Author Archives: Tita Larasati

Hybrid Methods for Bamboo Product Enterprises in Indonesia

This article is published by the American Bamboo Society in BAMBOO Magazine (December 2010). I received the magazine yesterday, sent by BAMBOO Magazine editor, Betty Shor.

BAMBOO Magazine, ABS, Dec 2010

My article starts at page 13 and ends at page 16. All photos in this magazine are black and white.

Page 13, where the article starts

Hybrid Methods for Bamboo Product Enterprises in Indonesia

In Indonesia, where 11% of bamboo species grows indigenously (KLH, 1998), bamboo has been used for centuries for various purposes, from construction and furniture to musical instruments and kitchen utensils. Bamboo has been carrying the stigma of being a substandard material, due to lack of its application to permanent contemporary products. However, since the emergence of global issues concerning environmental qualities and sustainability, bamboo started to gain attention as a potential material to supplement or substitute wood or other conventional materials for construction, furniture or other products.

Bamboo product manufacturing methods in Indonesia are categorized into traditional and advanced methods. The traditional methods are generally applied by Small- and Medium-sized Enterprises (SME) and home industries, which are located in rural areas. The workers are craftsmen who inherit their weaving and carving skills from their predecessors, using simple household tools (often only a single knife), producing bamboo products whose designs have existed for generations and are used for their original purposes as kitchen utensils, containers, etc. The advanced methods are commonly conducted by research/academic institutions and particular companies who have access to technology and other resources. They manufacture bamboo products using conventional machineries, or machines that are specifically designed for processing bamboo, commonly resulted in laminated boards.

These two methods, however, are not quite strategic for the development of bamboo products in Indonesia, especially if the main purpose is to change people’s perception on bamboo: no longer as a substandard material, but as a potential, durable material that fits current needs and demands. On one hand, Indonesian bamboo products manufactured with traditional methods can hardly compete with traditional bamboo products from other countries, or with mass-manufactured products made of other materials with similar functions. Moreover, the products retain their ‘traditional’ image, which limits their market to people who want them for their exoticism. On the other hand, bamboo products that are manufactured with advanced methods require substantial efforts in order to guarantee raw material supply, mass-production machineries, financial capital and other resources, which would be impracticable for the near future. Therefore, applicable, appropriate methods for bamboo product manufacture in Indonesia are necessary, here of which hybrid methods are proposed. The hybrid methods are combinations of traditional and advanced methods in three levels, as follows (Fig.1. Levels of Technology in Bamboo Product Enterprises in Indonesia):

–       Modified Traditional Method, in order to create improved traditional products

–       Combination of Traditional and Advanced Methods

–       Adapted Advanced Method, which is adjusted to the conditions of the producer communities

All hybrid methods put an emphasis on labor-intensive industry in a modified SME, involve a considerable portion of a designer’s role in increasing product values, and aim the product to users or consumers with contemporary lifestyles.

Fig.1. Levels of Technology in Bamboo Product Enterprises

As an attempt to demonstrate the concept of hybrid technology for manufacturing bamboo products that fit current lifestyles, a number of prototypes have been produced in different occasions, using various techniques and resources. Among the first ones was a set of eating utensils made of bamboo veneer and bamboo splits, which required no weaving technique (Fig.2. Bestrek). Further design explorations resulted in another set of eating utensils that were mainly made using bamboo veneer (Fig.3. Pincuk). This set was designed along with creating a prototype of a manually, one-man operation bamboo veneer machine, considering that the manual bamboo veneering technique is gradually diminishing among current craftsmen.

Fig.2. Bestrek Set

Fig.3. Pincuk Set

More experiments using veneer and customized, precise handy work resulted in lighting facilities (table lamp and hanging lamp), produced by Apikayu Foundation, an establishment that focuses on community development through design and local natural resources (Fig.4. Apikayu). Common technique that is employed to make a certain kitchen utensil is now applied to an entirely different form that can function as a frame of a bag called Taraje (Fig.5a & 5b. Taraje). One last example is a couple of bamboo stools (Fig.6. Stoolboo) that were produced by applying the adapted advanced method. These hybrid products prove that bamboo products can have an entirely different appearances and performances compared to the existing bamboo products that are known in Indonesia. By developing the designs and the industries that produce the improved bamboo products, it is expected that bamboo could be recognized as a potential industrial material and could provide income for SME.

