Rattan
My Journey from Inspiration to Innovation
Some of my friends like to tease me, saying I could spend a whole evening talking about rattan. They’re wrong—I could probably fill an entire magazine with it.
This article is a testament to my enduring love for this versatile material and the transformative journey it has led me on.
It’s hard to pinpoint exactly where it all began. My first memories of rattan are of some not-very-attractive woven chairs at my grandmother’s house in Switzerland. Those chairs weren’t the source of my passion, but they may have planted the seed of inspiration—a motivation to reimagine what rattan could become.
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Fast forward to 2015, my friend, German architect Till Marzloff
invited me to Indonesia to collaborate on furniture and interior designs.​
Fresh from a breakup, I was eager for a change—“a change of wallpaper,” as we say in Germany. Without much thought, I jumped at the chance to take on a new challenge in Indonesia.
First project, a meditation-centre in Bandung. While researching typical Indonesian materials, I came across rattan and was exited to explore this possibility further. With my grandmother’s odd chair still in mind, I saw an opportunity to create something much better. For the project, I designed handrails and facade panels made of woven rattan. Despite my enthusiasm, the woven panels were not embraced by the client. Ironically, what was dismissed then has since 4 years become a celebrated trend in Indonesian architecture, popularized by renowned architect Andra Matin.
Early experiments and first breakthroughs
After focusing on other projects for a while, I came back to rattan with a fresh perspective, starting with woven lampshades. During this time, I was introduced to a mid-sized rattan manufacturer who struggled to bring my early designs to life. Curious about the process, I asked for a tour of their production facility and was mesmerized by the craftsmanship, especially the crafters working with larger rattan poles.​​
This led to my first product, Jagong, a rattan stool. When I initially pitched the design, I was told it was impossible to produce. But a few months later, I got a call from Mrs. Tata, the owner of the West Java manufacturing company, saying, “Robin, we’ve made your design. Come take a look.” Looking at the prototype, I fell in love with what we had created—an intricate, 3D-molded stool with extraordinary strength, achieved through innovative use of rattan. A new way that has not been used in traditional rattan crafts before.
Excited by this success, I designed my second product, Isun, a rattan mirror. I wanted to move away from traditional joinery and weaving techniques to create something sleek and modern. Over a short time, I refined the design, producing better versions and sharing them with the local design community.
Deepening the Connection & Sculpting with Rattan
My publications led to an invitation to join the Indonesian rattan workshop. The invitation to Indonesia’s “PIRNAS” rattan innovation program solidified my love for the material. The program immersed me in the world of rattan, from its growth in rainforests to its sustainable harvesting practices.
In a one week workshop as the only foreigner, I was working and learning alongside talented Indonesian craftsmen and designers, I deepened my understanding and appreciation of rattan’s potential—
not just as a material, but as a symbol of sustainable craftsmanship and design.
Soon after, an Australian couple hired me to design their restaurant interior. I saw it as the perfect opportunity to create something extraordinary with rattan—a fully sculptural interior. Despite initial resistance from local workshops who deemed the project impossible, I eventually found a dedicated trio from Cirebon, Indonesia’s rattan capital. Together, we brought my vision to life - this collaboration has continued to fuel my work to this day.
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My first rattan interiorproject. Personally supervising and studying the material into detail.
Expanding Horizons
In the years that followed, I continued exploring rattan classics in the interior context, blending classic techniques with modern aesthetics. These experiences helped me refine my approach and expand the ways I could integrate rattan into different design narratives.
When the pandemic brought much of the design world to a standstill, I joined a project by German government agency GIZ in collaboration with Outforspace and Vivere for a development project focused on rattan harvesting and sustainability. Leveraging my expertise in rattan, I contributed to research and development efforts aimed at improving harvesting systems, creating fairer practices for farmers, and establishing nurseries to support sustainable growth. Additionally, I worked with Outforspace to develop enhanced materials for Karuun© products. This project not only reinforced my commitment to rattan but also expanded my skills in its sustainable and innovative applications.
Rattan palm before harvest in the Rainforest of Aceh, Sumatra | Me with local raw material processing team in Palu, Sulawesi
After the world began to recover, I got the exiting chance to bring my accumulated knowledge into my first international furniture collection for Manutti. The Sandua Collection is a unique project where we used a blend of two weaving materials to create the patented Dicord® weaving. On a sample swatch I hand-crafted the weaving myself, that then was perfected by Manutti’s exceptional team of weavers. This innovative approach showcased the versatility of weaving techniques and marked a milestone in my journey.
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Discord ® weaving on Sandua Dining Chair, Sandua Papasan Chair | My Sandua collection for Manutti
Looking Ahead
As I continue to establish myself in the modern furniture design world, my focus remains on innovation, particularly with rattan. My two most recent creations reflect this vision:
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Nesa Chair, my first full-rattan chair, embodies a minimalist approach. By reducing the structure to its essential elements, I designed a piece that feels contemporary and streamlined while maintaining the organic warmth of natural rattan.
Kleo Chair, currently in the prototyping phase, draws inspiration from mid-century design, reimagined for a modern context. Its standout feature is a free-hanging leather seat—a first for rattan furniture—blending craftsmanship with bold innovation.
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Beyond its eco-friendly credentials, rattan is a material of endless possibilities. It can be so much more than the bohemian, old-school aesthetic many associate it with. I aim to change this perception by creating designs that push boundaries and inspire a fresh perspective. Rattan holds a future of exciting potential, and I’m eager to collaborate with those who share my vision for innovation and reinvention.
© Robin Hapelt