Kampung Labour

DESIGN STUDIO ERIK G L’HEUREUX (PHD) FAIA DEAN’S CHAIR ASSOCIATE PROFESSOR

AY 2023/2024 M.ARCH THESIS, SEMESTER 1/2

KAMPUNG LABOUR

LEE YONG SOON

DEPARTMENT OF ARCHITECTURE COLLEGE OF DESIGN AND ENVIRONMENT NATIONAL UNIVERSITY OF SINGAPORE

Acknowledgements This thesis would not be possible without the Guidance of my Thesis Advisor, Professor Erik L’Heureux. His constant support and wealth of knowledge and expertise in all aspects of architecture has allowed me to concoct a thesis with great detail that is in touch with an ever changing field of architecture. Being a practicing architect, he has dipped his hands and is well versed with how climate, materials and contemporary issues has shaped how architecture is viewed, practiced and influenced today, without his guidance, this thesis would not be possible.

A very special mention to the friends and family that tide me through this arduous period of lengthy studies. Allowing me to pursue my interest in architecture with their unconditional love and support.

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Foreword by Prof Erik G L’Heureux In the contemporary era of information and technology, the rapid advancement of machinery and digital technologies is unparalleled. This project seeks to address the inevitable decline of labor-intensive industries by exploring rattan as a material choice and entry into manufacturing labor via architecture.

Indonesia, a country abundant in labor resources, faces competition from neighboring countries that have transitioned to industrial, machine, capital, and digital-intensive industries. This architectural rattan center counters the dehumanization and deskilling of labor associated with these transformations and semblances of progress. It aims to resist the dominance of machines that dictate both the role and the pace of human labor and to resurrect human craft as a alternate-model of development.

Embracing the ethos of the Arts and Crafts movement, this project forges a meaningful connection between the rattan crafter and the rattan craft through architecture. Such a connection is deemed essential for fostering human fulfillment and producing aesthetically pleasing and practical items for everyday use while allowing pride and growth for the crafter. Additionally, the project incorporates design elements to mitigate the hazards inherent in traditional rattan crafting environments and to create a new virtuous ecosystem of labor, production, craft, and material.

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Table of Contents Foreword................................................................................................................................................. 3 Abstract................................................................................................................................................... 6 Wicker works........................................................................................................................................... 8 The Research Approach........................................................................................................................... 9 Context.................................................................................................................................................. 12 Journey through the origin.................................................................................................................... 14 Itinerary............................................................................................................................................. 15 Survival Kit......................................................................................................................................... 18 Modes of transport....................................................................................................................... 19 Rattan Shops...................................................................................................................................... 23 Origins of Rattan.................................................................................................................................... 28 Types of rattan................................................................................................................................... 32 Cane rattan.................................................................................................................................... 33 Reed Rattan................................................................................................................................... 36 Manau Rattan................................................................................................................................ 37 Synthetic Rattan............................................................................................................................ 40 The process of making........................................................................................................................... 44 Labour............................................................................................................................................... 49 Rattan Production in Cirebon, Indonesia........................................................................................... 56 1.Wood preparation/cutting.......................................................................................................... 57 2.Curing......................................................................................................................................... 60 3.Bending...................................................................................................................................... 61 4.Smoothing.................................................................................................................................. 64 5.Assembly.................................................................................................................................... 65 6.Winding...................................................................................................................................... 68 7.Braiding...................................................................................................................................... 69 8.Finishing..................................................................................................................................... 72 9. Exportation................................................................................................................................ 73 Community of Practice.......................................................................................................................... 75 Catalogue of Rattan traditional usage............................................................................................... 76 Rattan Contemporary Usage............................................................................................................. 77 Contribution to knowledge................................................................................................................... 80 Disclosure.............................................................................................................................................. 81 Bibliography........................................................................................................................................... 82 References............................................................................................................................................. 82

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Abstract This thesis Builds on the arts and craft era, where its ethos acts as a resistance to the mass produced, unsympathethic and mundane industrialisation. It is Situated around the material and craftmanship of rattan works, derived from exploration trips to Indonesia, Cirebon where rattan production is in its prime. It seeks to inform how architecture and work should be driven.

