0 evaluări0% au considerat acest document util (0 voturi)
195 vizualizări65 pagini
This document is a thesis abstract written by Dwinita Larasati exploring the potential of bamboo in Indonesia. It summarizes the following key points:
- Bamboo is a rapidly renewable resource that is abundant in Indonesia and has been part of Indonesian culture for centuries. While technically a grass, its properties resemble wood.
- The thesis examines three factors to develop this resource: contributions of advanced technology to improve bamboo's performance; appropriate use of human resources through technology; and improved design of functional marketable products.
- After analyzing current supply, production, distribution, and design factors, a "hybrid" technology combining traditional and advanced processes with design input was selected as most appropriate for Indonesia. Prototypes
This document is a thesis abstract written by Dwinita Larasati exploring the potential of bamboo in Indonesia. It summarizes the following key points:
- Bamboo is a rapidly renewable resource that is abundant in Indonesia and has been part of Indonesian culture for centuries. While technically a grass, its properties resemble wood.
- The thesis examines three factors to develop this resource: contributions of advanced technology to improve bamboo's performance; appropriate use of human resources through technology; and improved design of functional marketable products.
- After analyzing current supply, production, distribution, and design factors, a "hybrid" technology combining traditional and advanced processes with design input was selected as most appropriate for Indonesia. Prototypes
This document is a thesis abstract written by Dwinita Larasati exploring the potential of bamboo in Indonesia. It summarizes the following key points:
- Bamboo is a rapidly renewable resource that is abundant in Indonesia and has been part of Indonesian culture for centuries. While technically a grass, its properties resemble wood.
- The thesis examines three factors to develop this resource: contributions of advanced technology to improve bamboo's performance; appropriate use of human resources through technology; and improved design of functional marketable products.
- After analyzing current supply, production, distribution, and design factors, a "hybrid" technology combining traditional and advanced processes with design input was selected as most appropriate for Indonesia. Prototypes
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. 2 A C K N O WL 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 the Babel Design team in Heilbronn; Mrs. & Mr. Gyllenbogel in Helsinki; Prof. A.G.Rao from IIT, Bombay; Bryn Griffiths from RCA, London; Harianto Aly and Singgih from Aruna Arutala, 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 3 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. 4 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 dapat meningkatkan 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 untuk prototype tersebut 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. 5 T A B L E O F C O N T E N T S ACKNOWLEDGEMENT 2 ABSTRACTS English 3 Indonesian 4 TABLE OF CONTENTS 5 1. BAMBOO -An Extraordinary Gift of Nature 6 1.1. Bamboo as a Plant 6 1.2. Bamboo as a Material 7 2. BAMBOO OF THE PAST 10 2.1. Indonesian Bamboo Culture 10 2.2. The Origins of Bamboo Enterprises 12 3. BAMBOO IN THE PRESENT 16 3.1. Stigma on Bamboo 16 3.2. Designers Involvement in Bamboo Product Development 23 3.3. Bamboos Opportunity 25 4. BAMBOO FOR THE FUTURE 29 4.1. Appropriate Technology 29 4.2. Design Projects 39 5. CLOSING 49 5.1. Conclusions 49 5.2. Hope for the future 51 REFERENCES 56 APPENDIX 1. Comparative Study: Bamboo-Based Culture 61 APPENDIX 2. Differences between Craftsmen and Designers 62 APPENDIX 3. Responses to the Questionnaire 63 APPENDIX 4. Design Project 64 6 1 . 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 . BAMBO O AS A PL ANT 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. Bamboo belongs 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 favored element 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. 7 Indonesian tropical forests consist of various hard and soft- wood species of trees, such as teak, meranti, gadog, mahogany, and rubber. Especially since 1970, these have been exploited to fulfil rapidly growing industrial production and consumer needs for wood, mostly for building materials and various industries 1 (such as pulp and furniture). Today, the situation of Indonesias tropical forests is approaching a crisis 2 in that the current and expected rate of their exploitation exceeds their possible replacement. The scarcity of tropical hardwood has been worsened by the forest fires of 1998 in Indonesia. The worst fires were in Kalimantan, between January and April, which caused almost 400.000 hectares of forest damage. The unsustainable of this resource may well lead to the commercial and genetic extinction of several valuable tropical woods 3 . It will take tens of years for a new forest to mature and become ready to be harvested. The whole world has
1 Herman Haeruman, in Manusia dalam Keserasian Lingkungan, 1983, stated that excessive wood consumption as a main material for industries directly effects the quantity of Indonesian tropical forest and timber supplies. 2 In Indonesia dalam Kancah Isu Lingkungan Global, 1991, Otto Soemarwoto stated that exploitation of the tropical forest puts tropical countries under pressure since the environmental impact from deforestation is global, such as ozone layer leakage and global warming. 3 Dr. Ir. Yanto Sarosa, chief of the Tropical Bio Diversity Centre, Bogor Institute of Agriculture, stated in the Tropical Forest Bio Diversity Observation and expressed their concern since the fires have added to the problem of the scarcity of tropical woods; some European countries have even banned the import of some tropical hard wood products from Indonesia to prevent further exploitation. This concern has forced people to seek wood substitutes. Bamboo can act as one. 1 . 2 . BAMBO O AS A MAT ERI AL Of the 1250 bamboo species in the world, 11% are indigenous to Indonesia and five of the 19 most valuable bamboo species (selected by International Network for Bamboo and Rattan/INBAR based on their economic value) grow in Indonesia. Therefore it is worthwhile to look at bamboo as an economic resource for the purposes of Indonesian development. In order to use bamboo as a potential economic resource, it is important to analyze bamboos superior qualities. Bamboo has an astonishing reputation as a strong construction material, having been used over centuries for structural purposes. Bamboos cell structures and technical
Assessment Workshop held in April 1998, that this condition gives disadvantages 8 properties resemble wood, yet it is superior in both strength and elasticity when compared to wood and steel 4 . Bamboo fiber has a static tensile strength up to 400N/mm. For comparison, wood has a static tensile strength of 50N/mm; steel construction, 370N/mm; and glass fiber, up to 7000N/mm). The Modulus of Rupture and Elasticity of bamboo (MOR and MOE: units used to test the strength of industrial materials) has been proven to be equal to hardwood. After its first three years of growth, bamboos skin contains an abundant proportion of silicon acid that hardens the surface and protects it from termites, chemical substances, and mechanical forces. The physical and mechanical properties of bamboo, along with its rapid regeneration,
