Magno: The Story Behind

MAGNO THE STORY BEHIND

from essay “magno:the story behind” by Singgih Susilo Kartono and essay “it takes 16 Hours to create a fine radio” by Wooden-radio.com

Produced by:

Author: Singgih Susilo Kartono Creative Director And Design: Rangga Sanjaya Contributing Writer: Wooden-radio.com Team Printed in YUPO BLUE (YPBL 200) 158 g/m2

First Edition

Supported by Piranti Works All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher.

Introduction 08 - 015 Back to the village 016 - 021 A new Craft 022 - 025 Village and Sustainable Living 026 - 027

Wood: Life, Balance and Limit 030 - 035 Design: Re-define 036 - 043 Small Functional Wooden Craft Product 044 - 047 Design Concept 048 - 053

Design Proccess 056 - 057 Responsibility 058 - 061 Manufacturing 062 - 073

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Magno Wooden Radio 076 - 081 Magno Radio Mini 082 - 087 Magno Radio CUBE 088 - 093 Magno Radio RECT 094 - 099 Wooden Table Clock 100 - 105 Magno Desktop Set 106 - 107 Small Functional / Toys for Soul 108 - 113

Awards 116 - 123 Publication 124 - 129 Conclusion 130 -133

Contents

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INTROD

08

UCTION

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SINGGIH SUSILO KARTONO Founder

Come from Kandangan Village, Temanggung Central Java.

Singgih Susilo Kartono. Birth at Temanggung 21 April 1968 was admitted in love with the products of wood. After his high school years Singgih continue their studies at ITB majoring in Product Design. The theme for the thesis that time is the “radio receiver designs using the Indonesian handicraft technology. “ This is where the idea of Magno Wooden Radio Coming.

TRI WAHYUNI Co-Founder

Graduated from Diponogoro University, Semarang. Tri Wahyuni, who also the wife of Singgih Susilo Kartono was participate for building Piranti Works. Before she work as production manager in Piranti Works, she was an anouncer at KLCBS FM, Bandung.

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“magno comes from word ‘magnify’ on magnifying glass, the first product which i create. I have my own interpretation about magno. I mean magno

as see details like the function of magnifying glass. a small, simple and beautiful form with high quality craftsmanship draw people to give more attention on the details of the product.”

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“Magno isn’t about Product, It’s about Stories” 014

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Back To The Village.

During my final years at university, I was troubled by a very big question.

Where should I go and what should I do after I graduate? Should I work as an in-house designer, for a design office, somewhere in the city or should I go back to my village Kandangan in Central Java and set up a business?

After I graduated, I did not straight go back to Kandangan to start a business, but eventually, I did. I returned and started a business without any precise financial calculations or preparations. The lack of planning was actually a blessing. If I had been prepared in detail, Magno would not have been born.

The community’s concern about the slowing down and deterioration of Kandangan’s village life has prompted me to use my knowledge, skills and experience to strengthen this village with the output of my business. I am thankful that my knowledge in ‘product design’ has proven to a successful ‘weapon of survival’ that enables me to endure and grow in Kandangan.

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“ Where should I go?”

“and what should I do after I graduate?”

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Kandangan, My Home Village.

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Due to the lack of money and the long distance between the university and Kandangan, I was only able to visit twice a year. The long periods of time between each visit enabled me to clearly observe the changes in my home village.

At first glance, these changes were seen as a “progress”.

But when I looked more closely I concluded that it was only the “surface” which experienced change. The basic structure of the village did not undergo any changes; moreover, some was actually deteriorating.

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In the agricultural sector for example, traditional farming has always been the economic backbone for the majority of villagers. It took the worst hit.

Whatever the government did within this sector, it was never for the further development and enhancement of traditional farming. The government constantly came up with “modern and instant” ways of agriculture and farming, which were unsuitable for the community.

These included intensified farming, man made fertilizer promotions, GMO seeds that were imported and the government funded loan scheme for farmers. In the end, the government “efforts” did not pay off. Furthermore, these efforts actually did severe damage to existing farming methods as well as village and community life.

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Intensified Farming.

Man Made Fertilizer.

Imported GMO Seeds.

Funded Loan for Farmers.

Having lost their farms, many were forced to find jobs in the city or to stay in the village with only the bare minimum for survival or to find new sources of income around the village. The later activities usually ended up exploiting the forest and nature.

