a design research on bamboo’s potential

8/11/2019 A Design Research on Bamboos Potential

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UNCOVERING THE GREEN GOLD OF INDONESIA:

A Design Research on Bamboos Potential

Dwinita Larasati

Eindhoven, 3 June 1999

The Design Academy

Postgraduate Studies

MA in Design Research

Dr. Jules J.A. Janssen

Faculty of Architecture and Building

Eindhoven University of Technology (TUE)

Ir. E.L.C. van Egmond-de Wilde de Ligny

Faculty of Technology Management

Eindhoven University of Technology (TUE)

The thesis abstract has been written in the candidates language and is

included for convenience and comparison.


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A

C K N O W L E D G E M E N T

First of all, I want to express my gratitude to God, whose blessings

have accompanied me every step of the way in finishing this thesis

work. I also want to thank my family for their support, trust and

understanding, and to Sybrand Zijlstra, who keeps my spirit high

and never fails to be a real friend.

I would also like to express my gratitude to Dr. Jules Janssen and

Ir. Emilia van Egmond, who have guided me through the research

process; to Robert Hellier, Denya Cascio, Lode Coen, Lilian

Henze, Meghan Ferril and all the tutors, for their guidance and

encouragement; and to my sponsor IKEA Foundation.

Thanks are also due to all the many design professionals,

researchers and institutions who have supported this work:

M.Ihsan, my fellow designer and researcher from ITB, Bandung;

Mrs. Chairin Joedawinata from Bamboo Java, Bandung; Adolf

Babel & family and theBabel Designteam in Heilbronn; Mrs. & Mr.

Gyllenbogel in Helsinki; Prof. A.G.Rao from IIT, Bombay; Bryn

Griffiths from RCA, London; Harianto Aly and Singgih from ArunaArutala, Temanggung; Mr. Reinder van Tijen in Dieren; Jelle

Zijlstra; Charley Younge & Maarten Leijdekkers from Plyboo,

Schellinkhout; INBAR; and Linda Garland from EBF, Bali.

And heartfelt thanks to my fellow students and friends from The

Design Academy and from The Faculty of Arts and Design in ITB,

for their cheerful support, as well as everyone who was involved in

this research project and who directly or indirectly inspired and

encouraged me to conduct this research.

Finally, I would like to dedicate this research to all the bamboo

artisans, particularly in Tasikmalaya, West Java, whose unique,

precious skills deserve more respect and attention.

Eindhoven, June 1999

Dwinita Larasati


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A B S T R A C T

Bamboo grows in abundance throughout Indonesian archipelago,

and has been a part of the life of the Indonesian people for

centuries. Its rapid growth makes it an almost infinitely

sustainable resource. Although bamboo belongs to the grass

family, its technical properties resembles wood, and therefore it

can replace or supplement wood, which are becoming more and

more scarce.

In this research three discrete factors were explored in order to

discover possible approaches to the development of this abundant

natural resource. The three factors were: the contribution of

advanced technology and improved treatment methods to improve

bamboo's material performance; the appropriate use of human

resources through the application of appropriate technology; and

the introduction of improved design to create functional products

with a wider potential market.

Exploration of the current situation led to an analysis of factors

requiring changes in supply, production and distribution methods,and in the design of products and the material use of bamboo.

Taking all the factors together, the hybrid level of technology

(which combines elements of traditional processes with elements

of advanced treatments, non-traditional processes and the input of

designers) was selected as the most appropriate given the current

situation in Indonesia.

Prototypes were then created using a hybrid technology, which

had as their goal:

to create an improved, functional product that will meet

external users needs, and

to provide for local employment and economic development

without social or environmental disruption.

A modified feasibility study was also conducted.

In conclusion it was found that hybrid technology is capable of

fulfilling the stated requirements both in terms of an improved

product and in terms of appropriate local benefit.

The documentation concludes with a scenario that combines the

researchers findings and recommendations in the form of a

narrative set in contemporary rural Indonesia.


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A B S T R A K

Bambu telah menjadi bagian dalam kehidupan bangsa Indonesia

selama ratusan tahun sebagai sumber daya alam (SDA) yang

selalu terbarukan, dikarenakan pertumbuhan dan daya

regenerasinya yang sangat pesat.

Meskipun bambu berarti adalah seluruh badan rumput yang

menyerupai semak dengan sumbu bercabang, struktur sel dan

properti teknis bambu menyerupai kayu, sehingga bambu dapat

pula disebut kayu.

Hal ini menunjukkan bahwa bambu merupakan SDA yang sangat

potensial sebagai material alternatif pengganti kayu, yang

persediaannya makin menipis.

Dalam penelitian ini diulas tiga faktor utama yang dapatmeningkatkan pendaya-gunaan bambu, sebagai berikut: kontribusi

teknologi maju bagi peningkatan kualitas material bambu;

pendaya-gunaan sumber daya manusia (SDM) melalui penerapan

teknologi tepat guna; dan inovasi desain bagi produk bambu

fungsional yang dapat menjangkau pangsa pasar potensial yang

lebih luas.

Tinjauan terhadap situasi masa kini mengarah ke analisa faktor

perlunya beberapa perubahan dalam metoda penyediaan bahan

baku, produksi dan distribusi, dan penggunaan material dan

desain produk bambu.

Mengambil seluruh faktor tersebut, tingkat teknologi hybrid (yang

merupakan gabungan elemen-elemen proses tradisional dengan

elemen-elemen teknologi maju, proses non-tradisional dan

masukan dari desainer) terpilih sebagai tingkat teknologi yang

paling tepat guna untuk diterapkan bagi situasi di Indonesia masa

kini.

Prototype dibuat dengan menggunakan teknologi hybrid, yang

bertujuan:

menciptakan produk fungsional yang dapat memenuhi

kebutuhan para pengguna eksternal, dan

menyediakan lapangan kerja dan pembangunan ekonomi

tanpa mengganggu keseimbangan sosial dan lingkungan.

Studi kelayakan untukprototypetersebut juga dilakukan.

Dalam simpulan ditemukan bahwa teknologi hybrid dapat

memenuhi persyaratan baik inovasi produk maupun

pengembangan sumber daya lokal.

Tulisan ini diakhiri dengan sebuah skenario yang menggabungkan

hasil riset/simpulan dan rekomendasi/saran dalam bentuk narasi

di daerah rural di Indonesia masa kini.


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B

A M B O O

A n E x t r a o r d i n a r y G i f t o f N a t u r e

1 1 B A M B O O A S A P L A N T

Standing tall and slim, with its leaves whispering in the wind,

bamboo has an exotic beauty. More than a pleasant scene,

bamboo offers much more than simple beauty. Bamboobelongs to the Gramineae family, so it is actually a grass

rather than a tree. Bamboo grows and matures within five

years. As a comparison, a

hardwood such as pine

needs more than 10 years

to mature, while softwoods

such as acacia need 6-7

years. One can almost see

it grow since it can stretch

up to a half meter taller per

day.

Bamboos widespread and strong root system binds soil

particles to prevent erosion and land slides. Its large total

leaf area, along with its roots, absorbs and binds pollutants

in the soil, water and air. In this way, bamboo aids the

conservation of soil and water particularly in barren areas

and undeveloped lands.

Harvested when newly sprouted and

tender, bamboo can be consumed as food.

The crisp texture and subtle flavor of

bamboo shoots have made them a favoredelement in many eastern cuisines.

Bamboo can be used for medical purposes as well. Yellow

bamboo (Bambusa vulgaris) is known to be a cure for

jaundice. The shoots of yellow bamboo contain hydroxy

benzaldehyde compound, which serves as an antitoxin in

the liver.

