to success French beech, the first step FRANCE IS THE LEADING SUPPLIER OF HARDWOOD PRODUCTS IN EUROPE

French beech, the first step

to success

Crédit photo : MEV

French beech wood is the natural answer when it comes to furniture and staircase manufacturing. Available in large stock volumes and PEFC certified, Beech is easy to process, bend and stain, and is an ideal solution to creating custom products. From veneers to lumber, edge glued panels to bended plywood, beech always has the sustainable solution to fit your projects.

WHITE OAK • BEECH • MAPLE/SYCAMORE • ASH •WALNUT • EUROPEAN CHERRY • SPRUCE/FIR • DOUGLAS • PINE

F R A N C E I S T H E L E A D I N G S U P P L I E R O F H A R DWO O D P RO D U CT S I N E U RO P E

Promoting French Lumber and Wood Products 6, rue François 1er - 75008 Paris - France Tél. : +33 (0)1 56 69 35 92 • Fax : +33 (0)1 42 56 32 70 E-mail : [email protected]

www.FrenchTimber.com

Editorial

Editor’s Note

S

elamat hari raya Idul Fitri, 1 Syawal 1433H. Mohon ma’af lahir dan batin. Edisi kali ini menampilkan PT Sumber Mas Indah Plywood dalam rubrik Profile. Perusahaan yang berlokasi di Desa Karang Kering, Gresik, Jawa Timur ini mampu melambung meraih sukses kembali setelah menutup dua lokasi pabriknya di Kalimantan Timur. Keberhasilannya ini ditunjang pula dengan pengembangan pasar dan produkproduknya. Kini, produsen plywood bermerek Dragon tak hanya memproduksi kayu lapis tapi komponen-komponen siap proses finishing. Dengan inovasi ini, perusahaan ini mampu memberikan alternatif terbaik bagi pabrikan endusernya guna meningkatkan efektifitas dan efisiensi. Ikuti sajiannya dalam rubrik Profile.Simak perbincangan redaksi WoodMag dengan Desainer Luke Hughes asal Inggris. Desainer ini

Managing Director Jodi H. Susanto Editor in chief Arief Odon [email protected] Editor Emir Wiraatmadja [email protected] Technical Editor Tandiono [email protected] circulation Dewi Rubiane [email protected] Contributor Michael Buckley Michael Hermens GRAPHIC DESIGN Zevanya Audrey [email protected] Publish by Pose Media Indokreasi, for PT. Ekamant Indonesia alamat redaksi Puri Cinere Blok C3 No. 8 Depok 16513 - Indonesia

mengungkapkan pentingnya merespon bangunan dan mengontrol space dalam proses desain. Ia juga menyayangkan bila industri mebel dan desain interior mengandalkan komputer dibandingkan dengan pekerja trampil. Baginya para pekerja inilah yang tahu secara pasti bagaimana mewujudkan sebuah imajinasi yang tertuang dalam desain ke dalam realita. Simak pula perbincangan redaksi dengan artkitek kondang asal Amerika Serikat Tony Chi dalam rubrik Periscope. Mulai edisi ini, WoodMag mengaplikasikan dwibahasa alias bilingual dalam sejumlah artikelnya. Ini ditandai dengan in | untuk artikel berbahasa Indonesia dan en | untuk artikel berbahasa Inggris. WoodMag juga mulai diedarkan pada publik di Kuala Lumpur di Malaysia. Majalah ini dapat diperoleh melalui East Heritage Gallery di Kuala Lumpur. Selamat membaca... Editor in chief

Arief Odon

Content

16 Periscope:

“Do It Deliverable”

34

Tony Chi, Founder and President tonychi and associates

51 Profile: “We are Going for an Extra Miles...” Ivan Susanto Hartono, General Manager PT Sumber Mas Indah Plywood: 2

Periscope: “Desain itu Merespon Bangunan & Mengontrol Ruangan”

Luke Hughes, Founder & Managing Director of Luke Hughes and Company

Biz Forum

Flooring Factory Upgrades with first Asian installation of Wood-Mizer WM3500 sawmill

en | Established in 1994, PT TanjungKreasi Parquet Industry (TKPI) of Indonesia is a leading manufacturer of wood flooring with global TEKA brand sales throughout Europe, North America, Asia and Australasia. in | Didirikan pada tahun 1994, PT TanjungKreasi Parquet Industry (TKPI) asal Indonesia merupakan pabrikan lantai kayu terkemuka dengan penjualan merek TEKA global di seluruh Eropa, Amerika Utara, Asia dan Australia. 4

en | Operating from a 17 hectare site in Pingit – located in the middle of Java about a 1½ hour drive from Semarang – the company specialises in the production of engineered parquet in a wide range of designs and wood species. Sales are targeted at the ‘top end’ of the market, and meeting the needs of these discerning customers while also ensuring that the flooring performs well in the diverse climates in which it is used is a challenging proposition. TEKA flooring therefore combines form and function: aesthetic design in contemporary and traditional styles using decorative hardwoods from Europe, North and South America, Africa and Asia; and a strong, stable three-layer construction. The global financial crisis has had an impact over the last few years and the only way to survive and grow, says TEKA’s marketing director Milena Utomo, is to focus on quality. “The company supplies mainly through wholesalers, and in addition to developing new designs to add to our range for domestic, retail and commercial markets, we also work with customers to manufacture bespoke flooring for larger orders.

“Overall, the rate of growth in global markets for solid flooring is slowing down and in some areas demand may be falling. However, engineered flooring is taking a greater share at the expense of solid wood flooring, and our commitment to quality combined with our design expertise has resulted in sales growth for TEKA”. In order to meet rising demand, the site at Pingit has increased annual production from 1.5 million m2 to three million m2. To achieve that, the company has invested regularly in plant and equipment. “Engineered flooring requires precision manufacturing processes”, said Hermanto Lie, “but in addition to efficient, high specification machinery we also have a large workforce of around 2,000. People are more flexible even than the most sophisticated computer-controlled equipment and the trained human ‘eye for detail’ is essential to our operation. TEKA flooring is a mix of art and science, and that cannot be achieved by technology alone”. Decorative hardwood species used for the top layer of the flooring are processed from logs. This has economic benefits, since TEKA is not paying someone else to do the processing that it can do at Pingit, and more importantly it gives the company complete control over the drying and production of timber in the exact dimensions required. However, there’s more to it than even that. Although understandably reticent about exact details, Milena Utomo says the company’s way of cutting is “a bit different to standard methods”, which means there is no available supply of sawn timber that matches their needs. “We do bring in a small volume of traditional lumber, such as maple which is difficult to dry so it is better to buy sawn and kilned material, but most of the timber we cut ourselves”. Log conversion is the first stage of production, and as part of its regular programme of investment the company recently installedtwo of Wood-Mizer’s WM3500 horizontal narrow band sawmills – the first in Asia.

WM3500 with the Pantograph overhead cable

The mill is based on the WM3000 (previously the LT300), which has been a highly successful machine for WoodMizer. The LT300 was introduced in 2003, which means thatits performance in key areas of speed, productivity, reliability, cutting quality, ease of use and operator comfort have been evaluated through many installations over many years, and enhanced as a result of Wood-Mizer’s active ‘customer feedback’ system. Further significant improvements have been made with the WM3500 to increase the functionality and performance of the sawmill. The ‘throat width’ (from sawguide to sawguide) of the sawhead is 150mm (6in) wider than on the WM3000 and therefore takes a longer bandsaw blade, which means the new machine can handle larger logs and the cutting process is easier and more productive. There has been a complete redesign of the hydraulic system for positioning logs on the deck, including a more powerful pump motor that increases operating speed of the turner, clamp and side supports by 25-40%. The hydraulic system also now offers two speeds, with the operator using a footswitch to choose between ‘fast’ mode for rapid initial positioning, and ‘slow’ for fine control over accurately orientating and leveling the log on the bed. The sawmill combines the functions of a headrig for primary log breakdown and a resaw for cutting finished boards. The operator station - with comfortable swivel chair and ‘joystick’ controls mounted on the arms - is positioned at one end of the mill, with the head sawing towards the operator who has an unobstructed view of the log. As the head returns after the cutting stroke, special arms mounted on the rear of the head automatically remove the cut board onto an outfeed conveyor and air jets clean any debris from the top of the log so the operator can clearly see the cut surface and make grading decisions. A built-in laser shows the cutting line, and the Setworks control allows cutting lists to be pre-programmed, with the

head adjusting automatically for each pass to cut the required thickness of board. A new ‘cruise control’ allows the operator to pre-select the maximum optimum cutting speed for achieving high quality sawn timber depending on the size and condition of each log and the finished board dimensions. This function then automatically sets that speed for consistent cutting of the whole log. The narrow band sawblades and advanced guide system, which comprises blade lubrication ports, heat-treated rollers and double block guides, reduces energy requirements by allowing accurate cutting at speeds similar to those of other mills requiring two or three times more horsepower and therefore higher electricity consumption. Narrow band thin-kerf sawing technology not only allows less costly equipment, less complex installation and lower energy bills, it also increases yield by cutting ‘less sawdust and more boards’ from each log – especially important when processing high value hardwoods. Achieving maximum yield from the log not only makes economic sense but is also environmentally responsible – something that TEKA takes seriously. “Markets require wood to be certified as being legally sourced from sustainably-managed forests, and we have achieved FSC and PEFC certification”, said Hermanto Lie.“Customers are also asking more about emissions and we are responding with low formaldehyde glues and finishing lacquers that are water-based rather than solvent-based, although developing products that combined low emission with good performance was a challenge”. The WM3500 sawmills installed at Pingit includelog ramps and outfeed conveyors, and the company also opted for the Pantograph system for routing the electrical cables that connect the control panel to the sawhead and other working parts. Traditionally, cables were enclosed in a ‘cat track’ that ran along the machine bed. Although a well-proven system, some of the sawdust, chips and bark offcuts produced during saw-

setworks control system

ing can fall onto the track, which has to be cleared out from time to time. When running at higher production levels such as the WM3500 is capable of, this clearing out has to be done more frequently due to the increased volume of dust and chips. To overcome this, Wood-Mizer engineers developed the Pantograph, which comprises articulating arms that hold cabling above the machine where it cannot be contaminated by falling debris. To complement the two WM3500 sawmills, TEKA also installed WoodMizer’s HR1000 multiheadresaw. The four-head machine is used to saw the cants from the WM3500s into boards of various thicknesses, which are then transferred to the kilns – there are 40 chambers at Pingit. After careful drying to final required moisture content, the boards are ready forsubsequent processes. “Everything depends on precision manufacturing and quality control”, said Hermanto Lie. “After installing the Wood-Mizer machines in early February we began a phase of trial production so we could try out different cutting speeds on different species, and also test Wood-Mizer’s three ranges of narrow band blades - SilverTip, DoubleHard and the Stellite-tipped RazorTip - so that we could establish the best combinations. “We found that the WM3500s cut faster and load logs faster, and the HR1000 allows us to cut the varying thicknesses needed for our wide range of flooring while still achieving high productivity. All the machines cut accurately to size and with a smooth surface finish, which compared with ‘traditional’bandsaws, is a great benefit for our subsequent manufacturing and finishing processes. “The fact that the thin-kerf sawing gives us maximum yield from the logs is another obvious benefit. We are confident that the decision to invest in log sawing was correct, and will help us to increase quality production to meet demand”

5

170B Quick 1 Handscrapped Hevea Active Stain Sand Blasting White 10 x 127 x 1200 mm

in | Beroperasi dari tempat seluas 17 hektar di Pingit – terletak di tengahtengah Jawa sekitar 1,5 berkendara dari Semarang – perusahaan ini mengkhususkan diri dalam produksi engineered parquet dalam kisaran luas desain dan spesies kayu. Penjualan ditargetkan pada pasar ‘kelas atas’, dan memenuhi kebutuhan pelanggan cerdas ini sembari juga memastikan bahwa lantainya memiliki performa yang bagus di berbagai macam iklim yang berbeda tempat ia digunakan merupakan sebuah tawaran yang menantang. Lantai TEKA karenanya mengkombinasikan bentuk dan fungsi: desain estetis dalam gaya kontemporer dan tradisional dengan menggunakan hardwood dekoratif dari Eropa, Amerika Utara dan Selatan, Afrika dan Asia; serta konstruksi tiga lapis kuat dan stabil. Krisis keuangan global memiliki dampak selama beberapa tahun terakhir dan satu-satunya cara untuk untuk bertahan dan tumbuh, kata direktur pemasaran TEKA, adalah dengan berfokus pada kualitas. “Perusahaan utamanya memasok melalui grosir, dan selain mengembangkan desain baru untuk menambah kisaran produk kami untuk pasar domestik, ritel dan komersial, kami juga bekerja dengan pelanggan untuk memproduksi lantai bespoke untuk pesanan yang lebih besar. “Secara keseluruhan, tingkat pertumbuhan pasar global untuk lantai solid melambat dan di beberapa area permintaannya jatuh. Namun demikian, lantai engineered mengambil pangsa yang lebih besar dari lantai kayu solid, dan komitmen kami pada kualitas dikombinasikan dengan keahlian desain kami telah menghasilkan pertumbuhan penjualan untuk TEKA.” Untuk memenuhi peningkatan permintaan, pabrik di Pingit telah me-

ningkatkan produksi tahunannya dari 1,5 juta m2 menjadi tiga juta m2. Untuk mencapainya, perusahaan telah berinvestasi secara teratur untuk pabrik dan peralatan. “Lantai engineered membutuhkan proses manufaktur yang presisi,” kata Hermanto Lie, “namun selain mesin berspesifikasi tinggi dan efisien, kami juga memiliki tenaga kerja sekitar 2.000 orang. Orang-orang lebih fleksibel bahkan dari peralatan paling canggih yang dikendalikan oleh komputer dan ‘penglihatan detil’ manusia yang terlatih sangat penting bagi operasional kami. Lantai TEKA merupakan gabungan seni dan sains, dan hal ini tidak dapat dicapai dengan teknologi semata.” Spesies hardwood dekoratif yang digunakan untuk lapisan atas lantai kayu diproses dari kayu gelondongan. Hal ini memiliki manfaat ekonomis, karena TEKA tidak membayar orang lain untuk melakukan pengolahan yang dapat dilakukannya di Pingit, dan lebih penting lagi hal ini memberi kontrol sepenuhnya kepada perusahaan atas pengeringan dan produksi kayu dalam ukuran eksak yang diperlukannya. Namun demikian, masih banyak lagi yang lainnya. Meskipun dapat dipahami enggan memberikan detil pastinya, Milena Utomo mengatakan cara pemotongan perusahaan “sedikit berbeda dengan metode standar”, yang berarti tidak ada pasokan kayu gergajian yang memenuhi kebutuhan mereka. “Kami juga menghadirkan volume kecil kayu tradisional, seperti maple yang sulit dikeringkan sehingga lebih baik membeli bahan yang sudah digergaji atau dikeringkan dengan kiln, namun kebanyakan kayu kami potong sendiri.” Konversi kayu gelondongan merupakan tahap pertama produksi, dan sebagai bagian dari program investasi regulernya perusahaan baru-baru ini

memasang dua mesin gergaji pita sempit horizontal WM3500 Wood-Mizer – yang pertama di Asia. Mesin ini didasarkan pada WM3000 (sebelumnya LT300), yang merupakan mesin yang sangat sukses bagi WoodMizer. LT300 diperkenalkan pada tahun 2003, yang berarti kinerjanya di sejumlah area kunci seperti kecepatan, produktivitas, kehandalan, kualitas pemotongan, kemudahan penggunaan dan kenyamanan operator telah dievaluasi selama banyak instalasi selama beberapa tahun, dan telah ditingkatkan berkat sistem ‘umpan balik pelanggan’ aktif Wood-Mizer. Perbaikan signifikan lebih lanjut telah dilakukan pada WM3500 untuk meningkatkan fungsionalitas dan performa mesin gergaji. ‘Lebar tenggorokan’ (dari satu pemandu gergaji (sawguide) ke yang lainnya) kepala gergaji (sawhead) adalah 150 mm (6 inci) lebih lebar dari WM3000 dan karenanya membutuhkan mata pisau bandsaw yang lebih panjang, yang berarti mesin yang baru dapat menangani kayu gelondongan yang lebih besar dan proses pemotongan lebih mudah dan lebih produktif. Desain ulang yang menyeluruh telah dilakukan pada sistem hidrolik untuk memosisikan kayu gelondongan pada dek, termasuk motor pompa yang lebih bertenaga yang meningkatkan kecepatan operasional turner, clamp dan penyangga samping sebesar 25-40%. Sistem hidroliknya juga kini menawarkan dua kecepatan, di mana operator menggunakan sakelar kaki untuk memilih antara moda ‘cepat’ untuk pemosisian awal yang cepat, dan ‘lambat’ untuk kendali halus dalam mengarahkan dan meratakan kayu gelondongan secara akurat pada dasarnya. Mesin gergaji ini menggabungkan fungsi headrig untuk pemecahan kayu gelodongan primer dan resaw untuk memotong papan jadi. Stasiun operator – dengan kursi putar dan kontrol ‘joystick’ yang dipasang pada tangan – diposisikan pada salah satu ujung mesin, di mana kepalanya melakukan penggergajian menuju operator yang memiliki pandangan yang tidak terhalang pada kayu gelondongan. Saat kepala kembali setelah pemotongan (cutting stroke), lengan khusus yang dipasang di belakang kepala secara otomatis menggeser papan potong (cut board) ke konveyor outfeed dan penyemprot udara membersihkan semua puing dari bagian atas kayu gelondongan sehingga operator dapat melihat dengan jelas

permukaan yang dipotong dan membuat keputusan penilaian (grading). Laser built-in akan menunjukkan garis potong, dan kontrol Setworks memungkinkan dilakukannya pemerograman daftar potong di muka, di mana kepala akan melakukan penyesuaian otomatis untuk masing-masing lewatan untuk memotong ketebalan papan yang diperlukan. ‘Kontrol cruise (jelajah)’ baru memungkinkan operator untuk memilih kecepatan pemotongan optimal maksimum di muka untuk meraih kayu gergajian berkualitas tinggi tergantung pada ukuran dan kondisi masing-masing kayu gelondongan dan ukuran papan jadinya. Fungsi ini kemudian secara otomatis mengatur kecepatan tersebut untuk pemotongan seluruh kayu gelondongan secara konsisten. Mata gergaji pita sempit dan sistem pemandung yang canggih, yang terdiri dari saluran pelumasan pisau, penggilas (roller) yang diperlakukan dengan panas dan pemandu blok ganda, mengurangi kebutuhan energi dengan memungkinkan pemotongn yang akurat pada kecepatan yang sama dengan gergaji lainnya yang membutuhkan dua atau tiga kali tenaga kuda lebih banyak dan karenanya konsumsi listrik yang lebih tinggi. Teknologi penggergajian thin-kerf pita sempit tidak hanya memungkinkan peralatan yang lebih murah, pemasangan yang lebih sedikit kompleks dan tagihan listrik yang lebih rendah, teknologi ini juga meningkatkan hasil dengan memotong ‘lebih sedikit serbuk gergaji dan lebih banyak’ papan dari masing-masing kayu gelondongan – secara khusus penting ketika mengolah hardwood bernilai tinggi. Meraih hasil maksimal dari kayu gelondongan tidak hanya masuk akal

secara ekonomis namun juga bertanggung-jawab secara lingkungan – sesuatu yang dianggap serius oleh TEKA. “Pasar mengharuskan kayu disertifikasi yang diambil secara sah dari hutan yang dikelola secara berkelanjutan, dan kami telah meraih sertifikasi FSC dan PEFC,” kata Hermanto Lie. “Pelanggan juga bertanya lebih banyak tentang emisi dan kami meresponnya dengan lem formaldehid yang rendha dan pernis finishing yang berbasis air bukan berbasis pelarut, meskipun mengembangkan produk yang menggabungkan emisi rendah dengan performa yang baik merupakan sebuah tantangan.” Mesin gergaji WM3500 yang dipasang di Pingit mencakup log ramp dan outfeed conveyor, dan perusahaan juga memilih sistem Pantograph untuk penyaluran kabel listrik yang menghubungkan panel kontrol ke sawhead dan komponen-komponen kerja lainnya. Secara tradisional, kabel ditutup dalam ‘cat track’ yang berjalan sepanjang dasar mesin. Meskipun ini sebuah sistem yang sudah teruji dengan baik, beberapa serbuk gergaji, kepingan dan sisa potongan kulit kayu yang dihasilkan selama penggergajian dapat jatuh ke dalam trek, yang harus dibersihkan dari waktu ke waktu. Saat berjalan pada tingkat produksi tinggi seperti yang mampu dilakukan oleh WM3500, pembersihan kini harus lebih sering dilakukan akibat peningkatan volume debu dan kepingan. Untuk mengatasinya, para teknisi Wood-Mizer mengembangkan Pantograph, yang terdiri dari lengan artikulasi yang memegang kabel di atas mesin di mana ia tidak dapat terkontaminasi oleh serpihan yang jatuh. Untuk mendukung kedua gergaji mesin WM3500, TEKA juga memasang gergaji multiheadresaw HR1000 WoodMizer. Mesin dengan empat kepala ini

digunakan untuk menggergaji cant dari WM3500 menjadi papan dengan ketebalan yang beraneka macam, yang kemudian dipindahkan ke kiln – ada 40 kamar di Pingit. Setelah pengeringan yang hati-hati hingga kandungan air final yang diperlukan, papan siap untuk proses selanjutnya. “Semuanya tergantung pada manufaktur presisi dan kontrol kualitas,” kata Hermanto Lie. “Setelah memasang mesin Wood-Mizer pada awal Februari kami memulai fase uji produksi sehingga kami dapat mencoba berbagai kecepatan pemotongan yang berbeda pada spesies yang berbeda, dan juga menguji tiga kisaran mata pisau pita sempir Wood-Mizer - SilverTip, DoubleHard dan Stellite-tipped RazorTip – sehingga kami dapat menetapkan kombinasi terbaik. “Kami mendapati WM3500 memotong lebih cepat dan memuat kayu gelondongan lebih cepat, dan HR1000 memungkinkan kami untuk memotong aneka ketebalan berbeda yang diperlukan untuk kisaran luas lantai kami sembari tetap meraih produktivitas tinggi. Semua mesin memotong secara akurat pada ukurannya dan dengan hasil akhir permukaan yang halus, yang dibanding dengan gergaji pita ‘tradisional’ menyediakan manfaat yang besar bagi proses manufaktur dan finisihing kami selanjutnya. “Fakta bahwa penggergajian thinkerf memberikan hasil maksimal kepada kami dari kayu gelondongan merupakan manfaat nyata lainnya. Kami yakin bahwa keputusan untuk berinvestasi pada penggergajian kayu gelondongan adalah tepat, dan akan membantu kami meningkatkan produksi berkualitas untuk memenuhi permintaan”.