Craft is an alternative economic activity that has the potential to be developed and to grow in villages. It has characteristics that are suitable for villages’ living conditions and growth prospects. These characteristics are that it is labour intensive, requires low technology and investment and abundance of local material input.

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A New Craft.

It is Mr. Surya Pernawa, a sculpturer, observer and craft practitioner, who unlocked my insights to the potential and as well as the solution of the problems in the Indonesian craft sector.

MR.SURYA PERNAWA

Mr. Pernawa was my sponsor and mentor for my final year university project and thesis. His idea on craft has driven me to learn about the issues of village life. In principal, New Craft is a manufacturing process that uses traditional craftsmanship as its main means of production and uses modern management techniques in organizing its activities.

In principal, New Craft is a manufacturing activity that uses traditional craftsmanship as its main source of production method and uses modern management techniques in managing its activities. It is designed to anticipate the five criteria of an export market. These criteria are well known as QQTPC, an acronym for Quantity, Quality, Time, Price and Continuity.

Sclupturer / Craft Practitioner.

The basic system of the New Craft is to ensure that every step of the production process contains standard procedures of manufacture, quality standards as well as output and material usage standards. Every new product or design is analyzed first for the purpose of creating a production manual. Based on the manual, the manufacturing activity is then implemented.

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New Craft.

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There is no actual new system or technology within the New Craft method. Nevertheless, these basic modern production management methods are not widely used in crafts manufacturing. In craft, the most important factor is the human resources behind the craft activities. It uses human skills as its main production resources – it is important to have correctly managed worker attitudes towards crafts. The New Craft method takes these factors into account.

A new worker on his first day working can jump straight into the production activities. For those who posses craft talents, within a few days, they will display craftsmanship and abilities that are adequate to meet our standards.

The approach of New Craft’s method and concept has many benefits. With these approaches, we can set up a new craft manufacturing centre in villages and communities with no craft background. It becomes the new, alternative source of income that can accommodate a surplus of manpower from declining agriculture. The new method can also be implemented to grow or revive existing crafts activities that are in decline. As a result, the New Craft method will produce high quality products that have the potential to compete in the export market.

Through selling in the export market, production activities are sustainable and provide income that can further the economic growth of the village.

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Village and sus

When we discuss global environmental issues, especially amongst the community of developed nations, one should not forget to explain the role of community of a small village in an ‘underdeveloped’ nation.

It is important to note, in an ‘underdeveloped nation’, such as Indonesia for example, villagers usually make up the majority of the population. Thus when we discuss a nation wide community growth. zthe ideal starting point will be to discuss the growth of one village community.

The same principle should also be applied in discussing the issues of sustainable living and environment. These are easily visualized within the scope of a community in a village compared to urban environment. A village is a ‘miniaturized’ version of a country (or a world). In Indonesia it is impossible to discuss sustainable living without discussing issues that are faced by villages.

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Within the Indonesian hierarchy of government structure, villages are positioned the lowest in the structure regardless of their vast number. Nevertheless, an Indonesian village is a legitimate component within the Indonesian governmental structure. A borough and its dwellers is a collective of villages within a certain district and its community. The borough’s natural resources are a collection of natural resources gathered from villages within the boroughs.

In a large country where its biggest problem is high quality Human Resource, the growth of village communities should be the government’s first priority. If thousands of small Indonesian villages could grow their own socioeconomic-impact, together they could become a solid foundation for the economic growth in Indonesia. The success of growth and development within the village will also double as the solution to problems in the cities that are mainly caused by overpopulation.

stainable living. fm 76 80 84 88 94 100 108 mw 530 600 800 1000 1300 1600 sw1 2.3 2.5 3.0 4.0 5.0 6.0 7.0 sw2 7.0 8.0 10.0 12.0 15.0 18.0 22.0

mhz khz mhz mhz

Unfortunately, the reality of current and existing Indonesian economic and development programs speaks otherwise. Villages’ low governmental status have placed them in the worst position- Being at the bottom end in the system means they receive less funding, less attention and the worst deal. Hence, it is uncommon that villages with plenty of potential are experiencing stagnation and deteriorating rapidly. The most heartbreaking aspect of this situation is to see many ‘village- grown’, talented and smart villagers leaving villages for the hope of ‘a better life’ in the city. Some villagers who are fortunate enough to experience university education in the city or abroad, can no longer go back to live and accommodate themselves in their own village.

