A Critical Discourse Analysis of Visual Identity the Luggage Label

Inns of the Dutch East Colonial Era

Baskoro Suryo Banindro, Arif Agung Suwasono, Prayanto Widyo Harsanto, and

Rikhana Widya Ardilla

Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta, Isi Yogyakarta, Jl. Parangtritis Km. 6,5, Sewon, Bantul, Indonesia

Keywords: luggage label inns, art prints, the colonial era, a critical discourse analysis.

Abstract: The proposed research aims to find out the meaning and function of symbols that are in the visual

identity of the luggage label inns of the Dutch East colonial era. The object contains elements in the

form of text and iconic architecture that is unique in it. The target to be achieved is collecting and

analysing the object of study, then the synthesis results will be used as the basic material for the

preparation of the historical graphic design reference book and the architecture. The method used in

this study is critical discourse analysis van Dijk's model, where the study of object research in addition

to the study of material objects, also be associated with a social context to understand certain goals and

practices, including the practice of power as a form of social practice, this causes a dialectic among

certain case events with the situations and social structures that shape them. Discourse it is also known

that practices have emerged for text dimension, social cognition, and social context that appears on

objects of the visual identity of luggage labels in the colonial era. The final results of this study illustrate

how the process of unification and modernity carried out by the Dutch East Indies colonial government

can be read through luggage label inns tourism promotion media and can be used as a marker of the

era.

1 INTRODUCTION

The 1930s, European and colonial private companies

in the Dutch East Indies had built several hotels in

several cities or rural areas, which still had natural

and exotic nature. As it is known that these activities

can be proven through a series of activities that lead

to this direction, among others, the colonial

government organized tourism activities which were

coordinated under the association of the office of the

Dutch East Indies Association known as Vereeniging

Toeristen Verkeer (VTV). The object of tourism

promotion is introducing lodging houses for travelers

from Europe or America who come especially on

Java.

This form of promotional media is very unique

because it is only manifested in a 5 to 7", piece of

pictorial printing paper, by attaching it to a tourist

luggage bag. The luggage label image itself contains

the object's visual identity of the hotel which is

supported by illustrations of lodging buildings, some

tilaof which describe the scenery around the hotel,

generally made by Dutch advertising agencies. The

formulation of the problem from this research is how

is the visual construction of tourism promotion of the

Dutch East Indies period through the visual idioms of

luggage label inn drawings.

2 STUDY OF LITERATURE

Architecture is the art of building plans for human

beings who intend to seek safety and comfort for the

well-being of their souls and bodies and to fulfill self-

satisfaction in creating beauty (Pamungkas, 1988).

The existence of architecture in Indonesia generally

consists of classic-traditional elements, vernacular

and contemporary new buildings.

Judging from the physical buildings that exist in

Java, the Dutch East Indies architecture at that time

found buildings that were influenced by the style of

Dutch Revival (The Dutch Colonial Style) others give

the term nieuwe bouwen, where the object was

adopted from architectural influences that developed

in mainland Europe in the early 19th century

(Hadinoto, 2010).

490

Banindro, B., Suwasono, A., Harsanto, P. and Ardilla, R.

A Critical Discourse Analysis of Visual Identity the Luggage Label Inns of the Dutch East Colonial Era.

DOI: 10.5220/0009432504900498

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 490-498

ISBN: 978-989-758-450-3

The modern European style was then, to later be

combined with traditional Indonesian elements

(Indische) which were adapted to Indonesia's tropical

climate, some Dutch architects and academics

developed a new discourse known as New Indies

architecture. This architecture was influenced by a

new generation of Dutch architects who attended

school in the Netherlands and introduced Modernism

in the Dutch East Indies. Some Dutch architects also

began experimenting with new materials in making

"Dutch Traditional Local" buildings with tropical

architecture. This gave rise to the emergence of

architecture from Traditionalists to Modernists in the

Dutch East Indies. (Tjahjono, 1998)

The architecture of hotel buildings in the Dutch

East Indies in 1924-1930, some of which absorbed the

Nieuwe Bouwen architectural style (cuboid and

straight roof). The style of Nieuwe Bouwen is

actually the term for the building style after the 1920s

which is a follower of the International Style school

(Handinoto, 1996), as Akihary revealed in his book

Architectuuren Stedebouw in Indonesia 1870-1940

(Akihary, 1988).