to bio diversity preservation. 4 Several experiments have been conducted to measure the strength of bamboo and compare it with other materials. The statements above are taken from Bambus-Bamboo, 1985, and Research Needs for Bamboo and Rattan to the Year 2000, 1991. make bamboo a potential material to supplement wood. However, because bamboo is widely used by rural people, it carries an image of a poor mans timber 5 . Bamboo products have been neglected, or have been drowned in a sea of products made of new materials, especially since most bamboo products do not possess modern quality (modern is a term used to describe practicality in processing, packaging and maintenance). At the same time, there are some attempts to improve the performance and appearance of bamboo products by applying advanced technology to its treatment. In this research, the possible methods to improve bamboo products will be investigated. Through the introduction of well-designed bamboo products that highlight bamboos unique characteristics, it is hoped that bamboo can become
5 Bamboo can easily be obtained, and people in rural area are the ones who still actively produce and use bamboo in the traditional way. These people are mostly poor, and poorly educated. Dr. Janssen stated this in his paper, Bamboo and the Environment, 1997, and added that Westerners have an old fashioned ideas about bamboo (such as heavy furniture in the colonial style). 9 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. 10 2 . B A M B O O O F T H E P A S T 2 . 1 . I NDO NES I AN BAMBO O C UL T URE 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 examples 6 . 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
6 S. 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 way bamboo 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 11 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 12 calendars for determining auspicious days were inscribed on bamboo. Bamboo has also been transformed into pipes, lice crushers, and quivers for blowpipe darts; not to mention its popular uses in the form of kitchen utensils, kite frames and toys. This tradition of bamboo utilisation continues and most of the bamboo artefacts described above are still being made and are widely used in the traditional manner, therefore the image traditional is firmly attached to bamboo. In addition, bamboo is a ubiquitous material, therefore it costs almost nothing to purchase; bamboo wares and constructions are easily replaceable and commonly used by low-income communities. Therefore negative images, such as cheap, disposable and common, are attached to bamboo as well, despite the many layers of valuable traditional meaning. 2 . 2 . THE O RI GI NS O F BAMBO O ENT ERPRI S ES Indigenous Indonesian peoples who live inland of the coastal regions perform agricultural activities as the primary means to sustain their lives. Rice land is considered their most important possession. Between planting and harvesting times, however, they perform other activities based on religious purposes (such as creating rituals, dances and artefacts) and on physical needs (such as mending and making tools). People naturally find potential resources in their surroundings and utilise them. In the case of West Java 7 those resources are primarily bamboo material. Tasikmalaya, a town in West Java, is taken as a case sample because this area has a reputation of producing bamboo artisans. Tasikmalaya is the origin of the bamboo artisans of West Java, whose woven bamboo products and skill in weaving are remarkable. Rajapolah, an area in the outskirts of Tasikmalaya, has a famous marketplace for bamboo products. In this part of West Java bamboo grows in abundance, so undoubtedly the people are very familiar with 13 the material and have utilised it for centuries to fulfil various daily needs. The production of bamboo goods is, in fact, the most common activity carried out alongside, or even instead of, agricultural activities. In West Java, as in any other rural area throughout Indonesia, recent population growth has resulted in a lack of private rice lands to rely on for even subsistence support 8 . People in rural areas, therefore, tend to seek other paying jobs. Producing bamboo wares, commonly carried out as a household activity in villages, is one way to earn a living. Instead of making only a small number of products for their own use, local artisans make additional products to sell in the marketplace. It can be seen here that the producers are not the only users of their products, but they produce also for those who will purchase their products. Bamboo craft is no longer a familys part time activity, but has already reformed a family into a production unit. These shifts, from self-use to selling bamboo products in marketplace and from a part-time activity to the income
7 Ines Smyth, Differentiation among Petty Commodity Producers, Institute of Social Studies, The Hague, 1988. 8 The land was either bought or inherited and distributed among offspring; its ownership was characterised by the very small size of the holdings. Most people now own very small quantities of rice land, which can not support subsistence sufficiently. source for a family, mark the beginning of enterprises. The contemporary changes in traditional bamboo enterprise: 1. Producers & users Bamboo weaving has always been carried out in household- based units, which employed only family labour. In the language of modern capitalism, the entrepreneurs were all producers themselves, who owned the means of production. The head of the family, for example, who is also the head of a production unit, is responsible for providing the capital to purchase raw materials and tools, training the workers and managing the distribution of products. Bamboo products were produced within and by the family, and every family member in a home was involved. Within these production units there was no formal division of labour, though generally men did the initial stage of work (cutting, cleaning and sawing the bamboo), while the women wove and the children helped assembling and finishing the products. Everyone collaborated by contributing his/her own part in manufacturing the final product. 14 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 repaired or 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. 15 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 kitchen equipment, 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. 16 3 . B A M B O O I N T H E P R E S E N T 3 . 1 . S T I GMA O N BAMBO 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 within production 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 users 9 , 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 17 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.
9 The term external users will be used throughout this thesis for people who are not 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. For example, 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. 18 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 shortage of 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. 19 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 on their 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 bandar chooses 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 bandar sells 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 to fulfil 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. 20 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 this reinforces 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 21 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 particular modification 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 it to an artisan. The price of each pole depends on the species, but most varieties are very inexpensive, approximately 3000 rupiah per pole 10 . 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. 22 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
10 1 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 that need high precision in manufacturing, such as cars, computers and appliances. For these reasons bamboo material retains a 'natural', 'ethnic' and 'traditional' image.
1999) 23 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 . DES I GNE RS I NVO L VEMENT I N BAMB O O PRO DUC T DEVEL O PMENT There are several reasons that Indonesian designers have not been interested in exploring bamboo 11 . 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 are materials 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.