Beyond the economic value of labour, there is an intrinsic human need for purpose and meaning in work. For many people, their jobs not only food for the family, but provide a sense of identity, fulfillment, and contribution to society that goes beyond monetary compensation. Whether it’s pursuing a passion, making a difference in the lives of others, or leaving a lasting legacy, Adopting two main materials that is manifested locally from the factories located in Cirebon; Rattan and brick. Both material are known to be highly labour intensive and forms the basis of work as a driver in this discourse. The building pays homage to their way of life and aims to resist where the robotic world is abashedly heading towards where it seeks to displace the liveslihood of these Indonesian craftsman. In the near future, digital or robotic scene would wipe away what we need to do as a job. This interface between brick and rattan provides a joy and pride in making at the architectural scale of production.

Even as industrailisation wiped out the hand of the aesthetician of architecture, it is the arts and crafts that kept the beauty in production. Technology will not be able to completely replace craft and the labourious task of creating it.

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Kamung Subin, Cirebon, Indonesia, Yong Soon, 2023

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Wicker works The Cambridge Dictionary (Cambridge University Press, 2023) defines ‘wicker’ as such: “made of very thin pieces of wood twisted together: a wicker basket/chair.” According to (American Heritage® Dictionary of the English Language, Fifth Edition., 2011), the origin is built in its Northern European roots. A merger of two words ‘wika’ and ‘vikker’ which respectively means ‘to curve’ and a form of tree known as ‘willow’. While the word wicker reminds people of a specific material, it covers a wide variety of class of different materials ranging from Bamboo, cane, rattan, manau, and reed.

Throughout history, the act of weaving has been deeply intertwined with the essence of architectural creation. As Semper aptly noted in 1851, weaving transcends mere textile production; it is a fundamental aspect woven into the very nature of how we conceive and construct architecture. From the intricate interlocking of twines in floor mats to the enveloping structures around which plants are entwined, weaving serves as a metaphor and a tangible manifestation of cultural context within architecture.

The concept of weaving, rooted in ancient human practices, extends far beyond the simple act of creating textiles. It is a metaphorical thread that connects diverse cultural contexts into the fabric of architectural design. The intricate formations of interlocking twines in floor mats, for instance, not only serve functional purposes but also carry within them cultural narratives, techniques, and aesthetic sensibilities unique to different societies.

Moreover, weaving transcends the realm of textiles to embrace a broader scope within architectural construction. Consider the intricate interweaving of materials in traditional architecture, where various elements are meticulously connected to form structures. Whether it’s the lattice-like patterns in wooden frameworks, the interlocking stones in ancient walls, or the intricate masonry in historical buildings, the essence of weaving is deeply embedded in architectural construction techniques.

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Weaving The relationship between weaving and architecture extends beyond physical structures. In many cultures, the act of weaving textiles serves as a conduit for cultural expression and storytelling. Textiles often bear symbolic patterns, colors, and motifs that convey cultural traditions, beliefs, and histories. When integrated into architectural spaces, these textiles become more than just decorative elements; they become carriers of cultural identity, infusing spaces with a sense of history and belonging.

Furthermore, the utilization of textiles in enveloping architectural structures, such as those integrated with plants, further exemplifies the connection between weaving and architecture. The way in which plants are cultivated and intertwined with textiles to create protective coverings or enclosures not only demonstrates practical functionality but also reflects a harmonious relationship between nature and human-made constructions. This blending of natural elements with woven textiles showcases an intricate intertwining of cultural and environmental considerations within architectural design.

In conclusion, Semper’s insight into the intrinsic relationship between weaving and architecture remains profoundly relevant. The act of weaving, whether in the creation of textiles, construction techniques, or the integration of natural elements, represents more than just a technical process; it encapsulates cultural context, storytelling, and a deep connection to tradition. From the minutiae of interlocking twines in floor mats to the enveloping structures entwined with plants, weaving serves as a powerful metaphor and a tangible expression of cultural identity within the realm of architecture.

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Craftsman weaving rattan, Cirebon, Indonesia, Yong Soon, 2023

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The Research Approach As part of this thesis’s approach to deep dive into the use of wicker works in buildings and infrastructures, three methodology of research will be employed. Firstly, research will be carried out through the basic form of crafts - prototypes of rattan weave.

Through the art of making, the nuances and intricacy will be expounded and displayed.

Secondly, research by travelling to the heart of rattan industry to observe firsthand the craftmanship of experts and production. Currently, 85% of raw materials of rattan is produced in Indonesia (Jamaludin, 2006), hence making Indonesia the ideal research destination for this exploration of rattan. Thirdly, through the vast text and archives of information online I will put together a comprehensive understanding of the development and direction of the past, present and future of rattan.