Fig.4. Experiments by Apikayu Foundation

Fig.5a. Taraje Bag

Fig.5b. Taraje Bag

Fig.6. StoolBoo

Dwinita Larasati

I was born in Jakarta, Indonesia, in 1972. I studied Industrial Design at the Institute of Technology Bandung (ITB) until 1997, with a graduation project on advanced treatment for bamboo as a construction material in Indonesia, with a design of a bamboo garden hut (a gazebo) to demonstrate the concept, collaborating with the Applied Physics Department of the Indonesian Science Institute (LIPI). I chose to work on bamboo material exploration for my graduation project, since I acquired a substantial amount of data and information about bamboo from the International Bamboo Congress that was held in Bali in 1995 and believed that, from the design perspectives, bamboo actually has a huge opportunity to be developed and that bamboo should be regarded as a valuable material.

In 1998 I continued my study to the Industrial Design Postgraduate Program at The Design Academy Eindhoven, The Netherlands. I acquired my Master of Arts in Design Research with a thesis titled Uncovering the Green Gold of Indonesia, about bamboo as a competent material for industrial and constructional products, emphasizing on the application of appropriate technology. Dr. Jules Janssen acted as one of my tutors during this study. The Hybrid Methods that are proposed as an appropriate technology for Indonesian bamboo product enterprises are the main content of my thesis, of which development and examples are continuously being made up to present. In 2007 I completed my doctoral research at Delft University of Technology, The Netherlands, with a dissertation about sustainable housing in Indonesia, with bamboo housing as study cases. Dr. Janssen acted as a supervisor and examiner during the last half of my research. Returning to Indonesia, and back to working at ITB as a lecturer and researcher at the Industrial Design department, I proceed with my bamboo research as it is gradually getting more popular. The examples of bamboo hybrid products that are presented in the article are results of design competitions, workshops, exhibitions and research projects, which were conducted following my return to Indonesia. It is due to the hybrid technology research for Indonesian bamboo products and enterprises that I received an award as a Technology Innovator on the 15th National Technology Resurrection Day in July 2010, which focused on the theme “Strengthening the National Innovation System”.

Precious Plastics

Everywhere we shop, from street vendors and traditional marketplaces to supermarkets and department stores, it is often than not that we end up with lots of plastic bags that come with our purchase. What happens to those bags right after we throw them away? Given the garbage ‘system’ in common, dense urban areas in Indonesia which is next to non-existing’, these bags would mostly be mixed with all kinds of garbage, which are then separated from the whole dump by scavengers who collect them. The next phase for the bags is to be shredded into small pieces, before being crushed into paste and molded into plastic rods of 3mm diameter, which become the base for producing pellets.

A site that crushes plastic bags into flakes at PT. Ganesha Nusantara Plastik, Bojong Sari, Bandung

The plastic pellets are then processed into bags with inferior quality (compared to the bags that went into the shredding machine at the beginning of the ‘recycling’ process), which doesn’t add to its economic value, nor provide any positive impact to the local community. A design research was conducted at ITB to upgrade the value of the material – by using the processed plastic in its ‘wires’ state – and to provide job opportunities for local people who live around the plastic rods production site. Presented here are a number of products that the research team has come up with.