11 See Appendix 1: Comparison between the attitude of Indonesian and Finnish peoples toward their original natural resources 24 A second factor is the way professional designers work: relying on available data as to a materials properties 12 , 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, bamboo does 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.
12 See 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 if properly 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 25 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, it can 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 . BAMBO O S O P P O RT UNI 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. This feeding 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 26 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 Boucherie method 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 works effectively 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 Boucherie units 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- 27 managed co-operation between the related resources: capital, human and material. In a related development, some bamboo industries in West Java have been immersing the raw bamboo in a chemical substance to whiten it, so they can achieve clean and smooth appearance in the products. However, the chemicals used in this treatment make the material less elastic, therefore more difficult to work with. Many producers also use paint and lacquer to finish their products in order to make the products more attractive, but these finishing substances can actually damage the bamboo over time. The Indonesian Science Institute (LIPI) has also been experimenting with producing bamboo boards. They are using a kind of resin, Phenol Formaldehyde (PF), as the adhesive. However, this chemical can be toxic under certain conditions. PF also changes the appearance of natural bamboo: making it reddish and giving it a characteristic smell. There are other substances that can be used, which are more natural and environmentally friendly, but they must be imported and are therefore expensive. The PF-treated bamboo board is still being studied for its resistance to fungus and termites, its resistance to fire and weather conditions, and its other physical and mechanical properties. The experimentation from LIPI has not been completed and only preliminary results are available, since the research was postponed due to the recent monetary crisis in Indonesia. So far, there have been no other official test-results of bamboo boards endurance against weather, fire and chemical substances, though the preliminary results seem promising 13 . Bamboo board is commonly used only for indoor construction, therefore the many other obvious possibilities, such as cabinetry and furniture applications, need to be explored. These advanced treatments have generally been developed by scientists and engineers through research in the material sciences. The improved bamboo materials that have resulted have demonstrated performance and appearance that are comparable to timber, in some cases even to metal,
13 Tests were done in Bangalore, India, earlier this year by the Indian Plywood Industries Research and Training Institute (IPIRTI), which indicate that flame 28 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 questionnaire 14 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 the surface is very smooth. 14 From the responses to the questionnaire, it was concluded that people who live in countries without bamboo cultures are unfamiliar with this material, while people who are familiar with it still regard it as a secondary material since there has been no improvement in its performance (which includes function, appearance, design and material quality). For more detailed information, see Appendix 3: Responses to the Questionnaire. In this way, bamboo will have the opportunity to prove itself as a competent and exciting material. 29 4 . B A M B O O F O R T H E F U T U R E 4 . 1 . APPRO P RI AT E TE C HNO L O GY 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 is needed 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. 30 Organizational frameworks: type and scale of the enterprise required The model below 15 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.
15 Catherine Budgett-Meakin, ed., Make the Future Work (Singapore: Longman Singapore Publishers Pte. Ltd., 1992) 48. CULTURAL ASPECTS goals, values and ethical codes, belief in progress, awareness and creativity ORGANISATIONAL ASPECTS economic and industrial activity, professional activity, users and consumers, trade unions TECHNICAL ASPECTS knowledge, skill and technique; tools, machines, chemicals, liveware; resources, products and wastes TECHNOLOGY PRACTICE restricted meaning of technology general meaning of technology 31 The definitions of appropriate technology 16 are as follows: From the diagram above it can be seen that appropriate technology analysis includes the following aspects: Economic: Application of appropriate technology should improve the economic condition of the community. (1) The technology should provide for and increase the income of local artisans. (2) The technology should be affordable for and by the community.
16 Modified from: Catherine Budgett-Meakin, ed., Make the Future Work (3) The technology should be seen as a part of real development, owned and controlled by the community. Application of appropriate technology should positively effect the further development of the community. (4) The manufacture of the technology should capitalise on local skills, ingenuity and materials. Social/cultural: Application of appropriate technology should be responsive to the social and cultural environment of the society. (5) The technology should fit in with, and be adapted to, the local social and cultural environment. (6) The use of appropriate technology should result in increased self-respect and self-reliance. (7) It is the technology that best suits the needs and life styles of the people using it. Environment: Application of appropriate technology should consider the sustainability of natural resources. (8) The technology should use renewable resources of energy whenever possible, and be economical in the use of non-renewable sources of energy. (9) The technology should not harm the natural environment and ecosystem.