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Crafts woman weaving rattan, Cirebon, Indonesia, Yong Soon, 2023

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Jakarta, Indonesia, Yong Soon, 2023

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Context Colonialism has historically been a catalyst for significant changes in the global trade of materials and the cultural exchange of design aesthetics. Among the many commodities affected by this historical phenomenon, rattan—a versatile material primarily used in furniture making—has seen notable shifts in importation, exportation, and stylistic interpretations. Traders from the Western world, particularly those influenced by Scandinavian design principles, have played a pivotal role in reshaping the perception and utilization of rattan in furniture production.

The Western traders introduced a distinct shift in the cultural interpretation of furniture styles, impacting the import and export dynamics of rattan. The Scandinavian design ethos, characterized by its emphasis on simplicity, functionality, and natural beauty, influenced the perception of what constituted desirable furniture. Jamaludin, Boyke, and Subkiman (2018) highlight how this influence altered the traditional approaches to rattan furniture, reshaping it with sharp lines, functional forms, and a focus on the material’s innate beauty.

The modernized style brought by Western traders emphasized craftsmanship, material selection, and geometric simplicity, which remains relevant in contemporary furniture design. O’Neill (2017) underscores the enduring relevance of these attributes, reflecting how the Scandinavian style, with its emphasis on form following function, continues to influence furniture design trends.

This transition in the interpretation and utilization of rattan as a material for furniture-making underscores the broader impact of colonialism on cultural exchange and trade. The imposition of Western design principles not only altered the aesthetics of rattan furniture but also transformed the markets for its import and export.

The Western preference for the Scandinavian style significantly affected the global trade of rattan-based furniture. Countries rich in rattan resources found new markets for their products, as the demand for furniture with clean lines and natural beauty surged in Western societies. Conversely, the traditional styles of rattan furniture, which might have been prevalent in the local markets of rattan-producing regions, began to witness a decline in demand due to the preference for the modernized Western style.

The legacy of this shift is still evident in the contemporary furniture industry. Rattan furniture, influenced by the Scandinavian design principles introduced during the colonial era, continues to be popular worldwide. The clean, minimalist lines and emphasis on the material’s natural attributes have transcended time, maintaining their allure in a globalized market.

However, it’s essential to acknowledge the complexities and nuances embedded in this narrative. While the Western influence undeniably transformed the perception and global trade of rattan, it’s also crucial to recognize the cultural heritage and diverse styles that existed and continue to exist within the regions where rattan is traditionally cultivated and used.

In conclusion, colonialism, particularly through the introduction of Scandinavian design principles by Western traders, has significantly impacted the importation, exportation, and cultural interpretation of rattan as a material for furniture. The enduring influence of this modernized style, with its emphasis on simplicity, functionality, and natural beauty, continues to shape the global furniture market, underscoring the profound and lasting impact of colonial legacies on trade and cultural exchange.

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Exports Indonesia remains as the largest exporter of rattan as it controls the supply of raw rattan being rich in natural resources - forest. It accounts for 70% of the world’s rattan furniture exports In 2022, the value of exports to USA from indoensia was at 14.6 mil $USD and UK was at 3.8 mil USD$

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Journey through the origin This segment documents the journey taken to deepen the understanding of the craft.

The importance of the skills and knowledge of materiality is crucial to the architecture that Indigenous vernacular architecture produces.

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Travel itenary - Part I DATE 21 OCT 2023 Day 1 Flight from SIN to CGK (FLIGHT 3K 201) 0725 Check-in at Wonderloft Hostel 1030 Lunch 1200 Jaya Rattan Furniture 1300 Dinner Cafe Batavia 1700 Taman Fatahillah City Square 2000 Day 2 Haryono Rotan Rattan Shop 1000 Lunch 1200 Tayo Rotan Rattan Shop 1330 Rattan Workshop 1430 Jaya Rattan Furniture Shop 1600 Dinner 1800 Day 3 Train to Cirebon 15:55 - 18:05 Factory visit to Rattan Cirebon 0845 Factory visit to Martino Rattan 1000 Kampung Sabin 1130 Lunch at Bukit Bambu 1230 Train to Jakarta 1415 Flight from CGK to SIN (FLIGHT 3K 201) 2250

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Drought impacted land, Cirebon, Indonesia, Yong Soon, 2023

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Flat-lay of Travel Essentials, Yong Soon, 2023

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Survival Kit Essentials items brought along with me. With the digitalisation of documentation and travel, I found myself relying on my smart from to navigate, photograph and make payment.