7

6 168B.Teka Dur Soft Loc Merbau Classic (14 x 195 x 2200) mm

Biz Forum

WOOD in colours

American Tulipwood unstained and stained

PHOTO: TURNSTONE SINGAPORE

By Michael Buckley, MPhil, FIWSc

Wood species come in many colours although the perception of wood is often just ‘brown’. Red, white and even blue may not be colours of wood that immediately come to mind, but are realistic possibilities! In these days of bright colour fashions, one can consider colour as well as ‘fit for purpose’ when specifying wood. In fact wood offers a wide palette of natural colours for designers to inspire and consumers to enjoy, while also knowing that they are using a low impact material that stores carbon. 8

R

ed: American Red Oak and Red Elm, Western Red Alder, North American Red Cedar and also Red Beech in Europe are all colourful options for interior joinery and some for external cladding. Many other wood species are also red, especially tropical hardwoods from Africa and Asia such as Padauk and Red Balau respectively;. And although some consumers may have reservations about using tropical hardwoods their avoidance may eventually cause forests to be converted for other uses and therefore lost by default. Much of the world’s teak – admittedly just brown – is produced sustainably in plantations and provides continuous forest habitat and jobs for man and beast. Of all the red woods that exist, a favourite must be American ‘Black” Cherry which is, in fact, red not black and darkens with age, as do many species when exposed to the air and oxidation takes place. White: White Maple from USA, Canada, and Europe, is one of a huge number of very pale species that are classified as white – some hard and strong as

in white Ash, Sycamore and white Birch and some are soft but very white as in European Poplar and American Aspen. Japanese furniture makers like American Cottonwood from the deep south for its whiteness and reasonable strength. White Oak however is something of a misnomer as it is anything but white, but more a variety of beautiful browns from gold to pale yellow. Softwoods from Russia and Scandinavia are often nominally classified by colour as in Redwoods and Whitewoods. White Pine from the eastern USA and Southern Yellow Pine (SYP) are distinct from Western Red Cedar in North America. Blue: There are no naturally blue woods available commercially although some – such as Australian Blue Gum - do not reconcile colour with name; but species such as American Tulipwood easily take stain in any colour including blue and eau de nile, as Emporio Armani’s designers once showed in Milan. The extent to which different wood takes stain with ease or difficulty is often provided in technical literature such as the “Guide

to American Hardwoods”. In fact one European wood supplier to bar and restaurant designers used to offer to deliver ‘any colour under the sun’ all based on stained Tulipwood. Perhaps one should also mention the blue stain that afflicts many species of wood when not dried quickly enough; or oak when in direct contact with iron, as opposed to stainless steel. Yellow: There are so many yellow woods, which are not quite white. Tropical Ramin and Jelutong are also known for their uniform, almost white colour and American Yellow Birch mainly from the Lake States is valued for its colour and hardness. Hundreds of tropical species are yellow and many light coloured woods turn yellow with age. In the USA Tulipwood is domestically referred to as Yellow Poplar although its sawn wood can reveal a rainbow of colours from the light sap wood to the dark heart wood. Silver: This is a colour that needs real consideration because left to its own devices, and subject to some architectural detailing, wood can turn a magnificent natural silver to give a long term, low maintenance, silver sheen to a building. Wood exposed to the elements will often turn silver within a year or two, especially Cedar, Oak and many tropical species such as Teak, Keruing

Furniture Makers Hall, London

and even Merbau. Purple: Purpleheart is a supreme water-defence wood and the purple coloured heart that can appear in American Tulipwood are excellent examples of the extended palette of wood colours available naturally. Some species, such as American willow, can be purple in parts of the heartwood while lighter in the sapwood. Black: No description of wood colours would be complete without a discussion about black. For real black, see Ebony as in piano keys and Blackwood – an Acacia from Australia. Whereas other species such as American Black Walnut (Juglans nigra) are not really black, in this case just darker than European Walnut (Juglans regia). Black Willow in the Mississippi is hardly black; but black Ash is of course normally painted black, demonstrating an example of how some woods can take on colour very easily. Black Ash growing naturally is not black at all, nor is Black Gum – just dark in colour. Brown: As mentioned, a high percentage of wood species are naturally

Wide board American Black Walnut flooring

Red oak prefinished flooring

Tropical timbers

one shade of brown or another - Malaysian Balau, Meranti, Keranji, Keruing, Chengal and Nyatoh being examples. Finally what about ‘green’ wood? One response might be that all wood is ‘green’ given its very low impact on the environment and its ability to store carbon, indefinitely in the case of heritage buildings and inheritance furniture. The great ancient Japanese temples are testimony to that. ‘Green wood’ is also a technical term for un-dried wood as it comes off the saw and is graded on the ‘green-chain’ before drying. All these examples are just a tiny fraction of the vast array of colours available in wood. So when considering what to specify it may be good to remember the choice of colours wood offers to a global market currently very colourconscious.

Cambia

9

Features

JOSLET SAWMIL

logs, peeling machine up to bi-cut tipe 1400 & 1600 machine (for cutting logs with a length of up to 3.5m). (see bi-cut saw machines)

CBST (Comptoir des Bois Secs et Transformes)

CBST division was established 10 years ago, with 25 employees, which specifically manufactures oak panels, oak flooring, decking, profile, etc. Like most sawmills in Paris, Joslet dominantly supplies the demand for French and European markets.

Protea (oak wood essence)

en | The sixth place visited by the Woodmag editorial on June 6, 2012 was Joslet Sawmill at 16260 Chasseneuil sur Bonnieure, where we met Jean-Paul JOSLET (owner) and his daughter, Mathilde.

in | Kunjungan redaksi WoodMag yang ke 6 pada tanggal 6 Juni 2012 yaitu Joslet Sawmil di 16260 Chasseneuil sur Bonnieure, jumpa dengan Jean-Paul JOSLET (owner) dan putrinya, Mathilde.

produksi pallets. (see log pictures)

Mesin potong (saw)

Stok Log yang cukup besar

in | Joslet sawmil memiliki stok kayu dalam bentuk log cukup besar. Setiap tahunnya Joslet membeli 80% log dari pemilik hutan swasta (private forestry owner) dan sisanya 20% dibeli dari hutan nasional (national forestry). Seluruh kayu timber yang dibelinya sudah PEFC certified. Rata-rata dalam setahunnya Joslet membeli 50.000m3 kayu, dimana hampir 80% atau sebagian besar adalah jenis oak, dan sisanya seperti : chesnut, ash, poplar, cherry, dll. Disamping jenis ‘hardwood’ oak tadi, Joslet juga membeli jenis softwood sebanyak hampir 25.000 m3 pertahunnya untuk mem-

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Dalam proses produksi log menjadi sawntimber, Joslet ditunjang fasilitas permesinan yang modern. Mulai dari mesin potong log, mesin peeling, dan mesin bi-cut tipe 1400 & 1600 ( untuk memotong panjang log s/d 3.5m). (see bi-cut saw machines)

CBST (Comptoir des Bois Secs et Transformes)

Divisi CBST ini dibangun 10 tahun silam, dengan jumlah 25 karyawan, khusus memproduksi oak panels, oak flooring, decking, profile, dll. Sebagaimana kebanyakan sawmill lain di Paris, Joslet dominan mensuplai kebutuhan untuk pasar Perancis dan Eropah.

Protea (oak wood essence)

Hal yang juga menarik dalam kunjungan kami adalah saat berjumpa dengan Etienne Hosteing - rekan Jean Paul Joslet - dengan perusaahaan Protea yang dikelolanya, yaitu ternyata dari

species kayu Oak dapat diproses sebuah ekstrak cair (liquid extract) dari potonganpotongan atau hasil sisa potongan kayu Oak. Ekstrak likuid tersebut menjadi bahan dasar yang dapat digunakan, baik sebagai ‘essence’ atau pun bahan pencampur untuk pembuatan caramel atau sirup. Sesungguhnyalah bahwa, kayu, dapat diolah sedemikian rupa untuk berbagai hasil produk , bahkan limbah kayunya pun dapat diolah menjadi produk energi seperti pallets (home energy) yaitu untuk bahan pemanas (heating) rumah , umumnya di negara Eropa.

Relatively huge log stocks

en | Joslet sawmil has a relatively huge log stocks. Each year Joslet purchases 80% of logs from private forestry owners and the remaining 20% were purchased from the national forestry. All of its purchased timber are already PEFC certified. Annually, Josley purchases 50,000 m3 wood on the average, where nearly 80% of them are oak species, and the rest are:

chesnut, ash, poplar, cherry, etc. In addition to oak hardwood species, Joslet also purchases softwood species amounting to nearly 25,000 m3 per year to manufacture pallets. (see log pictures)

Sawmill

In processing the logs into sawntimber, Joslet is supported by modern machinery facility. From cutting machine for

The interesting part of our visit is when we met Etienne Hosteing – a colleague of Jean Paul Joslet - who manages a company called Protea, that manufactures a liquid extract made of Oak wood chips and cutting wastes. This liquid extract can be used as a basic material both for essence or a mixture for making a caramel or syrup. In fact, wood can be processed into a variety of products, even its waste can be processed into an energy product such as pallet (home energy) for heating the house, which is common in European countries.

Features

JOUBERT PLYWOOD Steve Maynard, Mill Manager of one of Joubert production sites, France.

volume produksi 61.000 M3 (Plywood), Joubert telah mengekspor lebih dari 55% kapasitasnya ke berbagai belahan dunia, mencakup Eropa, Amerika, Timur Tengah, dan Ocenia. Selain memiliki afiliasi diluar Perancis sepert Gabon, Joubert juga mempunyai fasilitas pabrik di negara Timur Tengah (EAU).

Produk

in | “A strict and firm traceability is our commitment”, demikian komitmen perusahaan Joubert Group dalam presentasi yang dibawakan oleh Sylvie Faye, dalam kunjungan delegasi jurnalis, Juni lalu, di Paris.

Produk plywood Joubert dikenal dengan nama Okoume. Okoume ini mereka sebut ‘a performing plywood’, dengan bahan baku utama dari Gabon. Disebut performing plywood karena: 1. mechanical resistance (daya tahan mekanis) 2. durability (tahan lama/awet) 3. impregnability (cukup kuat) 4. lightless (lebih ringan) 5. easy to cut and machine (mudah dipotong dan digunakan mesin) 6. treated againsts termites ( tahan terhadap rayap)

en | “A strict and firm traceability is our commitment”, thus presented by Sylvie Faye regarding the company’s commitment of Joubert Group in her speech at the journalist delegation visit, last June, in Paris. Production sites in France

in | Sebagai salah satu produsen Plywood yang cukup besar di Perancis, Joubert Grup memiliki beberapa lokasi produksi tersebar di tiga tempat . Pertama & kedua adalah Joubert Les Eliots & Joubert Saint-Jean d’Angely, keduanya di Perancis. Ketiga adalah CPBG (Compagnie des Placeges en Bois du Gabon) , berlokasi di Gabon-Afrika, tempat bahan baku log dimana Joubert

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memiliki konsesi hutan disana. Dengan keluarnya Peraturan Larangan ekspor log keluar Africa, maka di tahun 2002 dibangunlah fasilitas produksi veneer Joubert di Gabon-Afrika.

Siklus perusahaan keluarga Joubert

Sebagai perusahaan keluarga, usaha Joubert group dimulai pada tahun 1930, oleh pendirinya yaitu Andre Jou-

bert, dengan mendirikan pabrik sawmill di Perancis. Sejalan dengan perkembangan bisnisnya, generasi kedua pemilik perusahaan Joubert yaitu Guy Joubert, membangun pabrik veneer ditahun 1966. Pada dekade tumbuhnya permintaan akan produk-produk plywood dari negara eropa utamanya Belanda, maka tahun 1972 didirikannya pabrik plywood Joubert. Putra Guy Joubert yaitu Thierry Joubert, mulai bergabung diperusahaan tahun 1985.

Di era generasi ketiga ini, Joubert membangun fasilitas penggergajian log CPBG di Gabon-Afrika. Namun karena larangan ekspor log oleh pemerintah setempat sejak 2009, maka Joubert pun membangun fasilitas produksi veneer di Gabon.

Market & Turnover

Saat ini Joubert grup mencapai turn over 58 juta euro per tahunnya. Dengan dukungan 300 lebih karyawan, dan

Kegunaan Joubert plywood ini sangat banyak, mulai dari fittings, interior, eksterior, garasi, pintu (doors), kapal (ship) , roofing, dll. Plywood sangat luas penggunaannya, dari hal yang paling dasar sampai kebutuhan industri yang paling tinggi. Gabon sebagai salah satu main wood resources dalam pengolahan produk plywood Joubert, dikenal memiliki ECO Certification : “a strict and firm traceability” , terhadap bahan baku (raw material); kondisi pemotongan kayu

(harvesting conditions) , dan proses industri (industrial process).

The Forestry Management in Gabon

Luas hutan konsesi di Gabon mencakup 220 ribu km2 hutan, dimana 120 ribu km2 adalah hutan produksi. Sebanyak 29 ribu km2 adalah hutan nasional yg dilindungi. Dapat dipastikan bahwa 100% fasilitas konsesi hutan di Gabon adalah FSC. Konsep eksploitasi hutan yang diberlakukan dalam program sustainable management di Gabon adalah 25 years rotation, artinya, Joubert dapat mengolah konsesi hutannya selama 25 tahun dan setiap kelipatan 5 tahun mengolah per wilayah konsesi, sehingga menjamin ‘longterm planification’. Ketatnya aturan dalam menebang kayu karena dipantau satelit, setiap 5 tahun mengolah satu wilayah, maka pengolahan wilayah tersebut akan di hentikan utk dilanjutkan ke wilayah lain. Jeda waktu 5 tahunan dimaksud agar memberi waktu regenerasi hutan secara alami, disamping terdapat aturan menebang pohon dengan dimensi diameter tertentu (yang dipandu satelit), serta melindungi jenis/species kayu tertentu dari kepunahan. Species kayu Okoume adalah jenis hardwood yang cukup banyak di Afrika, khususnya di Gabon. Ditunjang konsesi hutan di Gabon, jenis kayu Okoume yang keras, konsep penebangan hutan yang ‘sustainable’, maka Joubert dapat mengelola produksi plywood nya se-

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Combiplak, interior gluing, CARB ULEF, Ultra Low Emitting Formaldehyde. Credit photo: Serge Crampon – Joubert Plywood

cara jangka panjang.

Production sites in France

en | As one of large Plywood manufacturers in France, Joubert Group has several production sites spread over three sites. The first and the second sites are Joubert Les Eliots & Joubert SaintJean d’Angely, both located in France. The third is the CPBG (Compagnie des Placeges en Bois du Gabon), located in Gabon, Africa; where it is the location of the log raw material in which Joubert possess a forest concession. Due to the release of the log export Ban Rules to outside Africa, in 2002 Joubert’s veneer production facility was then built in Gabon, Africa.

Cycle of Joubert Family Enterprise

As a family enterprise, the business of Joubert group started in 1930, by the founder Andre Joubert. He established a sawmill factory in France. In line with its business development, the secondgeneration of the company owner, Guy Joubert, built the veneer mills in 1966. In the decade of the demand growth of plywood products from European countries, particularly from Netherlands, the Joubert plywood factory was then assembled in 1972. The son of Guy Joubert, Thierry Joubert, began to join in the company in 1985. In this era of third generation, Joubert constructed the log sawmill facility CPBG in Gabon, Africa. However, due to the log export ban by

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the local government since 2009, Joubert then built the veneer production facility in Gabon.

harvesting conditions, and industrial process.

Market & Turnover

The Forestry Management in Gabon

The current turnover of Joubert group reached 58 million Euros per year. With the support of more than 300 employees, and the volume production of 61,000 M3 (Plywood), Joubert has exported more than 55% of its capacity to various parts of the world, including Europe, America, Middle East, and Oceania. In addition to having affiliates outside France such as Gabon, Joubert has manufacturing facilities in the Middle East (EAU) countries as well.

Product

Product of Joubert plywood is known as Okoume. They call it ‘a performing plywood’, with the main raw material of Gabon. It is so called due to: a. mechanical resistance b. durability c. impregnability d. lightless e. easy to cut and machine use f. treated againsts termites There are a lot of utilities of Joubert plywood, vary between the fittings, interior, exterior, garage, doors, ship, roofing, etc. Plywood is widely used, from the most basic things to the highest industry requirements. As one of the main wood resources in the processing of Joubert plywood products, Gabon is known to have the ECO Certification: “a strict and firm traceability”, upon the raw material; the

The total area of forest concessions in Gabon includes 220 thousand km2 of forest, which its 120 thousand km2 is production forest. A total of 29 thousand km2 is national conservation forest. It is certain that 100% of forest concession facilities in Gabon are the FSC. The concept of the applicable forest exploitation in the sustainable management program in Gabon is 25 years rotation, that is, Joubert can process their forest concessions for 25 years and for every multiple of five years per the concession process, thus ensuring the ‘longterm planification’. This kind of strict rules on the harvesting process is due to the satellite monitoring; for every 5 years to process a single region, the processing of said area will be then stopped to be proceed to other areas. The 5-year time lag meant to give the natural forest regeneration; in addition there is also a rule of tree logging namely a certain diameter dimension (satellite-guided), and to protect the certain wood species/ variety from extinction as well. Okoume wood species is the type of hardwood which is widely available in Africa, particularly in Gabon. With the support of forest concession in Gabon, the type of hard Okoume wood and the concept of logging that is ‘sustainable’, Joubert can then manage the production of Joubert plywood in long term basis.

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Biz Forum

FSC 100% Certified Taeda Pine Components from Brazil

By Michael Hermens

T

Area BL

he demand for pine in Indonesia has increased during the last few years and large volumes of sawn timber are being imported. This is mainly as kiln dried sawn timber in various sizes and grades varying per the customers’ demands and sawmills cutting programs. Initially most of the pine was radiata pine from new Zealand but there has been a drastic increase of Taeda pine from South America. One of those suppliers is Braspine Madeiras Ltda, a private Brazilian company that started its activities back in 1997. This company is unique because it has one of the world’s most

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Production line

advanced factories producing custommade engineered components and finished products using solely the FSC certified sawn timber as raw material. This factory, called “Braslumber” was built in 2003 and both mills are located in the southern part of Brazil (Jaguariava&TelêmacoBorba, State of Paraná) with lots of Taeda pine forests in the surrounding. Despite of having modern mechanization, automation and scanning systems, these companies together do employ more than 1,800 workers, mostly from the two communities where their plants are situated.

Taeda pine log infeed

Braspine has a “state-of-art” remanufacturing line with the latest machinery, mostly originated from USA & Europe. The production start with the processing ofTaeda pine logs of 25-35cm diameter, converting into rough sawn lumber, which is, subsequently, kiln dried to 8-12% MC. All kiln dried lumber is then surfaced on the 2 faces, after which automatically ripped and length-cut into clear grade shorts and/or knotty grade shorts. These shorts are automatically sorted and finger- jointed ready for final moulding into a wide range of products. Currently,Braspine&Braslumberprod uce together about 500,000m3 of sawn

Taeda pine timber per year and all this material is processed and converted into semi-finished and finished products such as FJ blanks, general mouldings, door frames, edge-glued panels, beams and other components. In terms of FJ blanks, basically three thicknesses 34, 41& 44mm are produced however, by fingerjointing (FJ) and edgeglueing (E/G) these blanks, thousands of different patterns and sizes can be manufactured.Braspine has the unique capability to custom-produce any item based on their customers need. In addition to the FJ and E/G products mentioned above, BrasPine and Braslumber have always been able to offerin “solids” (without FJ) in items such as mouldings, door frames and components. Today, almost all of its production (99.5%) of over 4,000 x 40´containers per year is exported off shore, to more than 30 countries. The USA and Canada absorb the majority of its exports but South East Asia has been growing over the years. One of the main reasons for the growth is the increased demand for FSC certified products for example in the engineered door industry.

Braspine exports large volumes of FJEG door core to various Indonesia door manufacturers to enable them to combine the pine core with other face material and export their FSC certified doors to Europe and Australia. The FJEG door core can be produced as follows; 1. In any dimension, S4S precision moulded and cut to length 2. Either in a knotty or clear grade 3. Optionally with one or two FJ clear lippings

Knotty door core cw clear lippings

This flexibility offered by Braspine is well recognized by leading door manufacturers in SE Asia but the product range does comprise many more suitable products for Asia. For example primed skirtings and any other mouldings ready to be used for the DIY market. This segment is well developed in western countries but still lacking in Asia. Countries such as China and Thailand have already started with DIT chains offering lower prices pine mouldings to customers and it is widely expected that this segment will grow in Indonesia too.

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Get PEFC-certified to source and sell certified, sustainable material. www.pefc.org/getcertified

Profile

Ivan Susanto Hartono,

General Manager PT Sumber Mas Indah Plywood:

“We are Going for an

Extra Miles...”

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The myth about the family enterprises in Asia that will not last more than two generations is disproved by PT Sumber Mas Indah Plywood. They have proved that it is not evident. This Company is founded in 1976, and now led by the third generation as its General Manager Ivan Susanto Hartono. In the hands of the third generation, PT Sumber Mas Indah Plywood actually experienced an exciting development, not only in terms of marketing but also the product. in | Sumber Mas Indah Plywood tidak saja mampu mengembangkan pasarnya dalam kurun sepuluh tahun terakhir. Kalau dulu perusahaan yang memproduksi kayu lapis dengan merek dragon ini hanya memiliki pasar tunggal ke Jepang. Kini, pasar ekspornya lainnya telah terbuka tak lagi Jepang. Menurut Ivan, Italia sekalipun dikuatirkan terimbas krisis zona euro tapi pasarnya cukup antusias untuk melihat produk-produknya. Selain Italia, pasar Jerman, Belanda dan Belgia juga menarik. Produk pintu solidnya telah diekspor ke Ceko, Polandia, United Kingdom, dan Belanda. Di Asia sendiri, Taiwan dan China juga merupakan pasar yang dibidik diluar Jepang. Sementara pasar domestik sekalipun hanya memiliki pangsa 10%, namun dinilainya cukup menarik karena selalu bertumbuh dari tahun ke tahun. Itu sebabnya pihaknya sedang berupaya keras untuk mengembangkan pasar domestik, dengan strategi merangkul pabrikan pengguna plywood sekaligus pengguna perantaranya seperti arkitek dan desainer interior yang memiliki target market high end. Menurutnya, kini, dan di masa depan nanti, banyak sekali proyek properti baik di luar maupun di dalam negeri yang membutuhkan suplai bahan baku berupa kayu lapis berkualitas tinggi. Ini yang nyaris tidak terpenuhi karena minimnya pasokan. Kebanyakan produk yang ada hanya untuk penggunaan di bagian dalam, “Bukan untuk bagian yang terekspos,” jelasnya. Ini dikarenakan banyak sekali perusahaan plywood tidak paham akan apa yang seharusnya bisa diekspos dari produkproduknya. Untuk bisa melakukan itu, tentu diperlukan perubahan besar dalam pabrikan yang dimaksud termasuk pula proses dan teknologi produksinya. Ini membutuhkan sejumlah pemahaman akan bagaimana melakukan finishing agar bisa mendapatkan produk yang terbaik.

Juga pemahaman akan bagaimana melakukan mass production agar prosesnya lebih cepat tapi tanpa mengorbankan kualitasnya. Dengan membidik segmen ini, pihaknya juga mengembangkan produknya. “We are going for an extra miles, kami tidak lagi sekedar memproduksi kayu lapis,” ujarnya. Ia menyebut produk-produknya sebagai technical plywood atau lebih dikenal sebagai fancy plywood. “Pasar belum mengetahui adanya produk semacam ini,“ tambahnya. Pihaknya juga memproduksi plywood yang customized, produk berbasiskan plywood yang dikembangkan dan diproduksi menurut keinginan dan kebutuhan pelanggannya Ia mencontohkan sebuah perusahaan di Jepang yang memproduksi tangga dan lantai kayu merasa tertolong dengan kualitas kayu lapis pesanan yang sudah licin, sehingga tidak lagi membutuhkan proses pengamplasan. Ini membuat perusahaan ini berhemat banyak karena mampu memotong satu tahap produksi, sekaligus menjual fasilitas serta mesin sandingnya. Perusahaan ini juga sudah tidak perlu pusing-pusing memikirkan lagi mau dikemanakan sisa dan limbah bahan bakunya, karena mereka menerima produk yang sudah customized.

