The Application of Digital Module Design of East Sumba Woven
Fabric on Interior Accessories
Erwin Ardianto Halim
1a
, Monica Hartanti
1b
, Maresha Caroline Wijanto
2c
,
Yosepin Sri Ningsih
1d
, Hendra Setiawan
1e
, Yudita Royandi
1f
, Yunita Setyoningrum
1g
,
Berti Alia Bahaduri
1h
and Aulia Wara Arimbi Putri
1i
1
Maranatha Christian University, Faculty of Arts and Design, Surya Sumantri, Bandung, Indonesia
2
Maranatha Christian University, Faculty of Information Technology, Surya Sumantri, Bandung, Indonesia
Keywords: Design Module, Digital Application, East Sumba Fabric, Interior Elements.
Abstract: The motif of the fabric can be applied in a variety of product designs, one of which is the design of accessory
products and interior elements that need to be customized by incorporating local characteristic of Indonesian
culture. Hence, it is necessary for the design to be unique and identifiable as an Indonesian product. As a pilot
project, the Indonesia’s cloth chosen is the one of East Sumba, one of Indonesia's local products with unique
motifs, patterns, and colors. Interior design elements have various forms and additional materials with diverse
shapes and patterns. To make it easier for designers to mix and match Indonesia’s fabrics with additional
materials, so that a good, attractive, and localized design could be created, awebsite-based application is
needed. The features in this application have been categorized according to the interior product design
principles of DK Ching. The novelty of this application is that its features are equipped with East Sumba
fabric motif assets appropriate to be applied to the design of accessories and interior elements. This application
uses HTML 5 technology which will produce design assets combined with East Sumba fabrics. Its assets can
be used to design interior spaces by using existing design applications.
1 INTRODUCTION
In Indonesia, the creative industry is defined as an
industry that comes from the utilization of individual
creativity, skills, and talents. The utilization to create
welfare and employment is formed by producing and
seeking the creation and creativity of these
individuals. The focus of the Indonesian government
on the creative industry began in 2006. Design is a
part of the 14 sub-sectors of the creative industry. The
creative industry is indicated as the most promising
a
https://orcid.org/0000-0003-3642-7404
b
https://orcid.org/0000-0001-8324-5975
c
https://orcid.org/0000-0003-4131-7760
d
https://orcid.org/0000-0002-2115-1305
e
https://orcid.org/0000-0002-7826-2671
f
https://orcid.org/0000-0002-2360-9332
g
https://orcid.org/0000-0001-8908-0518
h
https://orcid.org/0000-0002-5788-7103
i
https://orcid.org/0000-0003-1165-626X
field in economic activity because of its potential
contribution to welfare and job creation (Mellita &
Erlansyah, 2014).
The characteristics of Indonesia famous for its
socio-cultural diversity spread throughout the country
are an inspiration and a strong supporting factor in
carrying out the development of the creative
economy.
Creative economy is the creation of added value
based on ideas born from the creativity of creative
human resources and based on the use of science,
286
Halim, E., Hartanti, M., Wijanto, M., Ningsih, Y., Setiawan, H., Royandi, Y., Setyoningrum, Y., Bahaduri, B. and Putri, A.
The Application of Digital Module Design of East Sumba Woven Fabric on Interior Accessories.
DOI: 10.5220/0010752600003113
In Proceedings of the 1st International Conference on Emerging Issues in Technology, Engineering and Science (ICE-TES 2021), pages 286-294
ISBN: 978-989-758-601-9
Copyright
c
 2022 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved

including cultural and technological heritage.
Certainly, local cultural heritage contains local
wisdom that supports the creative industry. Exploring
and developing local wisdom is one of the efforts to
avoid and reduce poverty. Local wisdom contains
social norms and values that regulate how to build a
balance between the carrying capacity of the natural
environment with lifestyle and human needs. Outside
of the structuralist approach, a mosaic of local
community life called collective wisdom or cultural
wisdom can be found. In any society such wisdom is
embedded in the recesses of their shared collective
knowledge system. That is what is often referred to as
local wisdom.