From plastic trash to industrial material for handycraft product

A variety of products made of recycled plastic rods

Indoor lamps made of recycled plastic rods

The material retains its transparency, which makes it suitable for lighting products

Detailed profiles of the products

Research team: Deny Willy, Muhammad Ihsan, Nuryanto, Krissandi, Beni Chandra, Alfian (Yayasan Apikayu), 2010

Shaping Our Future with Bamboo

Following are slides of my presentation for TEDxBandung, October 24, 2010. You’re very welcome to leave responses and comments 🙂

I am trained as an Industrial Designer, in Indonesia and in The Netherlands. But what does it mean to be one? What do industrial designers do? What are they?Among the first references I had about the profession is an opinion from Packard (1970), an American sociologist who criticized industrial designers as “waste makers”, since they kept designing and producing stuff with ‘limited’ durability (planned obsolescence and perceived obsolescence) in order to keep the production wheels going. What happen to these products, once they are disposed of, is ending up in a landfill. Hence the term “waste makers”.    Next to Packard, Papanek (1972) said in his book that industrial designer is the 2nd most dangerous profession in the world, due to its ability to create ‘waste’ in magnificent amount within a relatively short period. Moreover, designed products are mainly aimed at people who can afford them, while there is actually a ‘real world’, where the majority of the world population needs appropriate tools and artifacts.      Keeping those two references in mind, I’d like to tell a bit about Industrial Design as a formal education in Indonesia. It was established in 1972 within the Faculty of Arts and Design of Institute of Technology Bandung (ITB), a faculty that actually started as a school for drawing teachers under the colonial government who built ITB in 1920.

Predecessors of Indonesian industrial designers gained their knowledge from USA, Denmark, Germany, and other developed, industrial countries. Therefore our curriculum has been similar to the demand of industries in those countries, where students are prepared to face the world of mass-manufacture of industrial products.      Therefore, what we learn include aesthetics and art histories, technical drawings and ergonomics, basic mechanics and physics; where all design projects are virtually directed to the creation of artifacts in a mass-manufacture setting. Our graduates have been working in various levels of industry, but the amount of students and fresh graduates increases over time. Can industries in Indonesia accommodate all of them? How well are they received in the professional field?      Let’s first take a look at the majority of industry in Indonesia. What we see around here every day is a reflection of the level of industry we have in general: street vendors in a variety of fields (food and beverage, repair services, etc.) Manufacture industries are mostly licensed, where local/Indonesian industrial designers don’t have any significant role.  

If we want to look at figures, we can see from this pyramid that contains the levels of industry: small-scale, middle-scale and big-scale industries. The pyramid would look good if the components are balanced.

Now let’s put in the figures for industries in Indonesia. The big-scale industries cover almost 5% while the middle-scale industries add up to not even one percent(!). The small-scale industries, which includes also the ‘informal sectors’, mounts to almost 95% of the whole industries in Indonesia.

It’s obvious that our industry pyramid is not quite proportional. The middle-scale is almost non-existent, while the small-scale is in abundance.

Our challenge now is to upgrade the small- into the middle-scale industries. How do we do that? What I’m proposing here is within my capacity as an Indonesian industrial designer. Here it is: Application of Hybrid Methods in Bamboo Product Industry

The first question is, Why Bamboo? It is indigenous to Indonesia, 11% of 1,500 species in the world grows all over the archipelago, placing bamboo among the most abundant natural resources in Indonesia.

Moreover, it grows rapidly and matures within 3 to 5  years. Its strength has been proven from its use as a building and construction material for centuries, next to being the main material for crafts and daily utilities. Producing bamboo products and utensils, which used to be an activity to past the time, gradually became an activity to generate an extra income once the rice fields and plantations are not able to provide sufficient income.          

Craftsmen such as these ones mainly live in rural areas, working in the traditional method for producing traditional bamboo products. The results are products we commonly see, woven and tied, for household or kitchen purposes, if not furniture and other domestic elements.  

Meanwhile, engineers and scientists have also been developing various treatments in order to achieve optimum physical qualities of bamboo material, including preservation and prefabrication.   

These two different production methods, traditional and advanced, are known in Indonesia.

The Traditional Method produces traditional bamboo products, using raw bamboo materials and applying traditional techniques such as weaving and tying. The designs of the products remain similar to their original forms. These products are adequate to fulfill the local markets, but in competitions with global market, they would be compared to traditional products from other countries with great similarities. These products are often purchased for their ‘exotic’ images.