The style of art deco architecture that emerged in

the Dutch East Indies was formed by adopting and

absorbing local architecture, giving birth to a style not

found in Europe or the Dutch East Indies, which

eventually resulted in a new design and was known as

the colonial style of indies (Pratikno, 2014).Art deco

also developed in the depiction of visual objects in the

art of printing, one of which was developed by Dutch

graphic artist Jan Lavies in the 1930s. At that time the

printed works that appeared from technical visuals in

the form of blocks, some of which were in the form

of typical gradations. It can be seen from the coloring

that uses primary color blocks. Visual objects in

addition to describing architectural forms, as well as

other images that take local visual idioms, as

examples of classical archipelago buildings, colonial

infrastructure such as bridges and of course natural

scenery. The atmosphere created implies indies and

exotic expressions.

According to Barzun & Graff (1970) in his book

The Modern Researcher it is said that images as a

work of art are part of historical sources that are

grouped in the classification of notes or delivery

records of planned facts. Data obtained from the

transfer of material in the form of pictures or figures,

reproduction of prints, whether in the form of

ornaments, graphics or photography on printed

products, is an accurate source of data and invaluable

historical evidence. (Garraghan, 1957)

Luggage label images are one of the visual culture

products in the Dutch East Indies colonial period. the

general term used to refer to it is luggage label, which

is a small paper medium that is used by way of

sticking to the luggage of travelers so that the luggage

label image will always be seen by anyone who

identifies that person has come or stayed at the hotel

(Banindro, 2018).

3 RESEARCH METHODS

This research is a qualitative descriptive study with a

critical discourse analysis approach Teun A. van Dijk.

Analysis of Critical Discourse van Dijk's model has

operationally three spatial dimensions, namely text,

social cognition, and social context. (Haryatmoko,

2017). Basically, critical discourse analysis is a way

to further examine how social practices presented in

the media.

The core analysis of van Dijk's model is

elaborating on these three dimensions to produce

analysis that is not only based on text but also uses

social practices in it. In the first dimension of the text

dimension, this activity is used to emphasize a

particular theme in order to clarify and examine how

structure and discourse are used.

Social cognition serves to examine how the text is

produced, the basic core of social cognition is the

activity of individuals within the social sphere within

the framework of ideology because this will form the

norms, values, and principles which will be driven by

a group. The social context studies how a discourse

building is produced. Through this research, critical

discourse is expected to be able to dissect the meaning

behind the attributes of colonial period luggage label

images, review the artistic motives and objective

accuracy of the situation in his day.

4 CRITICAL DISCOURSE

ANALYSIS

Hotel des Indes text dimension, the hotel des Indes

luggage label image (Figure 1), is expressed in the

form of a 5" centered circle. The visualization

presents images of the hotel des Indes buildings in

white and blue, printed with the lithography

technique of art deco by Dutch printing artist Jan

Lavies in 1930. In the object, there is writing on the

name of the hotel, namely Hotel des Indes using

Batavia text, Java images and silhouettes Borobudur

temple with a Futura model typical of a European

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accent and a coconut tree silhouette as the upper left

frame of a luggage label picture.

Figure 1: Hotel des Indes luggage label, by Jan Lavies 1930.

Social cognition, Dutch Colonial, which was part

of the Dutch kingdom, wanted to show that as

invaders having the capital to build assets in the

Dutch East Indies, one of them was the "des Indes"

lodging. Dutch colonial saw the opportunity that local

commodities in the Indies such as Borobudur temple

and its tropical climate could be exploited through

tourism. For that, we need tourism promotion through

the media. Through the colors on the luggage label

drawings, the print artist wants to present a picture

that is beautiful, this can be seen from the shade of the

shade of the trees, the tropical atmosphere is shown

by the reddish yellow color. Art deco style is

presented to provide a new and modern way of

presenting the visualization of a promotion in the

media.