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Travel itenary - Part II DATE 20 DEC 2023 Day 1 Flight from SIN to CGK (FLIGHT 3K 201) 0725 Brunch at Grand Indonesia Mall 1030 Train to Cirebon 1230 Check-in Cordela Hotel Cirebon 1300 Dinner Taichung Satay 1700 Alun-Alun Kejaksan Cirebon 2000 Day 2 C.V Mutiara Rotan (Rattan Factory) 0900 Perumahan Griya Plumbon (Rattan Production Houses) 1100 Domo Coffee and Resto (Lunch) 1330 Perumahan Griya Plumbon (Rattan Production Houses) 1430 Sunyaragi Cave Park 1600 Keraton Kasepuhan (Historical Site) 1800 Mie Colot Cirebon (Dinner) 2250 Day 3 Lezafani Ratan (Rattan Production House) 0900 Martino Rotan (Rattan Factory) 1045 Sumber Pedas (Lunch) 1200 Terasering Panyaweuan (Plantation Fields) 1130 Jiwan Coffee & Things Cirebon (Dinner) 1800 Alun-Alun Majalengka 1900

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Day 4 Mantera Rattan (Rattan Factory) 0900 Mantera Coffee Corner (Lunch) 1100 Rattan Factory Houses 1230 Alun-Alun Cirebon 1500 Festum (Dinner) 1700 Train to Jakarta 2105 Day 5 Wonderloft Hostel Check-in 0030 Cafe Batavia 1200 Alun-Alun Jakarta 1330 Grand Indonesia West Mall 1530 Dinner 1800 Flight from CGK to SIN (FLIGHT 3K 201) 2005

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Modes of transport Travelling through the land took me on different modes of transport from plane to motorcycle

Sun-rise on the flight to the origin of rattan, Singapore, Yong Soon, 2023

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Traffic on a motorcycle, Indonesia, Yong Soon, 2023

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Motorcycle parking, Jakarta Indonesia, Yong Soon, 2023

Line-up of Gojek riders, Indonesia, Yong Soon, 2023

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Boarding and alighting of a train, Indonesia, Yong Soon, 2023

Travel by train, Indonesia, Yong Soon, 2023

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Sun-rise on a train, Indonesia, Yong Soon, 2023

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Rattan Shops

Journeying through the land of Indonesia, Jakarta found myself in the vast field of rattan shops situated in the outskirts of the city area. Most of the shops are roughly 15minutes away from the city centre Most of the products sold are not made by the owners of the rattan shop, rather they are distributors, and the rattan products comes mainly from west Java, namely Cirebon, Bandung. (Achidiawan, Ramadhani, & Tarigan, 2022) These rattan shops are often overcrowded with pile and piles of rattan furniture stocks.

To the untrained person, one might not have imagined that the government had tried to ban the export of raw and unfinished product in 2004 to protect the domestic craft industry by restricting foreign access to the material. (Achidiawan, Ramadhani, & Tarigan, 2022) What remains of the domestic rattan shops are craftsman struggling to keep up with the fast paced production of massed produced furniture. The shops often have to either innovate new products or compete by lowering prices.

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Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

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Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

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Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

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Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

Rattan Shop, Jakarta Indonesia, Yong Soon, 2023

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Origins of Rattan

Rattan, a broad term that refers to the genus palm tree family of Palmea or Arecales.

The family has a sprawling 600 different types of species in the world. As identified previously, the majority of the exports belongs to Indonesia. Trailing behind are equatorial countries such as the Philippines, Cambodia, Vietnam and Philippines. The rattan are often naturally found and grown in forest. Farmers will cut the canes on site before being processed partially to be exported as raw materials for crafts. (Pauline, 2021).

Rattan in Indonesia is located differently when locating its source of palm and source of processing plant. The plant is harvested mainly from Sumatra, Kalimantan and Sulawesi Island. Meanwhile, the industry that processes the harvest are located within west Java, particularly Cirebon where it has the largest export in the region of Indonesia.

(Achidiawan, Ramadhani, & Tarigan, 2022)

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Kampung Sabin, Cirebon Indonesia, Yong Soon, 2023

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Types of rattan Rattan can be classified generally into four types, cane, reed, manau and synthetic rattan. A typical craft can consist of more than one types that works harmoniously to create something beautiful. Each type has its specific uses and strength and weaknesses.

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Cane rattan Cane rattan is an extraction of the rattan plant’s outer protective sheath. This sheath act as its protective bark that has a smooth and reflective outer side and a raw unfinished inside. The outer sheath has a firm structure that is unbroken, allowing it to be segmented into elongated strands.

