tony chi - Wood Magazine

Transcription

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 : contact@frenchtimber.com
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
ariefodon@cbn.net.id
Editor
Emir Wiraatmadja
emir.wiraatmadja@gmail.com
Technical Editor
Tandiono
tandiono_dft@yahoo.com
circulation
Dewi Rubiane
dewirubiane@yahoo.co.id
Contributor
Michael Buckley
Michael Hermens
GRAPHIC DESIGN
Zevanya Audrey
zevanyaaudrey@gmail.com
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-
10
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
12
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-
13
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
14
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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it is veneer or logs—undergoes a thorough quality control
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With a lean and efficient business structure, NAV is able
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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
16
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.
PEFC:
YOUR SOURCE
FOR CERTIFIED TIMBER
More and more customers are requiring timber and timber
products to be certified. PEFC, the world’s largest forest
certification system, offers you the largest supply
of certified material.
PEFC - Programme for the Endorsement for Forest Certification
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...”
18
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.”
19
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-
20
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-
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Supported by:
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.
22
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
24
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.
26
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 : wiwid@madero-intl.com
telp . 081325234273, 087831111441
Contact Person :
A. Kuswidiarso
email : kuswidiarso@madero-intl.com
telp. 08156515043 , 08884959340 , (024) 70116691
Agus Widagdo
email : wiwid@madero-intl.com
telp . 081325234273, 087831111441
Susi sulistyowati email : susi@madero-intl.com
telp . 024 70519764
Yohanes Sutarto email : t arto@madero-intl.com
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
28
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.
30
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.
31
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.....
32
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.
34
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.
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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
38
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
info@indonesiawoodshow.com
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-
40
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-
41
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.
42
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
T
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.
43
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
F
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
44
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
45
Biz News
Trend towards green material
choices making strides in Asia
M
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-
46
•
•
•
•
•
•
•
•
•
•
•
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
T
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
47
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.
S
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
48
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
R
“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).
49
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
50
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
51
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-
52
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
P
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.
53
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
55
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
56
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.
57
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.
I
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
58
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: forest@restec.ru
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: council@mtc.com.my
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: ediztok@tuyap.com.tr
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
59

tony chi - Wood Magazine

Transcription

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