(Singapore: Longman Singapore Publishers Pte. Ltd., 1992) 14. (6) The use of appropriate technology should result in self- respect and increase self-reliance. (4) The manufacture of the technology should be local, capitalizing on local skills, ingenuity and materials. (7) It is a technology that best suits the needs and life styles of the people using it. (5) It should fit in with, and adapted to, the local social and cultural environment. (9) It should be non-violent to the natural environment and ecosystem, and should be sustainable. (2) It should be within the economic means of a community. (1) The technology should enable local artisans to earn a living and increase their potential for income generation. (8) It should use renewable sources of energy whenever possible, and be economical in the use of non-renewable sources of energy. (3) The technology should not be seen as an end in itself but be part of real development, owned and controlled by the community the appropriators of the technology. APPROPRIATE TECHNOLOGY 32 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, and they 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. Economic aspect: 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 bamboo production 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 33 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. 34 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 Production material Raw bamboo: culm, rod, split, strips, etc. Raw bamboo: split, woven mat Preservation method Immersing in mud Injecting preservative substances Processing Manual weaving technique Forming bamboo boards / moulding / moulded composite Tools Simple household possessions (knife, scissors, etc.) Advanced and specialised machinery Other materials and substances None Adhesive substance, additional product elements Product assembling Manual weaving technique High pressure moulding, followed by conventional manufacture assembling Finishing Natural Polishing, laminating Product groups Kitchen wares and household products, traditional housing construction elements Boards for interior building components Design Traditional Improved products: new design Users Local community External users: are not involved directly in the production process, export market Enterprise Household based, labour intensive 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. 35 Modified traditional method Combination of traditional and advanced methods Adaptive advanced method Production material Raw bamboo: culm, rod, split, strips, etc. Raw bamboo: culm, rod, split, strips, etc., and pre-treated bamboo: boards, composites, etc. Pre-treated bamboo: boards, composites, etc. Preservation method Traditional method Traditional method, injecting preservative substances Processing Manual technique with machinery support Manual processing of pre-treated production material Tools Simple household possessions, additional small machinery Specialised tools, additional small machinery Other materials and substances Adhesive substances, additional product elements Product assembling Weaving technique, conventional manufacture assembling, adapted manual technique Conventional manufacture assembling Finishing Variable: natural, polishing, colouring, laminating Product groups Kitchen ware, tableware, furniture, accessories, etc. Design Modified traditional products, new and improved design Users External users Enterprise Labour intensive, improved household enterprise, with co- operative organisation of producers that are protected by the 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 Java is 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 36 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 (advanced treatment) 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. B A M B O O A S
P R O D U C T I O N
M A T E R I A L RAW MATERIAL: BAMBOO traditional process advanced process Bamboo splits, rods, boards, strips, etc. Bamboo laminated boards, mat boards, composites, etc. DESIGN traditional process hybrid process TRADITIONAL PRODUCTS IMPROVED PRODUCTS hybrid process advanced process 37 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, an area 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 Java has 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 Harrods in 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 in complete harmony with the Tasikmalaya community. The artisans of Bamboo Java work 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 or splitting 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 products suitable for an external market that will, at the same time, materially benefit and develop the local culture without damaging the ecosystem. 38 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 distribution activities 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. 39 4 . 2 . DES I GN PRO J EC T Prototypes were created as a validation of the research concept. With the objectives of the research as the starting point, the product requirements were set and relevant design aspects analysed. The requirements were that the product must: Expose bamboos superiority using a non-traditional process and fulfilling a non-traditional function. Bamboos positive qualities (its flexibility, strength and lightness) should be explored to create a bamboo product that is not woven and does not have a traditional function. By highlighting bamboos unique characteristics, this bamboo product is expected to demonstrate that bamboo is a potential material worth developing. Apply appropriate technology in the choice of a production process. Bamboos material performance can be improved by taking advantage of improved methods of material treatment, but the production process must ensure social harmony and environmental safety, as well as local economic benefit. Aim at a group of users that represent an urban market. Common users of traditional bamboo products are widely seen as people who live in impoverished rural areas. This gives an impression that bamboo is suitable only for the very poor. In order to change this impression, this bamboo product is directed specifically at users with a higher standard of living. In the following table, bamboo products are sorted based on international market demands. BUILDING COMPONENTS Floorings, ceilings, roofs, staircases, windows and door frames, window and door panels, etc. O U T D O O R Mail boxes, garbage bins, bus stops, telephone booths, kiosks, vending carts, play ground facilities, park benches and shelters, garden houses, street signs, lighting fixtures, flag poles, fences and gates, etc. FURNITURES AND ACCESSORIES (THAT ARE NOT DIRECTLY ATTACHED TO BUILDING CONSTRUCTION) I N D O O R Cupboards, cabinets, shelves, beds, seats, tables, lighting fixtures, trash bins, room dividers, sunshades, etc. OTHER PRODUCTS Dining ware, kitchenware, tableware, toys, musical instruments, jewellery, containers, souvenirs, etc. 40 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 machinery and 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 preference had 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 a material, 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 41 in order to be practical for shipping and storing on the aeroplanes. Ergonomic: the products have to suit the needs of the users 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 of the 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 cultural environment. 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 42 steps in production process, the capacity of workers, and the tools and materials used. Technical drawings 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 the artisans, 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 of the 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 rupiah 17 . The salary of an artisan is 10000 rupiah per day 18 . 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