Experts also often call the local wisdom as local
knowledge. Local wisdom was born and developed
from generation to generation as if it survived and
developed by itself. There seems to be no science or
technology to underlie it. Local wisdom necessitates
the existence of past cultural content and serves to
build a longing for the life of the ancestors, which is
the cornerstone of present life. Local wisdom can be
used as a bridge that connects the past and present,
generations of ancestors and the present generation.
In other words, it can be used as a glue and a unifier
between generations (Pattinama, 2009).
Indonesia’s fabric, very diverse with a lot of types,
is one of the results of local knowledge from the local
community. Sumba's woven fabric is one of the
cultural heritages resulted from local wisdom and
knowledge of the region. Through the expertise of the
Sumbanese, woven fabrics are created in 42 stages by
using basic materials found there. This heritage has
been preserved through the knowledge of the local
community and developed from generation to
generation, as if it survives and develops by itself.
This can be seen from the ability of the weavers to
create patterned woven fabrics without making
sketches. It is as if there are algorithms in the weavers'
brains.
East Sumba weaving, based on how it is made, is
classified as ikat pakan weaving. In addition to using
the ikat method, there is also a weaving method such
as songket which is called pahikung weaving. Unlike
the ikat (Hinggi) weaving, the pahikung weaving is
sewn to form a sarong for women. The uniqueness of
Sumba weaving lies in the manufacturing process, the
form of the pattern, and the color (ANAS, 2007);
(Ningsih & Widjaja, 2020)The weaving process,
believed to be the binding rope between the living and
the dead, is related to the formation of the womb: the
lusi thread forms the protective skin, the pakan thread
forms the body, and the tying threads that form the
fabric symbolize growth to adulthood (Jay, 2014:
111). The color of Sumba's weaving is produced by
the cold dyeing method. Blue comes from tarum dyes
and red from noni which uses a mixture of wood and
loba leaves which produces Sumba's distinctive red
color (Ramone, 2013).
In the last decade traditional weaving from the
East Sumba region has received a lot of attention,
because of the unique patterns and processes that
involve nature as well as very manual manufacturing.
Sumba weaving has succeeded in attracting a number
of well-known fashion designers who have chosen to
use Sumba weaving in their work. Apart from
fashion, Sumba weaving is also used in other lifestyle
needs, such as interiors.
Interior elements need to be customized by
incorporating local Indonesian cultural
characteristics. This is necessary to make the design
unique and to give it an identity as an Indonesian
product. This is important because there is a data
showing that MSME products have penetrated almost
all countries in the world, such as in Asia, Africa, the
Middle East, America, and Europe. MSME products
that are locally based and have unique characteristics,
such as handicraft and furniture, are highly
competitive in the global market and would be
superior products in the future. Products included in
furniture and home accessories that have great
competitiveness and are potential for the export
market include: (1) handicrafts, including silver,
copper, wood, ceramics, earthenware, natural stone,
wicker (rattan, natural fibres, etc. bamboo), batik,
embroidery / embroidery, traditional weaving, natural
silk, etc.; and (2) furniture (modern and antique),
including wardrobe products, dining chairs, guest
chairs, garden chairs, gebyok, beds, wood carvings,
and others. The MSME business in the fields of art,
design, and craft, which is very prospective, creates a
very tight competition, among others in terms of
design, product diversification, and product quality,
which affects business development. Therefore,
entrepreneurs who do not only rely on hereditary
skills, but also have additional skill to explore
adequate art and design are needed to produce a wide
variety of creative, innovative, and competitive
products that meet the market tastes (Indahyani,
2012).
Advances in technology can facilitate the
additional skill needed, especially for future
generations. They will be needed to accelerate the
exploration process of art and furniture design that
has creative, innovative product variations and has
differentiation of products with local Indonesian
content.