Given its binding ability as a rope, it is often used to tie elements forming the intermediary of connections between two parts. With its hydrophobic side, it is also a preferred choice when weaving over planes. (Navneet, 2022)

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Raw Cane Rattan, Yong Soon, 2023

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Raw Reed Rattan, Yong Soon, 2023

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Reed Rattan Like cane rattan, both are harvested from the stems the rattan plants. They are the core of the rattan vines. Often circular in shape, it comes in varying dimensions and thickness. With the larger reed rattan, it is often chosen as main structural elements in a furniture craft.

While thinner rattan stalks are much more flexible naturally, the thicker poles can be bent as well after an application of heat and steam. They can be manipulated into the different shapes and bent to the required form. When dried, it retains its given shape.

(Navneet, 2022)

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Manau Rattan Manau rattan is highly durable and thicker than other varieties. Manau rattan is often used as the core of the crafts for its stability and sturdiness. Its ability to hold its shape and weight allows it to be used in furniture like chairs.

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Rattan storage, Jakarta Indonesia, Yong Soon, 2023

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Synthetic rattan chair for children, Jakarta Indonesia, Yong Soon, 2023

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Synthetic Synthetic rattan is a manufactured material produced out of polyethylene and other polymers. Often used in children’s toy as it is resistant to moisture, making it a suitable material for outdoor furniture.

This is especially so in the tropics where we are constantly exposed to the hot and humid weather, where wood products are seen as an inferior product due to its ability to degrade when placed out in the elements.

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Craftswoman weaving a chair, Cirebon Indonesia, Yong Soon, 2023

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The process of making The process of exploration takes place right in the hearts of my own house and comfort. As i experimented with working with rattan, It has been a laborious task with each individual weave needing to be individually weaved, strand by strand

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Square Weave, Yong Soon, 2023

Double Square Weave, Yong Soon, 2023

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Four way weave, Yong Soon, 2023

Five way weave, Yong Soon, 2023

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Six way weave, Yong Soon, 2023

Single Victoria Weave, Yong Soon, 2023

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Double Victoria Weave, Yong Soon, 2023

Double Double Victoria Weave, Yong Soon, 2023

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Diamond Weave, Yong Soon, 2023

Snowflake Weave, Yong Soon, 2023

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Daisy Chain Weave, Yong Soon, 2023

Spiderweb Weave, Yong Soon, 2023

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Labour The topic of labour always surrounds the making of rattan as it is a highly labour-intensive production. Such knowledge requires time and constant exposure to the material to hone its expertise.

From the transient interaction I had with the rattan shop keeper and factory craftsman, these are everyday objects made from rattan and the labour took communicated to me. Comparatively to mass manufactured injection moulded plastic chair which take less than 10minutes to be formed from pellets to chair, a hand-crafted chair would take 3 to 7 days depending on the complexity of the build. Could the amount of labour be further reduced to accommodate a faster production line?

As such, with every visit, I identified and selected objects of different complexity present in the shops of rattan shops around Jakarta.

The following depicts each craft with labour measured in terms of working days - the amount of time required and took to build the product from start to finish by the craftsman.

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Rattan Lampshade, 2 days, Jakarta Indonesia, Yong Soon, 2023

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Table decoration, 2 days, Jakarta Indonesia, Yong Soon, 2023

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Rattan Baby’s cot, 3 days, Jakarta Indonesia, Yong Soon, 2023

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Fruit basket, 3 days, Jakarta Indonesia, Yong Soon, 2023

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Children’s rocking horse, 5 days, Jakarta Indonesia, Yong Soon, 2023

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Bamboo and rattan storage, Cirebon Indonesia, Yong Soon, 2023

Bamboo and rattan storage, Cirebon Indonesia, Yong Soon, 2023

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Rattan Production in Cirebon, Indonesia The main aim of the visit to Indonesia was to have a deeper understanding on the production of rattan furniture. The visit to production plant yielded the following understanding with regards to production methodology.

Factories here have identified that their raw rattan canes come mostly from Kalimantan or Sumatra Forest. Raw rattans are imported in for processing into rattan furniture which most of them will then be exported directly overseas and a small percentage of the products distributed to shops in major local cities such as Jakarta locally.

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How to Start your own Rattan Factory Production Indonesia is well-known for its low cost labourers, and it is no different in Cirebon, Indonesia where most of country rattan exportation takes place. To embark on the journey to start the factory, a capital of 800$USD to hire a skilled craftsman with knowledge for a month worth of work is required.

The village of plumbon is filled with craftsman working on different scale and different types of rattan products. Most of them works at the comfort of their own home.