Most of them will study subjects at university that are very specific to the economic function of the ‘modern’ urban society and economy. Upon graduation, these graduates are forced to find occupations to match their qualifications,

fm 76 80 84 88 94 100 108 mw 530 600 800 1000 1300 1600 sw1 2.3 2.5 3.0 4.0 5.0 6.0 7.0 sw2 7.0 8.0 10.0 12.0 15.0 18.0 22.0

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unfortunately these jobs are only to be found in the city.

The simplistic, limited and basic facilities of village often are enough to make villagers to loathe their situation.

Many villagers think anyone that stays in the village is a big loser.

I did not choose Kandangan village as the base of my business activities because of ‘heroic sentimental and romantic’ reasons. I saw Kandangan as a space that has huge potentials in terms of its human and natural resources. Luckily, this is also supported by the availability of basic infrastructures necessary in building a productive business. As especially nowadays with the availability of phone and internet connection in the village, we are now able to communicate globally.

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Wood: Life, Balance And Limit.

I was born and grew up in Kandangan. This experience fostered an intimate relationship between me and the nature, especially the forest. When I was a child, I made some of my toys with wood gathered from the nearby forest.

I also enjoyed watching the carpenters working to pass time. These curiosities were captured by my father. I still remember how happy I was when my father bought me a used handsaw from one of these carpenters. It was not a good saw, but it was a better tool in comparison to my mother’s knife.

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Life.

Balance.

Limit.

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“I believe that a perfect material should be a well balanced material.�

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My past experience with wood and my education in Product Design have intensified my appreciations of wood. To me, wood is somewhat a perfect material. especially if I compare it to synthetic ones. In wood we could find strength and weakness, advantages and disadvantages or roughness and also softness. Wood is hard and solid but yet it is 100% eco-friendly as it is degradable and leaves no waste materials on the earth. I believe that a perfect material should be a well balanced material. This material will teach us the meaning of limit.

Wood is a type of material where its beauty comes of history. Wood’s growth is an amazing process and it is stored in its lines of age. Its technology is sophisticated. It is remarkable how a small seed of wood can be more complex in comparison to machines that are ever made by human. Wood records good and bad time before it is materialized as a beautiful drawing. Its texture and grain is a story of life. If we compare wood to synthetic materials, we can feel how it is ‘closely’ related to us ,it is part of us. Wood is a “soulful” material; it is a living material. When its time is up, it will ease itself back into the nature. Sophisticated, beautiful and meaningful.

Wood comes from a tree, a nature’s creature that only does the right things.

Trees absorb CO2 and use it as a substance to build its body, to produce fruits and its own food and to generate oxygen for other creatures. Can we see this simple activity as a point of reflection? We are the smartest creature on this planet, but can we not see that most of our earthly activities do not create humanity and be in one with nature? Instead we are a creature that usually damages them.

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“Perfect Design Should Be the Imperfect one.”

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Design: Re-define.

I strongly believe that the relationship between a user and a product is not merely a relationship between a subject and an object. It is a relationship where a product is an integral part of our life.

The advancement of technology and competition in economy has created products with sophisticated features.

On one hand, it has made tasks in our lifes easier to do, but on the other hand it creates a certain behavior. It creates subjects and objects behavior and at the same time it also creates faรงade and provisional relatioship. I believe that this behavior is a negative excess of a modern industrial way of life.

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We should be aware of this behavior and to change it for the better. The combinations of using natural materials in modern products are a kind of soul embodying ritual. It makes products alive. My aim is to sensitize us with the nature, just like the way it was in the past.

In designing, I endeavor to recreate unperfect and uncomplete products through minimizing the unnecessary features. This imperfectness is a conscious and deliberate creation that will hopefully allow the users of our products to be deeply involved with each of them.

Designer Area Function Value

Form Production

User Area Learn Mastering

Maintain Love 037

“Design must be a way to solve and minimize problems.�

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All of Magno products are not coated. We only apply a wooden oil to finish them. This finishing is not going to completely protect our products. However, it will give a chance to its owner to feel the wood and also to care for the wood, as the care of its owner is the only real protection of the products. I disagree with the maintenance free approach in products. We must maintain and take care of products we buy. This is what I call as a moral obligation between product’s owner and its products. I like simple form as I believe that it will enhance the life cycle of products. The simple form with well prepared details, the usage of natural materials in our products has purposes and the built-in fragility in our products is aimed to encourage user to be deeply connected with them.

This is one effort to minimize the waste-producing society. Design for us is more than just creating a well designed product that is produced and consumed in colossal amount. Design must be a way to solve and minimize problems.