There are innumerable other uses of

bamboo. It has been a container, a piece of

paper, a musical instrument, a mat, a boat, a

weapon, a toy, a fishing rod, and more. It

was even used for the first lamp filament,

when Thomas Edison could not find any

other material suitable in 1880.


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more appreciated by urban users. Available natural, human

and cultural resources are the key elements to consider in

the production process, therefore it is important to discuss

how technology can be appropriate for a given environment.

The designers involvement in the bamboo industry can

result in products with modern qualities, which, it is hoped,

will change peoples perception of bamboo and reduce the

stigma currently attached to bamboo materials.


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2

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A M B O O O F T H E

P

A S T

2 1 I

N D O N E S I A N

B

A M B O O

C

U L T U R E

Bamboo has had an immense influence on the life and

culture of the Indonesian people for centuries. Bamboo has

often figured in local paintings, legends, songs and folklore

and it carries many symbolic meanings in its various uses.The following are a few examples6.

Bamboos astounding growth and strength represent a

symbol of life and energy, therefore in many parts of

Indonesia, a bamboo knife is used to cut a new-borns

umbilical cord, thus bringing vitality to the new-born child.

In Bali, the yellow variety of Schizostachyum brachycladum

is used during burial ceremonies because yellow is

considered the sacred colour of Hinduism. The spirit in

green bamboo canes is called in Dayak songs to grant

vitality to new-borns and to young couples. Minangkabau

people believe that spirits dwell in the hollows in bamboo

and use jointed bamboo as household charms. The walls of

the bamboo stalk are associated to those of the home, so it

is believed that if a thief breaks into the home, he will be

6S. Dransfield and E.A. Widjaja, eds.,Plant Resources of South-East Asia:

Bamboo(Leiden: Backhuys P, 1995) 25-26, and Anne Richter,Arts & Crafts of

Indonesia(San Fransisco: Chronicle Books, 1994) 114-119.

trapped as if he was trapped inside a bamboo stalk, until the

house owner forgives him and releases him from the spell.

Available plant forms and similarities in the material culture

of diverse communities in Indonesia result in utilitarian and

sometimes even decorative or ritual

items that display an obvious likeness.

This is particularly evident in the waybamboo containers are used and

decorated. If the nodes are left in place,

they seal the bottom of a container; and

a lid can be made either from bamboo or from another

material. In spite of the similarities, bamboo baskets and

mats throughout Indonesia show astounding variations in

form and pattern.

In South Sulawesi, the Toraja use green bamboo canes to

carry milk palm wine (tuak) to and from the markets;

decorative containers are ornamented with incisions and

poker-work designs burned in geometrical bands and

rubbed with red and black pigments.

West Timorese lime containers are decorated with the

geometric Bronze Age lozenge patterns found throughout

the archipelago in other art and craft forms. North Sumatran

Batak containers have finely scratched curvilinear motifs like


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those painted and carved on the majestic ship-like traditional

houses.

Bands of triangles representing stylised bamboo shoots and

their inherent qualities are a common motif in textiles,

woodcarving and metalwork throughout Indonesia.

From these samples it is known that bamboo has been used

as an inspiration for decorative elements, as well as being

an object to decorate according to various meanings and

functions.

Bamboo musical instruments can be

found scattered throughout the

Indonesian archipelago. Several kinds of

bamboo flutes are played in many parts

of the islands. In West Java, each set of

angklung is composed of bamboo tubes

suspended in a frame; the instrument is rattled to provide

musical accompaniment to dances. The watery melodies

tinkled on Balinese bamboo xylophones

or gerantang serve the same purpose.

The sasando, a Rotinese stringed

instrument, has between twelve and

forty wires strung onto a central bamboo

cylinder; a large lontar leaf is curved around it to form a

hemispherical sound box.

Bamboos hollowed stems in various sizes and shaped in

various forms can produce specific sounds. Therefore

people have been using them for centuries to express their

pleasure, gratefulness, grief or joy, both in religious and

traditional ceremonies.

Bamboo has also been used to manufacture weapons for

hunting and combat. For instance, arrowheads used by the

peoples of Irian Jaya were and still are made from small

species of Racemobambos and of Nastus, and the arrow

shafts from small, straight, thin bamboo culms of

Schizostachyum species. Sharpened bamboo poles were

used as a primary weapon in wartime, and became

especially popular during the fight for independence against

the Dutch and Japanese colonialisation.

Because of its association with war and weapons, heroic

and nostalgic meanings are attached to bamboo, along with

other images connected to wartime privation.

There remain an abundance of interesting examples of the

uses of bamboo throughout Indonesia. Letters and


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Users of traditional bamboo products were the producers

themselves, or they came from neighbouring areas where

they purchased or exchanged their products in the local

marketplace, therefore they were familiar with the real

functions of the products.

2. Quality

In the traditional system, where the maker and the user are

the same person or group of people, bamboo products have

never been required to meet given quality standards. The

raw bamboo was preserved in the traditional manner,

through immersion in water and mud. The material that

resulted was durable enough for the purposes it was

serving. Traditional bamboo products were easily repairedor immediately replaced when broken or worn, since the

users themselves were familiar with the production process

and the material could be easily acquired.

Traditional craftsmen created additional products for the

purpose of celebrating specific events or ceremonies.

Therefore they happily put their spirit and energy into

making their products, for it was an honourable pleasure to

be involved in the events. The spiritual connection between

the craftsmen and their work produced excellent results.

3. Workmanship / Human resource

The skill of bamboo crafts was taught from one generation

to another, among the kinship relations and close

neighbours. Special knowledge and skills were also taught

by the skilled to others in the community. The most

experienced ones in the family taught the skill to the others

through an apprenticeship method. Therefore kinship

relations have remained important for the teaching of crafts.

4. Raw material supply

Bamboo grew naturally, in great abundance, in someones

backyard or field, so it could be acquired easily. The

available raw material was more than enough to fulfil the

local peoples daily needs.

5. Marketing of bamboo product

In the traditional system, the head of the family was

responsible for the marketing of the families products.

Products that were ready to sell were gathered and brought

to the local marketplace, where various families had their

own usual space.


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6. Distribution/transportation

Traditional bamboo wares had to be brought to the local

marketplace. Traditional means of transportation such as

rickshaws and carts were quite sufficient to fulfil this need.

7. Design

Designers did not contribute

their knowledge to the

development of bamboo

products. Traditional bamboo

products were used for their

original purposes, and the designs had been passed from

one generation to the next for centuries. These traditional

bamboo products include a wide variety of kitchenequipment, fish traps, mats for huts' walls, and many other

daily objects.

Communities in rural areas are still using these traditional

methods to produce bamboo goods. However, the current

situation is different from the traditional past. This has

caused changes in bamboo product manufacturing and

introduced more complexity to the above mentioned factors.

Traditional enterprises have to adjust to these changes in

order to survive in the contemporary world. The present

situation and its influence on the bamboo industry will be

reviewed in the next chapter.


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A M B O O I N T H E

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R E S E N T

3 1 S

T I G M A O N

B

A M B O O

Having been an integral part of Indonesian culture for

centuries does not ensure that bamboo products will always

be the peoples first choice.

Factors in the bamboo industry have changed over time,several of these have influenced the perception of bamboo

as a subordinate material, such as: unreliable production

and distribution, the quality of existing bamboo products (a

combination of material and workmanship), the design of

existing bamboo products, the economic value of bamboo

materials and bamboos competition with other materials.

1. Producers & users

Over time, changes have occurred in the production process

of bamboo products. Individual households have changed

in size and composition, as a consequence of the shifting

patterns of birth, death, marriage and divorce, as well as

demographic movements from rural areas to urban areas

and vice-versa. These alterations confirm the view that the

household is not a static entity, but a unit that responds to

periodic reorganisations and to unexpected, irregular

events.

