concerning Spatial Detail Plans

and Zoning Regulations of the City of Yogyakarta

Year 2015-2035 states that the Cultural Heritage

Zone is set no less than 66 Ha spread across 7

regions. The area or subzone is located in Kota Gede

(8 Ha), Vredeburg Fort area (7.5 Ha), Gedung

Agung Presidential Palace complex (6 Ha), Great

Kauman Mosque (1.5 Ha), Yogyakarta Palace

complex (28.5 Ha), Tamansari area (10 Ha), and

Puro Pakualaman complex (4.5 Ha). The distribution

of these sub-zones is also known as a tourism area

which is the main destination for tourists visiting the

city of Yogyakarta.

The method used at the beginning of the study is

qualitative-explorative (Creswell, 2014; Groat &

Wang, 2002). FGD (Focus Group Discussion) is

used as a method of collecting data. The study

resulted in the formulation of 5 design criteria or

specifications of the BTS camouflage tower design

based on public opinion. Furthermore, in the second

stage, the method used is the design method from

Ulrich and Eppinger, namely planning, concept

development, system-level design, detailed design,

testing and refinement, and production ramp-up

(Ulrich & Eppinger, 2012).

3 RESULT AND DISCUSSION

Every design always starts with planning or

planning. This phase occurs before project approval

and the actual product development process are

launched. Therefore, this phase is often referred to

as "zero phase". At this stage, an identification of

some of the things needed to start the design is

carried out, such as an effective design

implementation strategy and methods of

achievement. At this initial stage, the design brief

formulation is obtained through the mechanism of

Heritage

Industry

The Zoo

Tourism

Business

Office

Green open space

Middle density housing

High density housing

City forest/garden

Health facilities

Sport facilities

Education facilities

Transportation facilities

River border

BTS Tower Camouﬂage Products Design based on Zonation of Urban Area

the designer team's internal discussion. The agreed

formula is "designing the camouflage design of BTS

tower that is suitable with the environment within

the Yogyakarta City heritage zone".

In the next stage, Concept Development, which

is the concept development phase, the target market

needs are carefully identified, alternative product

concepts are generated and evaluated, and one or

more concepts are selected for further development

and testing. The concept is a description of the

shape, function, and features of the product and is

usually accompanied by a set of specifications,

competitive product analysis, and economic

justification of the project. Because the BTS

camouflage tower is included in the infra-structure

category that is public in nature, the design goals are

clearly identified as a broad community, without

exception. This means that its existence is visually

accessible to everyone in the environment where the

BTS camouflage tower is located. This stage also

identifies the icons of Yogyakarta City which have

the potential to be excavated and used as inspiration

for the BTS tower camouflage design. Data

transcript of Focus Group Discussion about

Yogyakarta City icons involving 7 participants was

categorized and analyzed as shown in the Table 1.

Table 1 : Analysis of FGD Data

Kategori Ikon Detil ikon

Physical

Building

Tugu Jogja

Keraton

Yogyakarta

Pendopo, Gapura/gate,

ornamentation,

Keraton fort, Kandang

Menjangan,

Tamansari, Great

Mosque

Heritage

building

Vredeburg fort, façade

of Tugu Train Station,

façade of central post

office, and BNI

building

Malioboro street

lamp

Unique

clothes

Traditional

Clothing

Surjan, blangkon, iket,

jarik, lurik

Uniform of

Keraton soldier

Topi, ageman,

Vehicle Andong, becak

Activity Membatik Canting, wajan, anglo

Weapons Keris, tombak

Culinary Gudeg, kipo,

bakpia

Figures Abdi dalem,

Keraton soldier,

The bride,

Performance

art

Keraton dance,

wayang,

gamelan

Figure 3 : Some alternative designs for camouflage BTS

towers

The next step is to make design sketches based

on the analysis table. Twenty alternative design

sketches were produced at this stage (Fig 3 and 4).

All of them refer to the analysis table as the basis for

design inspiration. Of the 20 alternatives, 4 designs

were taken that had high scores in the analysis of

design selection with certain criteria. The stage

design system (System-level design phase) briefly

includes the definition of product architecture

camouflage the BTS tower as a whole and breaks it

down into small parts per component. Technical

specifications and assembly procedures for these

components need to be determined.

Figure 4 : The other alternative designs for camouflage

BTS towers

The next stage is detail design. This detailed

design phase provides detailed and complete

information about the material, size, geometric

CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative

shape, and about the suppliers of each product

component. The output of this phase is a complete

and detailed technical drawing that contains all

important information as a basis for the fabrication

and product assembly process. In addition to the

design criteria that must be met, the main source of

inspiration of the design is of course that is in

harmony with the characteristics of the Yogyakarta

region. The inspiration was then poured into 4

selected designs, namely the camouflage design of

the Palace Gate, Malioboro Lamp, Canting Batik,

and Tugu Jogja.

3.1 Palace Gate Camouflage Design

This design is based on the existence of the

Yogyakarta Palace as a cultural centre, with its

iconic building form. The building that was used as

inspiration for camouflage design is the Palace Gate,

which is a building that has access in and out

between parts of the palace. The main part quoted as

an inspiration for camouflage design is the bottom or

the so-called umpak, which above is decorated with

flower ornaments with the dominant colour typical

of the Yogyakarta Palace building, which is green

with yellow combs. The top of the design then

adjusts to the shape of the camouflage tower (Fig 5).