As a pilot project, the application features with
The Application of Digital Module Design of East Sumba Woven Fabric on Interior Accessories
287

local content are fulfilled by applying unique
patterns, colors, and patterns to the East Sumba cloth,
one of Indonesia's local products.
Interior design elements have various forms and
additional materials with diverse shapes and patterns.
In order to make it easier for designers to combine
East Sumba fabrics with additional materials in
interior design, a website-based design application is
needed to mix and match them, so that a good,
attractive, and localized design of accessories and
interior elements can be created. This application will
generate accessories assets and interior elements that
can be used by designers to design interior spaces.
2 METHOD & DATA ANALYSIS
2.1 Application Design Methods
The design of this application uses the research steps
described by Sugiono, in Research and Development
Model from Borg & Gall (1983) and added to the
socialization and dissemination process (Rasagama,
2011), which includes (1) Need Analysis - At this
stage a need analysis is carried out, which includes
literature studies, field surveys, and similar products.
(2) Initial product development - At this stage the
initial product is made according to the result of the
need analysis that has been carried out. (3) Expert
validation - After the product is made, then expert
validation is implemented, to both content and
construction, then product refinement is performed.
(4) Field trials - At this stage extensive trials are
carried out on users. (5) Product revision - At the
end, final product refinement is executed according to
the result of extensive trials. (6) Dissemination and
implementation. (Rasagama, 2011). Currently, the
design has just reached stage two: a website-based
application prototype.
This application is designed by implementing the
following interior design process:
a. Balance
It is an arrangement of elements for visual
equilibrium. Balance is important in interior design
because every interior is composed of various shapes,
colors, lines, patterns, textures, and light. Existing
functional requirements will determine how an
interior is designed, but in the end all comfortable
environmental compositions must be created.
b. Harmony
It is the suitability of each part to the other parts and
to the whole arrangement/ composition.
c. Rhythm
It is the repetition of elements in an orderly and
harmonious pattern. The repetitions of form and
space can be organized in the following ways:
• organized radially or concentrically to a point
• organized by size in linear order
• organized randomly but related to the closeness
of function and similarity of form
d. Focus
In interior design, it is sometimes necessary to
emphasize certain objects or spaces to show that an
object is more important than the others, so that a
hierarchy is created. A space where the objects have
the same importance will tend to be monotonous and
boring. Emphasis can be done in several ways:
• Important objects can be placed as the center in
the middle of other objects
• An object that is considered important can also
be emphasized by means of color, size, shape,
texture, or in other ways that can create
contrast between the object and its
surroundings.
e. Contrast and Variation
It is a way to get an understanding of the difference
between one object and another object, creating a
level of importance, and creating attractiveness in an
environment.
f. Proportion
It is a relationship between one part of the object.
Composition of one part with another part and with
the whole composition. The relationship between one
element and another. The proportions in interior
design are highly dependent on the three-dimensional
relationship between objects and spaces (Ching,
2015).
The application will be created based on a website
by considering the principles of interior design,
namely harmony, rhythm, focus, contrast, and
variation. The principle of balance and proportion has
not been applied because it is related to the room as a
whole. The focus of this application is how to provide
an application that can help a designer visualize the
combination of accessories and interior elements with
East Sumba fabrics.
2.2 Data Analysis
Before designing this application, this section
contains the first stage in the applied research method
called Need Analysis. The research team conducted
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288

an analysis on several applications selected based on
the category of accessory features and interior design
elements that will be included in the application
features that will be designed: (1) the applications to
design floors, (2) the applications for wall design,
namely through paint colors, (3) the applications
which brings together architectural, contractors and
interior designers with homeowners. The analysis
was carried out on the User Interface (UI), the
technology used, the advantages, and the
disadvantages associated with UX. The explanation is
as follows:
Table 1: Application Analysis Data for designing floors.
MAGIC
PLAN
User
Interface
(UI)
The UI is well displayed. There is
a “specific” button for the interior.