The Advanced Method hardly employs traditional techniques but uses advanced tools and machinery in the production process, resulting commonly in bamboo boards. Further processes result in bamboo products based on the laminated bamboo boards and/or forming or bending of bamboo strips. The designs of products as a result from this advanced method are new. This method is suitable for places with proper bamboo propagation for industrial purposes that ensures the raw material supply, and that are able to afford, produce, operate and maintain advanced machinery.       

Both the Traditional and Advanced Methods exist in Indonesia. However, there is a gap between the two methods, mainly in the production process and the bamboo products as the result. The traditional products can hardly compete with similar products from other countries, while the advanced products are not feasible in the near future, considering the complexity of the whole system. How do we fill the gap?         

With Hybrid Method.

Hybrid Method combines Traditional and Advanced Methods, which is labor intensive, includes Research & Development phase, and results in contemporary bamboo products. It still employs traditional methods up to some extend, especially relying upon high craftsmanship, and uses simple tools and machinery in the process in order to improve the material qualities.

Hybrid Method in general consists of three levels: modified-traditional, combination, and adaptive-advanced, depending on the proportion of methods used in the process. Here is an early mapping of bamboo products that are produced within the levels of hybrid method. It is obvious that there are a lot of opportunities for design contributions in the Hybrid Method level. Following are a few examples. 

These products are made for different events, but all aim to demonstrate the real potentials of bamboo as an industrial material for contemporary products. Shown here are eating utensils and food containers and bags with bamboo frames. All are made with traditional skills, mixed with conventional shop skills, which managed to achieve forms and functions that fulfill current needs and demands. 

There are also experiments such as forming pre-production bamboo materials (i.e. veneer, board) and their application. These products are still in their prototype states, however, demands for purchase have already been received by the design & research team. Imagine if a production unit for such bamboo products is fully operating, it might be able to generate more income and provide jobs for craftsmen, as well. 

Here is a rough estimation of the increase in the economic value of bamboo material, once it is made into a designed product. One bamboo tube of 4m worth IDR4,000. If the tube is made into winnowing trays, which worth IDR2,500 each, it can produce 10 trays (gaining, in total, IDR25,000) and provide 1,5 working days for a person. If the same tube is made into pincuk eating utensils, it worth IDR192,000, and as a bag frame the price can reach up to millions of IDR. This estimation shows how the input of design and hybrid methods of production can increase the value of the material.      

Prior to bamboo, other natural resources have also been going through research and development phase in design, in order to produce product with improved performance and appearance. Shown here are one of Magno wooden radios produced in Temanggung, Central Java, designed by Singgih S. Kartono and tableware/ kitchen products made of coconut shell and wood, designed by Adhi Nugraha.

More examples: these products are made of wood and etched metal, designed by Adhi Nugraha and produced by Kriya Nusantara in Bandung, West Java. These products have already been produced and commercialized, and therefore are proven to be highly valued by the market. This is how bamboo products with Hybrid Methods are expected to be.   

And that is actually what “Creative Economy” is all about: combining available potentials and resources to add values to products. The keys to achieve such values that are suitable for the conditions in Indonesia are, among others, discovering and respecting local resources, applying correct material treatments and appropriate technology. These keys are expected to upgrade the small-scale industries into the middle-scale industries…  

…that will make our triangle of industry levels look more balanced. This is what we hope to see as our future in Indonesia, creating sustainable enterprises and society.

 

Thank you.

 

Magno’s Agro Forestry Program (2/2)

Tree nursery

Dataran tinggi membutuhkan jenis kopi yang berbeda dengan kopi dataran rendah. Tahun 2010 kami membeli kopi Arabica F1 bersertifikat untuk ditanam di wilayah lereng Sumbing. Saat ini telah ada sejumlah 5 petani dengan luas area sekitar 5 Ha yang bersedia beralih dari pertanian tembakau ke kopi.

The highland area provides for different coffee variation, compared to the lowlands. In 2010 Magno bought certified Arabica F1 coffee plants to be grown on the side of Sumbing mountain. At the moment there are five farmers within an area of 5 Hectares who are willing to switch from tobacco to coffee.