In any case, these changes in the family influenced the

production units: they are larger, though they are still

household based. Within years of its development, one

production unit is not necessarily formed only of two parents

and their children. Instead, it can be that the grown children

form their own enterprises with other relatives. Or, it can

also be that the women of an extended family form their own

production unit, based on their responsibility to support

themselves and their children in the case that they are

widowed or divorced. The nature of the individual

production units and the (family based) relations dominant

within them have not altered. The composition withinproduction units, however, has changed.

A change in user groups has also occurred. Bamboo goods

of today are sold to markets outside the production villages,

which then creates wider ranges of users with new and

different demands. These external users9,who live in urban

areas, have a different life style than the rural producers.

Therefore the products must be modified to meet the needs

of urban users. For example, a woven rice steamer will not


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be used to cook rice in an urban setting, since the urban

users prefer electric rice cookers. The urban user may want

to use the rice steamer as a pencil case instead, therefore

requiring a smaller product of the same form with denser

weaving.

2. Quality of existing bamboo products

The durability of the material is one of the most important

aspects that determine the quality of bamboo products

performance. The physical quality of bamboo products

depends also on the workmanship.

Once split and made into

products, bamboo can

lose some of its durability.The surface of bamboo,

which was protected by

its hard skin, becomes exposed, therefore making it easier

for termites and fungus to attack and damage the material.

Traditional preservation methods prevent some of the

damage. However, new and improved treatment methods

that increase bamboos durability will make it more

competitive in the contemporary market.

9The term external userswill be used throughout this thesis for people who arenot directly involved in the production and original use of bamboo products.

In addition, these external users adjust the use of their

bamboo products to suit their needs, which are different

from the products intended function. Usually, they buy a

bamboo product for its decorative qualities, though, they

expect the product to be as durable as more modern

materials. If premature breakage takes place, they have no

direct access to the producers who can easily repair or

replace the product. Therefore it is necessary for bamboo

products directed to external users to be more durable than

those made for user-producers.

Another problem is caused if the product is brought

overseas, where the climate can be totally different. This

climate change can cause the bamboo to crack or split. Forexample, a bamboo chair that was made of tropical bamboo

contains a high percentage of liquid. If it is brought to a very

dry climate, it will lose its humidity and the material will dry

rapidly, causing it to shrink and split. Therefore specific

preservation and processing methods need to be applied to

bamboo products destined for export in order to anticipate

and prevent these problems.

Without proper treatment, these material damages that

degrade bamboo product performance will continue to

occur.


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3. Workmanship / Human resource

The skill of bamboo artisans is taught from one generation

to another through family and relatives, but this method of

teaching is not producing enough highly skilled artisans to

meet the increasing levels of product demand. The

shortage of skilled artisans limits productivity, which will be a

problem if more products are required.

The shortage of skilled artisans is caused in part by a

demographic shift of young people, the potential human

resource, from production villages to urban cities. A major

factor in this continued emigration towards urban centres is

the lack of paying work in rural villages. If bamboo were

proved to be viable employment, it can be assumed that

more young people would stay in the villages to do the work.These potential artisans will also become motivated to

improve their skills if they are paid well for their work.

A training program that acknowledges product quality, to

supplement the traditional handing down of the skill, might

be a solution to help local youth develop their competence in

this area.

4. Raw material supply

The availability of raw material is the starting point of

bamboo wares production. The production of specific

bamboo products requires particular bamboo species. For

example, the best bamboo for basketry is a species with

straight long fibres such as Gigantochloa apus (some

bamboo species have twisted fibres).

An increased demand for bamboo products requires a

guarantee of raw material supply. In some cases, artisans

are experiencing a shortage of local raw materials (bamboo)

because the bamboo is being used by large factories that

produce skewers, toothpicks and chopsticks. Materials are

sometimes in such short supply that artisans have had to

fight for their share, or worse, to steal from one another.

Meanwhile, some bamboo plants have been cut down by

landowners and replaced by other crops considered more

economically profitable, contributing further to the shortageof bamboo.

Therefore, there is a need for well-

managed bamboo plantations, especially

for the much-used species, in order to

secure an abundant supply for mass-

production. Besides the cultivation of

commercial varieties of bamboo, the

preservation of the bio-diversity of

bamboo species must be considered as

well.


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Without proper cultivation, the supply of bamboo as an

industrial material can not be insured, which can cause

irregular production. Undependable production is one of the

current problems in the bamboo product industry.

5. Marketing of bamboo products

The existence of external users is one of the recent changes

in the bamboo industry, which has caused the division of

bamboo products into groups according to the levels of

marketplace. The artisans make their products in the usual

way, but then these products are graded by a distributor (an

intermediary, or bandar). A bandar is also the one who

orders a specific number of a certain design to be completed

by a given date, since the artisans rarely produce goods ontheir own initiative.

There are bandars from outside the local community who

come only once in a while to the production village for

business purposes. These bandars do not control the

manufacturing of the products; they are concerned only with

selling the results. They have access to the external users

and some familiarity with their demands, since they usually

live in neighbouring urban areas.

The first bandarchooses the products that s/he believes are

the best ones, which are generally selected based on their

neat, strong weaving and joints and clean appearance.

Obviously, this aspect of the quality depends on the skill of

the craftsmen. Once the best products have been given to

the first bandar, the rest will be offered to the second bandar

for secondary markets, and so on.

The first bandarsells the products to the first class markets

in Indonesia. These markets sell the products for decorative

purposes or as gift items, and the products are usually

displayed attractively in the arts & crafts sections of

luxurious department stores. These products sell for a high

price compared to products sold in secondary and tertiary

markets. These bamboo products are not being used tofulfil their original functions. For example, a woven fish trap

is not used to catch fish when sold in a big city, but might be

placed on a dining table as a fruit bowl. Because the

products are displayed in arts and crafts departments and

serve as an impromptu rather than intended function, many

people have acquired the image of bamboo products only as

'ethnic handicrafts or 'souvenirs'.

The second bandar sells the product to secondary

department stores or supermarkets, where the products are

treated similarly, though usually in less fancy displays.


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Therefore bamboo products in this market level are also

considered ethnic handicrafts or souvenirs.

The third bandar sells the products to the tertiary market,

which is the common marketplace where the local people

find things they really need and will use in their households.

These bamboo products are sold inexpensively, with the

retail price very close to the actual production cost.

Some exported bamboo products are indeed displayed in

kitchenware shelves, or as unique gift items in some

speciality shops (such as Asian stores) in Europe.

European people are not familiar with bamboo; therefore

bamboo products appeal to them as 'oriental', 'eastern' and

'alternative'.

In summary, bamboo products have been divided into a two

tiered market, related to the intended users. External users

purchase bamboo products as traditional art work, while the

local, indigenous users in rural areas purchase the

functional products since their functions suit their needs and

are affordable.

Until the design of the products intended for external users

more closely matches those users needs, bamboo products

will continue to be seen only as handicrafts and the

perception of bamboo as traditional will remain.

6. Distribution of products/transportation management

Currently, the demand for bamboo products comes from

places farther away than the local marketplace and

neighboring villages and towns, and far greater volumes are

requested, so a more complex arrangement of

transportation facilities is required.

Cars and trucks have to be rented, and the cost of the rental

must be paid. Currently, the workers themselves must take

care of this, but most of them do not have the knowledge

and/or resources to arrange it efficiently. Therefore timely

delivery will fail due to lack of transportation, and thisreinforces the impression that the bamboo business is

unprofessional and undependable.

A current solution has been offered by the government to

benefit bamboo producers who do not have the expertise to

manage their own business. An organisation under the

Ministry of Co-operation, Middle and Small Scale Industry

(Menkop/PKM), Koperasi Unit Desa (KUD), has been

created to assist small-scale industries with capital funds.