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Furthermore, the usage of natural materials is also due to its psycho-materialistic property and to maximizing the scarcity of local based material. The small size functional wooden craft products will give a positive contribution in economizing the base materials and to provide work opportunities; one of many problems that are faced in Indonesian villages.

In terms of design process output, products for me are only mere threedimensional objects. However, I have other important output that I want to get across to the users of my products. It is the ideology, message and spirit behind the products. Think your products as living beings that send us messages and spiritual meanings in a passive way. Our society has begun to loose these meanings and products are becoming our robot servants.

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“Product is not an Object, Product is part of our life” 041

“Less Wood, More Works.”

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“Cut Less, Plant More.”

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Small Functional Wooden Craft Products. using wood as its main material for production but the added values of what they are producing are extremely low. In order to gain high profits, they have to produce products in high volume, thus taking more materials from the nature. In the end, it’s the nature lost.  Many woods with exotic textures are only chopped up, dried and sold as fire wood. Many villagers are doing this type of activity. On the higher level, there are few milling factories around our area too. We can liken these factories to ‘wood eater machines’ that requires a minimum of an m3 log of woods each factory per day just to get enough profit to sustain them.

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From a 0,017 m3 wood

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Fire Wood

Wooden Stapler

0,2 Day Work Value US$ 0.6

40 Work Day 200 pc Value US$ 1.000

They will consume any types of woods. They no longer consume the quick grow types such as Albasia, they also consume hard and medium wood that took longer to grow. The worst offender is the palettes industry where they produce palettes that are used for export and import. This industry is using local hard wood. Within a week, with less than 10 people working in the factory, they could produce around 400 palettes (40 feet container) that worth USD 2800-3000. To produce these palettes, it required around 20 m3 log woods. Within a month they gobble up approximately of 80m3 of woods. If one tree is equivalent to 0.35m3 of log wood, then within a month, there are 228 trees that are cut down solely for palette production. From this, in the next few years, we will experience shortage in woods.

Nowadays, even with cutting down trees with a diameter of 10-15 cm, medium sized tree, we are already experiencing increase in the wood price.

If you are to see these activities through economic lenses- it is still a wrong thing to do. You can see that one day; they will loose all these activities due to the shortage of material.

I have never thought of the above scenario until I was focusing on the production of ‘Small Functional Wooden Craft Products’. Initially, I was not discipline enough to take the scenario above into account in designing. However, the more I designed and took the scenario deeply into account, I could see better ways in designing. These new directions in design have brought me to produce our wooden radio. It is possible for a small dimensioned product to go through a production process that consume less material but still requires plenty of man power, thus creating more job opportunities to produce it.

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Design concept I:

Form “Design is like a journey full of adventure. I don’t get headaches about ‘the market.’ I try to integrate as many impressions from day-to-day life as possible. In my opinion, articles of daily use are like living beings. They have a form that makes an impact on us unconsciously. We often forget that now days: We regard products merely as serving objects.”

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Design concept II:

Time “The wood I use for the manufacturing process may need as long as 50 years to reach maturity. I want people not only to think about exotic or precious woods but likewise about the fact that good things require time. All objects that surround us should be thought-provoking. Craftsmanship originally was the art of dealing with raw materials in a sensible and economical way.�

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Perc 052

“I believe we should perceive the goods that surround us with full awareness. Although it’s possible to buy products, their actual message only unfolds through observation. Only then can the spiritual value of a product come into existence.”

Design concept III:

ception 053

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03

Design Proccess.

In designing, I cannot start the process with a completed and detailed concept. This will ensure the loss of my mood and energy. Sometimes the design process is triggered with only a tiny clue from my surroundings. For me, designing is like a trip without a map. I make an effort to enjoy the process and savor the meaning of the trip. Like any voyage, sometimes the objective is very clear but the journey is blurry or sometimes both are blurry. But in the end of the journey, I know that there will be something with a deeper meaning which awaits me.

I never start my design according to the market research or demand. I design by absorbing events, global or local events and even mundane daily life things that happen around me. Consequently, I start to think what will be good and better for these people. I am aware that I own a business, an economic activity. However, I often see that many things went wrong when people are driven by economic demands.

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Responsibility.