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Craftsman weaving basket in homes, Cirebon Indonesia, Yong Soon, 2023

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Craftsman bending rattan in a village home factor, Cirebon Indonesia, Yong Soon, 2023

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Tools Required In setting up the workshop within the homes, the tools required are rudimentary and easily sourced. Complex machinery are not required and the most advanced technology used is the air-compressor where pneumatic tools is connected.

With the air-compressor being the most expensive tool in the arsenal, capital cost would simply set you back another 400$USD. The following are the fundamental tools that the rattan home-factories uses.

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Flat floor for building with floor chair, Cirebon Indonesia, Yong Soon, 2023

Wooden bender tool, Cirebon Indonesia, Yong Soon, 2023

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Steamer boiler, Cirebon Indonesia, Yong Soon, 2023

Hand Saw, Cirebon Indonesia, Yong Soon, 2023

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Propane Tank with torch attachment, Cirebon Indonesia, Yong Soon, 2023

Small Pool for Soaking Rattan, Cirebon Indonesia, Yong Soon, 2023

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Aircompressor for Pneumatic Tools, Cirebon Indonesia, Yong Soon, 2023

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Wood for frame making, Cirebon Indonesia, Yong Soon, 2023

Stockpile of Rattan, Cirebon Indonesia, Yong Soon, 2023

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Pneumatic Nailer and tools easily reachable, Cirebon Indonesia, Yong Soon, 2023

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Homes of villages with Rattan Products on the porch, Cirebon Indonesia, Yong Soon, 2023

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How Rattan Furniture is Produced In Plumbon, Cirebon, Indonesia While we might be familiar with production of furniture in factories, manufacturing in the town of plumbon within Cirebon has a slightly different manufacturing process and flow.

Rattan production does not begin with conventional factories settings, rather, it begins within the villages of plumbon, where most of the villagers are skilled rattan craftsman and craftswoman.

The only clue that a fully functional factory is operating within the garage of these village homes is the unassuming rattan products stacked up on the porches of the homes.

The next tell-tale sign to confirm a rattan production taking place is the sound of pneumatic nail clicking in the backgound against a quiet countryside with the occasional motorbike engine sound zooming past.

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1.Rattan preparation/cutting First step in making rattan furniture is selecting the right materials from a wealth of materials available. Rattan itself comes in varying diameter, hardness, curvature, and finishes. Based on the requirement of the desired crafts, craftsmen would select and start cutting material according to the required dimensions with a handsaw. Because of the porous nature of rattan, cutting with a handsaw is relatively easy.

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Stockpile of Rattan of different sizes in the garage, Cirebon Indonesia, Yong Soon, 2023

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Steam oven in a factory, Cirebon Indonesia, Yong Soon, 2023

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2.Softening Most of the Rattan has been processed to straighten. Rattan exist as curvy and bending in nature as it is a vine. To achieve the desired shapes required, the Rattan is soften through a steam boiler which saturates the rattan with water and heat, making it malleable.

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3.Bending Rattan with the aid of heat and steam, can be easily manipulated through bending it with tools. The craftsman will then bend and shape the rattan according to the desired shape and curvature. This process is repetitive such that the craftsman will soften the rattan through steam and heat continuously while shaping it.

At the end of this process, the rattan would be tied with raffia strings to hold the shape of the rattan while it dries and fixates the curves for the next process.

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Craftsman hand bending using table jig, Cirebon Indonesia, Yong Soon, 2023

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Assembly Stations, Cirebon Indonesia, Yong Soon, 2023

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4.Form Making In the assembly station, workers gather the bent rattan and start assembling the frame of the furniture. To ensure consistency within each product, jigs is often used to match the exact length and sizes required. To remove excess material a handsaw makes its way through the reed rattan easily like butter in the hands of the craftsman.

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5.Assembly To attach different parts of the rattan together, pilots holes is often drilled and screws used to attach different elements of the product together. In the process of assembling, there would be jigs made to ensure it conforms to the dimension set out by the production line.

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Craftsman measuring chair using a jig, Cirebon Indonesia, Yong Soon, 2023

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Crafts woman reinforcing joins using rattan, Cirebon Indonesia, Yong Soon, 2023

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6.Joinery Winding With the exposed nails in the joints and screw holes, workers then start covering these details with rattan cane by winding around the joints. This process reinforces the joints at the same time as it is wound in different direction. When done skilfully, the screws and nails disappear into the windings and each component seems to be only held together by cane windings. .

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7.Caning / Weaving To add meshes to panels, seats, and span open spaces, braiding is done. This is the most tedious part of the assembly process as weaving requires individual weaves to be done by hand. Canes are soaked in water to soften and make it more pliable. Craftsman will individually weave and interlock the dampened rattan. This process brings out the pattern that most people are able to recognise as rattan patterns.

