Bamboo & Wood Craft A Need Assesment Survey Report Kahikuchi Cluster, Kamrup, Assam Kahikuchi Cluster, Kamrup, Assam

BAMBOO & WOOD CRAFT
BAMBOO & WOOD CRAFT

A NEED ASSESMENT SURVEY REPORT
A NEED ASSESMENT SURVEY REPORT
KAHIKUCHICLUSTER,
KAHIKUCHI CLUSTER,KAMRUP,
KAMRUP,ASSAM
ASSAM
Prepared by Er. Anupam Dutta, Design Consultants
Forewords
help MSMEs to develop product/process/business expertise through
Design Clinic Scheme for Design Expertise to MSMEs, a unique and ambitious design intervention at multiple level interactions. Design awareness
design intervention scheme for the country’s large micro, small and medium seminar, design awareness programme and design projects will
scale enterprises, is an initiative of Ministry of MSME, Government of India
help MSMEs in various stages to develop competitiveness. The
has been launched under National Manufacturing Competitiveness goal is to help MSME manufacturing industries move up the value
programme. The main objective of the Design Clinic Scheme is to bring
chain by switching the production mode from original equipment
MS&ME sector and design expertise into a common platform and to provide
manufacturing to original design manufacturing and hence original
expert advice and solutions on real time design problems, resulting in brand manufacturing.
continuous improvement and value addition for existing products.
Design Clinic Scheme will help MSMEs to develop product/process
This model brings design exposure to the door step of industry
expertise through design intervention through multiple level
clusters for design awareness, improvement, evaluation, analysis
interactions. Design sensitization seminar, design awareness
and design related intervention. Design clinic scheme will assist
programme and design projects will help MSMEs in various stages
industrial clusters to open a channel for design information inflow to develop competitiveness.
for creative, innovative and futuristic approach towards the
product, process, operations, manufacturing and business design. As part of the National Manufacturing Competitiveness Programme
The scheme will help generate insight for opportunity identification
(NMCP), the office of Development Commissioner, Ministry of Micro,
and design intervention for competitive and breakthrough solutions
Small and Medium Enterprises, Government of India, will implement
for MSMEs.
the Design Clinic Scheme for Design Expertise to Micro, Small and
Medium Enterprises (MSMEs) Sector (hereinafter referred to as the
The National Institute of Design, Ahmedabad, has been setup as the
Design Clinic Scheme) during the 11th Plan Period.
nodal agency for the scheme. With its rich experience in design training
and consultancy, NID will act as matchmaker to the MSMEs and design
The over arching approach in implementing the scheme will be to
professionals. It shall also administer effective implementation of the plan.
bring Indian MSMEs and design experts on a common platform. This
will enable the MSMEs to access expert advice and cost-effective
The objective of Design Clinic scheme is to enhance industry
solutions for their real-time design problems, with some financial
competitiveness and productivity with the help of d esign
support from the Government. The expected outcome of such
intervention at various functional levels. Design Clinic Scheme will
interventions is new product development or discernible design
improvement and value addition for existing products.
Need Assessment Survey|| Bamboo & Wood Craft Cluster, Kahikuchi, Kamrup, Assam ||2012|| Anupam Dutta
Acknowledgment
Special thanks to “North East Development Consortium” Mr. Jayanta Baruah (CEO) and Miss. Runima Pathak (Secretary) and the entire team to organize the
‘design Clinic Scheme Programme’ and shown their trust over me to take up the program, taking me as a consulting design resource.
Also thanks to NEDC’s project assistant- Mr. Palash Nath & Mr. Lila Gogoi along with Designers - Sri Rebat Deka and Sri Abhijeet Deka and entire Bamboo & Wood
cluster’s each individual unit member who has given me their great support during the design audit. Where, without their involvement & assistance I was unable
to understand cluster background & their present status. Thus I come up with such informative, structural, analytical and design intervention opportunities.
I would also thanks “Design Clinic Scheme; National Institute of Design”, who has given me an opportunities to accumulate an intensive report after
realizing my strength, potential and past experience.
I also offer thanks to the promotional agencies like- NEHHDC ( Purbashree), ARTFED ( Jagaran),AGMC( Pragjyotika), SIRD( Aastha) who are encouraging
the sales and marketing of the Bamboo and Wood products from the cluster.
Contents
1. Introduction collaboration
1.1 About “Design Clinic Scheme” for MSME’s 3.6 Scope for operations and process innovation from design
1.2 About “National Institute of Design” perspective
1.3 About “North East Development Consortium” 3.7 Design opportunity in workstation and tooling design
1.4 About Assam and Kahikuchi, Kamrup 3.8 Details of market and competition study for design
advantage and distinction
2. Bamboo & Wood Craft Works 3.9 Need of training and skill up gradation
2.1 Process 3.10 Ergonomic and environment factors in MSME premise
2.2 Raw Material 3.11 Packaging and logistics related design opportunities
2.3 Tools & Equipment 3.12 Exhibition/Display design opportunities
2.4 Product Range 3.13 Study of infrastructure setup from design perspective
2.5 Insight- Understanding of the customer product producer
market relation from design point of view 4. Value Chain & Analysis
2.6 Opportunity Mapping 4.1 Description of the Bamboo & Wood Craft value chain
4.2 Market
3. Design Audit for the Cluster 4.3 Issues in the Bamboo & Wood Craft value chain
3.1 Description of individual units (total 20 units has covered) 4.4 SWOT analysis
3.2 Existing Products, redesign, new product development and 4.5 Issues & concerns
product diversification 4.6 Present status of design at cluster and units
3.3 Scope for research and development direction for future 4.7 Design intervention need area
initiatives
3.4 Existing status and opportunity for visual identity, branding 5. Conclusion
and communication design
3.5 Scope for technology, modernization and design 6. References
01
1. Introduction
02
1.1 About “Design Clinic Scheme” for MSMEs
Understanding the Design Clinic Scheme:
Purpose:
To increase awareness about the value of design and establish design learning
in MSMEs. To increase competitiveness of MSME products and services through
design.
Objectives:
To create a sustainable design ecosystem for the MSME sector through
continuous learning and skill development.
To promote use of design by MSMEs for developing products and services that are
market led. To focus on building the design capability of MSMEs to enable them to
improve business performance as well as compete in the global
market.
Key principles:
Adopting a rigorous, yet applicant friendly, process.