KUD offices are established in villages, so local people can

access them easily. KUD provides special low interest


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loans to the producers, and arranges communal

transportation to be used by the producers for delivery to

faraway places. However, this system is not working since

KUD, a government organisation, is unreliable.

7. Design of existing bamboo products

Professional designers have not been involved in the

development of traditional bamboo products, since the

products are based on existing traditional bamboo designs.

Traditional bamboo products are modified by the artisans

themselves to attract external users. The artisans have

simply applied their own taste by referring to photographs in

magazines or to goods they have seen in big department

stores. External users can also request a particularmodification by asking the bandar, who then tells the

craftsmen to modify the products in a particular way.

The artisans, who live in rural areas, are not themselves

familiar with the life styles of the external users. The result

is often a bamboo product whose design is unrelated to its

intended use, which must then compete with other, more

functional products made of other materials. Therefore

involvement of designers, who are familiar with the needs of

external users, is necessary in order to create well-

conceived and competent bamboo products.

This brings up the question of why designers have not been

looking at bamboo in the first place. This question is

especially valid for Indonesian designers who come from a

bamboo rich culture. The involvement of Indonesian

designers in developing bamboo product will be discussed

in the following sub-chapter.

In addition to the seven factors mentioned above, there are

two other factors that reinforce the perception of bamboo as

a subordinate material:

8. Economic value of bamboo

Bamboo grows naturally all over Indonesia. It will spring up

on someones land and the owner of the land will then sell itto an artisan. The price of each pole depends on the

species, but most varieties are very inexpensive,

approximately 3000 rupiah per pole10. Each pole can be

made into tens of baskets; therefore the cost of the material

is very low.

The production tools (saw, knife and scissors) are

household possessions for daily use, therefore bamboo

wares production does not need large capital investments in

materials, production tools, or facilities.


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Bamboo artisans are generally situated in rural areas. The

local marketplace is where they sell traditional bamboo

products, which are originally directed to the local and least

expensive end of the market, and are therefore are priced

accordingly.

The low production cost is an advantage to the developing

bamboo industry, since no large capital investment is

needed. But, on the other hand, the fact that bamboo

products are aimed at the least expensive end of the

market, and priced according to the actual production cost,

not only serves to keep the income of the producers

extremely low, but contributes to bamboos image as

'traditional', and as a 'poor mans' material.

.9. Competition in modern quality with other materials

In this era, anything can be imported, and that includes

knowledge and technology. Various materials and

manufacturing techniques are being introduced to

developing countries.

Plastics, for example, are increasingly popular as a material

for household products. Large investments have been

made in plastic factories and plastic production is enormous,

therefore the products are very affordable. Plastic has some

101 US$= approx. Rp.9000 (Rp.8546, currency rate on Wednesday, 26 May,

practical advantages. It has a smooth surface, providing for

easy maintenance and a clean image; it can be mass-

produced uniformly and precisely, therefore the products

can be easily packed and transported. Moreover, even

inexpensive plastic can be produced in a variety of bright

colours, making it attractive. These qualities are factors of

modern product quality.

The situation is different for bamboo products. Woven

bamboo products do not have an exact uniformity in shape

or size. Existing bamboo products have a limited

appearance, never far from their traditional woven form. In

addition, their performance is also limited to simple

household products or rough building components; bamboo

could not be used as a primary component in products thatneed high precision in manufacturing, such as cars,

computers and appliances. For these reasons bamboo

material retains a 'natural', 'ethnic' and 'traditional' image.

1999)


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It can be concluded from this sub-chapter that the usage of

bamboo is discouraged by these factors:

Improper or less than optimum treatment of bamboo

material, which degrades the performance of bamboo

products.

Shortage of skilled artisans in the production area, which

causes poor workmanship and reduces production

volume.

Lack of reliable material supply, due to an absence of

well-managed cultivation, which causes undependable

production.

Availability of traditional woven or modified traditional

designs only, which do not possess competitive modern

qualities and which are no longer suited to the needs of

the intended users.

Lack of effective management regarding transportation

and distribution of larger volumes of product to

increasingly distant markets, which gives an impression

that bamboo producers are unprofessional and

undependable.

Added to the unusually low-price of bamboo products, these

factors combine to create an image of bamboo as

traditional, ethnic, handicraft and a poor mans material.

People's perception of bamboo is based on their experience

in dealing with the material, that is with the currently

available products and manufacturing systems. As long as

there is no major change in that experience, the stigma on

bamboo will remain forever.

3 2 D E S I G N E R S I N V O L V E M E N T I N B A M B O O P R O D U C T

D E V E L O P M E N T

There are several reasons that Indonesian designers have

not been interested in exploring bamboo11. In the first place,

this lack of interest can be traced to the way designers are

educated. Formal design training originated in western

countries, so the materials used to teach and practice arematerials that are familiar to the western world. Obviously,

bamboo was not familiar since it was not a material that they

used extensively in daily life. Because design education is

based in western cultures, examples of products also come

from that part of the world. Therefore educated Indonesian

designers have not become used to working with bamboo

either as material or in product applications.

11See Appendix 1: Comparison between the attitude of Indonesian and Finnish

peoples toward their original natural resources


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A second factor is the way professional designers work:

relying on available data as to a materials properties12,and

there is lack of data dissemination on bamboo as a

production material. Without such data, it is not easy for

designers to work with a material in a proper way. In

addition, most designers have been brought up in urban

areas and have had little direct daily contact with bamboo.

A third factor is the physical shape of bamboo, which

appears to limit its potential forms. Bamboo as a raw

material is always cylindrical and hollow. A bamboo pole is

actually shaped like an upside-down cone, with a

circumference that reduces gradually. Unlike other

materials, such as wood, plastic, and earthenware, bamboodoes not obviously lend itself to achieving a variety of forms.

These three factors have discouraged Indonesian designers

from exploring the potential of bamboo. However, in the

recent past, other factors have emerged which are leading

more designers to turn their attention to bamboo as a

material.

12See Appendix 2:Differences between bamboo craftsmen and designers.

After tens of years of formal design education oriented to

western culture (the Industrial Design Department was

established at the Institute of Technology in Bandung, ITB,

in 1972), Indonesian designers are becoming inclined to find

potentials based on their own cultural resources. They are

beginning to look at their own roots and find their own

identity by exploring indigenous resources. Many designers

are currently exploring materials that have been known and

used for centuries in Indonesia, such as rattan and

earthenware, and bamboo fits this trend.

A second influence is the logical extension of the design

belief that each material has its own advantages and

disadvantages and can provide optimal performance ifproperly applied. Viewed in this manner, bamboo is a

fascinating material to begin to explore. With little available

data on bamboos physical characteristics, and not much

more direct experience, proper design and treatment for

bamboo can be discovered only through experimentation.

The results are expected to prove that bamboo is a very

competent and rewarding material.

Yet another factor is the stress currently being placed on

environmentally responsible design. Therefore, when the


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issue of the scarcity of tropical hard woods emerged,

designers became motivated to find alternative materials as

a supplement to hard woods. By using bamboo as a

supplement (especially valuable for its rapid growth), it is

hoped that the tropical forest, a limited natural resource, will

be conserved.

Looked at from the standpoint of appropriate technology,

there is an enormous opportunity for contemporary

designers in developing bamboo as a material. Designers

can act as a bridge between rural bamboo producers and

the demands of urban users. With the involvement of

design knowledge in bamboo product development,

resulting in the introduction of improved bamboo products, itcan be assumed that demand for bamboo products will

increase. Increased demand will create increased

manufacturing, which will lead to increased employment and

contribute to rural development. The resources - raw

material, tools and potential workers - are all available

locally.