Local crop

Learning from the above and from various sources, we conclude that agro forestry is the right activity to be proceeded. Agro forestry, on one hand gives more economical benefits for the farmers, while nurturing and improving the quality of the environment on the other hand.

Berbeda dengan wilayah lereng sumbing, desa-desa disekitar masih banyak memiliki wilayah yang hijau. Namun  sampai kapan hal tersebut akan bertahan? Gambar berikut adalah gambar satelit Desa Kandangan, blok-blok berwarna kuning  adalah wilayah-wilayah yang telah beralih menjadi pemukiman dalam kurun 20 tahun terakhir, dan lajunya semakin cepat dari tahun ke tahun.

Kandangan Village

Different from the Sumbing mountainside, green areas in the surrounding villages still exist. But is it going to last? The picture above is a satellite shot of the Kandangan village: the yellow blocks are the areas that have transformed into dwellings within the past 20 years. The pace is getting faster throughout the years.

Magno location

Wilayah-wilayah desa sekitar kandangan saat ini masih banyak memiliki wilyah hijau, namun wilayah-wilayah tersebut terus mengalami penciutan. Sebab yang paling mendasar adalah nilai ekonomi yang  didapat pemilik  masih rendah perluas lahannya. Selama nilai ekonomi yang diperoleh dari aktivitas pertanian rendah, sehingga lahan-lahan hijau akan semakin menghilang.

Around Kandangan village there are still some green areas, but those areas keep shrinking.  The main cause for this situation is the low economic value per acre that is determined by the owners hold. As long as the economic value obtained from farming activity is low, the green areas will gradually disappear.

A new green property

Baru-baru ini kami membeli lahan sawah seluas 2.2 Ha. Lokasi ini selama ini diincar pihak lain yang ingin menggunakannya untuk membangun kompleks perumahan.  Kami ingin tetap menjadikan tempat tersebut  titik awal mengenalkan pertanian organik kepada para petani disekitarnya. Pertanian organik secara bertahap akan mengembalikan kesuburan tanah, pada gilirannya nanti akan memberikan hasil yang lebih banyak dan menyediakan bahan pangan yang sehat bagi masyarakat.

We have just acquired a rice field with the size of 2.2 Hectares. Others have eyed this location to be turned into a housing complex. We plan to keep it as the starting point of teaching organic farming to the farmers who live in the surrounding areas. Organic farming will in time bring back the soil fertility, and will in turn yield better results in terms of providing healthy food for the local communities.

Singgih & visitors

Agro forestry merupakan jawaban yang tepat, karena agro forestry  mampu memberikan hasil yang lebih tinggi perluas lahan sekaligus menjaga wilayah hijau menjadi tetap hijau. Wilayah ini akan memiliki kemampuan untuk mempertahankan diri.

Agro forestry is the right answer to maintaining the prospective value of the land, since it can bring better results per acre and also to keep the areas green. The area will be able to fend for itself.

Productive crops

Petani sebaiknya menanam berbagai jenis tanaman yang bisa menghasillkan panen dalam jangka pendek, sedang dan panjang.  Tanaman aren (Sugar Palm) merupakan jenis tanaman yang baik untuk konservasi air,  dapat ditanam bersama  tanaman kopi, namun bisa disadap tiap hari air gulanya untuk kemudian diproses menjadi gula aren.  Perlu penyempurnaan dalam budidaya aren dan pengolahannya agar hasilnya bisa untuk membiayai kebutuhan hidup sehari-hari. Pemenuhan kebutuhan finansial harian akan menghindarkan petani untuk memetik kopi dalam kondisi masih muda dan menebang pohon-pohon yang belum cukup umur.

Farmers are better off growing all kinds of plants which yield short-term, mid-term, and long-term harvests.  Palm sugar is the kind of plant that is good for water conservation, will co-exist with coffee trees, and yet can be tapped on daily basis to be processed into palm sugar. The process still need further improvements in growing the plant, to be able to get the kind of results that will provide for daily needs. Fulfilling daily financial need will keep the farmers from picking the coffee beans or from cutting down trees before its time.