Figure 5 : Palace Gate Camouflage Design

3.2 Malioboro Lamp Camouflage

Design

Malioboro as a crowd center which is also a tourist

center in Yogyakarta offers a variety of interesting

design inspirations. The Malioboro street section

whose form is familiar both for local and foreign

tourists is street lights. The design is quite simple,

which is embodied in a sturdy pillar with vines. The

dominant color is the palace's distinctive diatonic

color, which is a combination of green with a yellow

combing accent. The shape is unique and distinctive

and is technically congruent with the shape of the

tower. Such a form will better harmonize

camouflage design with its environment. This design

adds another function to the BTS tower, namely as

street lighting (Fig 6).

Figure 6 : Malioboro Lamp Camouflage Design

3.3 Canthing Batik Camouflage Design

Canthing as referred to in various references to batik

is a tool used to move night fluids to make batik.

Tonight is a naturally produced liquid wax. The

parts that are in canthing are: (1) Nyamplung, which

is a liquid wax pool or commonly called 'malam',

which is made of copper; (2) Cucuk, which is the tip

of nyamplung where the liquid is released at malam;

and (3) The handle (canthing stalk which is usually

made of bamboo or wood). There are several types

of canthing according to their uses.

The function of canthing as a tool for batik

makes it very closely related to Javanese or

Yogyakarta culture in particular. Batik itself is a

cultural product that is well known not only in

Indonesia but also the world. At present people don't

only wear batik, but more and more also want to

understand the manufacturing process. Some tourist

locations have even opened opportunities for visitors

BTS Tower Camouﬂage Products Design based on Zonation of Urban Area

to witness the batik process or at the same time take

part in batik classes. In addition to the functions of

canthing as mentioned above, the typical form of

canthing is seen as quite familiar to the public. The

community will easily associate it with batik craft.

The canthing form is also considered technically

feasible if applied to camouflage tower designs (Fig

7).

Figure 7 : Canthing Batik Camouflage Design

3.4 Tugu Yogya Camouflage Design

The most iconic building and a landmark of

Yogyakarta is the White Paal Monument or often

just called Tugu Jogja or Tugu Yogya. The

monument originally built by Sri Sultan

Hamengkubuwono I in 1755 was also known as the

Tugu Golong Gilig. Golong is a cylindrical pole and

Gilig is a rounded peak, which is a symbol of

Manunggaling Kawula Gusti, or the union of the

people with kings and kings with God. Tugu Yogya

is located in the north of Yogyakarta City and is one

part of the imaginary axis between the southern

coasts, the palace with the peak of Mount Merapi.

His physical form is very distinctive and full of

philosophical meanings in every curve (Morin,

2014).

The current form is different from the Tugu

Golong Gilig which was collapsed because of the

earthquake on June 10, 1867. The basic philosophy

was also different. The Dutch government rebuilt

and replaced it with De Witte Paal (White Paal

Monument) in 1889 in its present form. Even though

the philosophy of the ‘manunggaling kawula gusti’

underlying the Golong Gilig Monument was

removed, the new form of Tugu Paal Putih still has a

deep meaning. Until now, almost every time the

crowd happened at the Tugu, because besides being

the main intersection of the road protocol, it was

also a favourite tourist attraction to be used as a

background for self-photos.

Figure 8 : Tugu Yogja Camouflage Design

The next phase is testing and refinement. This

testing and refinement phase uses a product model,

which can be a 1: 1 scale prototype or a smaller

scale mock up. Early prototype (alpha), the model

on a real scale can be tested in full and real. Smaller

scale mock ups are tested in terms of proportions

and visual aesthetics. Mock up is used before

making a prototype. Production ramp-up is the last

phase. At the ramp-up production stage, the product

is made using a predetermined production system.

The purpose of ramp-up is to train the workforce and

to overcome the remaining problems in the

production process. Products produced during ramp-

up production are sometimes supplied to selected

customers and carefully evaluated to identify

deficiencies remaining. The last two stages are not

discussed in this paper.

CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative

4 CONCLUSIONS

The icon of Yogyakarta City has great potential to

be a source of inspiration for the BTS tower

camouflage design. This has the potential to increase

the tourist attraction of the city of Yogyakarta and

strengthen its existence as a creative city. The four

selected BTS tower camouflage designs are

considered capable of representing the existence of

the city of Yogyakarta through the BTS tower to

blend with the heritage zone where the tower is

located. The four designs are expected to provide

added value to the environment around the BTS

tower. In turn, the community around the tower will

actually get a positive contribution from the

construction of the tower. Exploration of the basic

idea of zoning tower-based camouflage design of

urban areas in the city of Yogyakarta needs to be

developed so that the existing designs are not

monotonous and can be more accepted by the people

around the tower. In addition to the cultural

preservation zone, several other Yogyakarta City

zones are urban green open space zones and local

protection zones, housing zones, trade zones and

services, office zones, public service facilities zones,

industrial zones, and other allotment zones. BTS

camouflage towers established in these zones need

to be designed creatively and innovatively, adjusting

to their environment.

ACKNOWLEDGEMENTS

This research was supported by The Applied

Research Grant Program 2019 from the Directorate

of Research and Community Service, Ministry of

Research, Technology, and Higher Education-

Republic of Indonesia. We would like to express our

warm thanks to Mr Rakhmat Kurniawan who

provided data from interview, questionnaire, and

observation. Finally, we would like to convey our

highest appreciation and heartfelt thanks to Mr

Sumartono, M.A. Ph.D. who provided helpful

comments on earlier versions of this manuscript.

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CREATIVEARTS 2019 - 1st International Conference on Intermedia Arts and Creative