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Craftsman weaving a rattan sofa, Cirebon Indonesia, Yong Soon, 2023

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7.Caning / Weaving In some homes, craftsman and woman work alone in the confine of their smaller homes due to obligation of family whereby they have young children like the craftswoman in the photo on the right. She is weaving synthetic partition divider and factories would send materials needed to her house and a sample of the product to create. The factories provides the aircompressor, pneumatic nailer and caning required for job completion and these jobs are often lower in complexity whereby it is simply caning of the wood such as a divider. A tell tale sign of such homes are distinct by having a small footprint but with rattan furniture(Often caning products) overflowing onto the front porch.

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Craftswoman weaving synthetic rattan in her house, Cirebon Indonesia, Yong Soon, 2023

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Rattan products loaded from village homes on lorry, Cirebon Indonesia, Yong Soon, 2023

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8.Transportation to Factories The finished product is then stacked inside the homes and most of the times it would be too small and ends up at the front porch of the houses where it sits awaiting the transport to the finishing factories for exportation.

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9. Unfinished Rattan The craftsman in the village homes are paid according to the quantity of the product made and sold to the factories. A typical chair would yield the the home factory 8$USD paid by the exportation factories.

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Small trucks transporting rattan products, Cirebon Indonesia, Yong Soon, 2023

Rattan products enroute to factories, Cirebon Indonesia, Yong Soon, 2023

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The Middle Man Most of the factories in Cirebon work on a split factory settings where production is split into two parts, the furniture assembling segment which is detailed previously, and the finishing and exportation segment which will be expounded on.

Factories like this would have english speaking sales associate that discuss and price the needs of buyers overseas from different parts of the world ranging from Russia, Switzerland, Mexico, Norway etc. The factories would typically have a mark up of about 1000% from the price they paid the villagers.

While foreigners are willing to pay a premium for hand-woven rattan, most of this is pocketed by the factories that act as a middle man and only a fraction of the cost ends up at rattan factories worker in the villages.

In the factories, it undergoes a finishing process which prepares them to be shipped out to the buyer.

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C.V Martino Rotan Office Display, Cirebon Indonesia, Yong Soon, 2023

Entrance of C.V Martino Rotan Factory, Cirebon Indonesia, Yong Soon, 2023

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Craftswoman sanding rattan chair, Cirebon Indonesia, Yong Soon, 2023

Knife is used to shave off stray rattan strands, Cirebon Indonesia, Yong Soon, 2023

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1. Sanding / Refining The rattan furniture that arrives in the factories are unfinished raw rattan with blemishes from the assembling process. The chair that arrives here undergoes a quality check process and rough and uneven are sanded and smoothed.

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2. Spray finishing Now that the rattan is smooth, it is ready for a final coat of varnish or colour depending on the specifications of the build required by the buyer. Craftsman will load the pneumatic spray gun with paint or varnish and add 2-3 coats letting it dry between coats.

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Spray station in Rattan Factory, Cirebon Indonesia, Yong Soon, 2023

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Craftsman inspecting chair for defects and rectifying it, Cirebon Indonesia, Yong Soon, 2023

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3. Final Inspection Before the chair is deemed as a finished product, ready for shipment, an experienced craftsman with a variety of tool such as nailer, sander, hammer, plier, knife and drill inspects and rectify and defects found

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4. Packing and Padding Most of the buyer originates from european countries which takes almost a month in shipment before arriving at its destination country. It is hence important to ensure that the handcrafted Rattan furniture is well protected and padded to endure the long journey that awaits it.

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Packing and padding individual chairs with foam and paper, Cirebon Indonesia, Yong Soon, 2023

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4 Storey high Rattan Chair, Cirebon Indonesia, Yong Soon, 2023

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The Rattan Bridge With globalisation assimilating into different culture and industry, it is at base level unfair and at worse criminatory that workers with a highly sought after skill set gets undercut by factories that takes advantage of their inability to communicate directly with buyers.

My architecture posits a bridge in the world of rattan production in cirebon whereby craftsman are duly paid for their artisan crafts. A governmental intermediary to provide a step towards closing the wealth divide of the uneducated and skilled labourers and the shrewd educated business minded aristocrats of indonesia.