On the mountainside

Salah satu penyebab melemahnya sektor ini adalah akibat kualitas SDM yang menurun. Sarjana pertanian tidak mau bekerja di pertanian. Perlunya pengembangan SDM petani agar bisa mengelola aktivitasnya dengan manajemen usaha yang lebih baik.  Peningkatan kualitas SDM menjadi salah satu faktor kunci keberhasilan pengembangan agro forestry.

One of the weakest factors in this sector is the human resource. University graduates in the field of agriculture are rarely willing to work in the agriculture sector. Farming needs its own human resource development in order to be able to manage its activities with better business management. The quality of the human resource is one of the key factors to achieve successful agro forestry.

Production site

Nilai tambah yang lebih besar juga akan didapat jika  para petani mampu menjual hasil pertaniannya dalam bentuk sudah diproses. Mereka perlu membangun semacam koperasi untuk dapat mengolah hasil pertaniannya menjadi bahan/produk yang lebih berkualitas. Aktivitas pengolahan ini selain memberikan nilai tambah pada hasil pertaniannya juga memnciptakan lapangan kerja baru bagi masyarakat sekitar.

Greater added value will be gained when the farmers can sell their product in processed forms. They need to build a co-operation system in order to be able to process their farm products into quality commodities. This processing activity will yield an added value and also could also create job opportunities for the surrounding communities.

Giving back to each other

Kita harus belajar dari keterkaitan hidup yang saling bergantung dan mempengaruhi dalam sebuah ekosistem alam. Kegiatan apapun di alam ini akan secara otomatis menjadi bagian dari sebuah ekosistem. Jika kita memberi sesuatu yang positif ke alam, alam pun akan memberikan hal yg sama ke kita.  Kegiatan industri akan menjadi bagian yang positif dari sebuah sistem alam jika kegiatan itu didasarkan pada kesadaran akan daya hidup, keseimbangan dan keterbatasan alam.

We will have to learn from the interconnectivity of lives that is interdependent and influencing each other within a natural ecosystem. Any kind of activities in nature will automatically become a part of an ecosystem. If we give positive things to nature, nature will do the same things to us. Industrial activity will become a positive part of a natural system if the activities are based on the consciousness of the living force, balance, and the limitation of nature.

Magno’s Agro Forestry Program (1/2)

Singgih and his workshop

Magno merupakan brand dari produk kayu yang saat ini telah mendunia. Produk ini didesain dan diproduksi di Kandangan, sebuah desa di Jawa Tengah, Indonesia.  Singgih S. Kartono  desainer produk kelahiran desa tersebut merupakan kreator dan pendiri Magno.  Singgih memutuskan kembali ke desanya  karena merasa hal itulah yang seharusnya dilakukan setelah melihat kenyataan desanya telah kehilangan banyak para pemikirnya

Magno is a brand of wood products which has achieved global recognition.  This line of products is designed and manufactured in Kandangan, a village in Central Java, Indonesia.  Singgih S. Kartono, a product designer who was born in the village, is the creator and founder of Magno.  Singgih decided to return to his village after graduating from ITB, since he felt that it was the right thing to do, considering the situation that the village has lost most of its thinkers.

Magno products

Pada tahun 2008 Magno memperoleh Good Design Award di Jepang. Penghargaan ini sangat berarti, karena tidak diberikan semata pada produknya namun juga pada aktivitas pengembangan komunitasnya. Produk-produk Magno saat ini telah tersebar luas dan dijual di toko-toko desain terkemuka di dunia, di MoMA New York dan Design Museum London.

In 2008 Magno received the Good Design Award from Japan. This award meant a lot, since it was not just dedicated to the product, but also to the related community development activities.  The Magno products at the moment have been distributed widely and are available on the shelves of prominent design shops around the world such as MoMA in New York and Design Museum London.