With quality of highly skilled craftsmen, it is possible to sell products with a good price and achieve market stability. Hence we can draw a conclusion that this way of designing produces low ratio of material usages and high labour capacity. To produce high quality products requires extra manpower and energy. The result of this activity can also include the worker’s positive psychological growth towards achieving professionalism at work.

Nevertheless, using fewer materials is not enough. As a wood consumer, I feel morally responsible towards replacing the woods that I have used. This will ensure that all manu- facturing activities that I conducted would not destroy the nature. I do this by replanting every single wood that I’ve used from the forest.

The amount of wood replanted and selected is based on our yearly wood consumption, suitable age for wood to be grown and cut, and the requirement of land per tree. We estimated that for the 40 people we could employ, we could have replanted one to two hectares of land with our selected wood.

Currently, Kandangan has almost no forest land. The population is about 4.000 people. If we are to employ the whole population of Kandangan, we will abolish unemployment but most importantly, for every people we employ, we will generate more woods through our forest regeneration programs. Additionally, based on our current income, we receive USD 2.500-3.000 per month; enough to sustain 10 employees. If we are to employ 1000 villagers we would have received USD 250.000-300.000 per month – more than enough to sustain our village life.

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With regards to the forest regeneration, on the top of preparing our own tree seed, we are also in collaboration with a Gunung Sumbing (Mountain Sumbing) junior high school.

We work together with the school to create a practical curriculum within the field of environmental generation. Four months ago, the students from this school have helped us to grow seeds. Currently, these seeds have grown into 1.000 young trees that are ready to be planted. We are planning to have these trees replanted around the school area.

The students want to have schools that are surrounded by trees. All this activities are funded through a part of our sales income.

My production company, Piranti Works, has 30 employees. They are locals. We are in the process of extending our workshop so it is able to employ around 50 employees. They will use only around 50 to 100 trees per year. The remaining 2.200sqm lands that I own are used as a tree nursery, where I will distribute free trees to the villagers. I purposely distribute these trees freely as I want to teach the villagers that the right economy activity will give positive contribution towards sustainable environment. When we discuss sustainable environment, one should not forget that we are also discussing a large scale economic activity.

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“It Takes 16 Hours To Create A Fine Radio.”

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01 Selecting the wood and the cut.

Regional wood is purchased for the Magno radio. The designer buys it in the surrounding villages personally. Thus it is guaranteed that no uncontrolled wood is used. The amount of wood needed is extremely small. All varieties of wood that are utilized are classified as unobjectionable by environmental organizations. Kartono and his coworkers replace the wood that has been used by planting new trees systematically. A small tree nursery had been set up on the company’s compound. The seedlings are planted on a regular basis, with the collaboration of students at the local high school.

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02 Construction.

The individual parts are cut by special machines. they are fitted to one another, one by one, and finished by a special polishing technique. The body of the radio is assembled by means of grooves and fittings. Knobs and the battery compartment are customized for each body.

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03 Fitting of the radio receiver.

A radio receiver that has been adapted to the construction of the radio is fitted into the body.

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04 Testing.

Prior to a wooden radio being packed up into a gift box made of wood and cardboard, it is run through one more test in terms of craftsmanship and technology. It goes without saying that you get a two-year guarantee on the device.

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05 Packing And Shipping.

The Magno radio’s embark on a six-week journey subsequent to being packed up: from Semarang port via Singapore to Hamburg.

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MAGNO WOODEN RADIO WR01A-2B

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Worth knowing: Every MAGNO radio represents a one-of-a-kind piece, crafted by hand in 16 hours.

It features a consecutive production number.

The sound is very pure and resonant due to the radio receiver employed and the especially suitable wood (made of East Indian rosewood, the same material from which many musical instruments, such as flutes and guitars, are made).

The radio receives VHF and medium wave.

Connections for iPod速 or MP3 player, respectively.

Comes in an elegant box.

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Material: Light wood: pine Dark wood: East Indian rosewood Recommended care for the radio: rubbing in a drop of pine or teak oil on its surface every once in a while.

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Dimensions: Length: 19.1 x width: 11.7 x height: 13.5 cm; weight: 955 grams The MAGNO radio is manufactured entirely by hand in the workshop of the designer. Marginal deviations are therefore possible.

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Energy source: A power supply unit can be connected as well as 2 AA batteries (1.5 V) being used. A power supply unit is not included.

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WR01A-2B

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MAGNO RADIO MINI WR04-1B

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Worth knowing: Every MAGNO radio represents a one-of-a-kind piece, crafted by hand in 16 hours.