3 3 B

A M B O O S

O

P P O R T U N I T Y

Contributions from advanced technology can improve the

performance of bamboo through, for example, preservation

techniques, which are still being developed to increase its

durability. The preservation process must be performed

immediately, within 24 hours of the bamboo being cut, in

order to produce usable raw material that can be processed

further. The skin, or surface, of bamboo protects the inner

part of a bamboo pole. Once the skin is wounded or split,

termites can invade the pole to lay their eggs since they,

and later the larva, feed on the sweet liquid of bamboo. Thisfeeding gradually turns solid bamboo into powder from the

inside, which naturally causes a weakening of bamboos

physical structure. Preservation techniques for bamboo

seek to eliminate any possibility of invasion by termite and

also to prevent attack by fungus.

Traditionally, bamboo was preserved simply by immersing

bamboo poles in mud and water for approximately one

month. Another method was to arrange freshly-cut bamboo

poles upside down and set oil (diesel fuel) on top of the

open stalks for about one week to push bamboos sweet


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liquid out. The poles can

also be immersed in various

chemical substances. One

version of this method is

called Boucherie.

Boucherie, invented in 1839 by a French medical doctor of

the same name, has been applied to bamboo since 1947. It

takes approximately two weeks to complete the process,

and requires industrial machinery to inject chemicals at high

pressure, which push out and replace the sweet sap in fresh

bamboo poles. A dip-diffusion Boucheriemethod is applied

for bamboo strips, where the strips are immersed in the

preservative substance and are covered with plastic

afterward to let the substance diffuse.

Other techniques designed to improve bamboos

performance as an industrial material have resulted in

various kinds of bamboo boards. Traditionally, bamboo in

the form of sheets can be made by

weaving bamboo ribbons, manually, into

mats, which then can serve as parts of

huts such as walls, ceiling and ground

coverings. No adhesive substance is

used in the weaving process. The first

modern attempt to make bamboo into thick firm sheets,

which can serve as boards, was in China during the Second

World War. In principle, the technique calls for having the

bamboo in flat forms (splits or woven mats) and adding an

adhesive substance and high pressure to form it into boards.

This can be achieved by pressing together several layers of

woven bamboo mats or bamboo splits. The adhesive

substance impregnates the bamboo thoroughly and the

result is a solid board.

These advanced techniques are still being developed and

tested, and there is a history of positive results. However,

there are some restrictions in their application.

For example, the Boucherie method of preservation workseffectively only under certain conditions. The preservation

site has to be located close to the bamboo plantation area

for the process to be practical, since freshly cut bamboo

poles must be treated immediately.

The site also requires quite a large space to accommodate

the Boucherieunits and the drying of treated bamboo poles.

The Boucherie method requires qualified workers to

supervise the equipment and control the proportions of the

chemical substances. Therefore, though it is known as the

most effective preservation method, there must be a well-


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for interior elements and construction purposes. In fact, it is

clear that there are numerous potential product applications

of bamboo board, and even more far ranging possibilities if

the same techniques were used to press the layered splits

into other shapes.

This is where designers can contribute their knowledge.

Industrial design is one of the professions, or knowledge

fields, that can be expected to uncover the potential for

more creative applications. People in urban areas, who

responded to the questionnaire14 concerning attitudes

toward bamboo products, welcomed the idea of improved

bamboo products and expected that an exploration of

bamboo would lead to new high quality products.

Design professionals can be expected to come up with

creative, intelligent and appropriate uses of the material.

With an appropriate application that can expose its superior

qualities, bamboo material will be able to perform efficiently.

will not easily ignite a bamboo board since the boards are very dense and thesurface is very smooth.14From the responses to the questionnaire, it was concluded that people who livein countries without bamboo cultures are unfamiliar with this material, while

people who are familiar with it still regard it as a secondary material since therehas been no improvement in its performance (which includes function,appearance, design and material quality). For more detailed information, seeAppendix 3:Responses to the Questionnaire.

In this way, bamboo will have the opportunity to prove itself

as a competent and exciting material.


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4

B

A M B O O F O R T H E

F

U T U R E

4 1 A

P P R O P R I A T E

T

E C H N O L O G Y

Now that we have become acquainted with bamboos

potential and the wider possibilities for the treatment of

bamboo, it is important to consider a suitable production

process for the given economic, physical and cultural

conditions and environment. A suitable production process

is known as appropriate technology and the nine points of

appropriate technology can be used as the basis for

analysis in order to protect the human and natural

environment in which the production takes place.

Before discussing appropriate technology further, let us take

a look at the traditional formulation of technology.

Technology is the relationship between product and

process. Product has physical features as follows:

Function: what a product is used for.

Geometric appearance: how the product is formed, with

respect to its size, shape, form, colour, etc.

Material usage: what material(s) the product is made of.

Physical and technical features: how strong and durable

the product is with reference to tensile strength, potential

load, resistance to fire, weather, chemical substances,

etc.

Then there are other features related to a product:

Production complexity (in terms of the number of steps

required to produce the product, people and processes

required, or amount of time required)

Cost of the product (including manufacturing,

distribution, taxes, associated labour costs)

The physical product features are product requirements,

which are determined by the strategies of the producers as

well as by the market, either local or international. The

product requirements are used as a constraint for design

concepts. To meet these requirements, a process isneeded to manufacture the product.

The process can be divided into:

Physical facilities: equipment and tools needed to make

the product.

Human abilities: labour force with specific skills and

knowledge who are needed for the production

Documented facts: data on production such as

processes, procedures, evaluation procedures, blue

prints, patents, etc.


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Organizational frameworks: type and scale of the

enterprise required

The model below15 attempts to incorporate design and

technology practice. It shows that there is a restricted

meaning of technology, which applies only to the technical

aspects of the production processes; and a more general

meaning of technology, which integrates cultural,

organisational and technical aspects as well.

A designer, who is involved in developing a bamboo

product, can propose a particular production process. It is

important to ensure that the process is economically,

socially and environmentally sustainable.

A sustainable process can be achieved by applying a

suitable method in a specific circumstance. In order to

determine the most suitable method in a given

circumstance, the nine points that define appropriate

technology can be used as the basis of analysis.

15Catherine Budgett-Meakin, ed.,Make the Future Work(Singapore: LongmanSingapore Publishers Pte. Ltd., 1992) 48.

CULTURALASPECTSgoals, values andethical codes,belief in progress,awareness andcreativity

ORGANISATIONALASPECTSeconomic and industrialactivity, professionalactivity, users andconsumers, trade unions

TECHNICAL ASPECTSknowledge, skill andtechnique; tools,machines, chemicals,liveware; resources,products and wastes

TECHNOLOGYPRACTICE

restrictedmeaning oftechnology

generalmeaning oftechnology


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Appropriate technology analysis of the traditional

bamboo industry

Environmental aspect: The activity of producing bamboo

products does not disturb the balance of the natural

environment, since the primary natural resource used is

bamboo, which regenerates rapidly, and all other sources of

energy are fully renewable. In addition, the traditional

process does no harm to the ecosystem as all by-products

(waste) associated with it are non-toxic.

Social/cultural aspect: The activity, as a part of a

longstanding tradition, fits in with the local social and cultural

environment. The indigenous users of traditional bamboo

products have confidence in performing this activity, andthey are able to control all the resources (natural, human

and cultural) involved in the production process. This self-

confidence results in self-respect and self-reliance.

The activity is fully adapted to the local social structure and

traditions, since producing traditional bamboo ware for own-

use is a part time activity performed in between harvesting

times. Moreover, bamboo products are used in religious

and traditional ceremonies, so producing them is an

honourable pleasure.