Human being is a part of nature

Kecintaan Singgih pada kayu dan kehidupan masyarakat desa pada satu sisi dan sikap kritisnya pada perkembangan teknologi dan industrialisasi pada sisi lain telah melahirkan pendekatan baru dalam desain.  A perfect design should be an imperfect one. Ketidaksempurnaan yang disengaja ini memberikan ruang pada user untuk membangun  hubungan user-product yang lebih dekat, hal ini akan menghindarkan sikap pakai buang sebagai ekses dari industrialisasi.

Singgih’s love for wood, also the lives of the villagers on one hand and his criticism of technology and industrialization on the other hand, brought forward a new approach in design.  A perfect design should be an imperfect one. This imperfection that is created on purpose provides a space for the user to build a closer user-product relation, and this will avoid wasteful attitude, which is an excess of industrialization.

Magno products

Singgih memilih untuk hanya membuat produk kayu berdimensi kecil dengan teknologi craft. Produk ini  lebih sedikit menggunakan  kayu dan menciptakan lebih banyak peluang kerja. Dalam 1 tahun kegiatan produksi hanya menebang kurang dari 75 pohon, memberikan lapangan kerja secara kontinyu 35 perajin dan menanam lebih dari 8000 pohon/tahun. Permasalahan lingkungan pada dasarnya adalah permasalahan ekonomi, aktivitas ekonomi yang benar  akan berakibat positif pada alam.

Singgih chose to focus on small-sized wooden products, produced with craft technology. This kind of product will use less wood and create more job opportunities.  Within one year, its production process only consumed less than 75 trees, and provides continual job opportunity for 35 craftsmen/women and planted more than 8000 trees/year. The environmental problem is at the core of economic problem, therefore the right economic activities will bring positive impacts to the environment.

Tree nursery

Singgih menyadari  bahwa kayu yang digunakan dalam produksi bukanlah yang dia  tanam. “Kami memanen kayu yang ditanam generasi sebelum kami,  sehingga kami berpikir harus menyediakan hal yang sama untuk generasi berikutnya“.  Singgih membangun tree nursery di sekeliling workshop produksinya dan melibatkan perajin dalam proses pemeliharaannya. Singgih ingin menanamkan  kesadaran pada mereka bahwa menanam dan menumbuhkan kayu membutuhkan kesabaran, ketekunan dan waktu yang panjang.

Singgih realizes that the wood he uses in production is not the variation that he planted.  “We harvest wood that our previous generations planted, therefore we think that we have to provide the same thing for the generations after us.” Singgih established a tree nursery around his production workshop and involved craftspeople in maintaining the nursery. Singgih wanted to teach them the idea that planting and growing wood need patience, determination, and a long time.

Planting

Tahun 2008 Magno membagikan gratis 8000 bibit pohon, tahun 2009 sebanyak  lebih dari 10000 bibit. Bibit tanaman tersebut berasal dari bibit yang dipelihara sendiri dan dibeli dari para pembibit di luar untuk menambah jumlah.  Berdasarkan pemantauan yang dilakukan secara periodik, tingkat hidup bibit yang dibagikan mencapai lebih dari  75%.

In 2008 Magno distributes 8000 tree saplings for free, and in 2009 over 10000 trees.  These were from their own nursery plus the ones bought from outside sources to add to the sum. Periodic monitoring indicates that the life expectancy of these trees reaches 75%.

Local forest

Bibit dibagikan ke masyarakat sekitar untuk ditanam di lahan mereka sendiri. Masyarakat di sekitar desa memanfaatkan lahan non sawah untuk menanam kopi.  Mereka juga menanam pohon2 untuk diambil kayunya.  Tanaman kopi merupakan jenis tanaman yang membutuhkan teduhan, sehingga  kami tidak menemui kesulitan dalam membagikan bibit pohon ke wilayah ini.

The trees are being distributed to the local communities to be planted in their land. The surrounding village communities use the non-rice field land to grow coffee. They also planted trees for the wood. Coffee trees is the kind of plant that can only thrive in the shades, so we don’t encounter any problem in distributing these tree saplings to be planted around the area.

