magno: the story behind

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The Magno : The story behind is a book that contents all about Magno and the stories behind the brand. started by Singgih Susilo Kartono as a final project. The theme for the final project that time is the “radio receiver designs using the Indonesian handicraft technology. “ This is where the idea of Magno Wooden Radio Coming. written by Singgih Susilo kartono himself. this book is about stories, concept, proccess production, all the products line up, achievment and everything you need to know about Magno products.


  • MAGNO THE STORY BEHINDfrom essay magno:the story behind by Singgih Susilo Kartonoand essay it takes 16 Hours to create a fine radio by

    Produced by:Author: Singgih Susilo KartonoCreative Director And Design: Rangga SanjayaContributing Writer: Team

    Printed in YUPO BLUE (YPBL 200) 158 g/m2

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

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

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


  • Contents

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

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


  • I N T R O D U C T I O


  • I N T R O D U C T I O N


  • 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.

    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 anounc-er at KLCBS FM, Bandung.

    TRI WAHYUNICo-Founder



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    magno comes from word magnify on magnifying glass, the first product which i create. I have my own interpre-tation about magno. I mean magno as see details like the function of magnifying glass. a small, sim-ple and beautiful form with high qual-ity craftsmanship draw people to give more attention on the details of the product.

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    Magnoisnt about Product, Its aboutStories

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  • 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 communitys concern about the slowing down and deterioration of Kan-dangans village life has prompted me to use my knowledge, skills and experi-ence 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.

    Back ToThe Village.



  • Where should I go?

    and what should I do

    after I graduate?


  • 018

    Kandangan, My Home Village.

  • 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.


  • 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 con-stantly 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 farm-ers. 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 devel-oped and to grow in villages. It has characteristics that are suitable for vil-lages living conditions and growth prospects. These characteristics are that it is labour intensive, requires low technology and investment and abundance of local material input.

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

    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 is-sues 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.

    MR.SURYA PERNAWASclupturer / Craft Practitioner.

    In principal, New Craft is a manufac-turing activity that uses traditional craftsmanship as its main source of production method and uses modern management techniques in manag-ing 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.

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


    A New Craft.

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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 activi-ties. 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 produc-tion activities. For those who posses craft talents, within a few days, they will display craftsmanship and abili-ties that are adequate to meet our standards.

    The approach of New Crafts 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 agri-culture. 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.


  • 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 Indo-nesia it is impossible to discuss sustainable living without discussing issues that are faced by villages.

    Village and sustainable living.


    Within the Indonesian hierarchy of government struc-ture, villages are positione