Social context, the name "des Indes" as a hotel

identity emerged at the suggestion of Douwes

Dekker, a Dutch political figure who had sympathy

for the struggle of the people of the Dutch East Indies

against the invaders (http://www.engelfriet.net). This

suggestion is in response to the "good ethical"

movement, which is a political movement to

reciprocating Dutch colonialism for colonial people

in the Indies. It is hoped that by giving this name it

could generate sympathy for both hard-line Dutch

people and to reduce the movement of anti-Dutch

colonialism sentiments.

Observing images on hotel architecture, Dutch

colonialism was an advanced and educated nation, the

hotel des Indes was built with a modern concept

which was also called the Nieuwe Bouwen

architecture, a form of architectural style that had not

existed before in the Indies. This is indicated by the

use of concrete as the main material, a flat roof, a

simple facade with hard horizontal lines,

generally white, geometric windows without

ornamentation, and a game of building masses that

are plastered by the existence of a tower. The towers

are generally not functional, only a vertical mass

formation that compensates for strong horizontal

lines on the building's appearance (Handinoto, 1996).

Homman Hotel text dimension, a Homman hotel

luggage label luggage label (Figure 2), printed with a

press technique, on a 5" striped paper designed by

printartist Jan Lavies in 1931. The drawing elements

include the white Hotel Homman textual, Bandoeng

text and arranged red Java text from top to bottom

with a symmetrical composition in the middle of the

field, all using the Nordstroms font. There is a

silhouette of a white railway bridge pole, a steam train

Figure 2: Hotel Homman luggage label, by Jan Lavies

1931.

with a series of orange carriages crossing it, on the

background of the field depicting a silhouette of high

mountain blue terrain, lush silhouettes of green trees,

stretches of white rice fields and symbols of hotel

organization Paste images were printed using the art

deco lithography technique.

Social cognition, reading the visual text of a

Homman hotel postcard, the hotel manager wanted to

illustrate the ease of access from Batavia to Bandoeng

with an orange steam train as a symbol of the Dutch

empire. This at the same time wanted to show how

the Dutch colonial meritorious in opening the

isolation of the Priangan areas with a rail network

with difficult terrain.

The picture of the mountain silhouette is blue, to

show the exotic nature of West Java, the color of the

blushing red sky to describe the long tropis climate.

The stretch of rice fields with green patches and trees

in the background symbolize the prosperity of the

fertile Sundanese landscape. The NITOUR symbol

(Nederlandsche Indische Touristen Bureau) is on

display to ensure that Homman hotels are experienced

and professional as organizers of the Dutch East

Indies hotel.

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Social context, at that time, Bandung was still an

under developed region, but the Dutch East Indies

colonial government had fallen in love with the city

of Bandung and later built the Batavia-Parahyangan

railway line on May 16, 1884. Next, from just a

stopover city, Bandung became a tourist destination

and even a place to live. Cisomang Bridge is the

highest railway bridge in the Netherlands East Indies

built at the foot of Mount Cipularang, 230 meters long

with a height of almost 100 meters from the bottom

of the Cisomang river.

The construction of the Cisomang bridge is the

peak of the "Ingenieurs werk grootsch" achievement

or great engineering work (De Indische Courant,

1932). "This bridge has the highest pillars in the

Netherlands and India, and the second highest pillar

in the world, (Pikiran Rakyat, 2018)", designed by

engineer Van Der Eb. Dutchman born in the Dutch

East Indies (Indonesia) who was a graduate of the

Bandung Technische Hooge school or now the

Bandung Institute of Technology (ITB). At that time

the Batavia-Bandung route became a favorite of

Dutch citizens. Mevrouw, Meneer, Noni, and the

Dutch master and other Europeans really enjoyed the

beautiful scenery and cool air that was passed by the

C 28 steam locomotive train, with a maximum speed

of 90 kilometers per hour. (Kunto, 1984).