Mountainside areas

Singgih menghadapi hambatan ketika membagikan  bibit tanaman untuk wilayah lereng gunung. Wilayah ini sebagian besar digunakan untuk menanam tembakau, dan jenis tanaman ini membutuhkan paparan sinar matahari yang maksimal.  Pohon2 yang rindang ditebang.  Pertanian tembakau telah menjadikan wilayah ini mengalami kerusakan yang cukup parah.

Singgih faced a challenge when distributing the trees to the mountainside areas. These areas are largely used to plant tobacco, and this kind of plants needs maximum sunlight.  The shady trees are being felled. The tobacco industry has rendered the areas severely damaged.

Temanggung tobacco

Tembakau temanggung  dikenal dengan jenis tembakau berkualitas tinggi dan banyak dibutuhkan oleh para produsen rokok. Harga tembakau sesungguhnya tidak stabil, namun kadang harganya demikian tinggi sehingga membuat petani selalu ingin menanam. Kegiatan penanaman tembakau telah berlangsung demikian lama, sehingga telah menjadi  tradisi.

Temanggung tobacco is famous for its high quality and it is most sought after by cigarette companies. The price of tobacco is unstable, but occasionally the price is so high that farmers always want to grow it.  The tobacco growing activity has been going on for so long that it has become a part of the tradition.

Nursery

Pada tahun 2008 dilakukan kerjasama pembibitan pohon dengan sebuah SMP di lereng Gunung Sumbing. Pada saat itu kami menyiapkan bibit pohon Mahoni. Pada tahun 2009 atas masukan dari masyarakat sekitar kami menyiapkan bibit kopi.  Beberapa orang di wilayah pertanian tembakau berniat untuk beralih ke tanaman kopi. Progam ini berhasil menyiapkan 900 bibit dan telah ditanam di lahan.

In 2008 tree nursery activities are conducted in a partnership with a secondary school on the mountainside of Mount Sumbing.  At that time, Magno prepared Mahogany saplings. In 2009, several people around the area suggested to prepare coffee saplings. Some people wanted to change their tobacco plantation to coffee. We succeeded in providing 900 coffee saplings, which are already planted in the area.

TARAJE

Among the many particular skills that are possessed by craftsmen in rural villages of Tasikmalaya is producing bamboo veneer manually, and laminating the veneers into seamless ‘frames’. However, the products that apply the ‘frames’ could not present the actual potentials of the craftsmanship and the bamboo frames. This design attempts to use and expose the particular skill of producing bamboo frames and apply them to a contemporary product that fits the lifestyles of current, urban users. This postman bag, branded TARAJE, has come out as one of the results. More products with a similar production concept are still being developed.

TARAJE: laminated bamboo, framing a postman bag

TARAJE: closing up on the bamboo frame

Design: M. Ihsan

Experiment with Bamboo Strips

An experiment to create bamboo products with appearances uncommon to what we have seen so far in Indonesia has resulted in the following forms.

An arrangement of bamboo 'ribbons', sliced delicately

Sliced ribbons, top view

Bamboo strips, laminated and mold into a desired form, exhibited at Campus Center ITB

Laminated & molded bamboo strips, closed-up

These experiments are conducted by Deny Willy & Apikayu Foundation

LAMPION

A meticulous crafting skill is needed in the production of this prototype. Stripes of bamboo veneer are slightly sliced at the sides, so they can be attached to each other, forming a bigger tubular shape that functions as a lamp cover.

LAMPION, closed-up

LAMPION, exhibited at Campus Center ITB

Design: Deny Willy/ Apikayu Foundation

KRANG

This lighting set is made of bamboo veneer as its basic material. The veneer was produced manually, with a particular crafting skill that is gradually diminishing,  and is usually applied as an additional, insignificant element of a product. It was a pity, since bamboo veneer actually possesses superior characters, if explored properly. This KRANG product attempts to prove the actual potentials of bamboo veneer, a material that is previously considered as inferior.

KRANG, exhibited at Campus Center ITB

Design: Deny Willy/ Apikayu Foundation