Lebih dari 300 Varian

Itu sebabnya diakui oleh Ivan jika pihaknya kini itu lebih mirip dengan laboratorium perkayuan. Hal ini karena melakukan pengembangan aplikasi dengan beragam spesies termasuk oukeme asal Afrika, poplar asal Italia, ecualyptus asal Chile dan kamarere asal Papua. Tujuan dari uji macam ini adalah untuk mendapatkan hasil akhir terbaik dari setiap spesies. Selain itu, pihaknya berharap bisa memperoleh alternatif terbaik terhadap meranti rimba asal kalimantan yang selama ini digunakan sebagai bahan baku dalam pembuatan plywood. “Meranti itu sangat bagus karena ringan tapi cu-

“We don’t want to be looked down, or look down on anyone” in | “Pertama kali saya disini ekspor kesana mencapai 100%. Ini tentang saya, dan sayalah yang mencari pasar diluar jepang termasuk pasar domestik. Buyers Jepang punya kebiasaan untuk menekan harga dari waktu ke waktu, sekalipun kualitas kami konsisten bagusnya. Sekarang ini mereka juga sering menahan order hingga waktu yang sangat sempit sekali. Saya tidak senang dengan itu. “Ada untungnya saya lulusan dari amerika karena secara psikologis membuat mereka terpaksa menghormati saya. Amerika itu bangsa yang mengalahkan Jepang saat perang dunia kedua. Ini menjadikan saya memiliki bargaining power dalam menghadapinya. Tidak perlu menunduk terus, karena mereka sudah tidak dominan lagi. Mereka kuatir kalau saya menswitch ekspor kami ke pasar lain, padahal tidak gampang juga karena kami specialized di industri ini. Kami tidak akan melook down pada siapapun, seperti juga tidak mau dilook down oleh siapapun. Itu prinsip kami. en | “The first time I was involved here, the exports reached 100%. It’s all about me, and it was me who looking for markets outside Japan, including the domestic market. Japanese buyers have a habit of pushing the price from time to time, though our quality is consistently good. Right now they also often hold the order until the very limited time. I am not happy with it. “Fortunately I graduated from the U.S. because it makes them psychologically forced to respect me. America is a nation that defeated Japan during World War II. It gives me benefit to have a great bargaining power in facing their characteristic. No need to hold down, because they are no longer dominant. They were worried if I switched our exports to other markets, but it is not actually easy because we are expert in this industry. We will not look down on anyone, as we did not want to be looked down by anyone as well. That’s our principle.”

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International Furniture Manufacturing Components

The Famous Worldwide Plywood in | “Brand kami adalah Dragon plywood. Itu sejak kakek saya yang memulai usaha ini yang berdiri sejak tahun 1976. Nama kakek saya Liong dan lahir tahun 1906 yang juga merupakan tahun naga. Di Jepang, produk kami tidak boleh menggunakan brand kami. Tapi nama manufacturernya tetap tercantum. Produk kami tidak pernah masuk home shelter dan ritel karena halusnya sehingga tidak pernah didumping oleh industri. Produk kami selalu habis digunakan karena dijadikan produk oleh industri di Jepang. en | “Our brand is the Dragon plywood. We got the name since my grandfather started this business which was founded in 1976. My grandfather’s name is Liong and he was born in 1906, that year was also the year of the dragon. In Japan, our products should not use our brand name. But the manufacturer name remains listed. Our products never went to the home shelter and retail as it is very fine so it is never been dumping by the industry. Our products are always used up as it is always used for products by Japan industries.” kup solid, namun prospek ke depannya masih harus dipertanyakan ,” jelasnya. Sengon yang selama ini digadanggadang sebagai pengganti meranti ternyata dilihat Ivan tidak cukup bagus sebagai alternatif meranti. “Sengon itu terlalu lunak,” jelasnya. Sedangkan akasia, memiliki batang yang tidak bulat dan tidak lurus. Untuk mendapatkan spesies ini dalam jumlah besar juga masih dipertanyakan mengingat spesies ini juga dibutuhkan dalam jumlah besar oleh industri pulp and paper. Saat ini, seperti yang diutarakannya, pihaknya sedang mengkaji pengaplikasikan kayu balsa sebagai bahan baku alternatif. Namun diutarakannya jika spesies yang lebih ringan juga lebih lunak dibanding dengan sengon. Dengan melakukan pengkajian terhadap beragam spesies kayu, pihaknya sedang mengkonsep produk-produk plywood masa depan yang bisa dihasilkan oleh pabriknya. Hingga saat ini, pihaknya mampu memproduksi sekitar 300 varian plywood. Sebuah jumlah yang cukup besar dan nyaris mustahil dilakukan oleh pabrikan sebesar Sum-

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ber Mas Plywood yang diawaki 2000 karyawan. Kemampuan ini dimungkinkan oleh mesin-mesin produksi yang memiliki fleksibilitas tinggi. Untuk mesin pengupasan atau peeling misalnya, dibedakan antara kayu rimba atau kayu asal perkebunan. Mesin pengupas kulit, daging, core dan faceback juga dibedakan. Mesin-mesin produksinya pun berasal dari Jepang, Taiwan dan Eropa. Sekalipun mesin-mesin relatif lebih mahal, namun memiliki fleksibilitas yang tinggi dan tahan lama. Ia mencontohkan bila mesin-mesin produksi yang berumur 20 tahun pun masih bisa dipertahankan dalam lini asalkan terawat. Celakanya di Indonesia terdapat kecenderungan penghematan dalam perawatan dengan menggunakan suku cadang lebih murah. Kenyataannya di lapangan justru menunjukkan kencenderungan untuk menekan biaya dengan suku cadang yang kian murah dari waktu ke waktu sekalipun disadari memberikan output produksi yang kian menurun.

Kualitas sebagai Fokus

Kekuatan lainnya dari perusahaan ini adalah kualitas dari produknya yang sangat konsisten dari tahun ke tahun. Produk perusahaan ini yang di luar negeri dikenal dengan merek dragon, pada mulanya diekspor seratus persen ke Jepang. Untuk bisa menembus ke negeri sakura ini, semua produk Sumer Mas Indah Plywood harus lolos dari berbagai pengujian. Bukan hanya uji terhadap kualitas seperti uji ketebalan dan kerataan tebal tapi juga kandungan formaldehyde-nya. Menurut Ivan, ada untungnya perusahaan ini mengekspor seluruh produknya ke Jepang pada awalnya. Ini memberi peluang untuk mengadopsi standar kualitas yang berlaku. Misalnya, pada sistem Jepang mengharuskan dilakukannya perbaikan pada tiap layernya. Itu sebabnya karyawan ter-

besar justru berada di departemen repairnya. Mereka bertugas untuk melakukan perbaikan secara manual terhadap setiap ketidak rataan lapisan yang akan diproses. “Kuncinya di core yang harus bagus dan rata, jadi perlu koreksi manual untuk membuang mata kayu dan bagian lain yang menonjol,” jelasnya. Permukaannya harus benar-benar rata karena plywood merupakan base panel yang nantinya ditempeli apapun. Menurutnya, sulit untuk meniru di industri ini karena harus kuat disemua lininya mulai dari bahan baku hingga cash flow-nya. “Semua itu harus ideal, dan kami memacu diri untuk menjelmakan yang ideal itu,” lanjutnya. Kini, sekalipun hanya sekitar 70% produknya yang diekspor ke Jepang, standar kualitas dan perlakukan produksi ini telah menjadi standar kualitas perusahaan. Inilah yang membuat perusahaan yang pernah kehilangan lebih dari separuh kapasitas produksinya pada tahun 2008 mampu melakukan bouncing back meraih kesuksesan. “Order apapun kami sanggupi sampaisampai buyer tidak lagi bersuara, komplain mereka hanyalah soal harga tapi mau tidak mau mereka willing to pay,” katanya. Buyer dibiarkan dalam kondisi tanpa pilihan dalam memasok seluruh kebutuhannya. Ini membuat pihaknya memiliki bargaining power yang cukup kuat terhadap pelanggannya. Namun tak berarti lantas membuat pihaknya menjadi merasa di atas angin. Menurut Ivan, sekalipun dalam kondisi demikian, pihaknya masih harus melakukan tarik-ulur, dan berpandangan tak mungkin menang terus-menerus. Itu sebabnya penetapan harga dilakukan setiap bulan. Ini lebih diakibatkan keterlambatan bahan baku yang mencapai 23.000 kubik. “Kekuatan kami ada cash capital karena harus membayar kebutuhan itu di muka,” katanya. Ini benar-benar mengandalkan kekuatan finansial perusahaan karena tak pernah ditopang oleh perbankan. Dengan jumlah pembayaran menca-

Concurrent Exhibition:

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20133-25

May 2

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pai puluhan milyar untuk ketersediaan bahan baku selama setahun, maka bisa dibayangkan beban yang harus ditanggung perusahaan ini. Untungnya, order dari pelanggan pun sudah rutin dan “Kebanyakan justru repeat pelanggan,” jelasnya.

Tantangan ke Muka: Bahan Baku dan Sertifikasi

Tantangan ke muka adalah persoalan bahan baku dan sertifikasi. Saat ini, spesies meranti dan keluarganya men-

capai 80% dari pasokan bahan baku. Sisanya menggunakan sengon. Sadar akan ketergantungan ini, pihaknya secara tetap mengadakan pengembangan dengan melakukan percobaan menggunakan beragam spesies kayu yang ada baik yang lokal maupun impor. Tak heran bila hingga saat ini perusahaan ini mampu untuk memproduksi plywood dengan sekitar 300 varian. “Kami ingin mendapatkan hasil yang terbaik dari setiap spesies,” jelasnya. Ini sekaligus merupakan langkah antisipasi

“The Perception was evidently wrong” in | “Meranti dan keluarganya serta kayu rimba campuran masih dominan atau 80%. Sisanya adalah sengon. Persepsi orang adalah sengon untuk pembuatan plywood murah ternyata salah! Sengon itu berdiamater kecil dan bentuknya tidak lurus sehingga untuk menghasilkan kayu bulat lurus, banyak wastenya. Sehingga yieldnya kecil sekali. Kalau menggunakan meranti maka recovery-nya bisa mencapai 70%. Dengan sengon maksimal hanya 45%. Costnya lebih tinggi untuk memproduksi sengon dibanding meranti, dan stabilitas kayu juga lebih tinggi meranti. Sengon ini dipanen dalam umur muda sehingga belum matang dan tidak stabil. akibatnya banyak gelombang sehingga perlu teknik khusus dalam menanganinya. “Challengenya sengon bisa digunakan untuk lantai kayu sebagai corenya. Diatasnya ditempelkan MDF dan olefein sheet. Ini berkat teknologi printingnya Jepang sehingga sheetnya beragam. Padahal sengon itu lunak tapi bisa digunakan dengan prosedur khusus, mulai dari teknik pengupasannya. Inovasi dan teknologi yang diadopsi di sini adalah untuk mengantisipasi perubahan yang terjadi di pasar. Jika meranti kian sulit maka kami harus bisa bekerja dengan sengon. “Menggunakan sengon bisa juga berarti enviromentally friendly karena ditanam bukan seperti meranti yang kayu hutan tropis. Jika sengon pun tidak mencukupi maka bekerjalah dengan kayu impor sekalipun. Intinya adalah perusahaan ini harus sefleksibel mungkin bisa berproduksi dengan mengadjust material atau bahan bakunya. Jika tidak maka hanya dalam sebentar pun kami akan kolaps.

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en | “Meranti and its families and the mixed forest wood are still dominant, used around 80%. The rest is Sengon. People’s perception on Sengon utilization for the cheap plywood making process was evidently wrong! Sengon’s diameter is small and the shape is not straight so it generates many wastes when producing a round straight log. The yield then is very small. If we use Meranti, the recovery could then reach 70%. Sengon is only 45% at maximum. The cost is higher to produce Sengon than Meranti, and the stability of Meranti is higher than Sengon. Sengon is harvested in a young age so it is immature and unstable; as a result it creates many waves so it needs special techniques in handling it. “The challenge was then Sengon can be used for wood floors as a core. On the top it will be attached by MDF and olefein sheet. Thanks to the Japan printing technology that is able to create a various sheet. Though Sengon is soft it still can be used with special procedures, for example the peeling technic. The innovation and technology that is adopted here is to anticipate changes in the market. If Meranti will be more difficult to find then we should be able to work with Sengon. “Using Sengon can also mean environmentally friendly because it is not planted as a Meranti which is a rainforest wood. If it was not sufficient as well then we will work with imported wood though. The bottom line is this company should be as flexible as possible to produce by adjusting the material or the raw material. If not, then we will just be going collapse in a moment.

atas kelangkaan meranti di masa depan. Untuk saat ini belum banyak buyer yang menanyakan soal sertifikasi. Mereka umumnya masih mencari mana yang lebih murah, dan itu biasanya produkproduk yang tidak menggunakan sertifikasi. “Ini yang mereka hindari karena takut lebih mahal,” katanya. Namun, kondisi itu tidak membuatnya pihaknya juga menghindari penerapan sertifikasi. “Untuk kami perundangan atau regulasi apapun harus kami ikuti. Dulu kami pernah apply untuk regulasi JAS yang membatasi kandungan formalin dalam lem dan produk perkayuan untuk ekspor ke Jepang. Lantas ia menceritakan bahwa ketika regulasi di negara bagian California, Amerika Serikat, dan KOMO Eropa berlaku, pihaknya juga ikut mengaplikasikannya dengan segera. Akhir 2010, ketika Direktur Jenderal Kehutanan dan Perwakilan Uni Eropa Andy Robbie berkunjung kemari, kami mengajukan diri untuk menjadi pilot project SVLK. Itu pun dengan kondisi kamilah yang menanggung biayanya. Bagi kami, SVLK lebih memudahkan sekalipun tidak bisa membantu kami dari segi marketingnya. Apalagi karena tidak diekspos. Sertifikasi yang kami ambil juga meliputi mulai dari HPH kami baik di Kabupaten Kutai Timur dan Malinau Kalimantan Timur. Persoalan yang mendasar dari sertifikasi adalah regulasi yang diciptakan untuk menghambat kemajuan kita. Kalau kita maju maka mereka akan lebih mahal lagi jika harus membeli dari kita. Yang kami mau adalah kalau mereka beli dari kami sudah harus mahal,dan no choice untuk mereka. en | PT Sumber Mas Indah Plywood is not only able to develop its market in the last ten years; if the company who at first manufactured plywood with a dragon brand has only a single market to Japan, now, the other export markets have been expanded to other countries. According to Ivan, even Italy is also affected by the euro zone crisis but the market is quite excited to see the products. Besides Italy, the target market is also in Germany, Netherlands and Belgium. The solid door products have been exported to the Czech Republic, Poland, United Kingdom, and Netherlands. In Asia alone, Taiwan and China is also a target market outside Japan. While the domestic market, even though it has only a share of 10%, but it is quite interesting because it is constantly growing year by year. That is why the company is now trying hard to develop the domes-

“Soared after 2008” in | Padahal pada tahun 2008, grup ini menutup dua pabrikan lainnya yang berada di Samarinda, Kalimantan Timur. Menurut Ivan, dulu banyak manajemen pabrikan seperti Sumber Mas Indah Plywood berpikir untuk mendekatkan diri ke lokasi bahan baku. “Dulu, ini betul karena ongkos produksi lebih murah dan kapal bisa mengangkut hingga sepuluh ribuan kubik sekali jalan,” jelasnya. “Sekarang satu pabrik hanya berkapasitas 200 atau 500 kubik, sehingga kapal pengangkutnya sulit untuk mendapatkan muatan penuh dalam waktu singkat,” lanjutnya. Ketidak pastian dalam berproduksi menjadi kendala yang luar biasa untuk semua pabrikan plywood di Indonesia, apalagi sebagian besar pabrik yang ada masih menggunakan mesin-mesin tua tanpa pernah diperbaharui sejak pabrik berdiri. Dengan kondisi macam inilah pabrikan sulit sekali untuk fokus dalam berproduksi. Ini ditambah lagi dengan jauhnya lokasi kantor pusatnya yang umumnya berada di Jakarta, sehingga kebutuhan riil di pabrik tidak diketahui secara pasti. Jika jaraknya berjauhan maka “Produksi butuh apa pun, kantor pusat tidak tahu menahu karena sudah disibukan dengan urusan marketingnya,” tegasnya. Demikian juga dengan pembagian bonus yang bagian terbesarnya kerap jatuh ke tangan karyawan marketing, sedang karyawan bagian produksi hanya kebagian sisanya. “Tidak matchinglah,” lanjutnya. Penutupan kedua pabrik di Kalimantan Timur sempat menurunkan kapasitas produksi dari 25.000 kubik menjadi hanya 10.000 kubik perbulannya. Ini bukanlah kemunduran tapi merupakan titik balik pembenahan manajemen sekaligus penajaman fokus. “Kami disini tersentralisasi, dengan manajemen berada di gedung depan sedang produksi di bagian dalam. Kalau ada keperluan kami segera tahu dan mencarikan solusinya,” kata Ivan. Dengan sentralisasi ini, “Kami tahu apa yang dibutuhkan pasar sekaligus tahu apa yang berlebih di bagian produksi. Sehingga ada dua keuntungan sekaligus yaitu diatas kertas dan di lapangan. Menurutnya, paling bagus jika sebuah perusahaan mampu meraup keuntungan di keduanya. “Untung di atas kertas bisa berarti akan ada kerugian di masa datang karena bisa jadi di lapangan ada persoalan overstock atau veneer yang tidak bisa diproses. Akibatnya efisiensi dan produktifitas pun turun”. Itu sebabnya ia mengatakan kunci semuanya termasuk produktivitas ada di

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manajemen. en | In 2008, this company group shut down two other manufacturers in Samarinda, East Kalimantan. According to Ivan, there were a lot of manufacturers such as Sumber Mas Indah Plywood who think to find closer location to the raw materials. “In the past, this was a very good idea because we could have cheaper production costs and the ship can carry up to ten thousand cubic one-way,” he explained. “Now one factory is only for 200 or 500 cubic capacity, making it difficult to get a transporter ship to be fully loaded in a short time,” he continued. The uncertainty in producing is becoming a great obstacle to all plywood manufacturers in Indonesia, moreover most of the factories are still using old machines and it is never updated since the plant established. With this kind of manufacturing conditions, the manufacturers are very difficult to focus in production. This coupled with the distant location of its headquarters which are generally located in Jakarta, so the real needs of the plant is not known with certainty. If the distance is far then when “Production needs anything, the head office would not know because it was preoccupied with the affairs of marketing,” he said. Likewise, the biggest bonus that often falls into the hands of marketing employees, while the production employees will only get the rest. “It’s not properly match the condition,” he continued. The closure of the plant in East Kalimantan has reduced the production capacity from 25,000 to only 10,000 cubic per month. This was not a setback but it was a turning point as well as sharpening the focus of management reform. “We are here centralized; with the management located in front of the building while the production area is on the inside. We will find immediately what the need is and find solutions as well, “said Ivan. With this centralization, “We know what the market needs as well know what the excess in production. There are two benefits at once; on paper and in the field. | According to him, it is a good thing if a company could reap profits in both. “Good on paper could mean there will be losses in the future because it could be the overstock problem on the field or veneer that cannot be processed. As a result, the efficiency and productivity would be decreasing”. That’s why he said the key to everything, including the productivity, relies on the management.

tic market, by using the strategy of embracing the plywood user manufacturer and the intermediary users such as architect and interior designers as well who have a high end target market. According to him, now and in the future, there are many property projects both outside and in the domestic that need the supply of raw materials that require high-quality plywood. It is almost not being met due to lack of supply. Most products are only for the inside use, “Not for the exposed,” he explained. This happened because many plywood companies do not understand what should be exposed from its products. To be able to do that, it is then required a major change in the said manufacturer including the production processes and technologies as well. This requires some understanding of how to do the finishing in getting the best product and an understanding of how to do mass production in order to get quicker processing without sacrificing the quality. By targeting this segment, they also develop its products. “We are going for an extra miles, we are no longer just producing plywood,” he said. He called the products as technical plywood, or better known as fancy plywood. “The market is not aware of any such product,” he added. They also produce customized plywood, plywood based products which are developed and manufactured according to customers’ demands and needs He cited a Japanese company who manufactures wooden staircase and the floor that was helped by the quality of the order of plywood which has been slippery, so it no longer needs the sanding process. This makes these companies save a lot because it is able to cut a single stage of production, as well as selling the facility and the sanding machine. The company also has no need to worry any longer about where to leave the residual waste of the raw materials, because they receive a product that has been

customized.

More than 300 Variants

It is then recognized by Ivan that the company is now more similar to a timber laboratory. This is due to the development of the applications with a variety of species including Oukeme of African origin, the Italian Poplar, Eucalyptus from Chile and Kamarere from Papua. The purpose of this kind of test is to get the best end result of each species. In addition, they hope to obtain the best alternative upon the forest Meranti from Kalimantan which has been used as feedstock in the plywood manufacturing. “Meranti is very nice because it is lightweight but solid enough, but the future prospects remains to be questioned,” he explained. Sengon which is predicted for the substitute of Meranti was actually not good enough to be seen as an alternative. “Sengon was too soft,” Ivan explained. Whereas the acacia, it has the stems that are not round and not straight. To obtain large amounts of this species is still questionable as this species is also needed in large amounts by pulp and paper industries. At present, as he explained, the company is reviewing the applications of balsa wood as an alternative of the raw material. However, it’s just if the species were lighter and also more lenient than Sengon. By conducting such an assessment upon a variety of wood species, they are compiling a concept of the future plywood products which can be produced by their manufactures. Until now, they are capable to produce about 300 variants of plywood. It is a substantial number and almost impossible for such a big manufacturer like Sumber Mas Plywood that is manned by 2000 employees. This capability is made possible by the production engines that have a high flexibility. For example the peeling machine, it is distinguished between forest woods and wood from the plantations. They are also distinguished for paper bark machine, flesh, core and faceback. The production machines also come from Japan, Taiwan and Europe. Even though the machines are relatively more expensive, but it has a high flexibility and durability. He pointed out that the production machines that are 20 years old can still be kept in line as long as it maintained. Unfortunately there is a trend in Indonesia in saving the maintaining cost by using cheaper parts. In reality, it actually shows a tendency to reduce the cost by using spare parts that are getting cheaper over time and it gives the declining production output as a consequence.

Quality as a main Focus

The other strengths of this company are the quality of its products which are very consistent from year to year. The company’s products are known overseas as a dragon brand, one hundred percent in the beginning was exported to Japan. To be able to penetrate into this Land of Cherry

Blossoms, all the products of Sumber Mas Indah Plywood must be passed the various tests; not only the test of the quality of thickness test and the thick flatness but also its formaldehyde content. According to Ivan, there are advantages to these companies to export its products to Japan in the beginning. It gave an opportunity to adopt the applicable quality standards. For example, the Japanese system requires doing repairs on each layer. That’s why the largest amount of employees is in the repair department. They are tasked to manually do the repair for any lack of flats layer which will be processed. “The key is in the core that has to be nice and flat, so it needs manual correction to remove the knur and other parts that jutting out,” he explained. The surface must be completely flat as plywood is a base panel that will be attached whatsoever. According to him, in this kind of industry, it is difficult to replicate because it has to be strong and firm in all lines starting from the raw material to its cash flow. “All of that should be ideal, and we push ourselves to embody those ideal things,” he continued. Now, even though it is only about

70% of its products are exported to Japan, its quality standards and this kind of production treatment have already been the company’s quality standards. This is what makes the company had lost more than half of its production capacity in 2008 that made them able to bounce back to be successful. “We will say yes for any kind of orders to the point that buyers will be no longer demanding; they will just complain about the price but they would unavoidably willing to pay,” he said. Buyer is left with no choice condition in supplying all needs. This makes the company has a strong enough bargaining power over the customers. But it does not mean necessarily make the company got the upper hands. According to Ivan, even in such conditions, they should still do a trade-off, and they cannot constantly win regarding this matter. That’s why the pricing is done every month. This is more due to the delays in raw material which reaches 23,000 cubic. “Our strength lies on the cash capital because we need to pay it in advance,” he said. It’s really relying on the financial strength of the company because we never supported by the banks. With the number of payments of tens of billions to the availability of

It’s not just about Panel anymore, yet Component as well in | “We are going for an extra miles, tidak sekedar panel lagi. Panel dengan customized semuanya sehingga pelanggan hanya perlu melakukan laminasi dan coating untuk finishingnya. Kami pun sudah memproduksi komponen yang dibutuhkan oleh end-user. Semua itu menolong mereka tidak pusing memikirkan lagi waste dan rendemen yang dihasilkan dalam proses produksi. Itu sudah menghilangkan persoalan cashflow akibat raw materials. Proses produksinya pun lebih singkat. “Kalau dulu mereka harus menolak order karena penuhnya lini produksi, sekarang semuanya bisa berputar tanpa dipusingkan lagi dengan soal produksi. Penjualannya pun jadi lebih besar lagi. Kami juga lebih besar lagi penyediaan bahan bakunya untuk bisa melayani order itu. Sudah mulai ada perusahaan semacam itu sekalipun terbatas karena baru satu, itupun di Jakarta. Perusahaan ini benar paham manajemen bahan mentah dan produksi yang terefisien seperti apa.

