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Indonesian textiles and bamboo

reimagined through technology and AI

Across Indonesia, textiles such as batik, songket, and ikat embody generations of cultural knowledge and skilled craftsmanship.

Today, digital innovation offers new ways to preserve and develop this heritage. Batik Fractal and DiTenun use algorithms and AI to document, explore, and reinterpret traditional patterns; supporting artisans while connecting their knowledge with contemporary design and new markets.

Bamboo and other natural materials; including rattan, lontar and palm leaves, pandan, and plant fibers; further reflect Indonesia’s rich material heritage. From woven baskets and hats to handbags, coasters, backpacks, and fans, these crafts combine local techniques with contemporary possibilities.

Together, they demonstrate that Indonesian heritage is living and evolving; where material, culture, craftsmanship, design, and technology meet to create new expressions for the future.

表面智能

通过科技与人工智能重新诠

释印度尼西亚纺织与竹艺

在印度尼西亚群岛，纺织品承载着身份认同、传统知识与精湛技艺。从爪哇以蜡绘制的蜡染（Batik），到分布于苏门答腊、巴厘岛、努沙登加拉北部和婆罗洲的宋吉织锦（Songket）与伊卡特织造（Ikat），每一种纹样都凝聚着代代相传的技艺与文化记忆。

如今，数字创新正在为传统文化遗产的保护与发展创造新的可能。Batik Fractal 和 DiTenun 将算法与人工智能作为支持工匠的工具，帮助传统纹样与技艺得到记录、探索，并与新的市场建立连接，同时不取代创作者的双手与知识。

除了纺织品，竹子也是印度尼西亚材料文化的重要组成部分。竹材被制作成提篮、精巧的编织帽，以及来自西爪哇打西克马拉雅（Tasikmalaya）的手提包和杯垫。这些作品体现了地方性的传统技艺，也展现了传统知识为当代设计提供灵感的潜力。

竹艺之外，印度尼西亚丰富的天然材料还包括藤条、棕榈叶（lontar）、棕榈纤维、香兰叶（pandan）及其他植物纤维。这些材料被转化为具有实用功能的物件，例如达雅克比达尤·贾戈伊（Dayak Bidayuh Jagoi）的 Anjat 背包，以及来自巴厘岛、努沙登加拉北部和占碑（Jambi）的编织手扇。

这些实践共同表明，印度尼西亚的文化遗产并非静止不变。它是一种持续发展的活态遗产，在材料、文化、设计与科技之间不断互动、适应与演变。

BATIK FRACTAL &

DIGITAL TENUN NUSANTARA

Technology and AI for Indonesian Textile Heritage

科技与人工智能赋能印度尼西亚纺织文化遗产.

Batik Fractal and DiTenun explore how digital technology and artificial intelligence can support the continuity and evolution of Indonesia’s textile heritage. Founded in Bandung in 2007, based on research at the Institut Teknologi Bandung (ITB), Batik Fractal connects traditional batik craftsmanship with digital design. In 2009, it developed jBatik, software using fractal algorithms to help artisans create and explore new patterns rooted in local traditions. With a network of more than 4,000 artisans across Indonesia, Batik Fractal combines technology, training, and collaboration to strengthen digital skills, creativity, and entrepreneurship.

DiTenun, initiated by Institut Teknologi Del and PT Batik Fractal Indonesia in 2018, applies image processing and AI to Indonesian woven textiles and songket. The platform enables weavers to generate new pattern variations from their own drawings, traditional motifs, or textile images, which can then be adapted to different weaving technologies.

Together, Batik Fractal and DiTenun demonstrate how technology can become a creative partner in safeguarding cultural heritage—opening new possibilities for traditional patterns while keeping the knowledge, creativity, and hands of artisans at the heart of the process.