Figure 3: Grand Hotel Preanger luggage label, by Jan

Lavies 1931.

Grand Hotel Preanger text dimension, luggage

label (Figure 3), printed in an art deco style, was

5". The drawing elements are composed of the words

Grand Hotel Preanger, with white colour text,

Bandoeng Java with white colour too using the

Prague Art Deco font on red colour background.

Luggage label present architectural images of hotels

with white Indisch Empire styles combined with

green. A tall, green the mountain appears on the

background of a picture of a hotel building, while the

silhouette of a green duotone-colored coconut tree is

drawn up in front of the hotel image.

Social cognition, Grand Hotel Preanger was built

as a symbol of the position of executives and

dignitaries, Preanger planters with the rise of coffee

plantation businesses, Dutch colonial officials and

rich communities. Only Dutch people can enter and

stay at this hotel and built as a bourgeois symbol of

Europeans.

Social context, Grand Hotel Preanger Bandung

Built in the style of the Indische Empire. This hotel is

the pride of the Dutch in the city of Bandung. The

hotel building underwent renovations and was

redesigned in 1929 by Charles Prosper Wolff

Schoemaker assisted by his former students,

Soekarno was the first President of the Republic of

Indonesia. Because of the touch of these two people,

this hotel is a pride for the people if they stay at the

Grand Hotel Preanger hotel. This style is part of a

modern art architectural style combined with local

architectural elements. (Beal, 2013).

Figure 4: Grand Hotel Ngamplang luggage label, by Jan

Lavies 1930.

Grand Hotel Ngamplang, text dimension

contained in the luggage label picture is the Grand

Hotel Garoet Ngamplang Java (Figure 4), printed

vertically in an art deco style measuring 3 x 4".

Luggage label images contain visualizations of the

golf course with pictures of a golfer hitting the ball.

The blue silhouette, the white cloud and the silhouette

of the black pine tree dominate the field with the

background of the orange field focusing on the image

of the luggage label image.

The image details containing the Grand Hotel text

are blue, the Ngamplang text is black and the Garoet

text is orange and the Java text is blue, all using the

Herbie Art Deco font, at the bottom of the image area.

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The figure of the golfer is depicted wearing knee-

length pants, a pet hat, a tie, and an inner vest

swinging his golf stick and watching the direction of

running the ball to the hole. The hole itself is marked

with a white flagpole. On the background of the

drawing, illustrated by the light blue mountain

Malabar and the dark blue Cikuray mountain with

thin white clouds, it implies a high mountain.

Social cognition, this luggage label picture is

about to offer the luxury of a Ngamplang hotel that

many other hotels do not have, namely golf facilities.

The sky blushes to show the Dutch East Indies in the

tropics. The portrayal of a figure of golf symbolic of

the presence of western culture in the Indies, the

figure of a golf player of the time was depicted

wearing a suit, a vest equipped with a tie, a pet hat

and special shoes (https://bogor.pojoksatu.id), they

wanted to show the Dutch very classy, luxurious and

rich. The depiction of the orange colored golf course

is a sign of the colonial kingdom's significance.Social

Context The existence of the golf course at the

historic Ngamplang hotel has been around since

1912. The pioneer was a Dutch doctor named Denis

Gerard Mulder (https://en.gogolf.co.id). The golf

course located on the back of the hotel and on the foot

plateau of Mount Cikuray is very special, in the

editorial introduction, saying that the beauty of this

golf is the game "de royal and ancient game", also

enthusiastically played in other tropical regions in the

Indies colony Golf Magazine, 1937) Golf course

facilities covering 27 hectares, as well as the Dutch

meneer resort in Garut with its cool air, almost

approaching natural coolness in Switzerland. In

historical records, comedian Charlie Chaplin once

stayed and called Garut as Switzerland van Java or

Switzerland Java (Tribune, 2014).