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en | “We are going for an extra miles, no longer just the panel. Panel with all customized so customers only need to laminate and to do the coatings for the finishing step. We were already producing the components which are required by the end-user. All of that will help them to not bother to think about the waste and yield generated in the production process anymore. It was eliminating the cash flow problems due to raw materials. The production process was then shorter. “In the past they have refused the order because of its full production lines, now everything can be spun without the mess of the production matter anymore. The sales became even greater. We also supply greater raw materials to serve the orders. It’s getting there even such a limited company, there is now just one of it, and it is even still located in Jakarta. This company truly understands the management of raw materials and such as what the most efficient production.

raw materials for one year, then you can imagine the burden to be borne by this company. Fortunately, the orders of the customer are already routine, “Most of it is actually the repeated customers,” he explained.

Future Challenges: Raw Materials and Certification

The future challenges are the issue of raw materials and certification. Currently, meranti species and its families reach 80% of the raw material supply. The rest we use Sengon. Realizing this dependence, the company is still holding the development by conducting experiments using a variety of wood species which are both local and imported. No wonder that until today the company is able to produce plywood with about 300 variants. “We want to get the best out of every species,” he explained. It is also a step in anticipation of Meranti shortages in the future. We currently have many buyers who ask about certification. They generally are looking for which one is cheaper, and the cheaper one is usually the products that do not use the certification. “They try to avoid it because they are afraid it is more expensive,” he said. However, this condition does not then make the company avoids the application of certification. “For us, any laws or regulations should have been obeyed. We had applied for JAS regulations that limit the content of formaldehyde in the glue and the wood products for the export to Japan. Then they told us that once the regulations in the state of California, United States, and KOMO European came into force, they also applied it immediately. By the end of 2010, when the Director General of Forestry and the European Union Representative Andy Robbie visited us, we apply to become a pilot project of SVLK. That was actually with the condition we were paying for it. For us, SVLK is way easier even it cannot help us in terms of marketing. Especially it is not exposed. The certification that we’re taking also includes our Forest Concession either in East Kutai Regency and Malinau, East Kalimantan. The fundamental issue of certification is a regulation that was created to impede our progress. If we go forward, it would be much more expensive if they should buy from us. What we want is that they buy from us expensive and give no choice for them.

CV. MADERO MADERO INTERNATIONAL INTERNATIOAL

impor kayu dan veneer dari Eropa dan Amerika Sawn Timber:

 White Oak.  White Ash.  Walnut.  Maple.  Douglas fir.  Southern yellow pine.  DURA PINE

Veneers

 White Oak.  White Ash.  White Beech.  Walnut.  Cherry.  Maple.

Logs

Produksi :

 Flooring Solid wood.  Flooring Engineering.

Tersedia :

Fancy Wood White Oak tebal veneer 0.6mm Ukuran lebar : 1220 mm x panjang : 2440 mm Tebal : 3, 6, 9, 12, 15, 18 mm. MDF atau plywood

Veneer Lokal:

 Sonokeling.  Mahoni tebal: 1mm dan 2mm  Mangga.  Mindi.  Merbau.

Sesuai pesanan

Tersedia Veneer : White Oak : 1mm dan 1,5mm Sonokeling 0.6mm

HADIR di JEPARA Jalan Raya Batealit KM 7

Tersedia : Kayu kering oven:

 Mahoni.  Mindi.  Sungkai.

Agus Widagdo email : [email protected] telp . 081325234273, 087831111441

Contact Person : A. Kuswidiarso email : [email protected] telp. 08156515043 , 08884959340 , (024) 70116691 Agus Widagdo email : [email protected] telp . 081325234273, 087831111441 Susi sulistyowati email : [email protected] telp . 024 70519764 Yohanes Sutarto email : t [email protected] telp. 08112708373 , 088803909559

madero veneer

@maderoveneer

Jepara |Solo | Jogja| Jakarta | Surabaya

Biz Forum

P

Peran Mesin Dalam Perindustrian Kayu

ada kuartal pertama 2012, nilai ekspor Indonesia secara kumulatif meningkat 4.13% dibanding periode yang sama tahun sebelumnya. Hal ini menunjukkan awal yang baik dan diperkirakan pangsa pasar tampaknya akan tumbuh bahkan lebih. Juga menjadi pertanda baik untuk pasar mebel di Indonesia. Terlihat di bawah ini nilai ekspor furniture Indonesia, sebagai salah satu eksportir mebel terbesar di dunia menunjukkan awal yang mengesankan sampai bulan Maret 2012.

melakukan berbagai pekerjaan kayu dengan mesin ini misalnya: membelah kayu, memotong papan dalam berbagai sudut, membuat pen dan alur. Prinsip kerja mesin ini adalah untuk membelah kayu hingga pada ukuran mendekati ukuran jadi. harus disisakan beberapa milimeter untuk proses pengetaman dengan mesin serut (planner) 2. mesin pemotong, terdiri dari Mesin Gergaji Bundar Ber-

Pertumbuhan Nilai Ekspor Furnitur per Maret (US$ juta) Jenis

2011

2012

Persentase kenaikan

Kayu

199,69

250,05

25,22

Rotan

49,92

70,22

40,68

Bambu

2,45

2,37

3,06

Besi

27,15

29,93

10,28

Plastik

15,34

22,23

44,92

Lainnya

171,64

123,77

27,89

Total

466,19

498,59

6,59

Sumber: Asmindo 2012

Mesin dalam perindustrian kayu merupakan salah satu peranan paling penting bagi sebagian besar produsen produk kayu pada umumnya. Produsen membutuhkan mesin baru, komponen dan teknologi untuk memenuhi permintaan market dengan memperbaharui mesin dan menciptakan efisiensi dalam mengatasi perakitan dan persiapan. Ada bermacam-macam mesin pengerjaan kayu berdasarkan fungsinya, antara lain : 1. mesin pembelah, terdiri dari Mesin Gergaji Belah, Mesin Gergaji Pita (Band Saw).Mesin jenis ini bisa berupa circle saw atau band saw (gergaji pita) dengan fungsi utamanya adalah membelah kayu atau logs. Terdiri dari satu bilah gergaji lingkaran pada satu poros motor penggerak. Konfigurasi pemasangannya pada mesin bisa bermacam-macam. Anda bisa

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lengan (Radial Arm Saw) dan Mesin Gergaji. Bundar Bermeja (Circular Saw). 3. mesin pembuat veneer, terdiri dari Mesin Kupas (peelerirotary), Mesin Kupas (peelerirotary), mesin pres 4. mesin pembuat serpih (portable chipper) Mesin untuk mencacah sisa-sisa pohon kayu dan ranting tanaman sebagai bahan baku dalam proses pengolahan bubur kayu, yang dimanfaatkan oleh industry pulp dan untuk pembuatan kompos. 5. mesin serut/ketam (planner), terdiri dari Mesin Ketam Perata (Surfacer), dan Mesin Ketam Penebal (Thicknesser). Berfungsi untuk menghaluskan sisi kayu setelah proses penggergajian. Mesin ketam standar bekerja dengan menghaluskan permukaan satu demi satu sisi

kayu. Hanya satu meja kerja yang terdapat pisau penyerut. Pada perkembangannya mesin ini bisa sekaligus menyerut 4 sisi kayu dan dikombinasi dengan jenis pisau lainnya. Poros pisau terpasang horisontal dengan meja penghantar vertikal. Hasil kerja dari mesin ini harus menjadi ukuran final yang tidak mungkin lagi dikurangi kecuali dengan amplas. Hasil permukaan dari kerja mesin ini akan halus, lebih halus dari mesin gergaji karena tidak akan terdapat cuttermark sebesar gergaji. 6. mesin pembentuk, terdiri dari Shaper dan Mesin Spindle Moulder. Mesin yang didesain untuk membuat bentuk khusus pada komponen kayu sesuai dengan desain yang diinginkan. Poros pisau terpasang vertikal (menghadap ke atas) pada sebuah permukaan meja mesin dan berfungsi untuk membuat bentuk profile pada sisi samping kayu. Jenis pisau bisa diganti sesuai dengan desain yang diinginkan. Pada kombinasi lain jumlah pisau bisa lebih dari satu dan seluruhnya terpasang secara vertikal. Hal ini bisa dilakukan setelah proses penggergajian karena hasil kerja mesin ini hampir sama dengan mesin serut, permukaan halus dan cukup dengan mesin amplas sebelum proses finishing. 7. mesin bubut, terdiri dari mesin bubut turet 8. mesin pelubang, terdiri dari Mesin Bor, Mesin Bor Tekan (Hollow Chisel Mortiser), router, Mesin pen dan lubang (Tenon-Mortise). Terdiri dari satu poros motor pada prinsipnya untuk membuat lubang pen, dowel atau lubang untuk sekrup dan alat tambahan lain yang berbentuk bulat. Perkembangannya saat ini mesin bor bisa untuk melakukan pengeboran beberapa lubang sekaligus pada satu

permukaan secara horisontal maupun vertikal. Pengeboran sebaiknya dilakukan setelah seluruh permukaan kayu diserut dan dipotong pada ukuran jadi yang diinginkan. 9. Mesin CNC (Computer Numerial Control). Teknologi mesin menggunakan sistem komputerisasi. Dengan mesin CNC, ketelitian suatu produk dapat dijamin hingga 1/100 mm lebih, pengerjaan produk masal dengan hasil yang sama persis dan waktu permesinan yang cepat. 10. mesin pengampelas (abrasive) Mesin ini digunakan untuk memperhalus permukaan dari produk yang dihasilkan agar permukaan kerajinan menjadi halus. Mesin ini lebih efisiensi waktu digunakan daripada pengamplasan manual 11. mesin penyemprot, terdiri dari Spray Gun. mesin semprot merupakan teknik finishing dengan menambahkan daya tahan untuk kerajinan kayu yang halus. IFMAC (International Furniture Manufacturing Components) yang diselenggarakan bersamaan dengan IFFINA pada 11-14 Maret 2012 lalu bertempat di Jiexpo Kemayoran Jakarta) hadir di Indonesia sebagai pameran pertama yang menghadirkan mesin2 untuk pengerjaan kayu, peralatan dan perkakas, bahan baku serta komponen2 yang dibutuhkan dalam pengerjaan mebel. Kehadiran ifmac di Indonesia akan

sangat membantu dan memaksimalisasi para produsen mebel di Indonesia dalam menghasilkan mebel2 inovatif. Pameran IFMAC menunjukkan hasil yang mengesankan untuk pameran yang diadakan pertama kali. Berbekal kesuksesan yang diraih dari IFMAC 2012, Wakeni sebagai penyelenggara konsisten akan menghadirkan IFMAC untuk tiap tahunnya. IFMAC 2013 akan diselenggarakan pada tanggal 23-25 May 2013 di Jiexpo Kemayoran Jakarta, kali ini ifmac berdiri sendiri tanpa IFFINA namun pameran ini akan diselenggarakan bersamaan dengan INDOFASTENER (Pameran industri pengikat / pengencang seperti baut, mur, sekrup, dll) menjanjikan hadir lebih besar dan lebih baik untuk membuat dampak yang lebih besar bagi Industri Mebel Indonesia. Ifmac 2013 Sebagai penghubung untuk bertemu dengan supplier dan pembeli yang berkualitas untuk kawasan Asia yang utama. Juga akan menampilkan beraneka segi teknologi , material, peralatan, dan pengolahan metode inovatif. IFMAC sebagai platform untuk membentuk aliansi strategis untuk perusahaan dengan upaya untuk memperluas wawasan di luar pasar tradisional. Ini adalah titik pertemuan bagi produsen mesin produksi mebel dan komponen untuk langsung berbaur dengan para produsen mebel Indonesia. Ini adalah kesempatan ideal untuk Perusahaan yang ingin mengembangkan bisnis mereka dengan merambah ke pasar berkembang terutama di wilayah Asia dan sekitarnya.

Dalam pameran IFMAC 2013 Anda dapat melihat: • Mesin untuk proses produksi mebel dan mesin pembantu • Bahan baku dan komponen untuk proses produksi mebel • Mesin, bahan baku, dan komponen untuk Upholstery dan Bedding • Mesin, bahan baku, dan komponen untuk pengerjaan interior • Produk kimia, perekat, cat dan coating • Semi finished products • Industri jasa terkait • Hardware, fittings • Asosiasi, Industri penerbitan dan Media Siapa yang harus mengunjungi IFMAC 2013 ? • Produsen mebel • Perusahaan pengolahan kayu • Produsen produk kayu • Produsen komponen mebel • Produsen Panel Board • Perusahaan desain interior dan bangunan • Perusahaan permukaan Surface Treatment • Importir, Eksportir dan Traders • Institusi desain dan arsitek • Produsen kayu • Traders mesin pengerjaan kayu • Machinery accessories trades • Asosiasi, Industri penerbitan dan Media

Periscope

Rupert Oliver,

Director of Forest Industries Intelligence:

”Wood as A Green and Cost Effective Material”

in | Rupert Oliver, Director of Forest Industries Intelligence di Inggris Raya mengungkap bahwa perkembangan dalam sektor konstruksi di Eropa justru membesarkan peluang kayu sebagai material konstruksi dalam pembangunan gedung bertingkat. Ini merupakan sebuah kemajuan besar karena disektor ini, kayu sejak lama digeser peranannya oleh beton dan besi baja. Kayu yang merupakan material paling sustainability diharap akan membawa perubahan besar dalam sektor konstruksi ditahun-tahun mendatang. Bukan hanya karena alasan sebagai material hijau, tapi juga cost effective. Ikuti kutipan perbicangannya dengan redaksi WoodMag di bawah ini.

en | Rupert Oliver, Director of Forest Industries Intelligence in Great Britain reveals that the development in construction sector in Europe has enhanced the opportunity of wood as a construction material in multi-story building development.This is a huge progress since it has been quite a long time since the role of wood is substituted by concrete and steel in this sector. Wood as the most sustainable material is expected to bring considerable change in the construction sector in the near future. Not only because it is a green material, but also a cost-effective one. Read the excerpt of his conversation with the WoodMag editorial below.

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in | WoodMag: Bisa cerita soal sustainability? Rupert Oliver: Sustainability sendiri berasal dari Earth Summit tahun 1992. Kata ini menggambarkan berikutnya dalam memenuhi kebutuhannya. Kayu memiliki kemampuan yang mengagumkan karena mampu memperbarui dirinya. It’s a durable product. Jika bicara soal hardwood yang memiliki kekuatan dan kemampuan bertahan. Mereka juga tidak membutuhkan bahan tambahan yang digunakan dalam proses produksi untuk dijadikan produk reguler. Yang menjadi isyu besar hari ini adalah perubahan iklim, dan carbon footprint yang merupakan salah satu faktor penting di dalam sustainability. Kayu keras membutuhkan sedikit enerji dalam memproduksinya. Kayu merupakan salah satu material yang low carbon footprint. Anda dapat mengklaim sebagai negative carbon footprint, karena begitu banyak karbon yang tersimpan dalam kayu selama masih digunakan bahkan hingga ke pasar ekspor tujuannya. Dari perspektif penyimpanan karbon, kayu bisa diklaim secara kuat sebagai the most sustainable material. Hal ini bisa ditelusuri dan dipelajari dalam studi Life Cycle Assessment AHEC yang baru diterbitkan. Kami secara nyata tidak pernah mengklaim bahwa kayu merupakan material yang cocok untuk setiap aplikasi. Tidak juga menyatakan kayu dapat menggantikan material lainnya seperti beton. Kami hanya merasa ada tempat yang lebih besar bagi kayu dalam konstruksi, seperti di Eropa saat ini. Di sana, kayu mengambil porsi lebih besar dalam konstruksi. Di Inggris Raya, anda bisa menemukan bangunan bertingkat hingga lantai sembilan yang memanfaatkan kayu sebagai blok konstruksinya. Ini merupakan bentuk baru structural wood products. Tentu bangunan ini tetap membutuhkan beton untuk pondasinya. Dengan porsi yang sedemikian besar mendorong perubahan berpikir yang cukup drastis. WoodMag: Itu membutuhkan upaya besar untuk bisa diterima sebagai material konstruksi? Rupert Oliver: Ya itu merupakan isyu besar untuk bisa diterima oleh para desainer seperti arkitek, dan mereka yang bertanggung jawab dalam bangunan dan pengawasan bangunannya. Industri konstruksi biasanya lamban dalam mengadopsi perubahan yang terjadi.

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Salah satu alasannya adalah jika anda mendirikan bangunan apalagi bangunan bertingkat maka orientasinya adalah keselamatan penggunanya, dan itu memerlukan pertanggungan jawab yang besar. Upaya rintisan alias pioneering biasanya berhadapan dengan resiko lebih besar dan itu berada di awal dari sebuah perubahan. Sekolah arkitek pun tidak pernah memberikan tekanan besar pada konstruksi kayu. Mereka lebih berkonsentrasi pada material beton dan baja. Hanya sedikit waktu pembahasan dalam kayu sebagai material konstruksi. Ini diharapkan mulai berubah, terutama karena alasan sustainability. Ini sebagai kunci perubahan, tapi sekali lagi, sistem konstruksi modern mulai mengadopsi kayu sebagai material konstruksi yang cost effective. Jadi kita tidak bisa meyakinkan semata karena kayu merupakan green material, tapi harus juga dari sisi cost effectivenya. Juga dari sisi kekuatannya sehingga anda bisa membangun high rise building block dengan menggunakannya sebagai material yang dominan. Dulu anda hanya bisa melakukan dengan material beton atau baja. WoodMag: Anda harus mencitrakan kayu sebagai engineering structural products? Rupert Oliver: Ya. Anda benar tentang itu. kita harus melihat contoh di Eropa bahwa yang sangat berpengaruh besar adalah arkitek yang telah menggunakan kayu sebagai material struktur dalam proyeknya. Kami menemukannya dan mereka sangat antusias tentang itu. Kami bisa mendiskusikan bagaimana hebatnya hal itu. antusiasme mereka merupakan hal yang luar biasa dalam mempengaruhi kolega dan sejawatnya untuk mulai menggunakan dalam proyeknya. WoodMag: itu eksperimental atau .... Rupert Oliver: Saya kira sektor konstruksi tradisional menyebutnya sebagai hal yang eksperimental. Saat ini sudah mulai cukup banyak contoh dalam pengaplikasikannya sekalipun belum bisa disebut sebagai main stream tapi sudah jauh lebih baik kondisinya. Saat ini ada banyak pihak yang sedang menaikkan kapasitas produksi prefabrication wood components dalam pabrikkannya. Saat ini mereka mulai bisa mencapai skala yang ekonomik dalam upaya menyuplai.....

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WoodMag: Jadi disitu problemnya, persoalan suplai.... Rupert Oliver: Ya, ya. kami tidak menyebutnya sebagai suplai kayu tapi suplai prefabrication components dalam skala global. Ada suplai kayu dalam jumlah besar setiap harinya, terutama kayu tropis. Saat ini mereka masih dalam tahapan untuk meningkatkan kapasitas produksinya. WoodMag: Lantas ada ancaman akan sustainability jika terjadi deforestasi berlebih? Rupert Oliver: Memang akan ada problem di sejumlah negara yang regulasi perhutanannya kurang diindahkan. Demikian juga di negara-negara yang hukum kekayaan intelektualnya. Resikonya adalah meningkatnya diversifikasi produk kayu, seperti MDF dan plywood. Ini bisa jadi ancaman terhadap produk konstruksi itu. WoodMag: Lantas bagaimana anda melihat persoalan di Indonesia saat ini terkait dengan sustainability? Rupert Oliver: Sustainability terkait dengan hukum dan regulasi yang ada. Indonesia menjadi contoh yang bagus tentang bagaimana hukum dan regulasi kehutanan. Di sini harusnya ada perimbangan antara peran pemerintah pusat dan daerah dalam mengaturnya. Demikian juga dengan mengelola konflik diantara mereka. Yang menjadi isyu besar adalah bagaimana menciptakan produksi kayu yang sustainable. Produk ini dipandang tidak cukup menguntungkan dalam jangka pendek menjadi produk diversifikasi lainnya. Ini merupakan hal yang luar biasa sulit untuk dipecahkan. Saya kira Indonesia sedang berupaya keras untuk mengatasi persoalan ini, sekalipun masih kehilangan ribuan hektar akibat pembalakan liar konversi lahan. Dalam timber sector, Indonesia sangat berkomitmen pada pemberlakuan SVLK. Ini merupakan hal yang ambisius dan penuh dengan inisiatif. Saya melihat ada sejumlah persoalan mendasar yang harus segera dipecahkan. Begitu banyak isyu yang berada diluar jangkauan otoritas kehutanan seperti soal korupsi dan alih fungsi lahan. Seperti juga kurangnya penghormatan atas HaKI. Ini merupakan persoalan mendasar yang hanya bisa diselesaikan melalui reformasi birokrasi pemerintahan dan terbentuknya konsesus nasional. Ini

tidak hanya bisa terjadi hanya dalam satu malam. Ini tidak bisa dilakukan hanya oleh otoritas atau sektor kehutanan semata. Indonesia memiliki MOU dengan Eropa tentang verifikasi legalitas itu, sehingga yang bisa dilakukan oleh sektor kehutanan adalah hanyalah terbatas. Persoalan yang lebih mendasar justru berada diluar jangkauan dan wewenangnya WoodMag: Saya pernah mendengar jika SVLK berlaku maka harga kayu tropis lokal akan meningkat 25%, maka akan ada peluang besar dalam pemasaran kayu impor seperti kayu Amerika. Lantas bagaimana anda melihatnya dalam konteks sustainability? Rupert Oliver: Saya kira tidak ada persoalan karena sejauh ini nyaris tidak ada kompetisi langsung antara kayu lokal Indonesia dengan kayu Amerika. Kayu Amerika sendiri berasal dari very well regulated forest sehingga tidak ada resiko berasal dari illegal logging. Jadi nyaris tidak ada dampaknya pada peningkatan harga sekalipun ada gejolak pasar disebuah negara tujuan ekspornya. Ini berbeda dengan kondisi serupa di Indonesia. Itu sebabnya butuh SVLK dalam mengatasi persoalan legalitas kayu tebangannya. Jadi kayu Amerika sudah sangat tertata hingga persoalan inventory sekalipun Ini sudah terjadi dalam lima puluh tahun terakhir. Kayu yang bertumbuh dihutan-hutan Amerika juga doubled dalam jangka waktu itu. jadi kalau ditanya apakah cukup sustainable, jawabannya ya. en | WoodMag: Can you tell us about sustainability? Rupert Oliver: Sustainability itself is originated from the Earth Summit of 1992. This word describes the next in meeting its demand. Wood has an amazing ability since it can regenerate itself. It’s a durable product. If we talk about hardwood that possesses strength and survival ability. They also don’t need any additive to be used in the production process to make a regular product. Today’s big issue is climate change and carbon print which is another important factor in sustainability. Hardwood requires little energy to produce it. Wood is one of materials that possesses low carbon footprint. You can claim it as

Hall 6, 7 & 8

negative carbon footprint, since there are so many carbon stored inside a wood as long as it is still being used even up to its destination export market. From the carbon storage perspective, wood can be strongly claimed as the most sustainable material. This can be traced back and studied in AHEC’s Life Cycle Assessment study which has been recently published. We never explicitly claim that wood is a suitable material for all application. Neither we said that wood is able to replace other materials such as concrete. We only feel that there is a much larger place for wood in construction such as it currently does in Europe. Wood takes a larger portion in construction there. In Great Britain, you are able to find a multi-story building up to nine stories high that uses wood for its construction block. This is a new form of structural wood products. Of course this building still needs concrete for its foundation. Given such huge portion it encourages a quite drastic change in the way of thinking. WoodMag: It takes a lot ot efforts to be accepted as construction material doesn’t it? Rupert Oliver: Yes, surely it is a big issue to be able to be accepted by the designers such as an architect, and those who are responsible for building and its supervision. The construction industry is usually slow in adopting an occuring change. One of the reasons is that if you want to construct a building especially multi-story building then its orientation is the safety of its occupants, and it demands huge liability. A pioneering effort usually faces much bigger risk and it is located in the beginning of a change. Even an architecture school never put a great emphasis on wood construction. They are more concentrated on concrete and steel materials. Only a fraction of time was allocated for discussing wood as construction material. This is expected to change, especially for sustainability reason. This become the key of change, but again, modern construction system is starting to adopt wood as cost-effective construction material. So we can’t just assure that wood is a green material, but it has to be from cost-effective aspect too. Also from its strength aspect so that you can build high rise building block by using them as a dominant material. In the past you can only do this with concrete or steel material.