17 1 US$= approx. Rp.9000 (Rp.8546, currency rate on Wednesday, 26 May, 1999) 18 Rough product cost estimate (per piece), assuming four artisans producing 160 pieces per day. Material cost: Rp.17.50 (Rp.3500 per pole divided by 200 pieces). 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. 43 finish them. Bamboo Java was 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 Java worker 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. 44 In spite of the fact that the appropriate tools were not available when the study was conducted, the technology needed for production is readily available. Cost of labour: the time required was not prohibitive either in labour costs or in its implications for the potential volume of production. Examples of other product groups Furniture: Bryn Griffiths, a student at the Royal College of Arts, London (from the Department of Industrial Design Engineering) has agreed to contribute his Master Proof as a product sample for the furniture product group. Bryns concept matches the product requirements specified in this research in several ways. It exposes the superior qualities of bamboo; in this case, its strength and flexibility. It uses a non-traditional process to create a product with a non-traditional function and appearance. In this case, Bryn chose to work with an advanced treatment process to demonstrate that advanced treatment can improve the performance of bamboo as a material. Bryns project is also aimed at a user group that is primarily urban with a higher standard of living, and the product is suitable for both domestic and export markets. Although Bryn did not focus on appropriate technology, the advanced technology used can be appropriate if applied in a suitable environment, where high investment can be made in advanced machinery, where sufficient material and substance supplies are available, and where there are qualified human resources and a proper managerial system. If the above conditions are met, a designer should not ignore the possible advantages of using advanced machinery and techniques. Construction and building components: Examples from the construction or building component groups are already available on the market. For instance, Plyboo, a company in Schellinkhout, Holland, markets and distributes high- quality bamboo boards that are manufactured in China. As flooring, these strong and uniquely textured bamboo boards are superior to wooden ones, since they expand less in heat (so they can be put more precisely to the wall corners). Bamboo boards surface is also more durable than the surface of wooden boards, since it is less easily worn down through friction. Plyboo has been used 45 extensively in private homes. In addition, Plyboo flooring has been used to cover an indoor basketball hall 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 appropriate technology 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. Rao 19 . 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
19 Prof. A.G. Rao, from the India Institute of Technology, Bombay, has dedicated years to bamboo product development. He was also deeply involved in several workshops on bamboo design, one of them documented in an inspiring book, Bamboo Craft Design, in 1994. 46 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 and elegant. 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. 47 TRADITIONAL HYBRID ADVANCED 48 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. 49 5 . C L O S I N G 5 . 1 . C O NC L US I O NS 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 both social/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 market requires 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 50 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, where elements 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 meet external 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. 51 5 . 2 . HO P E F O R T HE FUT URE It was very early in the morning, the sun had just risen a few minutes before in the small village of Sukamaju in Tasikmalaya, West Java. Pak Saman looked around his living room. The nine square meters of space with an opening to the backyard, is where he and his family work. Piled in one corner of the room was a stack of bamboo splits ready to form. In the other corner, a pile of bamboo cutlery lay ready to polish and across from it a cardboard box was filled with finished pieces. Looking at the piles, Pak Samans mind wandered back to the day when Bu Tuti, his bandar, came to visit him, accompanied by a young woman he knew later as the designer of the cutlery. Bu Tuti had been his bandar for years; she bought his bamboo baskets regularly. Bu Tuti and the designer showed him the prototypes of the cutlery, and Bu Tuti asked if he could produce 1000 pieces a month of the same goods in the same quality. It did not seem to be a problem, though these new products were totally different in appearance from his usual woven products, so he tried making one right away while his guests waited. Within half an hour, using only the usual knives for making baskets, he could make four rough pieces of cutlery. By then he knew that he and his family would be able to produce the cutlery with the same high quality if proper tools could be provided. The designer reminded him that uniformity in size and a smooth appearance were important. Bu Tuti told him that if the deal was made, he could produce the cutlery as the priority and make the baskets on the side, if he had time left over. The next day, Bu Tuti brought the necessary tools, two chisels and a stack of sandpaper. In the evening, Pak Saman delivered a set of finished products. Bu Tuti and the designer were satisfied with his work and agreed to order 1000 pieces. Bu Tuti would come once in a while to his home, as usual, to check on the work. Pak Saman was checking the tools piled on a shelf by the door when his wife entered the room, calling him for breakfast. While enjoying his coffee and fried bananas, he asked his oldest son if he had checked the bamboo they had ordered, which should be available soon at the 52 preservation site. The preservation site lies at the outskirts of the village, near a bamboo plantation that was set up about ten years ago. The plantation provides the raw material, while the preservation site prepares it for use by the bamboo artisans in Sukamaju village and several other neighboring villages in Tasikmalaya. The traditional method of preservation is still used, but the community is working to upgrade it to Boucherie method, which will make the material even more durable and cut down the time it takes to complete the preservation process. Boucherie will be an effective method for this area, since the bamboo plantation lies nearby. The process can be performed immediately, and a large enough area is available to accommodate the tools and machinery during the process and to dry the treated bamboo. Selected workers are being trained to operate the Boucherie method, since the use of chemical substances needs to be strictly supervised in order to produce the proper result and to avoid spills or waste that can damage the environment. Considering the scale of the area, there is always enough preserved raw material for the bamboo industry in Tasikmalaya. A truck runs regularly from the preservation area to each production village. Pak Samans son makes their monthly order and picks it up in town when its delivered. The communal preservation and distribution system, provided by the Village Co-operation Unit, gives the Tasikmalaya artisans more time to concentrate on the production process. The evening