Hotel du Pavillon, text dimensionon the du

Pavillon hotel image (Figure 5), printed on a 4"

rhombic paper, composed of hotel writing at the top

of the field using black fonts, pictures of art deco

hotel buildings using blue duotone and text du

Pavillion in the middle and ends with Semarang text,

black Java uses fonts. Printed with lithography

techniques, the field of luggage label images is

dominated by orange as the basis of images, a

silhouette of trees and clouds and hotel figures with

black frame lines.

Social cognition, du Pavillon itself comes from

French which means "bridge". Visually, printed

artists present the depiction of modern colonial-style

modern hotels in Semarang in a perspective with frog

eyes, this is to illustrate the grandeur of the hotel

itself. The orange color is identical to the Dutch

kingdom, this is certainly to show the existence of

theDutch colonial in Semarang. The hotel du

Pavillion architecture describes modernity in the

Dutch East Indies. The city of Semarang became the

first city to implement building laws which required

the permission of local authority buildings in the

regulation (Tjahjono, 1998).

Figure 5: Hotel du Pavillon luggage label, by unknown

name and unknowing date.

Social context, the hotel du Papillon was

originally named de l'Europe Semarang, established

in 1873, by 1913 the hotel underwent a major

renovation, this was done to welcome guests who

would attend the Koloniale Tentoonstelling event in

1914, a colonial exhibition considered the biggest in

Asia Southeast at that time. (Widyamitra, 2015)

Through the paste image, it is clear how the shape,

style or style is presented.

The hotel architecture is made by combining

European style which can be seen from the shape of a

triangular pyramid-shaped upper wall and a sturdy

pillar supporting the balcony, a blend of tropical

nature that is applied to the wide and large windows.

A distinctive feature of this architectural style is that

there are rows of pillars or columns that soar upwards

and there are gevels and crowns above the front and

back porches. The style or style presented gives birth

to a new form of European-style Indishce architecture

- little Holland in Semarang.

Grand Hotel Dieng, text dimensionof the 3 x 4"

sized picture (Figure 6) is rectangular in shape,

printed with lithography technique designed by Firm

E. Fuhri & Co. Surabaya in 1930. The san serif Euro

Style letter element reads Grand Hotel Dieng

Wonosobo in black The picture.

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Figure 6: Grand Hotel Ngamplang luggage label, by Jan

Lavies 1930.

On the front shows an art deco-style hotel

building, there are pictures of native servants in a

typical hotel uniform. The supporting elements are

pictures of cars, silhouettes of two Hindu temples on

the left are green and right are black, the object ends

with a background image of Sumbing mountain.

Social cognition, the visualization of luggage

label is to bring a calm, cool, warm and friendly

atmosphere as well as imaged through a touch of

harmonious colors of primary color that dominates

this sticker. Through the visualization of luggage

label, the traveler community was assured of the

presence of hotel service and service transportation

facility with European standards in the interior of

Java. Pictures of cars in the foreground indicate

that modernity has become the main standard. The

depiction of temple silhouettes to show many ancient

sites in the region as well as being used as a

commodity of attraction for travelers.

Social context, JW Muthert is the founder of the

Grand Dieng hotel, this rich Dutchman built a hotel

after many people from Europe visited ancient sites

and the natural beauty of the cool city of Wonosobo,

in the end, the Grand Hotel Dieng was crowded with

tourists. The beauty of Dieng made Charlie Chaplin a

very famous silent film actor at that time to spend

time in Wonosobo and stay at the Grand Hotel Dieng.

Not only Chaplin but a number of other important

European people have also been guests at the hotel,

such as Princess Astrid from Belgium who had visited

twice, also King and Queen Rabibadhana from Siam,

now known as Thailand (Laksmi, 2017).

Hotel Toegoe Djogja, text dimensioni mplied in

the 3 x 5" sized picture (Figure 7) is the white Hotel

Toegoe writing, the red Djokja text and Nederland

Indische Veereniging Hotel text in blue colour with

Silent Movie letters, luggage labels end with black

colour frame.