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Site Selection The plot of land beside Cirebon, Alun Alun Plumbon was selected as this public square has great significance in indonesia’s cultural scene. Alun Alun has been known as a gathering place for people of different background regardless of socio-economical status. People would gather from all walks of live in the same village for dates, picnics, drinks and more. Situating my site beside this draws a statement that crafts should be made, enjoyed, and harvest enjoyed by the craftsman that contributed the most to its sales regardless of educational background.

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Capstone Brick first layer

Rattan construction support frame

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Reed Rattan Framing

Rattan Weave Screen

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The Intangibles Having seen the amount of joy and camaraderie the villages craftsman had with one another and the hospitability, it has imbuned my view that craft itself does not stand only where its economical value ends.

In Cirebon plumbon, craft is a way of life and hence building ontop of the culture to create – kampung craft.

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Appendix

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Community of Practice With the advent of technology in the new field of architecture, there is a transforming scene of dependency on new technology to propel primitive techniques and bring it back into fashion. Rattan explorers and architects such as Patrick Keane manages to incorporate built forms that is unconventional and non-rectilinear, pushing the boundaries of the materials limitation.

When it comes to labour as a form of resource, it still remains as a viable source of resources as it can be easily procured at a low cost in indonesia. While machinery proves to provide a partial solution with the ability to use a 5 axis machine to replace the manual weaving required (Wynne, 2019), it is not cost effective as machine itself cost over few years of the annual wages of the workers, making it a clear choice that manual labour is the cost effective method.

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Catalogue of Rattan traditional usage Textile weaves has always been part of architecture. The rise of rattan as a commercialised furniture material has been cemented in the past century of growth and chaos.

From Iconic chairs like the peacock chair to the unforgettable imprint that stains the skin when resting on a rattan chair. Given the short amount of time this thesis has allowed me to pursue the project, the catalog is meant not an exhuastive list but aims to depict and generalise the movement of how rattan has been used throughout the history.

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Peacock Chair1

Colonial masters chair2

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Willis Curved Rattan Wingback chair3

Rattan A frame chair4

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Cocoon wicker woven chair5

Wicker egg chair6

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Bentwood Rocker Rattan Chair7

Thonet Rattan Chair8

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Marcel Breuer Cesca Chair9

Paul Frankl Style Rattan Lounge1-

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19th Century Rococo Revival Armchairs in Louis XV taste11

Hans Wegner Wishbone Chair12

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Borge Mogensen Spoke-back Chair13

Poul Kjærholm PK15 Chair14

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Hans J Wegner Peacock Chair15

Srigunting Chair 197316

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Charlottenborg Chair17

Kaare Klint Faaborg Chair 966218

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Mabrouka Rattan Chair19

Lipari Rattan Chair20

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Giglio Rattan Chair21

Italian Tito Agnoli Rattan B4 armchaand pouf for Bonacina22

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Veranda Rattan Armchair23

Rattan armchair Rohe Noordwolde24

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Wicker loungechair25

French Wicker and Bamboo Chaise Lounge26

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Wicker Chaise lounge27

Wicker Chaise lounge after Eames La Chaise28

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Wicker Suitcase29

Wicker braided basket30

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Wicker table31

Rattan and wicker shelves32

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Rattan Clothes Rack33

Paul Frankl Bentwood Rattan Sofa34

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Bernard Rattan Shoe Rack35

Rattan Cabinet36

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Rattan Contemporary Usage Only recently has there been a rise in the usage of rattan in contemporary settings such as lighting fixture, facade treatment, sculptural elements and structural elements of a building. All of which seeks to defeat the stigma that rattan is rigid and traditional.

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Yoga Sanctuary in Bangkok, Enter_projects

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A museum installation by Japanese contemporary bamboo master Tanabe Chikuunsai

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Yoga Sanctuary in Bangkok, Enter_projects

Yoga Sanctuary in Bangkok, Enter_projects

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Billowing Rattan Columns, Designed by Enter Projects for Spice & Barley 2020

Chiang Mai Art Gallery in Chiang Mai, Thailand. 2022

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Wicker Membranes / Andrea von Chrismar, 2010

Wicker Membranes / Andrea von Chrismar, 2010

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coffee shop in jakarta with pivoting panels of rattan 2020

coffee shop in jakarta with pivoting panels of rattan 2020

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Disclosure I certify that except where due acknowledgment has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the project is the result of work which has been carried out since the official commencement date of the approved research program, any editorial work, paid or unpaid carried out by a third party is acknowledged, ethics procedures and guidelines have been followed.

Intellectual Property Rights are retained by Lee Yong Soon, who asserts moral rights and all other rights to be identified as the author of this work. I have acknowledged all copyright holders on the images and other references used.

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