before, Pak Samans oldest son, using a cart, had picked up some poles that the truck had delivered to the Sukamaju community center. He said these poles will be enough for a full months work. After breakfast, the Saman family was ready to face the day. Pak Saman watched his youngest children running off to school while his brother and his niece, Dina, who live a couple of blocks away, greeted him through the gate and entered the house. They have come for the days work with the Saman family. Pak Saman began to split the bamboo poles with a golok and to cut the long split into pieces of the desired length with a handsaw, while his son and his brother, with a set of chisels, were carving the pieces to form sets of cutlery, which would be polished by Bu Saman and Dina. With this 53 working system, they can produce up to 300 pieces of cutlery per week. Bu Tuti told Pak Saman on the day she gave him the order that if the demand for the cutlery increased, the Saman family would need the support of simple machinery, to help with splitting the bamboo and sanding the pieces. These simple machines would increase productivity enormously. Working at home, Bu Saman can also prepare meals for the family and take care of their livestock. Once in a while, Pak Saman can tend his fruit plantation in their backyard, which is another source of income for him. As the head of the family, Pak Saman supervised all the work his family did, especially the carving and forming, since he had to maintain the quality required by Bu Tuti and the designer. Afternoon came, and Pak Samans youngest children came home from school. They rushed to the kitchen to have lunch and then went to the living room to join the rest of the family. Seeing her cousins coming in, Dina checked the time and said that she had to go to her training class. The training class is held once a week in the Youth Center of Sukamaju, where youths of Sukamaju learn about bamboo production. Dina can meet friends her own age who have finished their elementary education and are willing to be professionally trained in bamboo production, since this occupation has a good prospect. These youths are given basic knowledge about the whole process of the bamboo products industry. However, they have different interests; some will specialize in plantation and cultivation, some in raw material preservation, but most of them will learn the craft and skills to make bamboo products. The advanced training for specialization is given separately by experts in each knowledge field. Dina has recently joined the advanced group for bamboo crafts. She wanted to be able to make high quality products. Dina and her friends in this group have basic skills in bamboo weaving, taught by their older family members when they were much younger. In the training, skilled craftsmen teach them proper weaving techniques and sometimes 54 introduce new weaving variations and tricks. These craftsmen remind them to treasure the skill, since this unique craft is the heritage of their rich and precious culture. Sometimes there are designers who bring new designs for bamboo products, which are discussed and, afterward, made by Dina and her group in the workshop during the training session. The discussion about the new designs familiarizes Dina and her friends with the products they make. Dina has learned from the training that it is important to keep a precise and constant quality. After Dina left for the Youth Center, the youngest Saman children took her place in sanding the cutlery pieces and cleaning them with water. Pak Saman then counted the finished cutlery pieces, which were packed in a big cardboard box. By the end of the day, they had already produced more than three hundred pieces of cutlery, which means that he can deliver the box to Bu Tuti this evening, as promised. Bu Tuti received all deliveries from her craftsmen in her house in the center of Tasikmalaya. She has been a bandar for Sukamaju artisans for years, so she recognizes very well the potential and attitude of each of her craftsmen. While waiting for Pak Saman that evening, her thoughts flew to the Udi family, from whom she ordered another kind of product. A designer offered her the design for a magazine rack made of woven bamboo, which is intended for the export market. Bu Tuti has been exporting bamboo products overseas for years and therefore is familiar with the procedure. Bu Tuti had specified the price of the product and guaranteed the volume per year, and the designer provided the necessary supplements for the product, such as packaging and proper labeling. A complete package, including the prototypes made by Pak Udi, were sent to institutions abroad, such as Oxfam in the UK and CBI in Holland, that examine products to be marketed in Europe. The product was approved and Bu Tuti was happy to receive a number of orders. Up to now, the Udi family has been producing the racks continually, even employing more workers to fulfil the order, and increasing their income. Bu Tuti heard the sound of Pak Samans motorbike coming through her front gate just before dusk. She examined and counted the products and was satisfied with the overall result. Bu Tuti then gave Pak Saman the fee for the pieces he had delivered, and told him to keep up the good work and that she is looking forward for another delivery next week. Pak Saman rode his motorbike homeward with a 55 wide smile. He made much more money now making these new bamboo products, then he did when he made only traditional products for the local marketplace. On the next day, Bu Tuti went to her client, an airline- merchandising company, to deliver Pak Samans cutlery. These pieces of cutlery were ordered by Garuda Indonesian Airways to use in domestic and international flights. The bamboo cutlery functions well and has passed all the flight regulations such as weight restriction, compatibility and flame-resistance. The bamboo cutlery, which is still produced in limited quantities and is therefore exclusive, has already replaced the metal cutlery in first class. This change is a pleasant surprise for the flight passengers, since a fresh set of the unusual cutlery is also a complementary gift from the airline. Several passengers have commented that they had no idea bamboo look so smooth or be so elegant. The idea that bamboo is only for traditional woven products has already begun to change. 56 RE F E R E N C E S Books & Papers Abrams, Jorge G. 1996. Shaping a Dream. Innovation Magazine Fall 1996. USA: IDSA. Belcher, Brian. 1995. Bamboo & Rattan Production-to- Consumption Systems: A Framework for Assessing Development Options. INBAR Working Paper No. 4. India: INBAR. Beukers, Adriaan & Ed van Hinte. 1998. Lightness. Rotterdam: 010 Publishers. Brickner, William H. & Donald M. Cope. 1977. The Planning Process. Massachusetts: Winthrop Publishers, Inc. Budgett-Meakin, Catherine, ed. 1992. Make the Future Work. Singapore: Longman Singapore Publishers Pte. Ltd. Buchanan, Richard & Victor Margolin, ed. 1995. Discovering Design: Exploration in Design Studies. London: The University of Chicago Press, Ltd. Buchanan, Richard & Victor Margolin, ed. 1996. The Idea of Design. Massachusetts: The MIT Press. Dawson, Barry & John Gillow. 1994. De Traditionele Bouwkunst van Indonesie. London: Thames & Hudson. Dransfield, S & E.A. Widjaja, ed. 1995. Plant Resources of South-East Asia: Bamboo. Leiden Backhuys Publishers. Dunkelberg, Klaus. 1978. Bambus als Baustoff (dissertation). Munich: Technische Universitat Munich. Dunkelberg, Klaus & IL Team. 1985. Bambus-Bamboo. Stuttgart: Institute fur leichte Flachentragwerke (IL). Elspat Team. 1997. Pengawetan Kayu dan Bambu. Jakarta: Puspa Swara. Eng, Sharon G. 1994. Pemasaran Hasil-hasil Bambu di Indonesia dan Luar Negeri. Bali: Environmental Bamboo Foundation (EBF). Farrely, David. 