Figure 7: Hotel Toegoe Djogja luggage label by Jan Lavies,

1930.

The illustration of the hotel building is depicted

with a decorative pattern of blue duotone nuances that

dominates the hotel paste. The print artist Jan Lavies

described the building as a frog eye perspective, so

the hotel building looked magnificent. The picture of

a red cabriolet car looks parked at the front of the

building, the silhouette of the blue nipah leaf midrib

and the sky blushes into the upper frame of the image

area.

Social cognition, this visualization of luggage

label drawings was designed by print artists to

describe the atmosphere of Djokja as the warm and

peaceful center of the Hadiningrat Sultan's Palace.

The modernity of the hotel was built through the

depiction of a luxurious 1930s cabriolet car, bright air

and solar heat imaged through the blushing of the sky

and the tropical plants of the genus Palmae, Nipah.

Black as a background and a frame of luggage label

images presents an elegant impression of the grandeur

of the hotel itself.

Social context, hotel buildings patterned with

Dutch Revival are part of the art deco spirit that gave

birth to the Indies colonial style, built in 1927. During

the colonial period, the Toegoe Hotel was a transit for

Dutch officials traveling between Surabaya and

Batavia by train. The hotel's architecture looks

saddle-roofed, its facade is firm and prominent

soaring to cover the roof. Above the top of the

building, there are short tiered columns placed

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symmetrically. The other two towers beside it are a

distinguishing feature between the main building and

the clamp reinforcing the art deco of its time.

Bouvenlicht or boven window at the top of a curved

door, this is decorated with colorful stained glass

ornaments, becoming one of the characteristics of the

tropical Indies building.

Figure 8: Hotel Oranje luggage label by Jan Lavies, 1930.

Hotel Oranje, text dimensionin a 4 x 7" luggage

label image (Figure 8) consists of the Oranje Hotel

Soerabaja writing colored alloy yellow, white and

orange using the Facets NF font, red Java writing. The

hotel building is visualized in monochrome shades of

yellow, the sky is depicted by an orange, orange, and

yellow curve gradation. In front of the hotel is a

picture of a cabriolet car parked in orange. The black

and gray silhouette of the trees adorns the upper right

side of the luggage label image.

Social cognition, through the luggage label

images of the Oranje Hotel, print artist Jan Lavies

wants to bring the warm hospitality of Surabaya to

the edge of the island of Java. The grandeur of the

Dutch face hotel is portrayed glamorously with

classic art nouveau-style hotel facades and minarets.

As a general luxury hotel, transportation facilities are

the mainstay of lodging, the depiction of open

cabriolet cars shows that hotel services are very

classy in attracting prospective travelers.

Social context, colonial Indies style Art Nouveau

hotel, built in 1911. The name Oranje is pinned to the

name of the hotel by owner Lucas Martin Sarkies,

taking the name of the Dutch hero, Willem van

Oranje. In 1936, Prince Leopold III and Princess

Astrid of Belgium and famous film star Charlie

Chaplin who was accompanied by his wife, actress

Paulette Goddard, and Joseph Conrad, a British-

Polish blooded novelist stopped at this hotel.

5 RESULTS

Art Deco is a symbol of efficient modern life and a

graceful lifestyle (Arief, 1999). The Art Deco style is

a style that uses historical and traditional ornaments,

so that Art Deco can be regarded as a style that has

local content. Every country that accepts Art Deco

style always develops it individually. Art Deco in a

place will be different from Art Deco in another

place, but overall they have the same spirit of

openness to something new, so that Art Deco works

are almost always innovative and experimental

(Kompas, 2010).

Modern in the context of the adoption of western

cultural architecture into the Dutch East Indies,

interpreted as colonial revivalism is daring to be

different and new, appear more attractive than others

and not ancient all of which is manifested by the

choice of striking colors, unusual proportions,

material that new and decorative. The results of this

work are almost always innovative and experimental.

The development of Art Deco could not be separated

from the influence of the situation and conditions of

the era, were at that time in Europe there was an

ongoing industrial revolution, the public was

fascinated by the presence of inventions and

technology that developed rapidly.