The design can use white and blue
accents.
Technology 2D/3D floor plans & AR
measurement
UX related
advantage
• Users can select a floor plan
with different functions.
• Users can set their own size in
creating the room.
• Users get a report on the total
cost and sketch in PDF format.
• Applications have mobile
application options for the
Android and iOS platforms.
• Users can import ideas through
photos.
• Users can add a project site
address that will be used.
• The application has 3D view
feature on Land Survey.
• The application must be used
by an interior designer or an
architect.
• It is better and easier to use the
apps at TAB than at HP.
• The design looks simple.
UX related
disadvantage
• Application must be used by an
Interior Designer or Architect.
• Better and comfortable to use
on a tablet than on a cell
phone.
Table 2: Application Analysis Data for designing wall
colors.
DULUX
VISUALIZER
User Interface
(UI)
The UI is visualized attractively.
The appearance and product
specifications are unclear. The
Dulux identity is only displayed
through the Dulux logo on the top
left.
Technology Real-time interface, AR, connected
with online websites
The Application of Digital Module Design of East Sumba Woven Fabric on Interior Accessories
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Table 2: Application Analysis Data for designing wall
colors (cont.).
UX related
advantage
• Users can see the product they
want to test with all the features.
Users can virtually apply 8 groups
of paint colors to the desired wall
by simply pointing the iPhone or
android camera.
• The application has mobile
application options for the
Android and iOS platforms.
• Accuracy up to 98%.
• There is a feature to save color
ideas and edit them as needed.
• The application can be used by a
layman, not necessarily by an
interior designer or an architect.
https://www.dulux.co.id/en/tips-
dan-saran-dorasi/duluxvisualize
r
UX related
disadvantage
• The display is less informative, so
that users must try existing
features to find what they want.
• The uneven light in the area where
the color will be simulated greatly
affects the simulation results.
There is a chance that the paint
colo
r
ma
y
no
t
b
e applied evenl
y
.
Table 3: Application Analysis Data to bring together
architecture, contractors and interior designers with home
owners.
HOUZZ https://www.houzz.com/mobileApps
User
Interface
(UI)
1. A: The same features are displayed
over and over, such as: shop search,
professionals, latest photos, and feeds.
User
Interface
(UI)
2. A-B-C-D-E: Shopping is displayed
separately with a trolley icon (cart) in
the upper- right corner of the main
page.
3. B-C-D-E: There are options for
manual typing, filters and categories
for topics/ fields/ groups of interest in
the search photos, search professional
service, shop now, search latest stories/
discussion/ Houzz TV features.
4. F: There is a separate notification
feature and message box.
5. G: There is a photo collection feature
that can be made thematically as
needed.
6. H: There is a feature to find similar
photo recommendations (similar ideas)
to what the user is looking for and to
add a photo description. In each photo
there is also a tag on the item that can
be clicked on to find out the model/
type and the manufacturer.
7. K: Discussion forums are divided
based on topics of interest. They can
be used to share projects and
discussions, bring together users,
suppliers, contractors, and designer
consultants.
8. J-L: Stories and TV feature news and
updates on the latest trends, styles, and
materials, such as
b
lo
g
s an
d
vlo
g
s.
Technology
Augmented Reality and Visual
Recognition
UX
related
advantage
• Bring together architectural,
contractors, and interior designers
with homeowners.
• Combining features of blogs, vlogs,
discussion forums, and shopping in one
application.
• A site that has the most home design
images on the internet.
• More than 65,000 design professionals
from all over the country have
uploaded more than 2,189,151 images
that make up something like a flip
book. 96,312 architects and designers
joined this social network.
https://www.plimbi.com/article/1
30012/houzz-situs-jejaring- social-
mencari-inspiration-
• desa?force
_
desktop=1
UX
related
disadvant
age
• The same features are displayed over
and over, such as: search shop,
professionals, latest photos, and feeds.