Promoting and disseminating design concepts in regional or local languages
understood by the MSMEs. Establishing benefits without overwhelming the
MSMEs. Learning from other successful design-support programmes. Establishing
systematic processes for design and product development in MSMEs.
03
Scheme description:
For easy percolation of design thinking and philosophy and maximum
benefit for MSME units the Design Clinic Scheme is divided at 3 broader levels. These
activities are helpful in smooth transition in to several levels of design intervention in
industrial and business activities of MSMEs.
Design Awareness Seminar:

The design sensitization seminar is aimed to create a platform for MSME units to
improve the manufacturing competitiveness. The seminar will help MSME
participants to interact with design experts speakers to understand design
methodology and benefits of design to MSME in their business, product, process,
service and operations. To take design to a higher level of manufacturing functions, it
is very important to develop an understanding of the design scenario and
environment at an early stage of conception.
Design Awareness Programme:
The design awareness programme is focused on exploring industrial
functions and activities to develop a holistic map of MSME clusters
and units. The design experts will generate design information about
products, market scenario, technology, communication, research
and development, and various industrial functions along with
human factor study for ergonomics, safety, convenience, learning
and skill up gradation through design research. The programme will
04
also provide design remedies for identified opportunities through
the design clinic workshop.
The design awareness programme is conducted in two stages:
- Need Assessment Survey
- Design Clinic Workshop
Design Projects:
Design projects are identified during the need assessment survey and discussed
during the design clinic workshop. Project which require intensive design
observation and interventions can be taken up as design projects with the help of
design experts. The project can be related to design intervention in area of
product/process / strategic areas where design can help in generating solutions
and value for individual or group of MSMEs.
Role of Design in Improving Competitiveness:

Design is an approach, process and methodology. Design is indented,
purposeful, contextual, which is aimed to create advantage,
distinction and futuristic outcome as a result. Design is systemic
and holistic in nature, therefore helps in generating more creative,
impactful and sustainable solutions. In manufacturing, design is
commonly associated with industrial product design - specifically
the ‘aesthetics and appearance’ of a product at a surface level
interaction. However, the application of design is much broader, for example
designing for functional appeal, ease of manufacture,
05
consumption and sustain-ability. Designing may also be done for reliability or
quality or business processes. Service designs are
primarily to cater to customer’s experience of the delivered product
and service. The larger purpose of design is to do things in a better manner, to
improve a situation and to make a positive difference. The role of
design in business is to create value. A company can use the design
process to add value to products, services, and the organization.
A well-designed product, service, or organization is always more
valuable. Design, innovation and growth are linked. Innovation and design are
not simply about new products or technology. They are also about how to improve
products for everyday use, leading to reduced
costs, increased usability and new business opportunities. Design
is recognized as an innovative discipline that can help MSMEs to
sustain and grow in an increasingly competitive market.
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1.2 About National Institute of Design