Indies style is the term for all cultural products in

the late Dutch East Indies colonialism applied to the

design of architectural buildings. The molded art deco

style appears with a flexible, neat, and artistic contour

line forming objects combined with flat colors and

tends to block by the hand press printing process. This

style became the mainstream of visualization of the

design of printed designs in the early 20th century.

The style of indies was a mixture of modern design

styles that developed in Europe in the 19th to early

20th centuries (such as Victorian style, Art Deco,

Plaque, Art Nouveau) with exoticism Indonesian

traditional art pioneered by Dutch artists or graphic

designers (from visual documentation of the VOC era

to professional advertising designers brought in by

ANETA advertising companies) (Riyanto, 2005).

6 CONCLUSIONS

The modern aesthetic style of promotional design

during the reign of the Dutch East Indies, in general,

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is the absorption of European aesthetic styles that are

implemented through lifestyles, especially the choice

of objects. Even though it is still limited in big cities,

this phenomenon shows the openness of the culture

of the people in the archipelago to absorb new cultural

trends and the tendency to absorb modern images.

(Sachari, 2010)

The graphic design style of the Indies developed

in the colonial period of the Dutch East Indies and

experienced the peak of its artistic development in the

1930s. The design style developed by Dutch graphic

designers is a combination of modern design styles

that developed in Europe in the early 20th century

with visual art which is a product of local culture.

(Arif, 1999) As a final conclusion, from the analysis

of artifacts in a work, a hotel architectural drawing in

the Dutch East Indies colonial period reflects the style

of a zeitgeist era which can be read from formal

elements such as images, sizes, visual styles, colors,

printing techniques, and others.

The development of the use of promotional

luggage label at that time was a way of introducing

the colonial to offer eastern Indian exoticato

European and American travelers. According to

Sunjayadi in his book discussing the history of

tourism in the Dutch East Indies, the promotion of

tourism coordinated by the Dutch East Indies tourism

association Vereeniging Toeristenverkeer (VTV),

was one of the steps taken to represent colonial

colonies. (Sunjayadi, 2007)

The description of indies architecture is a

reflection of moderism strengthening the modernist

ethos by combining indigenous architectural

elements so as to create a distinctive Indonesian

modern architecture, a search for new architectural

styles, a style that represents the Dutch Indies cultural

identity. The spirit of the era will also be seen in the

visualization display. There are luggage label images

that are not only appearing as objects of visual

language, not merely the result of contemplation of

graphic designers but at the same time showing their

ability to appreciate and present the factual conditions

of their time in visual works general is the absorption

of the European aesthetic style which is implemented

through the depiction of the architecture of the hotel,

even though it is still limited to large cities, this

phenomenon shows the openness of the culture of the

people in the archipelago to absorb new cultural

trends and their existence into the tendency to absorb

modern images. (Sachari, 2007).

The final object of graphic works that use the

hotel's architectural icons, has given birth to a

monumental, nostalgic, and valuable historical and

historical documentation. Hotel architectural luggage

label images, which by contemporary times are more

closely labeled as icons, are capable of being a marker

of a city's locality. The product of luggage label

drawings of his time has now ended its task as a

promotional media running, now it has become a rare

item and commodities that are traded solely in the

name of economic value.

The application of visual forms of hotel

architecture is not only a marker and an imprinted era

but also as a form of artistic responsibility of artists

who are critical and able to bring insight as a marker

of changing times. The power of civilization through

the art of printing luggage label has

marked visual culture, which is now better known

as the Indis Graphic style.

REFERENCES

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APPENDIX

ANETA : Algemeen Nieuwsen Telegraaf Agent

NITOUR: Nederlandche Indische Touristen Bureau

ITB : Bandung Institute of Technology

VTV : Vereeniging Toeristen Verkeer

VOC : Vereenigde Oostindische Compagnie

DEI : Dutch East Indies

ACD : Analysis of Critical Discourse.

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