• Not yet accessible in Indonesia, limit-
ed to certain countries (ma
j
orit
y
USA).
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Table 3: Application Analysis Data to bring together
architecture, contractors and interior designers with home
owners (cont.).
REDECOR
– HOME
DÉCOR
GAME
User
Interface
(UI)
UI is visualized attractively:
appearance, material specifications,
and specifications of the design style
are designed nicely.
Technology Real-time interface
UX related
advantage
• Users can choose the interior design
style they want to try.
• Users can choose their own material
and color according to the style to be
applied.
• Users get capital in the form of money
to shop for materials.
• The application has mobile
application options for the Android
and iOS platforms.
• The application is in the form of a
game, so that it is more interesting.
• The application can be used by
laypersons and designers.
• There are challenges.
UX related
disadvantage
Users have to pay for materials.
The results of the analysis above describe:
a. An attractive user interface, with clear
features, makes it very easy to use the
application.
b. If the user is also for a layperson, a game can
be added to make the application more
interesting.
c. Photo collection feature that can be arranged
thematically as needed will enrich the
application features.
d. The various specifications on material and
design style will enrich the application.
e. Moreover, it will be more appealing if the
specifications can be selected in a variety of
ways.
f. The application to be created does not require
AR because it is not an interior space
application.
g. The application to be made will utilize the
website and its technology that pays attention
to UI/ UX design. UI design prioritizes the
implementation of interactive tools, while UX
design prioritizes the successful outcome of
existing interactions (Roth, 2017)
h. High enough accuracy will increase user
confidence in the application. This can be
realized through the accuracy of size and
color.
i. The application to be created is not to bring
together designers and consumers, but to bring
together regional and even international
designers. Designers can use the fabric assets
of East Sumba when they need them as a
design element.
2.3 Grid System
The grid system has been implemented for a long
time, although it is not always referred to as a grid.
The grid uses small measurements but can build
larger modules while maintaining consistent spacing.
The grid system as we know it today can be adapted
for various layout design uses. The grid serves as a
behind-the-scenes structure for designers to achieve
consistency and balance (Thompson, 2018).
Pages can be divided into vertical and horizontal
lines, to create the number of rows and columns of a
grid. The number of consistent vertical divisions from
left to right and horizontal divisions from top to
bottom is called a modular grid. Many designers use
this grid system to keep their content well organized
(Lupton, 2009).
The Application of Digital Module Design of East Sumba Woven Fabric on Interior Accessories
291

2.4 Drag-and-Drop
Drag-and-Drop is a type of direct manipulation that is
useful for reordering, moving, or resizing objects. To
initiate the interaction, users needs an object that can
retrieve from a mouse or touch gesture (such as a
mouse click or, respectively, a long press). While
keeping the object selected by continuous pressure on
a mouse button or a finger, user then moves the
pointing device to a targeted place. This is called
“drag” step. Finally, user deselects the object, for
example by letting go of the mouse button. This is the
“drop” part. The outcome of all these steps may
simply be that the object has been relocated
(Laubheimer, 2020).
3 RESULTS AND DISCUSSION
The design of this application is a collaborative
project of interior design and informatics engineering.
There are several preparations made, which can be
explained as follows:
(1) Preparing the assets, such as classifying the
Sumba’s fabric motifs based on its symmetrical
pattern on top, bottom, right, left, and color.
There is a total of 20 pieces of fabrics
photographed. Their motifs are traced in detail
to become assets in the application to be
designed.
Figure 1: An example of the original East Sumba cloth
cropping.
Figure 2: Examples of artificial East Sumba motif tracing.
(2) Classifying the assets and interior elements
from the largest to the smallest size and
distinguishing the original East Sumba cloth
assets from the artificial ones.
Table 4: Table of asset classification and interior elements.