Economicaspect: The activity capitalises on local skills in

bamboo weaving, which they inherit from their ancestors,

and on local material, bamboo, that grows close to the

community.

The community controls all activities involved in bamboo

products utilisation, from the obtaining or purchasing the

raw materials and making the products, to using,

maintaining and disposing of them.

However, the traditional bamboo industry does not provide

for or substantially increase the income of the local artisans.

Therefore it is appropriate only as a secondary activity

where the primary income is earned in another way, through

rice farming for example. Also traditional bambooproduction has been stable for centuries. It fulfils limited

and static needs within the community itself. It would be

hard to argue that traditional bamboo enterprise is part of a

real development, or that it positively effects future

development.

Looking at the analysis of these aspects, the traditional

method is, for the most part, already an appropriate

technology for the community, especially in the social and

environmental factors. But there are aspects of appropriate


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technology, specifically in the economic area, which are not

being fulfilled by the traditional bamboo industry even in the

current situation.

As soon as the making and selling of bamboo wares

becomes the primary source of income, the traditional

method fails to provide a stable, sufficient and reliable

income for the artisan. In addition, once the need for

bamboo products is freed from the finite needs of the

immediate community, the idea of real development comes

into play.

In order to create an appropriate technology that can

increase income generation, several conditions in the

traditional bamboo industry have to be considered.

The factors involved in production activity (supply of raw

material, distribution and marketing of bamboo products) will

become more complicated and dependent on more complex

resources. The producers must be able to meet established

schedules to facilitate distribution, and processes must be

adjusted to produce larger volumes.

Outside markets must be taken into consideration and the

product requirements determined by those markets. The

market, and the external users the products are intended

for, will have different requirements for bamboo products.

Specifically, they will require modern quality (practicality in

maintenance, manufacturing, packaging and distribution,

maintaining and disposing). Traditional bamboo products -

an outcome of traditional process - do not have these

qualities, which causes a gap between the traditional

process and the new product requirements.

In addition, environmental factors must be considered in the

demand for greater amounts of raw material. Bamboo ware

for industrial production requires a steady and reliable

supply of raw material. This calls for systematic

development of bamboo as a sustainable material.

If these conditions are met within a technology that is owned

by the community, adapted to the social/cultural

environment, capitalises on local skills and materials, and

does not deplete non-renewable resources or harm the

ecosystem, then new needs will have been met with an

appropriate technology.


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Hybrid technology

It is important to review the levels of bamboo industry in

Indonesia, in order to determine the application of a

technology that is appropriate for economic, social/cultural

and environmental development.

The table below places various types of current Indonesian

bamboo production into their technology levels.

Traditional Advanced

Productionmaterial

Raw bamboo: culm, rod,split, strips, etc.

Raw bamboo: split, wovenmat

Preservationmethod

Immersing in mud Injecting preservativesubstances

Processing Manual weaving technique Forming bamboo boards /moulding / mouldedcomposite

Tools Simple household

possessions (knife,scissors, etc.)

Advanced and specialised

machinery

Other materialsand substances

None Adhesive substance,additional productelements

Productassembling

Manual weaving technique High pressure moulding,followed by conventionalmanufacture assembling

Finishing Natural Polishing, laminatingProduct groups Kitchen wares and

household products,

traditional housingconstruction elements

Boards for interior buildingcomponents

Design Traditional Improved products: newdesign

Users Local community External users: are notinvolved directly in theproduction process, exportmarket

Enterprise Household based, labourintensive

Mass manufacturing

As the table above makes clear, the current split between

traditional and advanced technologies is very broad.

Traditional methods can not fulfil the current requirements,

while advanced methods are not affordable by the

community.

Hybrid technologies fall between traditional and advanced,

or combine elements of each to create new solutions. In a

hybrid technology human resources would be considered

more important than advanced machinery, but the process

applied could be something other than traditional weaving

techniques. A hybrid method would look into possibilities for

new treatment and preservation options, but focus on basic

production options adaptable to the existing culture.


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Modifiedtraditional

method

Combination oftraditional and

advancedmethods

Adaptiveadvanced

method

Productionmaterial

Raw bamboo:culm, rod, split,strips, etc.

Raw bamboo:culm, rod, split,strips, etc., andpre-treatedbamboo: boards,composites, etc.

Pre-treatedbamboo: boards,composites, etc.

Preservationmethod

Traditionalmethod

Traditional method, injectingpreservative substances

Processing Manual technique with machinerysupport

Manualprocessing ofpre-treatedproductionmaterial

Tools Simplehouseholdpossessions,additional smallmachinery

Specialised tools, additional smallmachinery

Othermaterials andsubstances

Adhesive substances, additional product elements

Productassembling

Weaving technique, conventionalmanufacture assembling, adaptedmanual technique

Conventionalmanufactureassembling

Finishing Variable: natural, polishing, colouring, laminatingProductgroups

Kitchen ware, tableware, furniture, accessories, etc.

Design Modified traditional products, new and improved designUsers External usersEnterprise Labour intensive, improved household enterprise, with co-

operative organisation of producers that are protected bythe governments policies.

As the diagram above makes clear, many possible solutions

fall within the category of hybrid technologies, but all

solutions share a focus on labour intensive, modified

household enterprise, all involve the contribution of a

designer to create improved products, and all direct the end

product toward an external user.

There are three types of solutions possible within the hybrid

model.

The first is to modify existing bamboo products (as Bamboo

Javais doing today), using traditional methods, possibly with

the support of small machinery such as sanding machines.

The goal is to produce improved designs for which there will

be more demand, and which can be produced in greater

volume, resulting in higher income for the producer. The

drawback is that traditional weaving methods will never have

modern quality, and will retain a traditional craft look.

The second type of solution uses manual processes other

than traditional weaving and, in some cases, advanced

preservation methods, to create improved bamboo products

that have a non-traditional look and/or modern quality.

This is the most promising area in that:

It offers increased possibilities for designers to explore

the quality of bamboo as a material, since designers are

not restricted to working only with bamboo ribbons (the


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basic material for weaving), but can experiment with

other production processes.

It offers increased possibilities for improved products

because the designers can base the design on the

potential of the material plus current needs to produce

new ideas.

It is the more likely to produce products that possess

modern quality.

It is not significantly disruptive either to the existing

social structures nor to the natural environment.

The third category includes using pre-treated bamboo

as the production material. So, instead of raw bamboo

splits, rods, or strips, boards or composites (advancedtreatment) are used as the basic production material.

This would be possible if a developing economic situation

allowed the community to upgrade the preservation or

treatment level to advanced. Local human resources with

skills such as carpentry and cabinet making could then

process the materials further.

Below is a graph illustrating the relationship between the

treatment levels of bamboo products.

BAMBOO

ASPRODUCTION

M

ATERIAL

RAWMATERIAL:

BAMBOO

traditionalprocess

advancedprocess

Bamboo splits,rods, boards,strips, etc.

Bamboolaminated

boards, matboards,composites,etc.

DESIGN

traditionalprocess

hybridprocess

TRADITIONALPRODUCTS

IMPROVED PRODUCTS

hybridprocess

advancedprocess


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One example of an existing company that applies the hybrid

level is Bamboo Java, which is situated in Bandung, West

Java. Bandung is the nearest urban city to Tasikmalaya, anarea known for its skilful bamboo artisans. This company is

owned by a couple of designers, who employ craftsmen

from Tasikmalaya. The owners act as intermediaries,

design the products, and directly supervise the quality.

Bamboo Javahas cultivated a local market (such as Chedi,

a five-star hotel with a natural theme in Bandung) as well

as international clients such as Hackman in Finland and

Harrodsin London.

The designs of Bamboo Java products,

which are mostly woven containers and

tableware, are modifications of traditional

bamboo products. Their workers have

somewhat superior skills in comparison to traditional

bamboo craftsmen, especially in their recognition of

consistent quality.

