Sustainable Design Criteria for Batik Cultural Centre in Klampar, Madura

Batik is part of the culture in Indonesia. With each region having its signature, the Government has taken various ways to ensure the sustainability of batik, providing a batik centre to support batik artisans and a batik museum to introduce culture to tourists. However, the program’s sustainability cannot be maintained, and it always fails for several reasons. One can be seen in kampong batik in Klampar Village, Indonesia; the Government provided a Batik Centre in 2022, but the following year, it was abandoned, and the community returned to producing batik in their homes. This research aims to formulate sustainable design criteria for Batik Cultural Centre based on the four dimensions of sustainability and sustainable tourism. The sustainability review of kampong batik in Klampar Village will carried out qualitatively, and the solutions offered will be analyzed empirically with the support of previous theories to provide credibility. The results show that six architectural aspects can be intervened in developing culture-based sustainable tourism: facilities, room programs, materials, skin, spatial connectivity, and floor plan. This study contributes to setting the design criteria for vernacular architecture that wants to be re-purposed as a tourism facility within the sustainability corridors.


Introduction
Based on the United Nations Educational, Scientific, and Cultural Organisation (UNESCO) in 2009, batik is designated an Indonesian Intangible Cultural Heritage [1].It is a culture that needs to be preserved; therefore, several developments have been carried out by the Indonesian Government to maintain the sustainability of the batik industry.One way is to create a batik centre, as seen in Klampar Village, established in 2022.However, the district head's Accountability Statement Report (LKPj) in 2022 stated that the facility's utilization could have been more optimal, causing the batik centre to be neglected by the community.Besides that, in making batik, many producers still ignore the waste from their batik processing and throw it into the surrounding rivers.This causes natural damage and affects the water conditions in their neighbourhood.Therefore, it is necessary to have a study that can review the design criteria of a good batik centre, which pays attention to sustainability.
The research problems above show that the design criteria for a sustainable Batik Centre are needed.It can be identified by the four dimensions of sustainability: social, economic, environmental, and cultural, which will be discussed further in the next section.Tourism that is planned with sustainable dimensions has also proven to be a problem solver for several case studies because it can identify the root of the problem and can provide outcomes for tourism development strategies that are sustainable and can last in the long run [2].

Four Dimensions of Sustainability
The dimensions of sustainability have gone through changes, from initially having only three dimensions, social, economic, and environmental, represented by three intersecting circles [3]- [5].It is changed into four dimensions: social, economic, environmental, and cultural.According to Najjar 2022, IOP Publishing doi:10.1088/1755-1315/1351/1/012013 2 dimensional change had to be made due to the failure of the previous sustainability dimension.These four dimensions will trigger integration and drive changes in the primary system to create participatory sustainability and last for the next generation [6]- [8].
Becoming sustainable in the economic dimensions means having a program that supports the economic stability of the communities living around the architectural objects.This can be achieved by providing suitable facilities to improve the community's economy [9]- [11].Social sustainability can be achieved if the conditions of the community are ideal and each individual/member can achieve quality of life with a program that helps a healthy and liveable community for present and future generations [12], [13].Environmental sustainability can be accomplished using environmentally sustainable materials, systems/services, and construction materials.In addition, improving the activities of the surrounding community, which are considered damaging to nature, can enhance the sustainability of the environment [4].The last one is cultural sustainability, a dimension that has just been added to the four pillars.The difference between social and cultural sustainability lies in its purpose.Social sustainability is more focused on improving the community's quality of life, while cultural sustainability is aimed at preserving the culture within the community.There are various methods, ranging from providing appropriate programs for cultural preservation to using materials, ornaments, and decorations that enhance people's awareness of their culture [14], [15].In practice, there still needs to be clarity in determining or portioning the role of each sustainability dimension, especially with the addition of the culture dimension to the four pillars of sustainability.According to Dessein 2015, there are three cultural roles in sustainable development: culture in sustainable development, culture for sustainable development, and culture as sustainable development (Figure 1) [16].The first role of culture is culture in sustainable development.Where culture has an equal role with the other three pillars of sustainability; however, the discussion of culture will be very limited in this case.The second role is culture for sustainable development, where culture covers something broader, such as discussing people's lives and habits.In this case, culture becomes an intermediary used to connect the other three pillars.The last one is culture as sustainable development, which means that culture is used as a foundation to support the sustainability of the three pillars and is often used as a basis for policymaking.