1996. The Book of Bamboo. London: Thames & Hudson, Ltd. Foster, John, ed. 1997. Valuing Nature? - Economics, Ethics and Environment. London: Routledge. Gallop, Annabel T. & Bernard Arps. 1991. Golden Letters: Writing Traditions of Indonesia. London: The British Library and Jakarta: Yayasan Lontar. Gordon, J.E. 1968. The New Science of Strong Materials or Why You Dont Fall through the Floor. England: Penguin Books. Illich, Ivan. 1973. Tools for Conviviality. USA: Harper & Row. Janssen, Jules. 1981. Bamboo in Building Structures (thesis). Eindhoven: Technische Universiteit Eindhoven (TUE). Janssen, Jules. 1997. Bamboo and the Environment. Eindhoven: Technische Universiteit Eindhoven (TUE). Joedawinata, Rini C.H. 1994. Strategi Desain dalam Pengembangan Produk Bambu. Bali: EBF. 57 Millard, Edward. 1992. Export Marketing for a Small Handicraft Business. England: Oxfam/Intermediate Technology Publication. Papanek, Victor. 1995. The Green Imperative. London: Thames & Hudson. Ranjan, M.P., Nilam Iyer, Ghanashyam Pandya. 1986. Bamboo and Crane Crafts of Northeast India. New Delhi: National Institute of Design. Rao, IV Ramanuja, Cherla B. Sastry, P.M. Ganapathy, Jules A. Janssen, ed. 1995. Bamboo, People, and the Environment: Proceedings of the V International Bamboo Workshop and the IV International Bamboo Congress. Bali: INBAR, EBF, IPGRI, IDRC, and the Netherlands Government. Rao, A.G. & Madhavi Koli, ed. 1994. Bamboo Craft Design. Bombay: Industrial Design Centre, Indian Institute of Technology. Richter, Anne. 1994. Arts & Crafts of Indonesia. San Francisco: Chronicle Books. Smyth, Ines. 1988. Differentiation among Petty Commodity Producers: the Effects of a Development Project on Handicrafts Production in a Sundanese Village (West Java Indonesia) (working papers). The Hague: Institute of Social Studies. Soemarwoto, Otto. 1991. Indonesia dalam Kancah Isu Lingkungan Global. Jakarta: PT Gramedia Pustaka Utama. Soerjani, Mohamad & Bahrin Samad, ed. 1983. Manusia dalam Keserasian Lingkungan. Jakarta: Fakultas Ekonomi Universitas Indonesia. Untung, Prof. Dr. Ir. Kasumbogo, team coord. 1998. National Strategy & Plan for Conservation and Sustainable Use of Bamboo in Indonesia. Jakarta: Indonesia State Ministry of Environment. Van Egmond-de Wilde de Ligny, E.L.C. 1996. Technology Development & International Technology Transfer. Eindhoven: TUE. __________. 1975. Encyclopaedia Americana. New York: Americana Corporation. __________. 1989. Furniture & Joinery Industries for Developing Countries. Vienna: United Nations Industrial Development Organization (UNIDO). __________. 1991. Research Needs for Bamboo and Rattan to the Year 2000. Tropical Tree Crops Program International Fund for Agricultural Research. __________. 1997. Whole Earth No. 90. Summer 1997. California: Point. Internet Bamboo Mailing List the Internet Bamboo Group (IBG) http://www.home.ease.lsoft.com/archives/bamboo.html Bamboo Resources on the Internet http://www.halcyon.com/abs/BambooOnTheInternet.html 58 Eco-Design Web & Resources http://www.greenmap.com/resources.html International Network for Bamboo and Rattan (INBAR) http://www.idrc.org.sg/inbar/GenDesc.html Kompas CyberMedia http://www.kompas.co.id/ United Nation Environment Program http://unep.frw.uva.nl/ O2 Global Network http://www.hrc.wmin.ac.uk/o2/ Bamboo Design Research http://www.designacademy.nl/bambuweb/intropg.html 59 Picture references: Chapter 1 A cross-section of bamboo - Klaus Dunkelberg & IL Team, 1985, Bambus-Bamboo. Bamboo shoot - National Geographic, October 1980, vol. 158, No.4, p.519. A carbonized bamboo filament - National Geographic, October 1980, vol. 158, No.4, p.529. A comparison between bamboo and wood cell structures that shows their similarity- Klaus Dunkelberg & IL Team, 1985, Bambus-Bamboo. The dark color represents distribution of bamboo all over the world - INBAR activity report 1993-1997, p.12. A bamboo bridge - Barry Dawson & John Gillow, 1994, De Traditionele Bouwkunst van Indonesie. Bamboo scaffoldings for a 17-stories skyscraper in Jakarta, Indonesia - Klaus Dunkelberg & IL Team, 1985, Bambus-Bamboo. Chapter 2 Etched bamboo containers from West Timor, Nusa Tenggara, and North Sumatra, for holding lime, medicine, trinkets and cotton reels, and also for decoration - Anne Richter, 1994, Arts & Crafts of Indonesia, p.124. Gerantang or tingklik (bamboo xylophone) from Pengosekan, Bali, and the Rotinese Sasando - Anne Richter, 1994, Arts & Crafts of Indonesia, p.123. Malay in rencong script, 34.5x3 cm, originated from South Sumatra - Annabel Teh Gallop & Bernard Arps, 1991, Golden Letters, p.72. Illustrated manuscript of the Ramayana made in Tenganen, Bali - Anne Richter, 1994, Arts & Crafts of Indonesia, p.122. Traditional bamboo house - Barry Dawson & John Gillow, 1994, De Traditionele Bouwkunst van Indonesie. A 19 th century Karo Batak girl in North Sumatra using bamboo for carrying water - Anne Richter, 1994, Arts & Crafts of Indonesia, p.114. A bamboo artisan in Tasikmalaya, splitting bamboo with a traditional knife, golok. Traditional Indonesian household items - Anne Richter, 1994, Arts & Crafts of Indonesia, p.115. 60 Chapter 3 Bamboo products at a production site in Tasikmalaya, West Java. The products are dried naturally after the finishing process (with veneer). A bamboo grove in Costa Rica. A set of Boucherie in Costa Rica. The preservative substance is injected to the bamboo poles through the nozzles. Rolled bamboo mats ready to use for huts walls in Flores Islands, Indonesia - Barry Dawson & John Gillow, 1994, De Traditionele Bouwkunst van Indonesie. A final process in making bamboo boards: putting the arranged, glued bamboo splits in a high-pressure oven. The Indonesian Science Institute (LIPI), Serpong, Indonesia. Chapter 4 One of the promotional pictures from Bamboo Java. A rough technical drawing of the cutlery set. Plyboo flooring. Bamboo Java products. Coasters made by the students of Prof.A.G.Rao, India, which were presented in the International Bamboo Congress and Workshop in Costa Rica, November 1998. A set of bamboo salad cutlery from Wolfgang Eberts 1000 Things made out of bamboo homepage http://www.geocities.com/Heartland/Park/6141/bamboo Bamboo shelf from Mark Mortimer 1000 Things made out of bamboo homepage http://www.geocities.com/Heartland/Park/6141/bamboo A bamboo bicycle designed by Antoine Fritsch exclusively for Hermes UNEP-WG-SPD homepage http://unep.frw.uva.nl/ A bamboo bicycle from Warren Chan Bamboobridge homepage http://www.bamboobridge.com/bamboobikes.htm Chapter 5 Bamboo cultivation center in Costa Rica. A stack of preserved bamboo poles in Brian Ericksons workshop in Guapiles, Costa Rica. 61 Appendix 1. Comparative Study: Bamboo-Based Culture Finns focus considerable attention to their wood, for example they: Indonesians tend to neglect their bamboo, for example they: Are proud to say, We dropped from the trees. Are used to say, Bamboo is poor mans material. Bamboo is regarded as a secondary material since there was an adequate supply of wood in the past. Derive the nations main income from wood industries and have so for centuries. Have other important commodities other than bamboo industry. Have wood as a dominant natural resource. Have other valuable natural resources. Give much support to research and development of wood harvesting, treatments, etc. Have not invested significantly in bamboo as an industry, except recently with the growing need for sustainable materials. Have abundant information on all aspects of wood. Have insufficient data and documentation on bamboo and its utilisation. Use wood as a principle material for their craft and material culture. Have various materials as medium for craft work and material culture. Tend to perceive wood products as ever lasting. Do not regard bamboo as a durable material since bamboo products can easily be replaced by new ones and the plant itself grows very quickly. 