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WoodMag: You must portray wood as an engineering structural product doesn’t it? Rupert Oliver: Yes. You’re right about that. We must see an example in Europe that the biggest influence is the architects who have already used wood as the structural material in their projects. We found them and they are very enthusiastic about this. We could discuss how great it is. Their enthusiasm is very remarkable in influencing their colleagues and peers to start to use it in their projects. WoodMag: Is that experimental or .... Rupert Oliver: I think the traditional construction sector would mention it as experimental. Currently there are quite many examples in its application despite that none can be considered a mainstream but its condition is much better. Today many are increasing the production capacity of prefabrication wood components in their factory. Currently they are able to reach an economic scale in an effort to supply... WoodMag: So there lies the problem, a supply issue... Rupert Oliver: Yes, correct. We don’t call it a wood supply but prefabrication component supply in global scale. Everyday there are large wood supply, especially tropical wood. Currently they are in the stage of increasing their production capacity. WoodMag: Then there is a threat to sustainability if the deforestation become excessive, isn’t it? Rupert Oliver: Indeed there will be problems in a number of countries whose forestry regulation is neglected. So are those whose intelectual property law (is neglected). The risk is the increase in timber product diversification, such as MDF and plywood. This can become a threat to the construction product. WoodMag: Then how do you see the current situation in Indonesia with regards to sustainability? Rupert Oliver: Sustainability is related to the existing law and regulation. Indonesia is a good example of forestry laws and regulations. There should be a balance here managing between the role of the central government and the regional governments in regulate the matter. So is in the conflict between them. One big issue is how to establish a sustainable wood production. The product is considered not profitable enough in the short tem to become other diversified products. This is a

problem that is extremely difficult to resolve. I think Indonesia is currently trying hard to overcome this issue, despite that it still looses thousand of hectares due to illegal logging and land conversion. In the timber sector, Indonesia is highly committed to the implementation of the SVLK. This is an ambitious thing and full of initiative. I see that there are a number of fundamental issues that must be immediately resolved. There are so many issues that are beyond the reach of forestry authority such as corruption and land function shift. So is the lack of respect to Intellectual Property Right. This is a fundamental issue that can only be resolved through a bureacractic reformation of the government and the establishment of national consensus. This can be happened overnight. This cannot be done exclusively by forestry authority or sector. Indonesia has an MOU with Europe regarding legality verification, thus things that can be done by forestry sector is only limited. A more fundamental issue is beyond its reach and authority. WoodMag: I have heard that if SVLK is implemented the price of local tropical wood would increase by 25%, then there will be a great opportunity to market imported wood such as American wood. How do you see it in context of sustainbility? Rupert Oliver: I think there will be no problem since so far there is almost no direct competition between Indonesian local wood and American wood. American wood itself came from a very well regulated forest so that there is no risk that they will come from illegal logging source. So it has almost no impact on the price increase despite that there is a market turmoil in its export destination country. This is different with the similar situation in Indonesia. That’s why SVLK is needed to overcome the legality issue of its logged wood. As for the American wood it is very well regulated up to its inventory. This has been going on over the last fifty years. Wood that grows in American forest has doubled during the period. So if you ask whether it is quite sustainable, then the answer is yes.

Two sites, one basic idea.

QUALITY

C H E R RY R O S E W O O D M A P L E WHITE OAK BIRCH RED OAK E L M B O I R É C H E R RY S A P E L E M A P L E A F R I C A N Z E B R AW O O D

AFRICAN ZEBRAWOOD AMERICAN WALNUT SEN BUBINGA BIRDSEYE MAPLE ROSEWOOD YEW M A P L E A N I G R É A M E R I C A N WA L N U T R E D O A K YEW WHITE OAK BOG ELM MAPLE BUBINGA

Koppensteiner Furniere Unterer Mühlweg 39 72827 Wannweil Germany

Amos Hill Associates, Inc. 112 Shelby Ave. 46124 Edinburgh, Indiana U.S.A.

fon +49 (0) 71 21 / 5 10 71 0 fax +49 (0) 71 21 / 5 10 71 88

fon +1 812 526 2671 fax +1 812 526 5865

[email protected]

www.koppensteiner.com

[email protected]

Periscope

Luke Hughes,

Founder & Managing Director of Luke Hughes and Company

in | Merespon bangunan dan mengontrol ruangan merupakan tujuan dari mendesain mebel. Hal ini diutarakan oleh Luke Hughes, MA (CANTAB), FRSA, FRGS. Hughes yang merupakan Founder sekaligus Managing Director Luke Hughes and Company yang berlokasi di London, Inggris Raya. Ia juga melihat bahwa saat ini ada bahaya yang besar akan ketergantungan pada mesin-mesin produksi canggih. Ketergantungan berlebih ini telah mengabaikan perlunya pendidikan dan pelatihan yang mumpuni bagi para tenaga kerja trampil. “Anda membutuhkan mesin-mesin itu, tapi ketika sampai pada tahap finishing anda lebih membutuhkan craftman yang benar-benar berpengalaman”. Ikuti kutipan pembicaraannya dibawah ini en | Respond to the building and taking control upon the room is the purpose of designing furniture. This is expressed by Luke Hughes, MA (CANTAB), FRSA, FRGS. Hughes is the Founder as well as Managing Director of Luke Hughes and Company where is located in London, United Kingdom. He also noted that at present there is great hazard of dependence on advanced production machinery. This kind of excessive dependence has ignored the need for a qualified education and training for the skilled labors. “You need those machines, but when it comes to the finishing stage you need more craftsmen who are actually experienced”. Below is our conversation quote with him.

Desain

“

itu

Merespon Bangunan & Mengontrol Ruangan” 36

in | WoodMag: Bagaimana Anda mendesain sesuatu produk seperti mebel? Luke Hughes: Apa yang didesain terutama terkait dengan spesialisasi kami untuk mendesain mebel yang sensitif dengan karya arsitektur. Ini bukan lagi sekedar mendesain produk. Untuk saya, ini lebih kompleks dan terkait erat antara mebel dengan arsitektur. Ini sering diabaikan oleh para desainer mebel. Desain mebel seharusnya merespon bangunannya, dan manusia yang menghuninya. Bukan sekedar persoalan mendesain sesuatu yang kemudian diproduksi di pabrik. Mebel bisa dibuat dari beragam material, bahkan material yang secara permanen sustainable. Sekitar 75% desain kami menggunakan kayu. Kami cenderung memilih menggunakan kayu Amerika karena tiga pertimbangan. Pertama, datang dari sumber yang lestari sehingga mudah untuk memperolehnya. Kami sangat nyaman untuk hal ini. Kedua, mendesain dan memproduksi mebel melibatkan persoalan

junction, struktur dan integritas. Jika anda tidak dapat menemukan sumber pengadaan kayu yang benar, karena tidak tepatnya persoalan moisture content. Juga persoalan banyak rendeman karena kualitas yang tidak sesuai keinginan. Yang saya temukan dengan kayu Amerika adalah selama anda beli dengan kualitas dan kriteria yang diinginkan, itulah yang kami dapatkan. Kami juga mencari sumber pasokan dari Eropa sendiri, namun anda harus menyeleksi sendiri untuk mendapatkan kualitas yang diinginkan. Ini sangat time consuming. Untuk mendapatkan kayu Amerika sesuai keinginan tidak perlu melakukannya, dan saya sudah melakukannya selama 30 tahun terakhir. Dengan memiliki sumber-sumber yang bisa diandalkan, itu merupakan sesuatu yang menyenangkan dalam menggunakannya. Alasan ketiga saya adalah ada enam spesies kayu Amerika yang saya gunakan selama ini seperti beech, cherry, walnut dan oak. Tapi pasokan dan ketersediaan spesies oak, maple, cherry dan walnut; cukup bagus.

Cherry di Amerika sana cukup berkualitas, dibandingkan dengan spesies yang sama asal Eropa. Terus terang saja saya tidak banyak tahu tentang kayu tropis. Kayu jenis ini banyak tersedia, tapi saya perlu banyak belajar untuk bisa menggunakannya. Yang saya ketahui selama mendesain adalah para arkitek cenderung menggunakan apa yang mereka ketahui. Nyaris tak ada ruang untuk bereksperimen. Yang menarik adalah ketika saya berkunjung ke Malaysia adalah banyaknya rubberwood alias kayu karet yang digunakan di sana. Dalam tiga puluh tahun terakhir peran dan posisi kayu ini kian menguat. Yang juga menarik adalah jumlah yang dipanen dan ditanam kembali, tapi saya tidak banyak menggunakannya. WoodMag: Anda pernah bereskperimen menggunakannya? Luke Hughes: Tidak sampai saat ini. Saya akan membutuhkannya nanti di masa depan. WoodMag: Lantas bagaimana dengan persoalan mendesain dan kaitannya dengan bangunan? Luke Hughes: Kami tidak hanya membuat produksi massal. Kami mencoba mencarikan solusi atas bentuk gedung, yang kadang sangat modern tapi terkadang justru sangat tua. Inggris memiliki banyak bangunan tua yang berusia 500 atau 600-an tahun. Itu yang membuat kami harus menerapkan pendekatan yang berbeda.Kami juga mengerjakan untuk modern office block. Kami baru saja menyelesaikan proyek laboratorium di Cambridge, yaitu Botanic Institute. Bangunannya didesain oleh arkitek Stan Williams, dan merupakan bangunan yang indah. Bangunan ini akan berperan penting dalam pertanian di masa depan dari perguruan tinggi ini. Kami menggunakan banyak oak Eropa dan besi baja dalam perancangannya. Ada integritas antara desain mebel dengan desain gedungnya. Ini mendorong ketertarikan yang besar dalam mengeskplorasinya. WoodMag: Apa yang anda eksplorasi? Luke Hughes: Ada ide yang sangat complicated ketika arkitek mendesain interior ruangan. Mereka ingin mengontrol ruangnya. Tapi lebih dari sekedar membeli mebel dari katalog-katalog, maka semua orang akan melihat semua bangunan hampir serupa. Ini masalah. Kami bekerja sama dengan para arkitek. Desain mebel yang bisa merefleksikan apa yang ada dalam gedung itu. Saya tunjukkan anda gambar (sambil menghidupkan i-Padnya.-red). Ini ge-

37

dung institut botanic yang pengembangannya didesain oleh arsitek. Gedung ini dilengkapi dengan kebun botani yang berdiri sejak 1900-an. Pengembangannya menggunakan material baja, selain kayu white oak amerika. Kalau kita masuk ke dalam gedung, akan ada keseragaman idea arsitektural akan mebel yang melengkapinya. Kami menggunakan sofa untuk melengkapi desain dari keseluruhan gedung bila nantinya selesai dibangun. Jadi semuanya akan fit, dan menjadi bagiannnya. Anda lihat bagaimana banyak detil yang ada di dalamnya. Jika dilihat lebih seksama maka antara mebel dan desain arsitekturalnya akan berbicara dalam bahasa yang sama. Ini gereja Westminster Abbey di London. Gereja tua ini dibangun dari jaman medieval. Gambar ini memperlihatkan lorong pernikahan dalam gereja, dan ini situasi terakhir sebelum direnovasi. Ada pavement yang indah di lorong ini, yang umurnya mencapai sekitar 700-an tahun. Semuanya dibuat dari bebatuan hiasan yang sangat indah. Dengan lantai semacam ini, terdapat perbedaan ketinggian sekitar 32 milimeter, ini membuat mebel tidak stabil dan mudah bergoyang. Ini mengakibatkan juga kerusakan pada hiasan batu-batunya. Kami diminta untuk mengembangkan mebel yang terbuat dari kayu tulip amerika dengan ujung lipat. Untuk mengurangi dampaknya, maka kami merancang ujung dengan magnet. Idenya adalah jika ada empat orang yang duduk di atas sebuah bangku yang terbuat dari kayu walnut amerika yang sangat ringan. Kira-kira beratnya hanya sekitar 60% dari berat kayu oak. Ini hasil jadinya. Ini magnet dan feltnya. Ini akan memberikan gerakan pegas naikturun sehingga meredam goncangan. Mebel ini pertama kali digunakan ketika kunjungan Paus ke Inggris. Setelah itu digunakan dalam prosesi pernikahan kerajaan tahun lalu. Ini merupakan pendekatan yang sangat berbeda, yaitu bagaimana merespon bangunan. Bukannya mendesain produk. WoodMag: Ini yang anda maksud dengan design sustainability? Luke Hughes: Ya. Salah satunya adalah mebel ini akan bertahan beratus tahun kemudian. Kayu itu akan mengunci karbon di dalamnya selama ratusan tahun pemakaiannya. Itu salah satu hal yang krusial. Materialnya juga datang

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dari sumber yang lestari. Bangunannya pun dirancang limapuluh hingga seratus tahunan dalam ekspetasinya. Kalau anda merancang mebel untuk korporasi adalah sangat beruntung jika itu digunakan selama sepuluh tahun. Itu sebelum mereka membuangnya. WoodMag: Jadi anda bicara soal bagaimana mengontrol space dan merespon pada bangunannya? Luke Hughes: Ya. Mengontrol space merupakan hal yang sangat penting. Kami juga mendesain produk tapi juga ada desain karena merespon bangunan. Respon yang berbeda dihasilkan ketika mendesain area spa dalam ruangan sebuah hotel mewah. Semua area dalam hotel ini butuh spesialis dalam perancangannya. Untuk memenuhi kebutuhannya, kami gunakan kayu walnut Amerika. Ada kebutuhan mutlak akan privacy dalam area relaksasinya. Ini terkait dengan persoalan ergonomik, bagaimana hotel berusaha menjadikan ruangan itu sangat berbeda, dan menghasilkan uang lebih banyak dari ruangan itu. sehingga diperlukan mebel yang juga sangat berbeda. Ini semuanya merupakan ide yang rumit, dan bukan membahas bagaimana mendesain mebel seperti yang diharapkan. Ini bagaimana merespon bangunan. Saat ini, teknologi jauh lebih berkembang dibanding katakan sekitar 30 tahun lalu. Dulu, kalau hendak membuat produk dalam jumlah besar maka anda butuh seluruh proses industri bergulir bersamaan. Saat ini, dengan kehadiran komputer membuat komputer berapapun jumlahnya bisa dilakukan lebih cepat dan dengan biaya lebih rendah. Yang dibutuhkan adalah bagaimana mensettingnya sehingga menghasilkan produk seperti yang dikehendaki. WoodMag: Pertanyaannya adalah bagaimana mengintegrasikan desain ke dalam proses produksi itu? Luke Hughes: Ya, tapi diwaktu yang sama anda sangat membutuhkan craftsmanship. Tanpa itu sulit dibayangkan. Anda butuh itu karena mereka yang tahu benar apa yang harus dikerjakan agar bisa menghasilkan produk seperti yang dikehendaki. Ancaman yang terbesar adalah kita tidak cukup melatih para pekerja trampil ini. Saya kira fenomena di London dan juga Asia memperlihatkan adanya bahaya akan berkurangnya pekerja trampil ini. Saat ini mereka sudah sangat didominasi oleh pekerja trampil yang berusia lanjut dibandingkan dengan yang usia muda. Ada bahaya bila bergantung pada kom-

puter dalam melakukannya. Hal ini yang kurang disadari banyak orang. WoodMag: Apa dalam mendesain, anda gunakan kayu tropis? Luke Hughes: Tidak. Hingga hari ini belum pernah. Di Inggris ini, sekitar 30 tahun terakhir ada keenganan untuk menggunakan kayu tropis sebagai materialnya. Sekalipun harus diakui jika ada beragam spesies kayu tropis yang bagus. Saya harus belajar lebih banyak tentang itu. Jika saya menset-up studio di Singapura nantinya, maka kemungkinan menggunakannya akan lebih besar. Saya tidak tahu spesies kayu apa saja yang ada di Indonesia, tapi saya tahu tentang jati dan itu merupakan problem besar saat ini. Saya juga tahu begitu banyak perkebunan jati disana. Itu merupakan kabar baiknya WoodMag: Anda berencana membuka studio di Singapura? Luke Hughes: Ya. Saya sangat tertarik. Saya sudah bertemu di bulan maret dan ada pembicaraan yang serius setelah itu. Saya sangat antusias mengenai ini. Kuncinya adalah knowledge to do thing. Saya pikir anda hidup di kawasan dengan industri mebel yang luar biasa. Standarnya pun meninggi dalam 1015 tahun terakhir. Jika kita bisa menggabungkan kekuatan yang dimiliki masing-masing pihak, maka hasilnya juga akan bagus. WoodMag: Anda akan mendirikan pabrik di Asia? Luke Hughes:Tidak karena di Indonesia dan Vietnam sudah banyak berdiri pabrik mebel yang cukup bagus. Tapi Singapura merupakan tempat yang menarik banyak orang untuk datang ke sini. Kami sedang mencari mitra untuk bekerja sama. Sangat menarik. WoodMag: Kapan tepatnya? Luke Hughes: Sekitar enam bulan kedepan. Saya sudah berbicara dengan pengacara untuk tujuan itu, dan saya sudah bertemu dengan pejabat pemerintahan Singapura juga untuk tujuan yang sama. Saya juga berencana untuk mendidik dan melatih para desainer muda. Mereka terutama yang baru lulus cenderung melakukan theoritical practice, padahal ada beda besar ketika menempatkan konsep dalam proses produksi. Hal ini juga menjadi persoalan di Inggris. WoodMag: Anda akan mengelola sendiri? Luke Hughes: Tidak. Tapi saya akan datang dan pergi. WoodMag: Lantas bagaimana dengan persoalan mendesain? Luke Hughes: Saya merespon perminta-

Indonesia International Wood & Wood Machinery Show www.indonesiawoodshow.com

The Region’s Premier Destination for Wood, Woodworking Machinery & Wood Related Accessories and Components Business

11 - 14 March 2013 Jakarta International Expo

The WoodShow is exclusively organized by

In Conjunction with IFFINA

Supported by APKINDO Indonesian Furniture Industry and handicraft Association

Indonesia Chamber of Commerce (Permanent Committee on Forest Product)

Indonesian Sawmill and Woodworking Association

Asosiasi Panel Kayu Indonesia Indonesian Wood Panel Producers Association

APHI Ministry of Trade Ministry of Industry Republic Iof Indonesia Republic of Indonesia

State Ministry for CoMinistry of Forestry Department of operatives Small and Republic Iof Indonesia Foreign Affairs Medium Enterprises Republic Iof Indonesia Republic of Indonesia

www.indonesiawoodshow.com [email protected]

Association of Indonesian Forest Consession Holders

an pasar, ha, ha, ha.... Itu sebabnya saya bertemu dengan banyak orang saat ini. Maafkan saya kalau terlalu berterus terang. WoodMag: Lantas bagaimana keterkaitan antara desainer, arkitek dan craftmanship? Luke Hughes: Ya. craftmanship itu sangat penting hingga hari ini. Saya pikir arkitek dan desainer sudah terpisah jauh dengan craftmanship. Yang saya tahu adalah the best designer adalah desainer yang tahu bagaimana cara membuat sesuatu yang didesainnya. Jika tidak bisa maka mereka akan selalu mendapatkan persoalan. Pengalaman saya sebagai pembuat mebel adalah mereka ini sangat cerdas dan mencintai apa yang dilakukan. Desainer cenderung tidak memahami proses pembuatan itu sehingga tidak bisa meyakinkan para craftman untuk membuatnya. Ini butuh untuk dijembatani. Di Inggris, saya lihat kecenderungan desainer tidak cukup memahami proses produksi, jarang berkunjung ke workshop, dan enggan berkomunikasi dengan para craftman yang membuatnya. Arkitek lebih buruk karena mereka lebih terfokus pada persoalan beton dan baja. Mereka tidak berbicara dengan para pekerja trampil tentang konsep dan keinginan mereka akan sebuah produk. Andaikata mereka memahami maka akan lebih baik lagi hasilnya. Itu jika prosesnya dipahami. Saya punya sedikit komplain bahwa arkitek nyaris tidak memiliki pemahaman akan karakter kayu yang akan dipergunakan dalam desainnya. Ini seperti bagaimana menggunakannya, mengatasi persoalan kelembaban, memprosesnya dengan mesin-mesin produksi, dan cara memotong kayu yang cost-effective. Ini mungkin semacam pendekatan yang holitik sifatnya, tapi membuat saya terlihat terlalu romantik dalam membahasnya. Saya menemukan di Inggris craftman yang bagus biasanya cenderung memiliki workshop yang berskala kecil. Jumlah orangnya mungkin berkisar 20-30 orang. Mereka cenderung mengaplikasikan passion dalam mengerjakannya. Ini merupakan kerja yang benar-benar kreatif. Bandingkan dengan pabrik di China yang benarbenar besar dan sangat tidak personalized. Workshop di Italia juga sangat bagus dalam hal ini. Mereka tetap mempertahankan skala bisnis, namun menghasilkan kualitas yang luar biasa. WoodMag: Mungkin mereka berorientasi pada custom product dibanding-

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yang melihatnya. Anda tentu tidak mau ceroboh dalam meresponnya, dan harus mengintegrasikan dengan kebiasaan serta ekspektasi dari mereka yang tinggal di sana.