Sustainable Tourism: The Application of Approach to Each Dimension
According to Permana, the tourism sector is vital in developing economic conditions in various countries.This development can be carried out with various approaches: continuous incremental and flexible approach, system approach, comprehensive approach, integrated approach, environmental and sustainable approach, community approach, implementable approach, and application of systemic planning approach [17].Of the eight approaches mentioned above, several approaches can be applied to the four sustainability dimensions described previously.Approaches that can be implemented are a continuous incremental and flexible approach, an integrated approach, and a community approach.

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The definition of the community approach itself is an approach that prioritizes joint decisions from the community and policymakers (in this case, researchers) for tourism development [18], [19].The incremental and flexible approach aims to plan and design based on a sustainable process ahead of time so that the building's flexibility can be determined in advance [20]- [23].At the same time, an integrated approach emphasizes system integration in the development area to create sustainability [17].The approach taken in this study is adjusted to each dimension of sustainability so that the resulting criteria can be arranged more systematically (Figure 2).For social and cultural dimensions, a community approach is used.Meanwhile, economic and environmental sustainability will use all three approaches: community, integrated, incremental and flexible.

Methodology
This research will use a design framework and several methods.According to Plowright, there are three design frameworks, namely pattern-based, force-based, and concept-based.In the pattern-based framework, sets of rules are used as the primary organization when designing, while the concept-based framework uses framing ideas to organize the architectural response.This research will use a forcebased framework, according to Plowright (2014), a force-based framework can be used if non-formal factors, such as social, cultural, environmental, and economic, are utilized for formal decisions.In this case, formal can be interpreted as architectural aspects.Apart from that, several methods will be used: data collection, analysis, and representation [24].For data collection, researchers used qualitative methods.According to Groat & Wang in his book, qualitative research is dominated by interactions between researchers and the objects and subjects studied [25].In this case, the study subject is the Klampar Village community, where the community's behaviour towards sustainability will be observed.The object of this research is Klampar Village itself (Figure 3), where what will be observed is the structure of Taneyan Lanjhang and neighbourhood.Taneyan Lanjhang is a traditional Madurese house that has begun to change its function due to the needs of the residents for batik production.After identifying the problem in the community and the neighbourhood, a force-based framework design is also used here to make it easier for researchers to determine what design criteria should be applied to The New Batik Cultural Centre.Steps that can be used in a force-based framework in the design thinking process are context, force identification, form proposals, and assembly (Figure 4) [24].
In the context step, what is on the site can be identified as the object of research.Then, the following process is to identify the forces in the field, which are not only in the form of objects but the subjects/problems confessed by the participants are also highlighted.In proposing form, the researcher will begin to analyze using qualitative analysis and use the issues identified as a force for forming design criteria in this research.Then, the final stage is the assembly stage, where the researcher begins to create a diagram that can represent the criteria that have been created.
Furthermore, the analysis and presentation of the data will be carried out empirically, where the results of the observations will be analyzed descriptively with various existing theories so that they can produce valid criteria.

Figure 5. Distribution of Batik Facilities in Klampar Village
Klampar Village is located on one of Indonesia's islands, precisely in Pamekasan Regency, Madura Island.It is dominated by vegetable gardens, rice fields, and infertile lands.Klampar Village is a village known for its batik; there are 41 batik stores, 16 batik artisans, 5 batik co-working spaces, and 4 community centres based on the data from GIS that was generated (Figure 5).Farmers, batik artisans, and batik collectors are dominating the residents of Klampar Village.Based on the results of the GIS analysis, it can be seen that several areas show an assemblage of batik artisans along the Bungbuter River, which passes through the village.The large number of people who become batik artisans there is also due to easy access to batik waste disposal, which has been done directly at the river over the years.
Madurese people are living closely with their extended families.The symbols that support this can be seen in the traditional houses, most of which are still neatly maintained in various parts of Madura.Taneyan lanjhang is a traditional Madurese settlement.It comes from the Madurese language and consists of two words: taneyan, which means yard, and lanjhang, which means long; so taneyan 6 lanjhang refers to a long yard surrounded by houses of an extended family, this results in a unique house structure.