The National Institute of Design (NID) is internationally acclaimed
as one of the foremost multi-disciplinary institutions in the field of
design education and research. The Business Week, USA has listed
NID as one of the top 25 European & Asian programmes in the
world. The institute functions as an autonomous body under the
department of Industrial Policy & Promotion, Ministry of Commerce
& Industry, Government of India. NID is recognized by the Dept. of
Scientific & Industrial Research (DSIR) under Ministry of Science &
Technology, Government of India, as a scientific and industrial design
research organization.
NID has been a pioneer in industrial design education after Bauhaus

and Ulm in Germany and is known for its pursuit of design excellence
to make Designed in India, Made for the World a reality. NID's
graduates have made a mark in key sectors of commerce, industry
and social development by taking role of catalysts and through
thought leadership.
07
1.3 About North East Development Consortium (NEDC)

The NEDC in an organization which offering consultancy services
in different fields and expertise in different areas. It was started in
2000 at Guwahati aiming to serve the people of North- East. The
organization is managed by a set of dedicated persons having
expertise in different areas. It is not a profit organization dedicated
to formulate and implements plans and projects that improve the
social and economic condition of North-East people. Through this
NEDC want to assist to improve house held condition of North-East
with a sense of community & sense of personnel empowerment.
It also offering services that assist women & childre n who are
experiencing violence, homelessness & chronic poverty & to create
an environment that strengthens a women belief in her ability to
influence the direction of her life. In other words it want to serve as
a regional voice for the land of eight sisters.
Organization Profile:
NEDC is registered under the Societies Registered under the Societies North East Development
Registeration Act, XXI of 1860 with registration no. RSKAM/240/A--
18/19 Consortium
Aims: NEDC aims to be a dynamic & responsive organization catalyzing the economic
development of the North-East. Keeping in view the socio-economic scenario of the
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NE regions of India, NEDC is mandated to address as a dynamic & responsive
organization catalyzing the economic development of North-East. NEDC should make
“Sustainable Socio Economic Development” of its region as its main goal. In line with goal,
the organization should have its own vision & mission & that would provide proper direction
to the activities of the organization & the results it can achieve. As a result, the vision &
mission of NEDC should be as follows.
Vision:
1. To emerge as a excellence Organization Consultancy Service,
Event Management, Marketing Linkage, Project Formulation &
Implementation, Evaluation Studies, Research & Support, Training,
Technology, Management & Development in different sectors.
2. To improve the quality of life of the rural people of North-East.
3. To create an environment that strengthens a women’s belief in her ability to influence the
direction of her life.
Mission:
1. To serve the people by offering quality services for their progress & economic up liftman.
2. Help North-East people to restructure their rural societies & to reconstruct the economy
of the rural people.
3. To develop a range of long term, safe, affordable housing options for & with low
income women.
Function: 09
1. To collaborate with national & state level organizations, the national & state level
bodies, governmental & nongovernmental for purpose of taking action to accelerate Socio-
Economic development in the region.
2. To held national & regional conferences, seminars, workshops & meetings to identify new
areas of development.
3. To organize & facilitate the conduct of national, regional, state level & district level training
programmes to strengthen the capacity of local people by sharing views, experience & good
practices.
4. To initiate research & action research studies of specific or common Interest & disseminate
disaggregate data/statistics & information to the region.
5. To serve as a clearing house & data bank for communication & information on Socio-
Economy development, etc.
Offering Consulting Services in the Field of:

a) Agriculture, b) Rural Development
c) Handloom & Sericulture, d) Marketing Linkages
e) Handicraft, f) Skill Development,
g) Education, h) Health & Sanitation,
Expertise in:
a) Consultancy , b) Marketing Linkages,
c) Training & Research, d) Event Management,
e) Advertising & Publicity
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Experience:
NEDC has been conducting Training programme throughout the state of Assam for the last ten years. The training programmes were related to Awareness,
Motivation, Entrepreneurship Development, Skill Development, Group Formation, Credit Linkages, etc. The training programmes were conducted under
different Govt. Schemes and were organized with the related Departments and Organizations like National Institute of Design (N.I.D),Ahmedabad, Indian Institute of
Entrepreneurs (IIE), Guwahati, NI- MSME, SIRD, Guwahati. NEDC has not only confined itself to trainings of unemployed educated people but ensured
that they after fulfilling the norms are credit linked & enable them to set up their own enterprises. Many such clusters have been developed throughout
the state of Assam by NEDC under different Govt. Schemes and with assistance from the local banks. NEDC has also helped the interested persons by creating
Marketing opportunities for their produce and ensured that the producers get the actual price for their products. NEDC has established linkages for the
weavers with many reputed organizations doing business with Handlooms products. NEDC has been offering consultancy services to many
organizations as per requirement and has excelled in this regard. Many events has been organized by NEDC for many departments successfully and
already earned reputation in this field. NEDC also entered the field of Advertising & Publicity and has also provided consultancy in this field. For
conducting sessions during training programmes & for guidance time to time Faculty support is taken from all leading Departments, Universities &
Institutions like Indian Institute of Technology Guwahati, Indian Institute of Entrepreneurship, National Institute of Rural Development, TATA Institute of
Social Science, Indian Institute of Crop Processing Technology, Indian Institute of Banking Management , Weavers Service Centre, Central Silk Board, Gauhati
University, Dibrugarh University, Assam Agriculture University, State Institute of Rural Development, Assam Institute of Management, Assam Textiles
Institute, Assam Engineering College, North Eastern Regional Institute of Management, Girija Nanda Choudhury Institute of Management &
Technology, Gauhati Commerce College, Sualkuchi Institute of Fashion Technology etc.
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1.4 AN OVERVIEW OF THE DISTRICT KAMRUP