kan dengan harus mass product? Luke Hughes: Ada bahaya untuk berfikir semua produk harus massal dan harus mengisi penuh kontainer dengan segera. Be personal dan milikilah huge passion. Anda sekali waktu harus berfikir inikah gedung yang tepat untuk ditempati karya-karya puncak anda. Saat itulah anda butuhkan passion dan kesabaran yang besar. Mungkin ini didorong oleh sinisme saya terhadap kondisi di Eropa, yang mungkin terjadi nantinya di Asia. Apakah hal ini masuk akal bila terjadi di sini? WoodMag: Mungkin juga. Tapi di Indonesia lebih banyak usaha berskala kecil dan menengah dibanding dengan yang besar..... Luke Hughes: Teknologi mungkin lebih

relevan dengan persoalan ini. Anda butuh mesin produksi dengan ketepatan tinggi guna meningkatkan kualitas, tapi tetap membutuhkan craftmanship yang tinggi dalam memfinishingnya. A man with a tools. Atau anda akan kehilangan produk, dan kehilangan nilai tambah yang membuatnya berbeda dengan produk lainnya. Kalau anda lihat itu terjadi di China dengan pabrikan besarnya. Problem terbesarnya adalah kompetisi, dan harga is down, down and down. Dengan merespon pada bangunan, sebenarnya anda sudah membuat suatu statement. Anda bisa saja meletakan kursi plastik dalam ruangan sebuah hotel mewah atau gedung tua seperti westminter abbey. Bisa saja, tapi apa kesan yang timbul dibenak banyak orang

en | WoodMag: How do you design a product such as furniture? Luke Hughes: Luke Hughes: What was designed primarily is related to our specialty that is sensitive to design furniture with a piece of architecture. This is no longer just a product design. To me, this is more complex and closely related to the architecture of furniture. This is often overlooked by the designers of furniture. Furniture design should have responded to the building, and the humans who inhabit it. It is not a simple case of designing something that will later be produced at the plant. Furniture can be made from a variety of material, even a material that is permanently sustainable. We use wood material approximately 75% for our design. We tend to prefer to use American wood because of three reasons. First, it comes from the sustainable sources so it is easy to obtain. We are very convenient for this. Second, to design and to produce furniture involves issues junction, the structure and integrity. You cannot find the source of procurement of the correct timber because the moisture content does not exactly matter. It is also a matter of many immersions because of the undesired quality. What I found in American wood is as long as you buy a desirable quality and criteria, that is then what you get actually. We are also looking for sources of supply from Europe, but you have to select your own to get the desired quality. It’s very time consuming. To get the American wood as your wishes you did not have to do it, and I’ve been doing it for 30 years. It is something fun to having the reliable resources. My third reason is there are six species of American wood that I always use for long time; beech, cherry, walnut and oak. The supply and availability of species of oak, maple, cherry and walnut is pretty good though. American Cherry has actually a pretty good quality, compared to the same species from Europe. Frankly say, I do not know much about tropical wood. These kind of wood types are widely available, but I need to learn more to use it. What I do know during the design processing is the architects tend to use what they have known alone. There was barely room to experiment. I got an interesting thing when I was

travelling to Malaysia; there are plenty of rubber woods which are used there. In the last thirty years, the role and position of this timber is becoming stronger. Another interesting thing is the amount of harvested and replanted rubber woods, but I do not use it often. WoodMag: Have you ever experimented using it? Luke Hughes: Not yet recently. I will need it in the future. WoodMag: Then how is about the designing matters and its relation with the building? Luke Hughes: We do not only make the mass production. We also try to find solutions to the profile or shape of the building, which sometimes is very modern, yet sometimes very old. England has many old buildings which are aged 500 or 600-something years. That’s what makes us have to apply the different approach. We also worked for the modern office block. We have just completed a laboratory project in Cambridge, the Botanic Institute. The building was designed by an architect, Stan Williams, and it is a gorgeous building. The building will play an important role in the agricultural field in the future of this college. We used a lot of European oak and steel in its design. There is integrity between the furniture designs with the building design. This prompted a great interest in its exploration. WoodMag: What kind of exploration you did? Luke Hughes: There is a very complicated idea when an architect designs the building or room interior. They want to control the space/room. But it is more than just buying furniture from catalogs, everyone else then will see all the buildings are similar. This is the problem. We work closely with the architects. It’s the furniture designs that can reflect what is in the building. I’ll show you a picture (he turned on his i-Pad-red). This is a Botanic Institute building which the development is designed by the architect. This building is equipped with a botanical garden that is established in the 1900s. The development used a steel material, other than the American white oak wood. If we go into the building, there will be the uniformity of architectural ideas of the complement furniture. We will put a sofa to complement the overall design of the building once it is completed later. So everything will be fit and be a part of all building aspects. You see how much details are in it. When we view it closely, the furniture and the architectural design will be then speak-

ing the same language. This is Westminster Abbey Church in London. This old Church was built in the medieval era. This picture shows a wedding hall in a church, and its last situation before the renovation. There is a beautiful pavement in this hall, which its age already reached around 700-something years. Everything was made from decorated stones which are very beautiful. With this kind of floor, there is a height difference of about 32 millimeters, making this furniture is unstable and easily swayed. This also resulted in the damage to the decorative stones. We were asked to develop furniture which is made of American Tulip wood with the folding tip. To reduce the impact, then we design the tip with a magnet. The idea is there are four people sitting on a bench made of very light American walnut wood. It approximately weighs only about 60% of the oak wood. This is a result. These are magnets and the felt. This will provide a spring movement up and down so that dampens the shock. This furniture was first used in the Pope’s visit to England. It is used afterwards in the royal wedding procession last year. This is a very different approach; this is what we call about how to respond to the building instead of designing products. WoodMag: Is it what you said about the sustainability? Luke Hughes: Yes. One of them is this furniture will last a hundred years later. The wood will lock the carbon in it for hundreds of years of use. It’s one of crucial things. The material also comes from the sustainable sources. The building was also designed for fifty to one hundred years in the expectation. If you are designing furniture for the corporation then you must be very lucky if it will be used for ten years. That was before they throw it away. WoodMag: So, this is about taking control the spaces and responding to the building, isn’t it? Luke Hughes: Yes. Taking control the space is very important matter. We also design products but we design as a response as well to the building. A different response is coming when we designed the spa area in a luxury hotel room. All areas in this hotel need a specialty in the design. To satisfy the needs, we use American walnut. There is an absolute necessity of privacy in the relaxation area. This is related to ergonomic issues, how the hotel room is trying to make it very differently, and make more money as well from the room. So the to-

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Biz News tal different furniture is also necessary. These are all complex ideas, instead of discussing how to design furniture as expected. This is then how to respond to the building. Currently, the technology is far more developed than about 30 years ago. Before, if you want to create products in bulk you need then the whole process of the industry rolls at the same time. At present, with the help of computer you can make it done more quickly and at lower cost. The thing needed is how to set it out nicely so that we can produce such a desirable product. WoodMag: How then you integrate the design into the production process itself? Luke Hughes:Yes, at the same time you are in desperate need of craftsmanship. It would be difficult to imagine how things will be produced without them. You need them because they know exactly what to do in order to generate products such as you want to. The greatest threat is that we do not train well these skilled workers. I think the phenomenon in London and Asia also shows the hazard of the decrease of these skilled workers. Currently they are very much dominated by elder skilled workers compared to the younger one. There is a hazard as well when relying on computers to do so. This is what is not realized by many people. WoodMag: Do you use tropical wood in designing furniture? Luke Hughes: No, I have not used it until now. In UK, there is a reluctance to use tropical wood as a material during these last 30 years. It must be admitted though if there are multiple species of excellent tropical wood. I have to learn more about it. If I set up a studio in Singapore afterwards, then it is way so possible to use it. I do not know what species of wood are there in Indonesia, but I heard about the teak tree and it is a big problem nowadays. I also heard that there are so many teak plantations in Indonesia. That is good news. WoodMag: Do you plan to set off a studio in Singapore? Luke Hughes: Yes. I am very interested. I’ve met some people in March and we had a serious conversation afterwards. I am very enthusiastic about this. The key is the knowledge to do thing. I think you live in an area of the exceptional furniture industry. The standard also rose in the last 10-15 years. If we can combine the strength of each party, the result will then be nice as well.

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WoodMag: Will you build a plant in Asia? Luke Hughes:No, I won’t. As in Indonesia and Vietnam there are already a lot of outstanding furniture factories. But Singapore is a place that attracts many people to come. We are looking for partners to cooperation. It is very interesting. WoodMag: When will it be exactly? Luke Hughes: About six months later. I have spoken to a lawyer for that purpose, and I’ve met with Singapore government officials as well for the same purpose. I also plan to educate and train young designers. The fresh graduates are especially likely to pass a theoretical practice, yet there is a big difference when putting the concept in the production process. It is also a problem in UK. WoodMag: Will you then manage it by yourself? Luke Hughes: No, I am going back and forth. WoodMag: How is about the design matter? Luke Hughes: I respond to the market demand, ha ha ha... That’s why I met many people recently. Excuse me if it’s too straightforward. WoodMag: How is then the relation among designer, architect and craftsmanship? Luke Hughes: Yes. Craftsmanship is very important even today. I think both architect and designers are far apart with the craftsmanship. All I know is the best designer is a designer who knows how to generate something from his/her design. If they don’t have any idea about it, then they will always get the question. In regard to my experiences as a furniture maker, they are all very intelligent and loving what they do. Designers tend to not understand the making process so they cannot convince the craftsman to bring their design into reality. This needs to be solved. In England, I see the designers who do not quite understand the production process, they go rarely to a workshop, and they are reluctant to communicate with the craftsmen who materialize the design. The architect’s even worse because they are more focused on concrete and steel issues. They do not talk about the concept and their desire of a product to the skilled workers/craftsman. If they could understand the result will be then even better. That if the process is understood. I have a few complaints about the architect who doesn’t have an understanding on the character of the wood

to be used in design. Like how to use it, to overcome the moisture problem, to proceed it with the production machineries, and the cost-effective wood cutting. This needs maybe a kind of holistic approach, but it makes me look way too romantic when we discuss about it. I found that qualified craftsmen in UK tend to have a small workshop. The number of worker may range from 2030 people. They tend to apply the passion of doing it. This is absolutely a creative working. Compare with factories in China that are really big and much less personal. Workshop in Italy is also very good at it. They still retain the scale of business yet produce the exceptional quality. WoodMag: Might they be oriented more to the custom product than to the mass product? Luke Hughes: It is a harmful way to think that all products should have been in form of mass products and it should be filled containers immediately. Be personal and have a huge passion. Once at a time you should think, is this the right building to be occupied by your masterpiece works? That’s when you need passion and great patience. Perhaps my cynicism is fueled by the conditions in Europe, which may occur later in Asia. Does this make sense happening on here? WoodMag: It could be. But Indonesia has more small and medium scale businesses than the big scale one… Luke Hughes: The technology may be more relevant to this issue. You need a high-precision production machine in order to improve the quality; still it requires high quality of craftsmanship when it comes to finishing stage. A man with a tools. Otherwise you will lose the product and the added value that makes it different from other products. If you can see, it happened in China with the big manufacturers. The biggest problem is the competition, and the price is getting down, down and down. By responding to the building, you actually have made a statement. You can just put a plastic chair in the room of a luxury hotel or old buildings such as Westminster Abbey. Yes you could, but what kind of impressions that can be popped up from the people who see it. You certainly do not want to be careless in responding this matter, and you must integrate with the habits and expectations as well of those who live there.

New Era for Indonesia’s Timber Governance:

Launch of Timber Legality Verification Information System to Reform Timber Governance and Bureaucracy and to Stop the Trade of Illegal Timber

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imber Legality Verification Information System (LIU-License Information Unit) is launched today, August 1, 2012, at the Auditorium of the Manggala Wanabakti Building. This launch marks the government’s efforts in improving the country’s timber governance and bureaucracy reform that will ensure the system’s credibility, transparency, accountability and friendliness towards businesses. Minister of Forestry Zulkifli Hasan and Coordinating Minister for Economic Affairs Hatta Radjasa are scheduled to attend this event. The brainchild of six ministries (Ministry of Forestry, Ministry of Trade, Ministry of Industry, Ministry of Finance, Ministry of Foreign Affairs and the Coordinating Ministry for Economic Affairs), this Timber Legality Verification Information System (or SVLK for short) also affirms the seriousness of the Government of Indonesia to combat illegal logging practices and promote the country’s legal timber to the world. Diah Raharjo, Director of the MultiStakeholder Forestry Programme (MFPKehati), explains, “For export purposes, industries that have already obtained SVLK certificates will attach verified legal (V-Legal) documents stating that the timber products they are exporting have already met timber legality verification standards pursuant to the provisions of the relevant laws and regulations as well as ensuring that their timber and timber products come from sources of raw materials of legal origin. “The V-Legal documents and SVLK certificates are an important instrument in restructuring the country’s forests governance including the governance of forests encumbered with rights and those under the control of small and medium enterprises,” she adds. To start off, the government, which in this case is the Ministry of Forestry,

has applied the Standards and Guidelines for Assessing the Sustainable Production Forest Management and Timber Legality Verification Performance of License Holders and Owners of Forests Encumbered with Rights, as stated under the Regulation of Minister of Forestry No. P.38/ Menhut-II/ 2009 jo. No. P.68/ Menhut-II/ 2011 and its implementing guide. In response to the Timber Legality Verification System (SVLK), the Ministry of Trade is also amending the Regulation of the Minister of Trade No 20/ 2008 which regulates the country’s timber export licensing policies. The revision process is entering the final stages of consultation and the amendment to the regulation will soon be adopted to provide certainty to the government’s policies on the export of legal timber. As with Timber Legality Certificates, V-Legal Documents shall also be published by Verification Bodies that have been accredited by the National Accreditation Committee (KAN). Exporters of forestry industry products shall make an application for the issuance of V-Legal documents to Timber Legality Verification Bodies (LVLK) which will, after carrying out a verification and inspection process, issue V-Legal documents to applying exporters qualified for the documents. V-Legal documents contain information about the type and volume of timber products to be exported, the country of destination and other information. With the assistance of MFP-KEHATI, the Ministry of Forestry is developing an online management information system for the issuance of V-Legal documents that will be ready for operation in late 2012. This system will be run by the Timber Legality Verification Information Management Unit or the License Information Unit (LIU) which is based at the Directorate General for the Develop-

ment of Forestry Businesses of the Ministry of Forestry. This online system will replace the endorsement mechanism for the export of timber and timber products by the Forestry Industry Revitalization Body (BRIK). This Timber Legality Verification Information System is also directly connected to the INATRADE system at the Directorate General of Foreign Trade of the Ministry of Trade and will lead to the portal of the Indonesian National Single Window (INSW) System at the Directorate General of Customs and Excise of the Ministry of Finance for export registration. This system would also allow the customs departments of export destination countries to obtain certainty or clarification of the legality of timber from Indonesia. “The existence of LIU proves the seriousness of the Government of Indonesia to reform the country’s timber governance, to reduce illegal logging and to facilitate the industry including small industries,” says MS. Sembiring, Executive Director of the KEHATI Foundation. He adds, “We will continue to support the efforts of the Government of Indonesia through our future programs.” As part of the launch of the Timber Legality Verification Information System, a variety of sub-events under the theme of the Governance of Indonesian Timber and Timber Products through the implementation of SVLK will also take place, including a photo exhibition on the sequence of events leading to the preparation and finally the implementation of SVLK, negotiation for cooperation on Forest Law Enforcement, Governance (FLEG) and Voluntary Partnership Agreement (VPA) with the European Union, and the introduction of SVLK to businesses, sub-national forest services and local governments.

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Biz News and unexpected ways of experiencing the world. During their architecture residency at the Victoria and Albert museum they studied the original drawings of the now demolished ‘Elephant & Castle’ public house in Lambeth. The designs, by the architect Albert A. Webbe, reveal a mixed used building divided up into three main areas: a ‘public’ space for drinking; ‘private’ areas for the pub’s regular patrons, who used the watering hole as an extension of their home and office, and a large space that was used for group meetings and community events. Combining historical precedent with research into how contemporary ‘workstyles’ are evolving, Wallpaper* magazine invited aberrant architecture to design a new pub table that in addition

and lock the lid. Work and its associated mess are banished, safely stored, out of site and out of mind. If it’s time to relax, place the removable drawer onto the table surface, arrange the skittle shaped office organisers &hook the brass ball and chain onto the light. An impromptu game of ’Devil amongst the Tailors’ can now be enjoyed. For Kevin Haley of aberrant architecture “This unique commission allowed us to further our research into contemporary lifestyles and flexible working conditions at the challenging scale of a table. Working closely with Wallpaper*, Benchmark and AHEC during both the design development & production stages produced a creative collaboration, which we believe resulted in a far richer process and an unexpected & exciting end product.” Using the very best of English crafts-

beautifully with the brass foot rail. The maple was beautifully consistent and almost paper white. The cherry wood was a joy to use again. We used to make so much of our furniture in cherry wood and over recent years it seems to have been less fashionable so I hope that we will now see the start of a return to this fabulous mid-coloured fruit wood. The tables were made by Sam Foster-Smith who is an outstanding craftsman of 35 years experience. He has handcut all the mortice tenon joints and dovetails and the end result are outstanding examples of craftsmanship.” Perhaps the most innovative and exciting aspect of this project is that with Benchmark’s help, AHEC has documented all elements of the manufacturing process and will be putting this together with life cycle data recently collected

to supporting the typical pub activities of drinking and eating, is specially considered to provide the modern nomadic worker with enhanced productivity, a sense of belonging and opportunities to interact with their fellow workers. The table represents the growing demand for temporary office space outside of the home. For many, office blocks are a thing of the past and an increasing number of nomadic workers roam London in search of welcoming workspaces. Named ‘Devil Amongst the Tailors’, after a traditional table-top skittles pub game, the table boasts a luxurious surface in ash or maple for entertaining, a brass foot rest for putting your feet up and combines a series of specific functions. Lifting up the lid reveals a private work surface, boasting skittle shaped office organisers for storing pens & paperclips and a task light that fixes to the table’s numberplate. Want to stop for lunch, have a meeting with a client or simply go for a cigarette? Simply close

manship and beautiful sustainable American hardwoods, the tables have been handmade by Benchmark using traditional cabinet making skills including dovetailing and mortice and tenon joints. Time and attention has been given to the sourcing of all materials which have been chosen for their origin and authenticity. The very best pieces of cherry, maple, walnut and ash were selected for their perfect grain and finish. The bespoke metalwork, made from silver patinated brass, including foot rails, handles, locks and brass drawer linings hand engraved to house the skittles has been sourced from Birmingham, home of traditional artisan metalworking skills. Sean Sutcliffe, Director of Benchmark says “The pub tables we made for the Handmade show curated by Wallpaper* were a delight to make. We were able to select some really outstanding examples of all four species of hardwood we used. The walnut gave the piece an intense richness which worked very

from the American hardwood industry to produce a full ‘cradle-to-grave’ life cycle impact report for the tables. Says David Venables, “This will be a first for our industry and we believe that this kind of transparent and scientifically based information is essential to enable manufacturers and designers to make an informed decision when it comes to the question of sustainable design.” Tony Chambers, Editor-in-Chief of Wallpaper*, says: “Handmade is a testimony to great design, talent and ideas, and the determination to achieve the extraordinary. We are once again celebrating beautiful new friendships and beautiful new things.” ‘Devil Amongst the Tailors’ is not only a cleverly researched and playful table, it is a demonstration of the very best teamwork, craftsmanship and sustainable design, and is a highlight of this year’s exhibition.

Devil

Amongst the Tailors

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ollowing on from the success of last year’s Handmade exhibition, the international and influential style magazine Wallpaper* returned to the Brioni Palazzo for this year’s Salone del Mobile in Milan to showcase specially commissioned works and oneoff collaborations between the world’s best designers and craftsmen for their summer ‘Handmade’ issue. The American Hardwood Export Council (AHEC) was invited to collaborate with Wallpaper*, aberrant architecture and Benchmark, bringing together the very best of materials, innovative

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design and craftsmanship. American ash and walnut and American maple and cherry are the principal materials of two pub tables named ‘Devil Amongst The Tailors’ designed by aberrant architecture and made by Benchmark. AHEC has played an advisory role on timber suitability, aesthetics and sustainable design. There are over 20 commercial U.S. hardwoods species that offer a huge variety of colour, grain and character, and aberrant’s tables ‘Devil Amongst the Tailors’ showcase this palette of colours and textures. Black walnut and ash combines to suit

a darker environment, such as a private members club or public houses, and a combination of cherry and maple allows the second table to happily work in brighter spaces such as hotel lobbies or boutique cafes. “We are really pleased to be taking part in Handmade again this year” says AHEC European Director David Venables. “The concept and design of ‘Devil Amongst the Tailors’ is excellent, the tables are beautifully made and demonstrate the versatility of U.S. hardwoods. ”aberrant has become known for insightful researched projects that challenge perception and introduce new

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Biz News

Trend towards green material choices making strides in Asia

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ore than 400 delegates from a wide spectrum of industries and professions globally ranging from architecture, engineering and interior design to furniture manufacturers, designers and suppliers have given the thumbs-up to the use of eco-friendly timber. Their endorsement came after enlightening presentations from a panel of seven world-renowned expert speakers – hailing from Europe, the US and Asia advocating the benefits of using truly green materials in buildings and furniture. The presentations were made at the American Hardwood Export Council’s (AHEC) 17th Southeast Asia & Greater China Convention which was held in Singapore for the first time. It was coorganised with the Singapore Furniture Industry Council (SFIC) and Singapore Institute of Architects (SIA) on June 14 at St Regis Hotel, Singapore. At the convention, the audience learned that wood from sustainable resources such as the United States is a naturally green material which can create a better global environment – besides being recyclable and renewable, wood releases less effluents during its manufacturing process than other major building materials, requires less energy, insulates better and stores carbon. To help demonstrate these benefits in an objective, measurable manner, AHEC also released the results of a robust Life Cycle Assessment (LCA) study which focused on a science-based approach towards the global environmental impact of design materials. The distinguished speakers and expert panel for the event included: • Mr Michael Snow, Executive Director, American Hardwood Export Council (USA) • Mr Rupert Oliver, Director, Forest Industries Intelligence Limited (UK) • Mr Luke Hughes, Founder, CEO and Principal Designer, Luke Hughes and Company (UK) • Mr Tony Chi, Founder and Presi-

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dent, tony chi and associates (USA) Ms Carol Bentel, Partner, Bentel & Bentel Architects (USA) Mr Andrew Lawrence, Associate Director, Arup Advanced Technology & Research Group, London (UK) and Mr James Greaves, Senior Partner, Hopkins Architects (UK) as well as those on the discussion panel that was comprised of: Mr. Chen Bo Guan, vice president of China National Furniture Association Mr. Ambar Polah, Chairman of Indonesia Furniture Industry and Handicraft Association (Asmindo) Mr Lor Lean Sen, Secretary General of Malaysia Furniture Industry Council (MFIC) Mr. Ernie Koh, Vice President of International Business Development of Singapore Furniture Industries Council (SFIC) Mr. Jirawat Tangkijngamwong, secretary general of Thai Furniture Industries Association Mr. Huynh Van Hanh, Vice Chairman of Handicraft & Wood Industry Association of HCMC (HAWA) Mr. Nicolaas K. de Lange, National President of Chamber of Furniture Industries of the Philippines

Mr. Luke Hughes, who has designed for major public buildings in the Unitied Kingdom, highlighted the current low usage of wood by architects and designers, “This is not a problem that exists only in Asia. It applies to Europe and US as well. This is mostly due to the lack of education or training. For instance, diploma courses in the region now have barely any mention of wood. We need to educate future architects and designers on the benefits of wood especially hardwood so as to encourage the wide adoption of wood as the naturally green

material to create a better global environment to live in, not only for us but to sustain it for our furture generations. The AHEC convention is one such much needed platform to share the green benefits of wood. ” One of the participants of the convention – a leading Singapore furniture manufacturer – Mr James Koh, Deputy Chairman and Managing Director, Koda Ltd, said “ AHEC’s LCA study has provided furniture manufacturers like us with very enlightening and useful findings which give a clearer picture of the environmental profiles of American hardwoods. It will enable furniture manufacturers/businesses to be more informed when choosing truly green materials for their products and to better meet the more stringent export regulations on timber to world markets such as the European Union (EU).” Commenting on the success of event, AHEC’s Executive Director, Mr Michael Snow said, “ We are motivated by the strong support from industry players locally and regionally especially those who traveled to Singapore specifically to attend this event. This is definitely an encouraging sign as AHEC plans to seal more collaborations with like-minded partners and to organise more such initiatives in Asia.“ In his presentation at the conference, Mr Snow outlined the results of AHEC’s recently completed Life Cycle Assessment (LCA) project, the largest and most comprehensive ever undertaken in the international hardwood sector. The study which adopted a science-based approach, showed that wood outperforms all other building products, particularly from a ”carbon footprint” perspective. Mr Snow, added, “With Singapore well-regarded as a major Asian hub for design and green building developments, we are optimistic that the conference will generate greater interest and translate into higher demand for American hardwood in the coming years. “ Both SFIC and SIA which have worked with AHEC for the past 20 years,

support the more extensive use of ecofriendly hardwood in Asia. Mr Theodore Chan, president of the Singapore Institute of Architects said, “ We intend to explore more government support to incentivise architects and building professionals to incorporate eco-friendly hardwood for green buildings. More programs to educate the use of green certified materials and products are also necessary to catalise the process to green 80% of exisiting buildings by 2030.” Mr James Goh, president of SFIC

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agreed, saying, “ There is definitely the need for more education and assistance for furniture manufacturers to adopt eco-friendly production methods including the use of truly green materials such as American hardwood, so that they can meet the more stringent EU regulatons on timber products. We will continue to encourage greater green consciousness among our members and work with AHEC on projects and initatives to propel the industry to greater heights.” Noting the favorable feedback and

support from the Convention, Mr John Chan, Regional Director of AHEC Southeast Asia & Greater China said, “AHEC has plans to intensify our education and promotion efforts in Asia including orgaining more events, participating in industry activities, exhibitions as well as forums and speaking platforms. We will also explore collaborations with relevant government agencies such as Building & Construction Authority to further AHEC’s green advocacy.”