Figure 6. Taneyan lanjhang simplified site plan
The location of the houses is lined up in an east-to-west order so that the ownership of the yard is jointly owned.At the far west end is the location of the langgar-a small mosque for the families.The northern part, kandang, is a group of houses arranged according to the family hierarchy.Usually, those who occupy kandang are the leaders of the family who are men.Meanwhile, rumah and dapur are where the houses of parents, children, grandchildren, and great-grandchildren of female descendants are located, which can be seen in Figure 6.Due to the growth in residents' activities to become batik artisans, there is a change in the function of the taneyan lanjhang room, which can be seen in Figure 7.In one of the batik village distributions, it can be seen that there are eight taneyan lanjhang, which residents then use to sell batik, such as using their rumah as a shop and using the taneyan as a place to dry batik for batik artisans' houses.This situation is prevalent in Klampar Village, forming a new culture and habit for the surrounding community.Based on this analysis, it was found how flexible and adaptable the structure and space of the Taneyan Lanjhang are so that they can be used for various functions.

The Economic Sustainability of Batik Cultural Centre
Based on the results of field observations, economically, the surrounding batik home industry has yet to fully receive support from the Government, so its development is not fast, and its sales are still limited in their villages.Therefore, solutions that are integrated, flexible, and based on community economic needs are urgently needed.

Flexible Use of The New
Batik Cultural Centre Renting the communal space to accommodate events so it can still function economically even though batik sales have decreased.

Sustainability Dimension Force Approach Design Criteria
Using an open plan floor plan so that rooms can change functions easily

Figure 8. Secondary facade for the new masses within the taneyan lanjhang
Table 1 shows the design criteria of the Batik Cultural Centre that need to be applied for economic sustainability.The design criteria based on the community approach are to make new facilities in the neighbourhood and facades that use existing materials to support local artisans, as seen in Figure 8. Several local materials can be used as secondary facades; limestone (lime brick) and woven bamboo are often found as materials for the walls of taneyan lanjhang and are commonly found on Madura's island.This implementation reduces the amount of light that enters excessively because the designed building is covered in glass, which aims to maintain the visuals and attract visitors.
In addition to the problems mentioned before, the batik-making process in Klampar Village needs to be integrated, resulting in increased production costs and ineffective batik production.Therefore, an integrated approach is used to create design criteria by setting community needs for batik production activities and the space program created at the Batik Cultural Centre.Based on observations and the results of brief interviews with residents, it was found that the community's needs for batik production are space for processing, and selling.Therefore, providing a communal batik-making room, showroom, and reusing the taneyan as communal open spaces in the new Batik Cultural Centre is best (Figure 9).Furthermore, the integration of the flexible and incremental approach to economic sustainability can be seen from the flexibility criteria for spatial functions and the floor plan design, which is designed in an open-plan manner.This is to anticipate a decrease in visitors to the Batik Cultural Centre so that the surrounding community can still earn income by renting out the main building of taneyan lanjhang, which initially functioned as a showroom to accommodate events, as shown in Figures 9 and 10.

The Environmental Sustainability of Batik Cultural Centre
The environmental problem experienced in Klampar Village is the problem of uncontrolled batik waste, which causes pollution of the rivers around the village.This happened because of the habits of residents, Therefore, a solution through a community approach is needed, namely by making batik waste processing as a supporting facility at the Batik Cultural Centre, as shown in Table 2.
Table 2. Design criteria of Batik Cultural Centre for Environmental Sustainability

Sustainability Dimension Force Approach Design Criteria Environmental Sustainability
There are still people who throw their batik-making process waste into the surrounding rivers so that they are polluted

Community
Supporting facilities for processing batik production waste Creating supporting functions (services) for the batik waste processing.
The need for an integrated batik waste system and processing

Integrated
Integrating Batik Waste Processing Reusing rooms in taneyan lanjhang for batik waste treatment plant (IPAL) for integrated facilities (Figure 11).Community and integrated approaches are used by adjusting their respective portions.An integrated system in architecture goals is to enhance the overall performance and efficiency of a building.Therefore, the integrated approach here is more targeted at implementing the batik waste processing system inside the existing site of taneyan lanjhang to the point where the waste is disposed of into city drains, so there will be no trouble accessing another detached building to process the waste.Meanwhile, a community approach is used to maintain the program's sustainability by involving the community in waste processing.
The batik waste treatment system, in Figure 8, shows that the waste treatment is carried out using three methods: chemical, physical, and biological [26].The applied treatment system combines the physical method with the sedimentation process, the chemical method with the coagulation and flocculation process, and the biological method by utilizing anaerobic bacteria at the end of the processing.They are followed by physic-chemical processing with charcoal absorption before being filtered.Waste treatment is put together in one room (Waste Treatment Plant/IPAL), distributing treated waste to the city drains through underground pipes.It is hoped that by adding a new function as waste treatment, it can improve the environment and make it easier for people to dispose of waste from their batik production.