Batik Fractal 与 DiTenun 探索数字科技与人工智能如何助力印度尼西亚纺织文化遗产的延续与发展。

Batik Fractal 于2007年创立于万丹省万隆，将传统蜡染工艺与数字设计相结合。2009年推出 jBatik，运用分形算法帮助工匠创作和探索源于地方传统的新纹样。如今，Batik Fractal 已与印度尼西亚各地超过4,000名工匠建立合作网络，通过科技、培训与协作，提升工匠的数字技能、创造力与创业能力。

DiTenun 于2018年由 Institut Teknologi Del 与 PT Batik Fractal Indonesia 共同发起，将图像处理与人工智能应用于印度尼西亚织锦与宋吉锦（Songket）的纹样设计。平台可根据工匠的手绘图、传统纹样或纺织品图像生成多种纹样变化，并适配不同的织造技术。

Batik Fractal 与 DiTenun 展示了科技如何成为文化传承的创意伙伴：在保护传统知识与纹样的同时，拓展当代设计的可能性，并始终让工匠的知识、创造力与双手处于创作的核心。

Batanghari Pecah Duo

The Batanghari motif from Jambi, Sumatra, is inspired by the Batanghari River, the longest river in Sumatra. In this design, the river branches repeatedly into two, creating a binary branching pattern, known in Jambi as Pecah Duo, meaning “dividing into two.”
The design reinterprets a traditional motif through the language of mathematics and technology, creating a new visual story while preserving its cultural roots.

“Batanghari”图案源自印度尼西亚苏门答腊岛占碑省（Jambi），灵感来自苏门答腊岛最长的巴当哈里河（Batanghari River）。在这一设计中，河流不断分成两条支流，形成一种**二叉分枝（Binary Branching）**的结构。在占碑当地语言中，这种“分成两支”的形式被称为 Pecah Duo。
作品以数学与科技为创作语言，重新诠释传统纹样，在保留文化根源的同时，赋予传统图案新的视觉叙事。

Parang Bunder Seser

Parang Bunder Seser is inspired by Parang, a classic batik motif from Central Java, characterized by repeating diagonal, hook-like forms. It is combined with ceplokan and bouquet motifs of roses and leaves.
Bunder Seser means “perfect circle,” referring to the use of pi (π) as the mathematical principle behind the composition. The motifs encode the digits of π, beginning with 3141…
The design reflects the Javanese tradition of uniting numbers, words, and images into a harmonious visual language, bridging cultural heritage, mathematics, and contemporary technology.

Parang Bunder Seser 的灵感源自印度尼西亚中爪哇经典蜡染纹样 Parang。Parang以重复排列的斜向钩状纹样为特征，并融入俯视玫瑰花的 ceplokan 图案，以及玫瑰与叶片组成的花束纹样。
Bunder Seser 意为“完美的圆”，指作品以数学常数圆周率 π作为构图原则。不同纹样对应 π 的数字序列，从右上角开始读起，即为 3141……
作品延续爪哇文化将数字、文字与图像融为一体的艺术传统，通过数学与当代科技重新诠释文化遗产，构建传统与现代之间的视觉连接。

WENGKU PROJECT

Faculty of Art and Design,

Institut Teknologi Bandung

(FSRD ITB)

印度尼西亚万隆理工学院艺术与设计学院

Contemporary Design Rooted in

Woven Bamboo Heritage

源于竹编传统的当代设计.

Wengku Project is a contemporary bamboo design initiative rooted in the living knowledge of woven bamboo craftsmanship in West Java, Indonesia. Developed from research initiated in 2021 and expanded into a design exploration in 2026, the project takes its name from wengku, a Sundanese technique for strengthening and framing the rim of woven bamboo objects—an act of holding, enclosing, and protecting.
Wengku Project reinterprets the material knowledge embedded in traditional bamboo craftsmanship into contemporary objects. By connecting design innovation with artisans, landscapes, and cultural practices, the project seeks to support the continuity of weaving traditions while honouring their craftsmanship, materiality, and cultural heritage.

Wengku Project 是一个源于印度尼西亚西爪哇传统竹编技艺的当代竹设计项目。该项目始于2021年的研究，并于2026年进一步发展为设计探索。“Wengku”源自巽他族（Sundanese）竹编技法，指用于加固和固定竹编器物边缘的工艺，体现了“承托、围合与保护”的理念。
Wengku Project 将传统竹编中蕴含的材料智慧转化为当代设计。在连接工匠、地域环境与文化实践的同时，项目通过设计创新探索传统竹编技艺的延续，并尊重其工艺、材料特性与文化价值。