62 Appendix 2. Differences between Bamboo Craftsmen and Designers Modified from: Rini C.H. Joedhawinata. Strategi Desain dalam Pengembangan Produk Bambu. EBF, 1994, p.3 A.G. Rao & Madhavi Koli. Bamboo Craft Design. Industrial Design Center - Indian Institute of Technology, 1994, p.106-107 Imam B. Zaenuddin. Bamboo Craftsmen Designers Originate mostly from traditional agricultural society in rural areas and receive general education, supplemented substantially by learning through direct experience. Originate mostly from industrial urban society and are often trained formally, usually to professional education or university levels, with global methods and knowledge in design, mass production, marketing, etc. Are generalized, practical, physically industrious, nature dependent, communal, religious. Are specialized, abstract, knowledge based, time dependent, individual, secular. Are limited in knowledge on materials and processes though they are highly skilled and specialized in specific products techniques, usually handed down from one generation to another. Are able to analyze broad possibilities to develop products through employing techniques acquired from various resources. Are unfamiliar with demands of urban users. Are familiar with demands of urban users. Possess first hand knowledge of bamboo properties and manual production processes. Lack first hand knowledge of bamboo properties and manual production processes. Are unfamiliar with strategies to manage and market their products. Are familiar with strategies to manage and market their products. Have direct experience of types and properties of bamboo for product applications. Lack readily available data on types and properties of bamboo for product applications. Are often their own products producers and users, so they sometimes incorporate their own character or taste preferences into their products. By definition, design for the marketplace and the producer. Make products mostly by hand and use relatively simple tools. Generally propose industrial methods in production processes. 63 Appendix 3. Questionnaire through the Web: An Evaluation Nature of responses Respondents Are only those who have access to Internet (the questionnaire can not reach people in rural areas/most makers and daily users of bamboo products). Are mostly professionals (designers & architects, entrepreneurs) and those who are in academic field (students, researchers). Mostly live in big cities and are used to popular life style and facilities. Did not always complete the form (caused also by technical problems). Often they mailed directly to give suggestions or references, or to start a discussion. Were limited in total number, making this survey a qualitative one. Results: Bamboo is not so well known as a material. This unfamiliarity makes it difficult to distinguish bamboo from rattan, for example. Bamboo is accepted as a supplementary material to wood, as long as it doesnt substitute wood entirely. Each material engenders respect when its uses take advantage of the materials positive characteristics. Images of bamboo (listed from the most given answers): light, strong, flexible, inexpensive, warm, tropical, oriental, exotic, friendly, unique, abundant, handicraft. Expectation: Application of bamboo material to new and high- quality products, reducing image of cheapness. Expected products (listed from the most given answers): furniture, construction purposes, garden houses & fences, playgrounds, musical instruments, cookware, containers & packaging, toys, textiles, car accessories, computer cases, mouse pads. All respondents show a positive attitude towards improved possibilities of bamboo products. 64 Appendix 4. Design Project Prototypes were created as a validation of the research concept, based on the research objectives as the starting point to determine the product requirements and to analyze relevant design aspects. A modified feasibility study was also conducted. Product Requirements - Products that expose bamboos superiority and fulfil the needs of external users - Products whose production process is appropriate for the community - Products that aim to urban market to change the impression of bamboo as poor mans material Product Group Choice of product was influenced by: - Limitation in material: limited the designer to the category of other products. - Requirement for appropriate technology: constrained the designer to use tools and levels of workmanship skills readily available in Indonesia. - Functional object: constrained the designer to functional product within the category of other products. - Familiarity and preference Product group based on international market demands: BUILDING COMPONENTS Floorings, ceilings, roofs, staircases, window and door frames and panels, etc. FURNITURE AND ACCESSORIES Outdoor: kiosks, telephone booths, playground facilities, garden houses, etc. Indoor: shelves, beds, seats, etc. OTHER PRODUCTS Kitchenware, tableware, toys, musical instruments, jewelry, containers, souvenirs, etc. Specific Product Requirements Product: cutlery for in-flight use - Can highlight bamboos lightness and durability. - Fulfils the requirement to aim at urban users with a high standard of living. - Could be simultaneously directed at a local (domestic flight) market and an international (international flight) market. Design Aspects - Material: Raw bamboo in the form of splits and sheets as the production material. - Function: As tools for eating during flights. The utensils must be compact in order to be practical for shipping and storing on the airplanes. 65 - Ergonomic: The products have to suit the needs of the users and be comfortable to use. - Technology: Application of hybrid process where human labor 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. - Economic: For the manufacturer: production cost has to be affordable and the profit must increase the income; for the users: maintenance of the products has to be practical (durable, washable cutlery). - Ecology: The use of rapidly replaceable natural resource (bamboo) will supplement and conserve more limited ones (wood). - Social-cultural: The hybrid process makes use of the traditional family based production unit, thus fully adapted to the local social cultural environment. 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). Feasibility Study - People involved: a designer, an intermediary and a craftsman. - Capital needed: The raw material, bamboo poles (approximately 5 meters long), cost 3000 to 3500 rupiah and the salary of an artisan is 10000 rupiah per day. (1 US$= approx. Rp.9000) - Amount of raw material: One bamboo pole (5 m long and 10 cm diameter) can be made in to approx. 200 pieces of cutlery. - Tools and machinery used: The artisan used one golok knife and one small carving knife (both are multi-functional traditional knives). Other tools needed are chisels and small handsaw to form the products and sandpaper to finish them. - Complexity of production process: from raw material to final product. Treatment: traditional preservation method. Production: four phases: the bamboo pole was cut to the desired length, split lengthwise, shaped to desired forms, and sand to smooth the surface. - 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. Less time will be needed if the process is done per phase with four artisans, each has his/her own part of the process. Feasibility Study Conclusion - Local human resource is capable of producing the product - The technology is affordable by the community, the product will be affordable by the consumer - The technology needed for production is already available