Preserving Culture by Repackaging Nusantara’s Heritage Locally and Globally
Beauty, abundance, and the charm of Nusantara serves as inspiration to the public. This includes Projek AGNI, an artisan design studio and brand. Initiated by Kresna Dwitomo, Projek AGNI was founded in 2018 as an effort to bring this Indonesian identity inherent in oneself to further possibilities globally. As a graphic design studio and brand developer, Projek AGNI has quite a strong character. It’s hardly a challenge to identify their works through their distinctive visual approach.
Bima Saprilla, as the art director of Projek AGNI, explained that the internal team is always trying to develop itself as this studio matures. Collaborating with many parties and working with younger practitioners is Projek AGNI's way of constantly developing and keeping relevant, both visually and in the way ideas are conveyed. The effort to develop a distinctly Indonesian identity is not simply about visuals. Going forward, Projek AGNI, through its work and initiatives, also strives to provide this experience through experiences and other design touch points, such as those that address all of the five senses.
In the development of ideas, locality of visual elements is not the only thing emphasized by Projek AGNI. The ‘noble values’ (values of the Pancasila) that permeate every corner of the nation are one of the crucial points to thoroughly explore further. Translating it into a visual form is no easy venture. Speaking of clients, Bima remarked that the uniqueness of Projek AGNI brings parties who have similar values and thoughts to come their way to create a brand identity with that distinct Indonesian flavor, but is still relevant to various circles beyond the local audience.
The context of the past, present and future is the foundation for Projek AGNI when approaching a project. Research is a critical starting point for them in understanding any creative brief and developing the element of locality. This is intended to answer client needs while implementing local values that have ethnic and historical value appropriately. That way, the work produced can be accounted for and is significant in the present and the future.
They divide these local visual elements into two terminologies, namely adiluhung (noble) and vernacular. Jasmine Kane, researcher at Projek AGNI, stated, “Adiluhung is something that kind of already has an established standard. Maybe the simplest [example] is something like batik patterns. There are patterns, for example, that are used by the public and at the keraton (Javanese royal residence), but [these patterns] already have standards and have more established values and have become a manifestation of a cultural icon." On the other hand, vernacular elements refer to locality that is still held closely and is still present as creative assets that are equally important.
Projek AGNI's work is their way of preserving culture by repackaging the archipelago's heritage so that it remains relevant for current and future purposes and contexts. In a broader context, efforts like AGNI’s can also be considered a process of reacquainting ourselves with our identity as a nation through the development of brands that we consume and enjoy every day.