PEFC Chair Receives Eleanor Roosevelt Human Rights Award

oday PEFC Chair, William Street, received the Eleanor Roosevelt Human Rights Award for his efforts on behalf of IKEA’s workers in Danville Virginia, USA. bill-bigThe award is bestowed by an independent NGO, American Rights At Work and recognizes those who advance human rights for workers. Bill shares the award with Per-Olof Sjöö, President of the Swedish Union, GS. “PEFC is honored that our Chair has received this recognition,” announced PEFC Secretary General, Ben Gunneberg. “It comes as no surprise to us who work with Bill on a regular basis. During his term as PEFC Chair we have strengthened and clarified some of our fundamental core values pertaining to the social aspects of sustainable forest management. From the top down PEFC is today a leader in social standards thanks to Bill’s guidance.” “PEFC has a Board that is gender and geographically balanced, with a wide range of representatives from indigenous peoples’ organizations, NGO’s, small family forest land-owners and of course labor unions. I look forward to continuing to advance the notion that people are at the center of sustainable forest management. I am also pleased that Bill is the sole nominee to continue another three year term as Chair of PEFC,” he said. “It is indeed an honor to be recognized for this work,” said William Street. “There are many commonalities between promoting humans rights for

workers and the work of PEFC. As a voluntary non-profit independent forest certification organization dedicated to a bottom up approach I have had the pleasure to watch our newest members like the Malaysian Timber Certification Scheme embrace the fundamental ILO core labor standards and require them even when their national legislation does not. PEFC forest certification can be an important tool to advance human rights for those who live and depend on forests. I am proud of PEFC’s work in this area and expect it to continue to build the capacity of and help forest dependent families for decades to come. However it is the Swedwood workers who deserve the credit since they took the risks. ” Background American Rights At Work is an independent NGO dedicated to promoting human rights through advocacy and recognition of activities that promote free choice, freedom of association, and the right to bargain. They have issued the Eleanor Roosevelt Human Rights Award for 8 years. The Award honors the human rights work done by Eleanor Roosevelt throughout her life. Eleanor Roosevelt was Chair of the UN Commission on Human Rights that on 8 December 1948 lead to the adoption by the UN of the Universal Declaration of Human Rights. Article 23 of the Declaration recognizes that favorable conditions at work and protection against unemployment, equal pay for

equal work, and a living wage are required for human dignity and are fundamental human rights. It also specifically cites the right to join trade unions as necessary for human rights. Biography William Street is Chair of PEFC, the world’s largest forest certification system located in Geneva Switzerland. Bill is also the Chief of Staff of the Woodworkers Department of the Machinists Union – IAMAW. Prior to that he was Director of the Global Wood and Forestry Program for Builders and Woodworkers International, the global union federation in Geneva, Switzerland responsible for construction, wood, and forestry unions. Mr. Street has a Master’s of Science Degree from the University of Oregon and a Bachelor of Arts from Mansfield State University in Pennsylvania. As a lifelong advocate for social justice, Bill has been involved in the civil rights struggle and the anti-war movement in the US as well as advocating for public employees as a labor market economist member of SEIU Local 503 and as Director of Research for the International Woodworkers of America. He has also written on the subjects of poverty and forestry. Bill is married to Bridget Downey and has two sons, Samuel and Matthew Street. He was raised in Perkasie, PA and now resides in Milwaukie, OR. USA

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Biz News

NHLA well represented at AHEC’s 2012 first Convention in Singapore

and heat treatment facilities. The new NHLA KD Certificates have already been approved by some countries including Vietnam and there has been preliminary acceptance from the EU. Dana Spessert, explained the process and requirements for the new certificate in which Plant Processing Manuals will be a requirement including a description of the species. Kiln Drying Certification includes proof of segregation of kiln dried and green lumber. Records must be kept for 3 years. Clip IDs will be provided by NHLA and that number must go on the certificate and tally with the lumber. Audit Procedures were explained to delegates, that program participants must be inspected monthly for their kiln treatment records; moisture testing records; segregation etc. Countries accepting the NHLA certificate are Australia (but at a higher temperature), Brazil, Mexico, Vietnam and the EU. The latter has passed a sub-committee review and full approval is expected autumn 2012. All delegates received a copy of the newly published American Hardwood Supplements in English and Chinese featuring a two page spread on NHLA’s expanding international influence and details of the NHLA Chicago Convention. One of the lasting images for members visiting Singapore for the first time was the welcome party at Ku De Ta high above the Singapore waterfront showing off the spectacular development of this small Southeast Asian Nation.

Press Release: Over 400 delegates from all over Asia and the USA attended the Convention aimed at delivering the positive environmental message of American Hardwoods to Asian markets. NHLA was represented by Director of Communications Renee Hornsby and Chief Inspector Dana Spessert.

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ix keynote speakers presented papers on American hardwood under the theme ‘American Hardwood and Green Design – Life Cycle Assessment and the True Environmental Impact of Material Choice’ on the 14th June at a packed Convention. Michael Snow, Executive Director of AHEC and Rupert Oliver, Director of Forest Industries Intelligence, provided a detailed progress report of AHEC’s Life Cycle Assessment (LCA) study. They presented the latest data showing the lighter carbon footprint of American

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hardwood exports, based on scientific data as the precursor to developing Environmental Product Declarations (EPDs) for all American species shipped to Asian destinations. During the Afternoon Breakout Session for AHEC members and trade representatives, Dana Spessert reported on NHLA’s KD Certification Scheme. Ted Rossi introduced and explained the US government’s APHIS (Animal & Plant Health Inspection Programme) which is primarily to protect US agriculture. APHIS certificates have become increas-

ingly difficult to obtain for many reasons including government cutbacks and can often lead to missed shipments. APHIS has issued a Memorandum of Understanding for NHLA to work as an administrator in the processing of an alternative to the APHIS certificate, the NHLA Certification of Kiln Drying Sawn Hardwood Lumber Program. Under the APHIS – approved program, NHLA is using a third party organisation Timber Products Inspection (TPI), which already monitors softwood, to verify the process. TPI will be inspecting kiln drying

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“Rempah RumahKarya”

empah rumahkarya merupakan wadah bagi para professional dalam komunitas-komunitas kreatifnya masing-masing terdiri atas himpunan tenaga ahli, desainer, arsitek, seniman, wiraniaga maupun profesional lainnya yang peduli akan kemajuan bangsa dengan ide-ide dan pemikiran yang berorientasi pada pemberdayaan lokalitas untuk saling berbagi dan bersinergi dalam tindak nyata. Rempah rumahkarya memiliki visi “tuk ing omah sumrambah” (house of oasis) yang artinya rumah dengan semangat gotong royong menjadi sumber inspirasi, inovasi, kreativitas, dan pemberdayaan dalam meningkatkan

kualitas produktivitas (terukur) untuk meningkatkan kesejahteraan bersamaan. Untuk lebih memperkenalkan rempah rumahkarya kepada masyarakat kami bermaksud untuk mengadakan acara syukuran satu tahun perjalanan. Menandai satu tahun tersebut, rempah rumahkarya melakukan prosesi peletakan batu pertama pembangunan gapura untuk masyarakat sekitar. Selain itu ada pula launching rempahshop. Rempahshop bergerak dalam bidang pemasaran retail produk dan juga bagian dari divisi rempah rumahkarya. rempahshop merupakan sebuah entitas usaha sebagai salah satu upaya pemasaran yang dirancang un-

tuk menunjukan kepada masyarakat mengenai kreativitas dan inovasi hasil karya anak bangsa yang tergabung di dalam ‘Rempah Community Engagement‘ sebagai bangsa perajin dengan keanekaragaman budaya yang tinggi sehingga bisa menghasilkan produk yang berkualitas dan lebih mendekatkan hasil-hasil karya tersebut kepada masyarakat. rempahshop secara resmi akan meluncurkan shop online (www. rempahshop.co) dan offline secara bersamaan . Seluruh rangkaian acara akan diselenggarakan pada tanggal 9 Juli 2012 mulai pukul 15.00 WIB dan bertempat di rempah rumahkarya (Desa Tegalmulyo RT 02/RW 04, Gajahan, Colomadu, Jawa Tengah).

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Biz News

S

Era Baru Tata Kelola Kayu Indonesia

istem Informasi Verifikasi Legalitas Kayu (LIU-License Information Unit) akan dicanangkan pada Rabu, 1 Agustus 2012, di Auditorium Manggala Wanabakti. Pencanangan ini menandai upaya pemerintah dalam perbaikan tata kelola kayu Indonesia dan reformasi birokrasi yang akan menjamin kredibilitas sistem, transparansi, akuntabilitas dan ramah kepada pelaku usaha. Sistem Informasi Verifikasi Legalitas Kayu ini merupakan kerja sama yang melibatkan Kementrian Kehutanan, Kementrian Perdagangan, Kementrian Perindustrian, Kementrian Keuangan, Kementrian Luar Negeri dan Kementrian Koordinator Bidang Perekonomian ini sekaligus menegaskan keseriusan pemerintah untuk memberantas praktek illegal logging dan mempromosikan kayu legal Indonesia pada dunia. Diah Raharjo, Direktur Multistakeholder Forestry Programme (MFP-Kehati) menjelaskan “Untuk tujuan ekspor, industri yang telah mengantongi sertifikat SVLK akan melampirkan Dokumen VLegal yang menyatakan bahwa produk kayu tersebut telah memenuhi standar verifikasi legalitas kayu sesuai dengan ketentuan peraturan perundang-undangan dan menjamin bahwa kayu dan produk kayu tersebut berasal dari sumber bahan baku yang legal”. “Dokumen V-Legal beserta sertifikat SVLK merupakan satu instrumen penting dalam pembenahan tata kelola kehutanan, termasuk bagi pengelolaan hutan hak dan usaha kecil menengah.” Upaya pemerintah diawali dengan pemberlakuan Standar dan Pedoman Penilaian Kinerja Pengelolaan Hutan Produksi Lestari dan Verifikasi Legalitas Kayu pada Pemegang Izin dan Pemilik Hutan Hak oleh Kementerian Kehutanan, sebagaimana tertuang dalam Peraturan Menteri Kehutanan Nomor P.38/Menhut-II/2009 jo. No. P.68/ Menhut-II/2011 dan petunjuk pelaksanaannya. Merespon kebijakan Sistem Verifikasi Legalitas Kayu (SVLK) tersebut, Kementerian Perdagangan juga melakukan revisi Permendag 20/2008 yang mengatur kebijakan perijinan ekpor kayu. Proses revisi tengah memasuki masa konsultasi tahap akhir dan akan segera ditetapkan guna memberi

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kepastian dalam kebijakan ekspor kayu legal. Seperti halnya Sertifikat Legalitas Kayu, Dokumen V-Legal juga diterbitkan oleh Lembaga Verifikasi yang telah terakreditasi Komite Akreditasi Nasional (KAN). Eksportir produk industri kehutanan mengajukan permohonan penerbitan Dokumen V-Legal kepada Lembaga Verifikasi Legalitas Kayu (LVLK) yang setelah melalui proses verifikasi atau inspeksi akan menerbitkan dokumen V-Legal bagi eksportir tersebut. Dokumen V-Legal berisi informasi mengenai jenis dan volume produk kayu yang akan diekspor, negara tujuan serta informasi lainnya Dengan fasilitasi MFP-KEHATI, Kementerian Kehutanan sudah mengembangkan sistem online pengelolaan informasi terkait penerbitan Dokumen V-Legal yang siap dioperasikan di akhir tahun 2012. Sistem ini akan dijalankan oleh Unit Pengelolaan Informasi Verifikasi Legalitas Kayu atau Lincense Information Unit (LIU) yang berpusat di Direktorat Jenderal Bina Usaha Kehutanan Kementrian Kehutanan. Sistem online ini akan menggantikan mekanisme endorsement ekspor kayu dan produk kayu oleh Badan Revitalisasi Industri Kehutanan (BRIK). Sistem Informasi Verifikasi Legalitas Kayu ini juga langsung terhubung dengan sistem INATRADE di Direktorat Jenderal Perdagangan Luar Negeri, Kemendag dan akan bermuara pada portal Indonesian National Single Window (INSW) di Ditjen Bea dan Cukai Kementerian Keuangan untuk pendaftaran ekspor. Sistem ini juga memungkinkan pihak kepabeanan negara tujuan ekspor untuk memperoleh kepastian atau klarifikasi atas legalitas kayu dari Indonesia. “Adanya LIU ini membuktikan keseriusan Pemerintah Indonesia untuk mereformasi tata kelola kayu, mengurangi illegal logging dan memudahkan pelaku industri termasuk industri kecil”, ujar MS. Sembiring, Direktur Eksekutif Yayasan KEHATI. Lanjutnya, “Kami akan terus mendukung upaya Pemerintah Indonesia ini melalui program-program kami kedepan”. Dalam rangkaian acara pencanangan Sistem Informasi Verifikasi Le-

Malaysian Timber Council Turns 20

galitas Kayu dilakukan pula berbagai acara dengan tema Tata Kelola Kayu dan Produk Kayu Indonesia melalui Implementasi SVLK yang diwujudkan melalui pameran foto perjalanan penyusunan dan implementasi SVLK, negosiasi kerjasama FLEGT VPA dengan Uni Eropa, dan sosialisasi SVLK kepada pelaku usaha, dinas kehutanan dan pemerintah daerah.

NATIONAL HARDWOOD LUMBER ASSOCIATION (NHLA) The National Hardwood Lumber Association, the oldest and largest hardwood trade association, will return to its roots in Chicago, Illinois for the 115th Annual Convention & Exhibit Showcase. For more than 114 years, the NHLA Annual Convention has been the hardwood industry’s premier event; drawing on average, thousands of industry leaders and decision makers from around the world to “the global gathering of the hardwood community.” Attendees will come together to learn, network, and gain valuable insight to improve the course of their company’s future success. The annual convention offers Education Seminars, Keynote Speakers, 3-Day Exhibit Showcase, Networking, Meetings and Gatherngs. A complete list of all events and online registration can be found at www.nhlaconvention. com

The MGW 2012 Signing Ceremony saw an impressive line-up of international participation from the French, American and Malaysian exhibitors.

MTC CEO, Cheah Kam Huan (Right) and Minister of Plantation Industries & Commodities Tan Sri Bernard Dompok (Centre) checking out some wood display at the French Timber booth. Looking on is by French Timber CEO, Jean Francois Guilbert.

T

he Malaysian Timber Council (MTC) today celebrates its 20th anniversary with a look back at two decades of milestones built on the achievement of programmes that have shaped the country’s timber industry landscape to help make it a leading global player in the manufacturing and trading of timber products. Recognising the importance of the timber industry in Malaysia’s socio-economic development, the then Ministry of Primary Industries, together with the industry established MTC in 1992. MTC has come a long way since its initial days of mainly countering the anti-tropical timber campaign to its current portfolio of promoting Malaysian timber and timber products overseas, global ‘green’ advocacy work, facilitating technological advances, and supplementing raw material supply for the industry. Themed “Malaysian Timber Council:

82% of the exhibitors rated the MGW as good/excellent compared to other trade shows.

20 Years of Creating Value”, the Anniversary Dinner held at Double Tree Hilton in Kuala Lumpur was graced by the Deputy Minister of Plantation Industries and Commodities, Y.B. Dato’ Hamzah bin Zainudin. The highlight of the dinner was the launch of MTC’s 20th Anniversary Book. The hard-cover book contains 132 pages of photographs and articles documenting the Council’s significant events and developments of the past 20 years. Speaking at the dinner, Dato’ Hamzah congratulated MTC on its 20th Anniversary. He reflected upon the raison d’etre for MTC’s establishment, and noted how the Council’s programmes, from its raw material importation to trade promotion, and from its strategies to promote technology among the timber industry members to its communications programmes, have benefitted the industry.

Dato’ Hamzah also highlighted that over the last two decades, the industry has made an impressive transition into an exporter of value-added products which is reflected in the country’s timber export performance. From exports of predominantly upstream timber products valued at RM10.5 billion in 1992, exports have almost doubled to RM20.5 billion in 2011, with downstream timber products such as wooden furniture contributing more than 30% to the total exports. He advised, however, that agencies like MTC and “the industry must put in greater efforts to meet the targeted projected growth of RM53 billion by 2020 set in the National Timber Industry Policy (NATIP). This is indeed a daunting task given the sluggish global economic climate that has taken a toll on Malaysia’s export of timber products. This is why it is important to review our strategies

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Ekamant News to suit the current global market conditions and to cater to the ever-changing market needs”. MTC Chairman, Datuk Aaron Ago Dagang said the Council consults the industry regularly to ensure that its ongoing activities and programmes truly reflect the needs of the industry. “This includes a more vigorous effort in promoting value-added products such as doors and windows, flooring, decking, and garden and indoor furniture in high value markets,” he added. Datuk Aaron also stressed that the journey of the last 20 years is one that MTC could not have made alone. As such, the launch of MTC’s 20th Anniversary Book is a tribute not only to the industry members that have supported the Council’s activities, but also to all the Ministers, Deputy Ministers, MTC Trustees and officials of the Ministry of Primary Industries (now Plantation Industries and Commodities). He also expressed his gratitude to MTC’s sister agencies like the Malaysian Timber Industry

Board, Malaysian Timber Certification Council and Malaysian Furniture Promotion Council who have also strongly supported MTC along the way. One of the Council’s notable achievements includes its raw material importation programme, begun in 1993, to address the industry’s raw material supply requirements. To date, some RM52 million has been disbursed for this programme. Many of the industry members are now familiar with importation logistics and processes from various sources, and are today utilising as many as 15 exotic species in their production for reexport. Datuk Aaron said the second edition of MTC Global WoodMart (MGW: www. globalwoodmart.my), the only trade show in Southeast Asia focusing entirely on timber raw materials will be held in October 2012. The booth space offered is 50% more than the last MGW held in 2010. MTC’s efforts in advocating ‘green’ issues have also projected Malaysia

as progressively different from other timber-producing countries. “This is an important part of our efforts to safeguard the industry’s access to our major markets. Market access is also protected through MTC’s active participation in debates, consultations and discussions on issues concerning certification and sustainable forestry at various international fora, particularly those in Europe,” Datuk Aaron added. The Council also continuously facilitates the adoption of technology by small and medium enterprises (SMEs) to increase production efficiency, and to introduce new sources of growth to the industry e.g., the huge potential offered by glulaminated timber. With various achievements under its belt, and solid programmes covering all aspects of its mandate, MTC is poised to face the challenges of the future and is confident that it is on track to strengthen Malaysia’s position as a world class exporter of innovative and high valueadded timber products.

Time to book space in the Middle East’s most comprehensive international wood and wood machinery show 2012 The 8th Dubai International Wood & Wood Machinery Show, to be held at the Dubai International Convention and Exhibition Centre from 9th to 13th April 2013, is calling for exhibitors to reserve best positions now. The well located venue, which was a great success when introduced this year, provides excellent exhibition facilities that attract many international and local exhibitors and visitors from all over the world. The theme for 2013 “Plant, grow and nurture your wood business” reflects the increasing understanding that wood represents a sustainable material that have a low impact in the environment. In 2012 the Dubai Wood Show’s seminar “Sustainable Wood for a Better World” drew a strong audience of timber trade professionals and in 2013 over 10,000 are expected to attend the Woodshow. The show is targeting 16,000 Sq M of space to showcase more than 500 brands for exhibitors from over 40 countries. With Dubai firmly established as the business hub of the Middle East, this is an opportunity not to be missed for wood industries trading in the re-

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gion and beyond. With demand now increasing from the construction sector and property investment, the Dubai Woodshow in April will offer exhibitors and visitors the chance to build strategic partnerships. Exhibitors will cover the entire range of raw material, wood products and machinery – and will also include the latest innovative technologies and top quality products for the furniture industries. The newly introduced Furniture Components & Accessories Zone is intended to attract people across the Middle East to view the latest technology in surfaces, fittings, components and materials for furniture. It is expected to inspire designers and provide

manufacturing solutions. The 2013 Woodshow will host a Timber Seminar with expert keynote speakers on current issues relevant to the industry, including existing and new legislation for wood and wood products. The final programme will be published through the B2B media with which Strategic Marketing and Exhibitions has partnerships to ensure maximum coverage to attract visitors from all around the world to maximize the benefits to exhibitors. Strategic will be pleased to discuss special requirements of any new or established exhibitor.

Ekamant Cup 2012 T

urnamen Badminton Ekamant Cup 2012 kembali digelar di Surabaya. Turnamen yang digelar diantara industri kayu olahan alias woodworking yang berlokasi di Surabaya, Gresik, Sidoardjo, Mojokerto hingga Pasuruan. Turnamen ini mulai digelar pada 15 April hingga 10 Juni 2012 lalu. Kali ini turnamen diikuti oleh sembilan belas perusahaan, termasuk tim tuan rumah PT Ekamant Indonesia diselenggarakan di Gedung Olah Raga Grand Badminton yang terletak di kawasan Tandes, Surabaya. Turnamen ini merupakan turnamen badminton beregu. Satu tim terdiri dari delapan pemain, dengan tujuh pemain putra dan satu putri. Setiap tim peserta terdiri dari 2 tim ganda putra dan satu tim ganda campuran. Sistem yang digunakan adalah setengah kompetisi, dan kesembilan belas peserta dibagi kedalam empat pool. Menurut Ketua Panitia Penyelenggara Sutanto yang menjabat sebagai Regional Manager PT Ekamant Indone-

sia Surabaya, turnamen diselenggarakan untuk meningkatkan kualitas hubungan antara pihaknya dengan customernya yang beraktifitas dalam industri woodworking, flooring, indoor furniture, metal working dan industri pengolahan kulit. Keluar sebagai juara pertama adalah tim PT Indomapan yang memproduksi indoor furniture. Juara mendapatkan piala dan hadiah uang tunai sebesar Rp 3.500.000. Juara kedua direbut oleh tim PT Kayan Jaya Tanjung yang juga memproduksi indoor furniture, dan berhak memperoleh piala beserta uang tunai sebesar Rp 2.500.000. Sedangkan juara ketiga direbut oleh tim PT Ecco Tannery Indonesia yang bergerak dalam industri kulit. Tim ini meraih piala dan uang tunai sebesar Rp 1.500.000. Juara keempat diduduki oleh tim PT Tjakrindo Mas yang memproduksi indoor furniture. Tim ini selain beroleh piala juga berhak atas uang tunai sebesar Rp 750.000

PT Meubelindo Inreno Jaya

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elatihan di PT. Mebelindo ini merupakan yang pertama kali dilakukan, yang berlokasi di Bekasi. Perusahaan ini memproduksi pintu kayu solid. Pelatihan ini dilaksanankan pada tangal 16 Juli 2012. Matering training mengenai dasar-dasar pengamplasan dan aplikasi pengamplasan. Jumlah peserta training adalah 23 orang. Training berlangsung cukup interaktif dengan banyaknya pertanyaan-pertanyaan dan diskusi sesuai dengan aplikasi yang dijalankan. Beberapa hal yang dibahas adalah jenis jenis pasir amplas, jenis backing amplas, cara menentukan kombinasi grit yang ideal & stock removal, mulai dari proses pembahanan sampai pengamplasan veneer sesuai dengan jenis kayu. Serta dibahas juga aplikasi pengamplasan dengan menggunakan mesin wide belt sander beserta penyimpanan amplasnya, sehingga didapatkan hasil yang lebih baik dan efisien.