Category Item name Size
Original
Sumba
Fabric
Artificial
XL
Wall
Treatment
2m x 2m 3m x
3m 4m x 4m
5m x 5m
v v
XL Floor
according to the
size of the room
v
XL Ceiling
according to the
size of the room
v
L Credenza
1m x 2m 2m x
2m 2m x 3m
v v
L Wardrobe
60x100x240 cm
60x150x240 cm
60x200x240 cm
v v
L Dining Table square 2mx1m v v
L
Round Dining
Table
diameter 2m v v
L Coffee Table
1m x 2m 2m x
2m 2m x 3m
v v
L
Round Coffee
Table
v v
M Side Table 50cm x 50 cm v v
S List Plafon v
S Lampshade
Diameter: 23 cm
Tinggi: 16.5 cm
v
S Pillow Case
Panjang: 50 cm
Lebar: 50 cm
v
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(3) Designing the program flow - general
architecture application
The main feature in this application is designing
interior accessories with East Sumba fabrics. The
choice of accessory assets is in accordance with Table
4, while the cloth assets of East Sumba use the
original images of East Sumba fabrics and the
artificial ones.
As shown in Figure 4, this feature starts from
selecting the category, then selecting the items that
users want to design with East Sumba fabrics. There
are several items that come with different sizes that
users have to choose first before starting the design
process. There are also some items that come with one
size only, so that users can immediately start the
design process with the fabrics without having to
choose the item’s size.
The design process itself will take advantage of
the application of grid system to the interior
accessories. With the help of a grid, designers can
easily search for results that match their personal style
(Beaird, 2010). The application will provide a
visualization of interior accessories with East Sumba
fabrics. The grid system can be adjusted flexibly, and
it can be a predefined module in the application
system. Users can drag-and-drop East Sumba cloth
motif to the available interior accessories. Users can
easily order patterns on interior accessories with a
grid system without distorting the East Sumba cloth
motif. The drag-and-drop features help users reorder
and move the preferences for East Sumba cloth motif
to the interior accessories.
The final result of this application is in the form
of a 2D display, with focus is to apply the Sumba
cloth motif that has been cropped correctly so that the
motif will not be cut off, especially for assets that use
the original East Sumba cloth in real terms can indeed
be made by the weavers. This application can also be
used as a simulated design with East Suma cloth
motifs with other interior texture elements such as
wood and colour motifs. In this application, the fabric
assets of East Sumba will be able to add a variety of
motifs.
Figure 3: General architecture of the system.
After completing the design process, the results
can be used as assets for other interior applications.
However, because the visuals are 2D, they need to be
combined with other interior design software.
Figure 4 depicts one of the step from the system.
Users can select items and sizes before applying the
East Sumba fabric assets. Figure5, Figure 6 and
Figure 7 shows an example of applying the grid to
interior accessories. The existing East Sumba fabric
assets, both original and artificial fabric images, can
be dragged and dropped on the available grid. Later,
it will produce pictures of furniture that have been
combined with the fabrics.
Figure 4: An example process of selecting items and sizes.
Figure 5: An example of applying the grid system to interior
accessories using original fabric images.
Figure 6: An example of applying the grid system to interior
accessories using artificial fabric images or original fabric
images.
The Application of Digital Module Design of East Sumba Woven Fabric on Interior Accessories
293

Figure 7: An example of applying the grid system to interior
accessories using artificial fabric images or original fabric
images with different module.
4 CONCLUSION
The sustainability of a local culture can be supported
by the help of technology. The interior design
application created has the novelty of incorporating
the unique East Sumba fabric motifs combined with
various forms and additional materials into interior
design elements. This kind of application has not
existed yet. Being created with web technology and
the application of a user-friendly grid system, the
final result of this application is an asset that can be
used in designing a harmonious interior space with
good interior design principles. In addition, the
resulting assets can be used in other existing design
applications.
ACKNOWLEDGEMENTS
The research team thanks Mrs. Etje Raka as a
collector of Sumba fabrics. Thanks also to
Maranataha Christian University for the research
funding that has been granted.
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