Bamboo Java has created a unique production system incomplete harmony with the Tasikmalaya community. The

artisans of Bamboo Javawork in their home villages within

their traditional family groups. Each group has a leader who

brings the products periodically to Bandung where they can

be checked for quality and the final products accepted.

They use the traditional harvesting and treatment: cutting orsplitting of raw bamboo, and the traditional method of

preservation and production process: weaving techniques.

However, the designs have been improved to conform to the

demands of urban users, the artisans have been trained to

create new forms with more consistent quality, and some

additional materials are used for accents, colouring and

finishing.

To conclude this sub-chapter, in the given situation of

Indonesia, hybrid processes offer the greatest opportunities

for real economic development within the parameters of

Appropriate Technology. Such a technology must continue

to fulfil the economic, social and environmental constraints

as traditional methods have done in the past.

Hybrid technologies can meet these requirements, and

utilising the skills of a designer, using non-traditional manual

processing methods, to design and produce productssuitable for an external market that will, at the same time,

materially benefit and develop the local culture without

damaging the ecosystem.


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Such locally based bamboo enterprises can be established

in any area where bamboo grows in abundance, as long as

support for material supply, production and distributionactivities can be developed in the community that surrounds

it.

Bamboo can be an important part of the future of this

society. And the future begins now.


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It is worth noting here that many products in the preceding

table could have fulfilled the requirements of the project.

Time, quantity of material, access to appropriate machineryand personal preference all influenced the choice of specific

product.

There were some restrictions in the realisation of the

prototype:

Limitation in material. Raw bamboo could not be

easily acquired in The Netherlands. Since material

quantities were small, the product itself had to be small.

This limited the designer to the category other products.

Requirement for appropriate technology. This

requirement constrained the designer to use tools and

levels of workmanship skills readily available in

Indonesia.

Functional object. The improved bamboo product had

to be a functional object directed at an urban user group.

This further constrained the designer to functional

product within the category other products.

Finally,familiarity and preferencehad an effect on the

choice of product for the prototype as well. In this case,

tableware was chosen by the designers as the product

to be developed.

Once this choice had been made, product requirements

could be made more specific.

In order to highlight bamboos unusual lightness as amaterial, cutlery designed for airline use - where every

gram has a direct cost in fuel - was chosen.

Cutlery for in-flight use also fulfils the requirement to aim

at primarily urban users with a high standard of living.

By focussing on an airline, such as Garuda Indonesian

Airways, the product could be simultaneously directed at

a local (domestic flight) and an export (international

flight) market. In addition, the cutlery expresses

Garudas cultural identification with a bamboo rich

culture.

The design aspects were analysed as follows.

Material: The production material is raw bamboo in the form

of splits and sheets. Other materials required were

adhesive substances and materials common already in

airline industry (aluminium, plastics) as components for

joints.

Function: as tools for eating during flights, including fork,

knife, spoon and small spoon. In addition, packaging was

considered. Both utensils and packaging must be compact


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in order to be practical for shipping and storing on the

aeroplanes.

Ergonomic: the products have to suit the needs of theusers and be comfortable to use.

Technology: application of hybrid process where human

labour and simple tools are used in a non-traditional

manner.

Aesthetic: natural and honest appearance, simple and

elegant. The products bear 'modern' characteristics and do

not appear 'traditional'. The identity of the airline can be

integrated by synchronising the shape of the products to the

airline's logo, or by adding graphic elements.

Economic: for the manufacturer: production cost has to be

affordable and the profit from production must increase the

income of the producing community; for the users:

maintenance of the products has to be practical (durable,

washable cutlery).

Ecology: the use of a rapidly regenerating, rapidly

replaceable, natural resource (bamboo) will supplement and

conserve more limited ones (wood). The waste products ofthe production process are not harmful to the environment

since they consist of degradable natural substances. In

addition, bamboo cutlery, lighter than the metal cutlery, can

reduce the energy (fuel) used per flight.

Social-cultural: the hybrid process selected for production

makes use of the traditional family based production unit,

thus it is fully adapted to the local social culturalenvironment. In addition, it is hoped that an improved

bamboo product with modern quality will reduce the current

stigma attached to bamboo as a production material (in both

manufacturing and end-user sectors).

In making the prototypes, the production process was based

on the concept that the products will be manufactured by

craftsmen in rural areas. Therefore simple and common

woodworking tools and materials that can easily be acquired

were used. These basic tools include a handsaw, knife,

chisels and sandpaper. Materials include bamboo (as the

main material), as well as glue and small pieces of metal

and wood. These additional materials were used as

adhesive, as simple jigs and as elements for joints.

It should be noted that the process of making prototypes is

an unconventional approach in traditional bamboo

industries, where craftsmen modify the products at the site.In contrast to traditional production methods, preliminary

sketches for the design were made, through evaluation

these sketches evolved to the final design. The proportions

and dimensions of the products were evaluated, as were the


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steps in production process, the

capacity of workers, and the tools

and materials used. Technicaldrawings were then provided to

specify the exact size and shape

of the products, in order to acquire

uniformity. The prototypes were

then produced based on the

drawings.

Ihsan, a designer and partner in developing the design for

the prototypes, conducted the opportunity segment of a

feasibility study in co-operation with Bamboo Java. Bamboo

Java is a company in West Java that has been producing

bamboo products for the export market and employing local

human and natural resources to manufacture their products.

This company was an appropriate place to do a feasibility

study for production, since the workers are skilled bamboo

workers and are familiar with high quality requirements. The

designers experimental prototypes were shown to theartisans, and they were asked to produce products of equal

or better quality.

Due to the limited time, only the prototypes of one fork, one

knife and one spoon were studied for feasibility. The small

spoon was not studied, nor was the packaging that is part ofthe final concept. The feasibility study for production

includes:

People involved: a designer, an intermediary and a

craftsman. The designer met with the intermediary,

bringing the design in the form of prototypes and

drawings. The intermediary then instructed the

craftsman to duplicate the prototypes.

Capital needed. The raw material, bamboo poles

approximately 5 meters long, cost 3000 to 3500 rupiah17.

The salary of an artisan is 10000 rupiahper day18.

Amount of raw material and other substances used

.One bamboo pole (10-cm diameter and 5 m long) can be

made into approximately 200 pieces of cutlery.

Tools and machinery used. The artisan used one

golok knife (multi-functional traditional knife) and one

small carving knife. Other tools needed are chisels and

small handsaw to form the products, and sandpaper to

171 US$= approx. Rp.9000 (Rp.8546, currency rate on Wednesday, 26 May,1999)18Rough product cost estimate (per piece), assuming four artisans producing 160

pieces per day. Material cost: Rp.17.50 (Rp.3500 per pole divided by 200pieces). Labour cost: Rp.250 (4 times Rp.10000 divided by 160 pieces).Total cost in materials and labour per piece: Rp.267.50, or approx. 3 US Cents.


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finish them. Bamboo Javawas not able to provide these

tools for the test, so the products were made exclusively

with the two knives and left unfinished. Complexity of production process: from raw material

to final product. Treatment: as soon as bamboo poles

are cut, they are preserved in the traditional method

(immersing in mud and drying naturally). Production was

in four phases: The preserved bamboo pole was cut to

acquire the desired length, then split length-wise to

acquire the desired width. These small bamboo pieces

were then shaped to the desired forms using the two

knives. Sanding to smooth the surface will be the final

phase of production.

Duration of process: from raw material to final product.

One artisan was able to make one set of cutlery (one

fork, one knife and one spoon) within one hour. It will

take less time if the process is done per phase with four

artisans, where each worker has his/her own part of the

production process (cutting and splitting bamboo poles,

rough shaping, final shaping, or sanding).