It features a consecutive production number.

The sound is very pure and resonant due to the radio receiver employed and its especially suitable wood (made of East Indian rosewood, the same material from which many musical instruments, such as flutes and guitars, are made).

The radio receives VHF.

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Comes in an elegant box made of hard paper.

Material: Light wood: pine Dark wood (knobs): mahogany (plantation wood)

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Recommended care for the radio: rubbing in a drop of pine or teak oil on its surface every once in a while.

Dimensions: Length: 13.4 x width: 8.8 x height: 9.8 cm The MAGNO radio is manufactured entirely by hand in the workshop of the designer. Marginal deviations are therefore possible.

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Energy source: 2 AA-batteries (1,5V).

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WR04-1B

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MAGNO RADIO CUBE WR03-CUBE / 4B

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Worth knowing: Every MAGNO radio represents a one-of-a-kind piece, crafted by hand in 16 hours.

It features a consecutive production number.

The radio receives VHF, medium wave as well as the 1/2 short wave.

Connections for iPod速 or MP3 player, respectively.

Antenna and wire antenna.

Comes in an elegant box made of hard paper and albesia wood.

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Material: Light wood: pine Dark wood (knobs): mahogany (plantation wood) Body: black textile Recommended care for the radio: rubbing in a drop of pine or teak oil on its surface every once in a while.

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Dimensions: Length: 19.3 x width: 11 x height: 20.5 cm; weight: 1200 grams The MAGNO radio is manufactured entirely by hand in the workshop of the designer. Marginal deviations are therefore possible.

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Energy source: A power supply unit can be connected as well as 4 AA batteries (1.5 V) being used. A power supply unit is not included.

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WR03-CUBE / 4B

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MAGNO RADIO RECT WR03-RECT / 4B

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Worth knowing: Every MAGNO radio represents a one-of-a-kind piece, crafted by hand in 16 hours.

It features a consecutive production number.

The radio receives 4 band (FM/AM/SW1/SW2).

Connections for iPod速 or MP3 player, respectively.

Antenna and wire antenna.

Comes in an elegant box made of hard paper and albesia wood.

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Material: Light wood: pine Dark wood (knobs): mahogany (plantation wood) Body: black textile

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Recommended care for the radio: rubbing in a drop of pine or teak oil on its surface every once in a while.

Dimensions: Length: 31 x 11,5 x 20.5 cm (small variations may occur due to material and the production process).

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The MAGNO radio is manufactured entirely by hand in the workshop of the designer. Marginal deviations are therefore possible.

Energy source: A power supply unit can be connected as well as 4 AA batteries (1.5 V) being used. A power supply unit is not included.

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WR03-RECT / 4B

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WOODEN TABLE CLOCK MAGNO KLOCK-01

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Worth knowing: Every MAGNO klock-01 represents a one-of-a-kind piece, crafted by hand.

Quartz Movement.

Made from plantation wood, for every tree that is used in production, a new one is planted.

5% of the benefit will be used to build up a “Creativity Center“ for the kids in the village of the production.

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Material: Light wood: pine Dark wood: East Indian rosewood Recommended care for the Clock: rubbing in a drop of pine or teak oil on its surface every once in a while.

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Dimensions: Length: 10,5 x width: 5 x height: 12cm The MAGNO klock-01 is manufactured entirely by hand in the workshop of the designer. Marginal deviations are therefore possible.

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Energy source: One AA-battery (1,5V).

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MAGNO KLOCK - 01

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MAGNO DESKTOP SET STATIONERY

A

B

C

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E

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Worth knowing: The desktop set is manufactured at the workshop of Singgih Kartono, crafted by hand.

It consists of:

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A. stapler B. cutter C. adhesive tape dispenser D. letter opener E. business card/pen/pencil holder

Material: Light wood: mahogany (plantation wood) Dark wood: East Indian rosewood

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The components of the desktop set are individually wrapped in soft tissue and arranged in a box made of albesia wood.

Dimensions: Length: 17 x 15 x 5 cm

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SMALL FUNCTIONAL A B

C

D

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TOYS FOR SOUL E

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Worth knowing: The Small Functional set & Toys for Soul is manufactured at the workshop of Singgih Kartono, crafted by hand.

It consists of:

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A. Magnyfiyng Glass A B. Magnifying Glass B C. Compass D. Ruler E. Yoyo F. Spinner

Material: Light wood: mahogany (plantation wood) Dark wood: East Indian rosewood

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MAGNO DESKTOP SET

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Awards and Publication.