The Social and Cultural Sustainability of Batik Cultural Centre
Socially and culturally, the people of Klampar Village have less attachment to the previous Batik Centre built by the local Government.This has led to the Batik Centre's abandonment and the community's return to producing their batik independently at home.In addition, the problem encountered is the need for more awareness of Madurese Batik itself, which also affects the sales of batik.Because many of the problems mentioned earlier arise within the community, a community approach was used to establish design criteria, as shown in Table 3.   9) In fulfilling the social and cultural dimensions, increasing public education and awareness of Madurese Batik can be achieved by adding new programs to the Batik Cultural Centre, namely the museum.Museums are vital in society and culture because they shape and enhance contextualism, which is batik and taneyan lanjhang, owned in an area [27].However, establishing a museum alone does not ensure the program's sustainability.There is still a need for a sense of belonging to the Batik Cultural Centre from the community.A sense of belonging can be achieved by interacting and experiencing the whole building while making memories of it [28].
Therefore, an activity must be created by utilizing several mass and open spaces, such as batik showroom and taneyan (yard), to become a community gathering space when needed.In this case, the concept of interchangeability of functions is essential.This concept is rooted in adaptability, which can accommodate various activities at the same time or not.Apart from that, it aligns with the goals of sustainability by implementing efficiency from architecture.Based on the analysis of the four dimensions of sustainability, it was realized that cultural forces more often trigger problems in the field (Figure 12).This is in line with the role of culture for sustainable development, which starts from culture and seeks to drive the force into the other dimensions of sustainability-including culture itself (Figure 13).Therefore, each dimension of sustainability (economic, social, and environmental) will have a relationship with the cultural dimension.This is due to the vernacular architectural context and specific building typology.

Looking through Relationships: Between Design Aspect and Sustainability Dimensions
From forces defined at the beginning of the research, 10 points of design criteria for the Batik Cultural Centre at Klampar Village can be obtained.From each of these criteria, six architectural aspects can be intervened in developing culture-based sustainable tourism: facilities, room programs, materials, skin, spatial connectivity, and floor plan (Figure 12).

Conclusion
In this era, it is necessary to develop sustainability-based tourism to preserve the environment and even cities.This can be seen from the construction of the Batik Centre in Klampar Village, which was neglected for a year after it was built, and the batik-making community has returned to their respective homes to produce their batik.Therefore, implementing sustainability needs to be carried out to avoid similar incidents.With the implementation of sustainable tourism, the four dimensions of sustainability can be fulfilled with the existence of a new tourist object, namely the Batik Cultural Centre.Sustainable tourism can be implemented using eight tourism approaches.Of the eight existing approaches, community, integrated, flexible, and incremental approaches can be used in the four dimensions of sustainability.This study found that there are still many problems rooted in social, cultural, economic, and environmental dimensions in Klampar Village.Therefore, the three approaches above can be used to formulate design criteria for the Batik Cultural Centre.
Each sustainability dimension produces design criteria with a selected guideline approach.On the economic dimension, the design criteria that were born were regarding the preparation of facilities and programs, the use of local materials, and the type of floor plan.Establishing these criteria also considers the economic benefits that can be obtained by the community, such as empowering local communities and advancing the batik business in Klampar Village.In the environmental dimension, the concern is the careless disposal of batik waste.Therefore, the proposed design criteria focus more on adding mass that functions for waste processing (IPAL) and the waste processing system itself.As for the social and cultural dimensions, the resulting design criteria will focus on increasing awareness of the culture of Madurese Batik.From each of these criteria, six architectural aspects can be intervened in developing culture-based sustainable tourism: facilities, room programs, materials, skin, spatial connectivity, and floor plan.
This research shows that the causes of sustainability problems in the context of vernacular architecture (environmental, social, economic, and cultural), which are used to form design criteria, are rooted in community culture.This is in line with the role of culture theory, which then explains the

Figure 1 .
Figure 1.The role of culture in sustainable development (Source: Adapted from Dessein, et al., 2015)

Figure 9 .
Figure 9. Flexible use of taneyan lanjhang for Batik Cultural Centre

Figure 10 .
Figure 10.New siteplan for Batik Cultural Centre

Figure 12 .Figure 13 .
Figure 12.Classification of architectural aspects in sustainable design criteria

Table 1 .
Design criteria of Batik Cultural Centre for Economic Sustainability

Table 3 .
Design criteria of Batik Cultural Centre for Social and Cultural Sustainability