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Periscope

Tony Chi,

Founder and President tonychi and associates

“ Do It

Deliverable“ 54

Tony Chi, arkitek kondang asal New York Amerika Serikat menjadi tokoh yang paling ditunggu oleh para jurnalis yang meliput 17th Greater China and South East Asia AHEC Convention di St. Regis Hotel, Singapura. Pendiri sekaligus President tonychi and associates. Tidak mengherankan bila dengan waktu yang tersedia, wawancara pun dilakukan secara keroyokan. Ikuti dan simak perbincangannya dengan sejumlah jurnalis termasuk jurnalis WoodMag di bawah ini.

Jurnalis: Bisa anda definisikan konsep hospitality yang banyak diaplikasikan dalam arsitektural saat ini? Apa saja komponen dari hospitality? Tony Chi: Hospitality itu sendiri sebenarnya bukan kata yang seksi. Hospitality, hospitality.... secara definisi komponen dari hospitality terdiri dari orang. Jika anda berkesempatan untuk mempertemukan dua atau lebih orang dalam satu tempat, maka pertemuan itu akan memercikan chemistry masingmasing. Ini sangat dipengaruhi suplemen formalitas yang beragam, mulai dari pertemuan formal hingga yang kasual. Saya pikir industri yang menyebut dirinya hospitality industry memiliki kemampuan mempertemukan orang dalam keragaman formalitas di satu lokasi. Saya pikir ini sebuah pertanyaan yang bagus. Jurnalis: Dalam profesi sebagai arsitektur, anda menekankan perlunya kombinasi yang sempurna antara emosi dan perasaan. Dalam kamus life stlye bagaimana mempertemukan antara imajinasi, keingin tahuan, dan logika kreativitas dalam modern arsitektural dan pendesain mebel ? Tony Chi: Keingin tahuan dan sifat proaktif sangat serupa. Anda tidak bisa keingin tahuan jika tidak pernah proaktif. Menjadi desainer, secara formal anda harus memiliki keinginan tahu akan suatu benda. Kami menemukan benda yang menggoda keingin tahuan. Benda yang menggugah sifat proaktif kami. Benda apa dan kenapa bisa berbentuk sedemikian. Yang kemudian saya lakukan adalah melakukan tindakan fundamental, scientific know how. Pendekatannya adalah menganalisis dan mengamatinya secara seksama, dan biasanya anda akan menemukan jawabannya. Bagaimana pun mayoritas melakukan pendekatan serupa,tapi hanya 5-10% dari jumlah itu yang menerapkan pula pendekatan artistik. Jika anda bisa mengkombinasikan antara keingin tahuan know-how dan artistik maka anda dapat menemukan kreativitas bahkan inovasi. Ini semata persoalan bagaimana anda bisa mengikuti pemikiran anda. Ini pendekatan basic yang saya miliki sehingga saya tidak merasa lebih atau kurang kreatif dibanding lainnya. Saya hanya berfikir lebih analitik terhadap sesuatu, dan lebih mengikuti pemikiran serta lebih mencari solusi atas persoalan yang saya hadapi. Jurnalis: Betapa kreatifnya seseorang, harus tetap mengikuti jalan pemikiran logis... Tony Chi: Ya, sangat mutlak itu. Kalau

anda pergi ke perguruan tinggi manapun maka bidang studinya selalu terbagi atas sains dan art. Keduanya terpisah satu dengan lainnya. Setiap orang memilih salah satu disiplin itu, entah sains atau arts. Anda bisa juga menempuh pendidikan keduanya sekaligus, atau menamatkan salah satunya sebelum menempuh lainnya. Dalam realitas, saat anda menjadi lebih berpengalaman dan matang mungkin bisa mengkombinasikan keduanya. Saya pikir keduanya sangatlah dibutuhkan sekalipun dalam pikiran saya bagian sains tetap menjadi bagian yang fundamental dalam memadukan keduanya. Jurnalis: Formula apa yang membuat anda berada didepan kompetitor? Tony Chi: Saya tidak terlalu yakin ada formula seperti juga ada kompetisi yang anda sebutkan. Desain itu merupakan sesuatu yang keluar dan bukan sesuatu yang bisa dikompetisikan. Saya pikir ini pemahaman yang keliru. Jurnalis: Bagaimana kelanjutan proyek anda di Beijing? Tony Chi: Anda yang ceritakan pada saya soal itu, ha, ha, ha. Perusahaan yang menjadi klien merupakan perusahaan yang besar yang memiliki visi luar biasa, namun kesulitan dalam mencernanya agar bisa memahaminya. Terus terang saja, keterlibatan kami di dalam proyek itu sangat berbeda ceritanya. Ini juga yang memuat saya merasa menyianyiakan banyak waktu di Beijing dalam mengurusinya. Saya dan tim berminat utuk menyelesaikan, sekaligus juga mengkompromikan bagaimanapun caranya. Di Beijing, saya dan tim menghabiskan sekitar dua tahun namun dalam skala kerja penuh hanya sekitar 12 bulan. Jadi kalau ditanya soal ini, jawabannya adalah saya benar-benar tidak tahu. Jurnalis: Lantas kapan selesainya? Tony Chi: Saya benar-benar tidak tahu. Suatu hal yang saya pelajari dari China adalah sulitnya menentukan sesuatu secara pasti secara sains. Saya pernah bertemu dengan pemilik proyek hotel di sana duabelas tahun lalu. Saat itu dia menunjukkan lokasinya yang luar biasa indah. Dia juga mempertunjukkan critical path dalam project schedulnya. Saat itu saya pikir ini tidak mungkin dilakukan dalam situasi apapun. Jika proyek itu dilakukan di Eropa atau Jepang, nyaris tidak bisa direalisir. Waktu yang tersedia nyaris tidak memungkinkan proyek itu bisa diselesaikan. Belakangan setelah sebelas tahun berlalu, proyek itu terselesaikan. Itu enam kali dari batas waktu yang ditargetkan semula oleh

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mereka. That’s absolutely amazing this country. Pemilik yang sama, dengan staf dan karyawan yang juga sama. Mereka juga yang pernah menghubungi saya bahkan mengontak lagi untuk acara pembukaannya. Very unique. Di tempat lain tidak bakal seperti ini. Mungkin juga terjadi di Jakarta ya? Jurnalis: Anda siap untuk kembali ke sana? Tony Chi: Saya tahu Jakarta cukup baik, tapi tidak pernah kembali kesana sejak 1996. Ya, absolutely saya sudah siap kembali ke Jakarta. Sekitar sebulan lalu ketika di HongKong saya benar-benar menemukan voice of the past. Mayoritas orang yang saya temui di sana berasal dari Jakarta, entah di christie atau tempat lainnya. Mereka semua ada di sana, dan selalu bertanya pada saya “kapan kembali ke Jakarta?” saya jawab “Soon”. Belom, ha, ha, ha.... Jurnalis: Apa anda berencana untuk bekerja sama dengan South East Asia people dalam waktu dekat? Ataukah masih lebih meyukai kerja dengan orang Amerika? Tony Chi: Duapuluh tahun lalu, saya kan pergi kesemua tempat. Saya masih muda, punya waktu, kesabaran,dan keinginan tahu lebih besar. Sekarang saya lebih membatasi diri untuk berpergian ke tempat-tempat yang secara geografis jauh dari tempat saya tinggal, dan saya memilih berpergian ke tempat yang saya anggap nyaman. Asia Tenggara dan Indonesia secara geografis berjarak jauh, dan kurang memiliki kenyamanan seperti yang saya ekspetasikan. Industri sudah jenuh seperti China, tapi secara lebih lamban. Sejumlah negara seperti jerman, swiss dan jepang lebih

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favourable dalam industri konstruksi. Ini mempermudah orang seperti kami untuk mengeksplorasi imajinasi kami lebih lanjut tanpa terganggu dengan banyak isyu yang tidak relevan. Mungkin saja saya tidak bisa bekerja sama dengan pihak lain karena ketidak sesuaian chemistry. Jadi bukan soal siapa yang benar atau salah. Mungkin juga tidak sesuai dengan ekspetasi saya. Satu saat saya pikir mereka itu orang yang keranjingan kerja, tapi di saat lain saya pikir mereka itu switchy alias gampang berubah. Jurnalis: Banyak yang mengatakan anda seorang gentleman... Tony Chi: Terus terang saja saya memiliki watak yang temperamental dan eksplosif. Saya tidak punya cukup kesabaran dan tidak suka mengulang perkataan. Saya juga mudah kecewa, tersinggung atau marah. Itu semua benar adanya, dan tidak juga membaik hingga saat ini. Bahkan mungkin lebih buruk dibanding sebelumnya. Perkembangan itu juga yang membuat saya lebih selektif dalam memilih tempat yang akan dikunjungi. Perusahaan kami juga sangat selektif dalam memilih proyek yang akan ditangani. Perusahaan kami sudah berdiri selama 28 tahun, tapi berapa tahun belakangan kami memilih untuk tidak bertumbuh. Ini hal yang tersulit karena begitu banyak godaan. Begitu banyak tawaran proyek yang datang mengalir ke kantor, tapi tangan kami terbatas karena hanya dengan 40 orang staf. Lantas dengan jumlah itu, anda bisa duga berapa banyak proyek yang bisa kami tangani dalam setahun. Setiap proyek terdiri dari tiga ba-

gian. Bagian pertama adalah visi. Kedua, adalah bagaimana anda menyakini visi itu. bagian terakhir adalah yang disebut sebagai deliverable. Bagaimana anda mendelivernya. Ini butuh kerja keras, mungkin sama sulitnya dengan membangun sebuah keluarga. Bisa saja kami kerjakan semua permintaan yang datang ke kantor kami, tapi persoalannya bagaimana mendelivernya nanti. Rata-rata setiap proyek memakan waktu dua tahun, dan terkadang kami tidak tahu secara pasti sampai mana itu dikerjakan. Terkadang anda harus merasa enggan bukan hanya pada diri sendiri tapi pada counterpart anda. Being selected, more support is about measure your own capability. Lupakan saja dulu semua itu, dan tinjau dari sisi bisnisnya. Jika kita berbisnis maka anda akan mendapat pembayaran begitu bisa mendeliver visinya. Jika anda bisa melakukan proses itu, bukanlah sesuatu yang buruk. Tapi untuk saya itu tidak selalu melihat sebagai sebuah bisnis. Saya punya pilihan lain yaitu tentang hidup yang saya jalani selama ini, dan bagaimana saya bisa menikmatinya dengan mengkombinasikan antara artistik dan saintifik secara bersamaan. Saya butuh mengkompromikannya dan itu melahirkan bisnis. Ini lebih berati dari pada menghasilkan jutaan dolar tapi tidak memberi kebahagiaan pada diri saya. Jika itu lebih dari yang bisa saya konsumsikan, maka akan menjadi sia-sia juga nantinya. Lantas kenapa harus menjual lebih dari seharusnya. Yang saya lakukan adalah menangani sebuah proyek dengan baik, dan do it deliverable. Mungkin itu yang lebih menarik untuk kami. Jurnalis: Masalah pilihan dalam hidup? Tony Chi: Ya, dan saya memilih kebahagiaan dalam hidup. Kalau anda tanya apa arti kualitas pada diri saya dan masing-masing teman wartawan yang duduk di meja ini maka jawabannya pasti berbeda-beda. Tapi semuanya memiliki kesamaan dalam happiness, dan jika itu membuat anda senang go for it. Jika mengejar uang akan membuatnya senang, ya lakukan saja. Tidak ada yang salah dengan itu. Ini bukan soal salah atau benar. Jurnalis: Bagaimana dengan kelanjutan Park Hyatt Shanghai? Apakah anda menghilang setelah itu... Tony Chi: Yang jelas saya tidak melarikan diri. Terus terang saja China is not a bad place at all. Indonesia juga demikian. Semua tempat di dunia merupakan tempat yang indah. Mungkin saya le-

bih berkesempatan untuk tinggal lebih lama di China untuk urusan pekerjaan. Saya sudah mulai memahami tantangannya. Salah satu hal yang paling saya takuti di sana adalah saya tidak tahu pasti bagaimana mendeliverikan kerja yang sedang ditangani. Park Hyatt Shanghai merupakan salah satu proyek yang tersulit yang pernah saya tangani. Sedikit yang tahu kalau proyek ini berjalan untuk 9 tahun, dan hanya sedikit pemilik proyek yang bisa memberikan dukungan finansial bagi waktu sepanjang itu. Pikirkan juga seberapa banyak firma desain dan arkitek yang bisa bertahan dan menangung risiko dengan situasi semacam itu. Bagaimana juga mereka bisa berurusan dengan pemerintah China secara politis, padahal sepenuhnya proyek ini dimiliki perusahaan asal Jepang. Ada sisi positifnya karena kami dalam tahap perencanaan berurusan dengan pemiliknya yang berlokasi di Jepang. Kami pulangpergi ke Jepang setiap bulannya selama empat tahun dan bekerja sama dengan tim dari sana. Semua menyukainya sampai ketika kami harus pergi ke China. Semuanya berubah, konten dan konteksnya pun berubah. Tim Jepang sangat perform saat di Jepang, tapi ketika mereka meninggalkan negerinya they completely out of work. Begitu tiba di China, konflik kebudayaan dan orientasi antara keduanya kian memburuk. Kami terjebak ditengahnya. Dengan berbagai kesulitan pada akhirnya proyek ini berbuah manis dan berhasil diselesaikan. Perusahaan China yang menjadi mitra kerja melakukan hal yang luar biasa dalam upaya menyelesaikan proyek ini. Kabar saya menghilang memang betul. Proyek ini luar biasa menguras tenaga dan perhatian kami. I need permanent vacation from China. Saya benar-benar exhausted secara fisik dan mental sehingga tidak bisa menerima proyek lain setelah proyek ini berakhir. Ketika kami mendapatkan tawaran serupa, tidak satupun dari kami yang berfikir bisa siap dan akan mampu melalui proses panjang yang sudah kami alami. Itu sebabnya kami berhenti menangani proyek-proyek di China. Ketika perkonomian melambat dalam berapa tahun lalu, saat itu tiga proyek yang kami tangani juga mengalami perlambatan sebelum berhenti. Kami sebenarnya tidak banyak menangani proyek semacam ini karena jumlah staf yang terbatas. Agar kantor tetap bergerak maka saya mengontak seorang teman lama. Teman itu mengatakan bahwa ada klien yang mem-

butuhkan desainer untuk berkolaborasi, dan mungkin saya tertarik dengan proyek yang akan ditawarkan. Dari saya mendapatkan dua proyek yang cukup besar dan menggerakkan kantor kami dimasa sulit. Oktober 2011 saya diundang untuk bertemu dengan calon klien dari sebuah perusahaan elektronik besar disana. Sehari sebelum bertemu, dia membatalkannya tapi cilakanya tidak memberitahu saya sesegera. Itu sebabnya saya katakan yang paling sulit dari proyek di China adalah kepastiannya. Kalau saya menduga sebuah proyek bisa diselesaikan dalam 3 tahun, maka realisasinya bisa dalam waktu 6-7 tahun. Itu sebabnya kami tidak melakukan semua kerja di sana secara bersamaan. Kalau satu kerja bisa diselesaikan, barulah memulai kerja untuk berikutnya. Saya juga mengherankan soal itu. saya mau tanya pada anda wartawan asal China, kenapa demikian? It is people issue or political issue? Jurnalis: Keduanya. Tony Chi: China juga tidak murah. Uang yang diinvestasikan untuk proyek konstruksi di sana juga tidak kecil dibanding dengan negara lainnya. Kami juga membandingkan proyek ke proyek. Tapi belum pernah ada pemilik proyek yang memberi kebebasan pada arkiteknya sedemikian besar seperti di China. Pemilik benar-benar memberikan tanah kosong untuk digarap. Saya membandingkan antara proyek di Hongkong dan GuangZhou yang hanya berjarak dua jam perjalanan. Every dollar I spend, I get more in Hongkong. Di akhir, mungkin anda bisa dikatakan China project is less tapi realitanya justru anda tidak bisa melihat dari sudut pandang itu saja. Anda harus lihat dari overall investment, barulah terlihat anda bisa mendapatkan

gambar lebih lengkap. Jurnalis: Apakah itu karena biaya buruh atau.... Tony Chi: Ini persoalan tingkat maturitas. Persoalan klasik antara demand dan supply. Di Hongkong demandnya lebih besar dibanding dengan di China. Maturitas konsumen di China tidaklah sebesar di Hongkong. Ini hanya persoalan waktu saja sebelum mereka sampai pada tingkatan ini. kami sebenarnya lebih menikmati jika proyeknya ada di Jepang. Masyarakat Jepang merupakan yang paling maju dan mature di Asia paska perang dunia kedua.

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Biz News

EU Timber Regulation versus Lacey Act Amendment New timber legality requirements in timber markets around the world

It is now clear to traders and manufacturers of timber materials, wood products and many paper products that governments around the world are taking an increasing role in the fight against illegal logging. Whatever percentage of timber harvesting is illegal in one way or another – and estimates vary –some key governments have decided to stop the undermining of legitimate operations of responsible forest products companies. However their approaches differ.

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n the United States the longstanding U.S. Lacey Act, covering the protection of endangered wildlife and wild plants since 1900, has been amended to include the protection of trees against illegal logging by making any trade found to be illegal punishable by law. Now the European Union has passed legislation, which takes effect in March 2013 and will prohibit the placing of timber harvested illegally under the rules of the country of origin, and products derived from such timber on the EU market. The Regulation requires operators to undertake risk assessment in a process of Due Diligence which must be declared in their documentation. The laws of the USA and the European Union are similar in intent as they both place a prohibition within the importing country on trade in wood sourced, contrary to laws of any other country. The differences in implementation appear to be: 1. The Lacey Act Amendment prohibition applies to trade in or handling of plants taken, harvested, possessed, or transported by all individuals and or companies throughout the U.S. supply chain in violation of respective laws in a foreign country or in the USA. Whereas the EUTR prohibition applies only to “first placers”, who are importers and primary producers who first place timber products on the EU internal market logged illegally under the laws of the

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country of origin. But traders that buy the timber which has been placed on the EU market cannot be penalised. 2. The Lacey Act Amendment requires a customs declaration for certain products containing details of the product, species and country of origin at the point of entry. The EUTR imposes documentation requirements at the border that document the Due Diligence procedure and results undertaken by the first placer. 3. The Lacey Act does not describe procedures of a “due care” or “due diligence” system. By contrast the EUTR does explicitly require that the “first placer” implements a “due diligence system” and defines the essential components of that system. Meanwhile the Australian Government is in the process of enacting a Bill which still needs to go through Parliament and receive the official Royal Assent. Once passed, it will place requirements on importers and domestic raw material suppliers to undertake Due Diligence to determine the legality of a list of regulated products. Significantly, six countries had given inputs to the Australian government during a consultation process. The proposed Bill has been welcomed by most parties, but last year an Australian alliance of wood industry associations appealed for some changes. They represent 140 timber and wood based product importers and

2,500 businesses in the merchant and secondary processing sectors. They accepted the proposed Bill in principle, but pointed out a few changes. What they said was “we believe it should substantially stand as it is, especially noting that the Bill matches or exceeds the requirements of the Lacey Act and the EU Timber Regulation (EUTR) in nearly every case. However, we have serious concerns with regards to business compliance burdens, cost impacts, impossible time restraints for compliance and lack of certainty. To correct these problems we propose five amendments, which we do not think would decrease regulatory effectiveness, and may increase it.” Currently these issues are under review by the government and the general view is that consequently the Bill is unlikely to emerge this year. In Japan in 2006 legislation was passed whereby the Government sets up methods for verifying legality and sustainability of wood and wood products and decides to promote verified products as appropriate items for procurement by Ministries and Agencies, independent administrative institutions and special legal entities. This was done by amending the “Basic Policy on Promoting Green Purchasing” of the “Law Concerning the Promotion of Procurement of Eco-Friendly Goods and Services by the State and Other Entities”. This guideline was drawn up to indicate some points to which suppliers of wood and wood products should pay proper attention when they verify the legality and sustainability of their wood supply. In all these cases the approaches to solve the problem of illegal logging are similar and relate to prohibiting trade in wood illegally harvested in contravention of foreign laws, but the practicalities are not always foreseen. Whereas the Australian timber industry has anticipated some problems, in the U.S. a backlash has emerged because of the consequences of Lacey. A groundswell

movement is asking Congress to consider changing the Amendment, following the celebrated case of the potential prosecution of a renowned guitar maker. In 2009 with a new administration in power, federal agents raided the Gibson company offices over wood from Madagascar which was suspect, according to the U.S. Fish and WildlifeService. The company filed a lawsuit in protest and was raided again over wood from India. Charges of wood being imported illegally were countered by Gibson’s CEO saying that India has to approve shipments of wood leaving India. According to one report, “SWAT teams were sent to Gibson Guitar’s factories to confiscate wood and Gibson cannot ship guitars at the moment. The U.S. Government insists that Madagascar law requires that the work be completed on fingerboards in Madagascar. So it is with interest that many wood exporting countries await some clarification on the EU Timber Regulation. The UK’s Timber Trade Federation (TTF) launched its “Responsible Purchasing Policy” which it offers as a Due Diligence tool following members’ vote to make it a mandatory condition of membership (see www.ttf. co.uk). Meanwhile there is no time to be lost in setting up corporate procedures by all importers in the 27 European Union countries to secure the necessary information on sources of legal timber and wood products, to assess any risk of dealing in illegal timber and to mitigate any risks by requiring additional information from their suppliers to satisfy the EUTR when it goes into effect in March 2013. The TTF website has a countdown clock running at 259 days at the time of writing.

CALENDAR of Event OCTOBER 1-5 : HOUT 2012

Exhibition of woodworking machines and forestry Netherlands, Rotterdam

2-4 : TEKHNODREV 2012 Lenexpo St. Petersburg, Rusia Telp: +7 812 320 9684 Fax: +7 812 320 9694 Email: [email protected] Website: www.restec.ru

4-6 : MTC Global Woodmart Kuala Lumpur Convention Centre Kuala Lumpur, Malaysia Telp: +603 9281 1999 Fax: +603 9282 8999 Email: [email protected] Website: www.globalwoodmart.my

7-10 : W12 2012 Showcasing Technology and Materials for the UK Industrial Woodworking sector Birmingham, United Kingdom

10-14: Modef Expo 2012 Furniture and Decoration Fair Inegol, Bursa, Turkey

10-12: Woodworking 2012 Special Fair for the woodworking industry Lahti, Finland

13-17: Wood Processing Machinery 2012 Tuyap Fair, Convention and Congress Center Istanbul, Turkey Telp: +90 212 867 1100 Fax: +90 212 9399

Email: [email protected] Website: www.tuyap.com.tr

17-21: MODDOM-TZBLUXDOM 2012 International Fair of Furniture, accommodation accessories and housing design, which is organize also with TZB International Exhibition of Building Services, LUXDOM, International Exhibition of Lighting Fitting, Glass, Ceramis, Porcelain Bratislava, Slovakia

19-28: Interieur 2012 International Biennial for Creative Interior Design Kortrijk, Belgium

19-20: Woodworking Scotland 2012 Scotland’s Trade Woodworking & Furniture Production Exhibition Edinburgh, United Kingdom

21-25: ProWood 2012 The International tradefair for the wood-working industry and related sectors in Belgium Gent, Belgium

22-26: Lesdrevmasch 2012 International Specialized Exhibition for the Forest, Timber, Pulp & Paper and Woodworking Industries Moscow, Russian Federation

NOVEMBER 21-23 : Tokyo Woodworking Machinery World Fair 2012 Woodworking machinery exhibition Tokyo, Japan

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