Bamboo Javas artisans manufacture the products in their

home villages in Tasikmalaya, West Java. One of these

local artisans was used for the feasibility study.The artisan who duplicated the prototypes had only two

kinds of knives to work with. However, the forms of the

reproductions are already equal to the prototypes, though

the sizes need some adjustment. The time to do the

feasibility study was very limited; therefore the products,

though they have achieved the expected form, are left

unfinished and unrefined.

In spite of the lack of appropriate tools, the feasibility study

has conclusively demonstrated that, a Bamboo Javaworker

with an average level of skill is capable of manufacturing

products of equal or better quality as the prototypes.

Summary of conclusions from the opportunity segment of

the feasibility study:

Local human resource in Indonesia, specifically in the

bamboo-producing area of Tasikmalaya, West Java, is

capable of producing the product. The cost of materials was low. The technology is

affordable by the community; the product will be

affordable by the consumer.


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extensively in private homes. In

addition, Plyboo flooring has been

used to cover an indoor basketballhall in Haarlem and in the office of

the Ministry of Environment in The

Hague.

Other products:

In the decorative elements & other products groups,

Bamboo Java is a current source of many examples of

woven products whose design and production have been

improved to fulfil export standards. The owners of Bamboo

Java are designers, and they develop the products by

modifying traditional products to create

products in many different sizes and

shapes. They add accents by attaching

other materials.

They have also made new designs that

still primarily use the original weaving

technique as the production process.The appearance of Bamboo Java

products carries the traditional handicraft

image, so their products do not meet the

product requirements of this research.

However, the production process fully meets the

requirements of appropriate technology and was used, at

least in part, as a model for the application of appropriatetechnology presented in this research.

Another product in the other product groups that meets

many of the product requirements of this research are the

coasters created by students of Prof. A.G. Rao19. The

products pictured below were shown in the International

Bamboo Congress and Workshop in Costa Rica, in

November 1998. These coasters use a hybrid process,

which combines a traditional preservation method with a

non-traditional production process to produce bamboo

products with modern quality and a sleek appearance.

Traditional bamboo products from India are based on

weaving techniques, similar to the techniques in Indonesia.

In this project, the students did not use weaving, but gluing

and bending techniques to form the products. The coasters

19Prof. A.G. Rao, from the India Institute of Technology, Bombay, has dedicatedyears to bamboo product development. He was also deeply involved in severalworkshops on bamboo design, one of them documented in an inspiring book,

Bamboo Craft Design, in 1994.


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are made through a lamination process and use simple jigs

to shape the material.

Similar interests often lead people in the

same direction. The attractiveness of these

newly-known potentials of

bamboo as a material has

drawn many people into

discussion groups that

focus on bamboo. Some of these groups

can be tracked through the Internet where

many samples of bamboo products (both

new and traditional) can be found.

These samples are presented to show the wide variety of

appearance that bamboo material can present, ranging from

traditional woven forms to a very modern look (flat, smooth

and simple).

New methods of treatment and contributions from designers

can improve both the performance and the appearance of

bamboo products. It is hoped that improved bamboo

products that expose the superior character of bamboo will

create a different image of bamboo: simple, modern andelegant. By exploring bamboos potential and highlighting

its advantages through improved products, it is hoped that

the stigma of bamboo, which has been reinforced by the

traditional appearance of bamboo products, can be reduced.


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Mapping of samples according to levels of technology

Traditional processes for traditional products (producers =

end users of products).

Designers are not involved at all, since the designs of the products

have been the same for centuries and the functions never change.

Hybrid processes for variation and modification of traditional

products.

Designers develop the products based on the original traditional

ones (craftsmen modify their products in this category). The

changes are mostly variations in size and color of the products.

Weaving technique is still mainly used as the production process.

It is also possible to add other materials as supporting elements

(as joints, to create accents, etc.)

Hybrid processes for new performance and appearance of

bamboo products.

The new design is not based on the traditional products and

production process. Designers explore bamboo as they explore

other materials: based on documented physical and

mechanical properties of the material, they respond to current

requirements and propose a design that fulfils a clear function and

has modern quality.

Hybrid processes for new performance and appearance of

bamboo products.

The role of the designers is similar to level 3, but at this level pre-

treated bamboo is used as the basic production material.

Advanced processes for new design of bamboo products.

The advanced methods are applied in the whole production

process, though production materials can be used for products in

the traditional and hybrid levels. Designers may use these

improved methods optimally and be more creative in utilizing the

available facilities. At this level, designers also design production

materials (pre-assembled construction elements, building

components, etc.) alongside the ready-to-use final products.


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5

C

L O S I N G

5 1 C

O N C L U S I O N S

Summary / General Conclusions

1. Bamboo grows rapidly and matures within five years.

Bamboo's cell structures and technical properties resemble

wood, yet it is superior in both strength and elasticity.

Therefore, as a renewable natural resource, bamboo can be

a substitute or supplemental material to wood, which is

becoming more and more scarce.

2. Producing bamboo goods has long been a source of

secondary income to supplement agricultural work. Bamboo

is very easy to obtain since it grows in abundance. The

skills and tools to produce traditional bamboo goods are

locally available and are part of the existing social/cultural

structure. The traditional technologies have been, in the

past, fully appropriate to the environment bothsocial/culturally and environmentally.

3. However, the current situation has changed. A shortage

of rice lands has led to wide spread poverty and

unemployment in rural Indonesia. The production of

bamboo wares for sale is one possible solution. This

transition from own-use to producer for an external marketrequires several changes:

a) The production and distribution process will become more

complex. This leads to a need for:

a dependable source of raw material supply

improved product quality control

efficient transportation and distribution systems

b) In addition, the introduction of external, primarily urban,

users means that the traditional products are no longer

appropriate. New products are called for that:

fulfill a clear function and meet user needs

have modern quality (practicality in processing,

packaging and maintenance)

4. The disadvantages created by traditional methods and

design, combined with the extreme low-cost of the material

and its association with poor rural areas, attach a stigma to

bamboo as a material.

5. Advanced preservation and treatment technologies for

bamboo have been developed since the 1940s, and new

l b i l d Th I d i Th l f h b id h l i l


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treatments are currently being explored. These treatments

can improve bamboo's performance.

Research Conclusions

1. Non-traditional processes (manual processes other than

traditional weaving) can expose bamboo's superiority in

products with modern quality.

2. Designers can contribute to bamboo products

development by:

Acting as a bridge between the current users and

producers; thereby creating products that fulfil both a

clear function and the needs of the users.

Exploring bamboo's material properties to create new

ways to use the material.

3. Possible levels of technology in contemporary Indonesia

can be divided into three groups: traditional, hybrid and

advanced (mass production). Hybrid technology, whereelements of traditional processes are combined with

elements of advanced treatments, non-traditional process

and the input of designers, is the most suitable level for

bamboo industry development given the current situation in

Indonesia. The goals of hybrid technology appropriately

applied are:

to create an improved, functional product that will meetexternal users needs, and

to provide for local employment and economic

development without social or environmental disruption.

4. The creation and testing (feasibility) of the prototypes

using a hybrid technology conclusively demonstrated that:

A hybrid process can produce an improved, functional

product with modern quality that meets the needs of

external users.

The production of such a product can create local

employment and economic development without social

or environmental disruption.

The product was feasible in terms of the human

resources required, the complexity of the process, the

mechanical resources required, and the cost of materials

and labor.

The documentation concludes with a scenario that combines

the researchers findings and recommendations in the form

of a narrative set in contemporary rural Indonesia.


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preservation site The preservation site lies at the outskirts area to each production village Pak Samans son makes

8/11/2019

a design research on bamboo’s potential

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