After a long journey, Magno wooden radio can be received in foreign countries. even won various design awards. the concept of sustainable living can be accepted and became one of the competitiveness of Magno wooden radio.

Also the media and publication began to cover Magno wooden radio stories.

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GOOD DESIGN AWARDS The Good Design Awards is a comprehensive program for the evaluation and encouragement of design organized by Japan Industrial Design Promotion Organization (JIDPO).

The award’s parent organization is the Good Design Products Selection System (commonly known as the G Mark system), established in 1957 by the then Ministry of International Trade and Industry (the current Ministry of Economy, Trade and Industry). At that time, Japanese citizens had a hard time scraping together enough food to get by. This award system was born out of the belief that design was essential in breaking out of this cycle of poverty. Since then, the Good Design Award has been given to outstanding designs for more than 50 years in the pursuit of prosperous lives and industrial development. Approximately 35,000 Good Design Awards have been given in continuing these efforts.

Much of the Japanese public now recognizes the Good Design Awards, and many companies and designers from Japan and neighboring countries participate. The reason that this award system has prospered and expanded since it was first established more than 50 years ago lies in the growing importance of design. Design that was once limited to the commodity and advertising sectors now goes far beyond this scope, and has a crucial role in a wide range of new domains, such as service and business development, urban environment planning, lifestyle adjustments and the development of new social systems. Design is essential to improving the lives of every individual in the twenty-first century.

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BRIT INSURANCE DESIGN AWARDS Brit Insurance Designs of the Year is the Design Museum’s annual exploration of the most innovative, interesting and forward-looking new work in design of all kinds, from around the world.

The exhibition presents around 100 projects which are a selection from those nominated by a group of internationally respected design experts, curators, critics, practitioners and enthusiasts.

The nominated designs fall into seven categories - architecture, fashion, furniture, graphics, interactive, product and transport. They can be designed by a practice, team or individual. A winner for each category was selected by an international jury and one overall winner was awarded Brit Insurance Design of the Year 2010 at the awards dinner in March.

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DESIGN FOR ASIA AWARDS Half of the world’s population lives in Asia and the unique characteristics of this vast, growing and rapidly maturing market are becoming important design considerations for designers and enterprises across the world - affecting product and interiors, apparel and communications. The Design for Asia (DFA) Awards seeks to raise awareness amongst businesses and the public about the value of good design as an essential component in business success, as well as for a sustainable, higher quality of life for all.

The DFA Awards is presented to companies and designers from around the world that have achieved business succes through good design that reflects, or has an impact on, the Asian lifestyle.

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“Singgih, someday I want to saw your designs publish at Wallpaper*” 124

Irvan Noe’man BD+A Design Rawamangun-Jakarta 2005

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WALLPAPER* AUGUST 2009 ISSUE

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Conclusion.

The most fundamental understanding of sustainability is to understand that the environmental damages are caused by a defective way of living. Humans should be the smartest creatures that inhabit the planet earth, but we are doing dull things to destroy our host. All environmental damages are caused by humans. We live in the circle of production and consumption that grew bigger, faster and uncontrollably, forgetting that our resources are limited.

The damages in environment should be a wake up call for all of us. We should redesign the way we live and take steps towards better ways of living. I believe that in these last centuries, there are important aspects in human life that we abandoned while pursuing the advancement in technologies and the wonder of science. We forgot the spiritual aspect of being a human. This is an aspect, which cannot be separated from human as it is part of our brilliant minds. We have evolved into an intelligent race but are no longer acting wisely.

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“We should redesign the way we live and take steps towards better ways of living.“ 131

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As a designer, I strive to create designs that will contribute to our quality of life, be it your life activities or your own personal development. I am grateful that I am able to this choice as my way of living. With the current situation that we are nowadays facing – many woods are consumed for industry that uses woods relentlessly. Its reserve is depleted. This is happen due to the difficulties in building a business that uses less materials but use more labour.

Sustainability as a new approach in economic activities is not a new consideration. It should be used as the blue print for our present and future, the new soul and spirit for our economic undertakings now and in the time to come. We cannot claim success if our economic pursuits produce big profit and yet are damaging the environment further.

Sustainability for me is a way of living where we are not just trying to avoid damaging nature. We should also take action in improving it. Profit cannot only be measured by the capital we gain but shall also be measured by how we can improve our environment. We must do more of this.

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