District Background and Demographic Profile:
Kamrup (Rural) District is situated between 25.46 and 26.49 North Latitude and
between 90.48 & 91.50 East Longitude. It is bounded by Udalguri and Baksa
districts in the North, Meghalaya in the South, Darrang and Kamrup
Metropolitan in the East and Goalpara and Nalbari district in the West. It has a
total geographical area of 1346.26 sq. mile, (which is equivalent to 3486.8 sq. km.)
The demographic pattern of the Kamrup District is a heterogeneous one. Various

ethnic groups like the Koch-Rajbongshi, Kalitas, Brahmins, Gosains, Rabhas, Boros,
Garos, Hajongs, religious and linguistic minorities i.e. Muslim and both Hindu and
Muslim Bangalies etc. are the main ethnic groups that inhabit in the district. All
these different ethnic groups subscribe to different religious faith viz. Hinduism,
Christianism, Islamic and Budhism etc.
Demographic Profile of the District:

According to Census, 2011
Kamrup District population constituted 4.87 percent of total Assam population. In
2001 census, this figure for Kamrup District was at 4.87 percent of Assam
population.In 2011, Kamrup had population of 1,517,202 of which male and
female were 779,608 and 737,594 respectively. There was change of 15.67
percent in the population compared to population as per 2001. In the previous
12
census of India 2001, Kamrup district recorded increase of 14.97 percent to its PARTICULARS
population compared to 1991. The initial provisional data suggest a density of 436
AREA POPULATION as Per
1,517,202
in 2011 compared to 382 of 2001.Total area under Kamrup district is of about 2011 Census
3,480 sq.km. With regards to Sex Ratio in Kamrup, it stood at 946 per 1000 male Geographical
3486.8 Male as per 2011
area(in sq km) as 779,608
compared to 2001 Census figure of 934. The average national sex ratio in India is sq.km. Census
per 2001 Census
940 as per latest reports of Census 2011 Directorate.The total number of
ADMINISTRATIVE Female as per 2011
v i l l a g e s in the districts is 978. There are total 14 blocks and 139 Gaon 77,594
UNITS Census
Panchayats in Kamrup district.
Sub-Division Sex Ratio number of
2 females per 1000 males 946
Literacy Rate in the District: as per 2011 Census
The Male literacy rate in Assam according to 2011 Census is 78.81% while Female
Revenue Circle as Population Density per
12 436
literacy rate is 67.27%. The average literacy rate of Kamrup in 2011 were 72.81 per 2001 census sq km
compared to 67.73 of 2001. If things are looked out at gender wise, Male and Block 14 Literacy Rate(persons) 1,517,202
Female literacy were 77.64 and 67.69 respectively. For 2001 census, same figures Gaon Panchayat 139 Male Literacy rate 779,608
stood at 75.89 and 58.95 in Kamrup District. Total literate in Kamrup District were
Total villages
978 Female Literacy Rate 737,594
962,677 of which Male and Female were 528,117 and 434,560 respectively. 2001 census
Rural Poverty context in the District:

According to BPL Census 2002, Kamrup has 42.50% BPL population.
Status of Human development in Assam:
The estimate of the HDI for Assam during the year 2007-08 was 0.444 as against
for all India 0.467.The HDI for the District was 0.574.
About the Cluster Kahikuchi, Kamrup, Assam 13
The Kahikuchi area in South Kamrup has rich resource base for the bamboo & wood
product. The raw materials are plenty to be found and at a very low cost. The
production is skill with traditional tools as a result of which the rate of production is
very slow and the product are also not that beautiful as the finishing is not up to
the expectations of the customers so the price of the products are low as compared
to the branded ones available in the market. The artisans are skilled but they are
still manufacturing same products for a long time and unable to match the modern
day demands in terms of quality and design.
The above mentioned sector too enjoys the advantage of low cost for raw materials
and easy availability. The artisans still use the traditional tools as Da, Kotari etc for
manufacturing the products. The products are still very traditional and there has
been no development or diversification for a long time in this case.
There is tremandous scope for use of power tools in this cluster which will make the production faster and the products more beautiful. That will help in
increasing in the price of the products for which the artisans will be able to earn more.
The artisans will be able to go for diversification and as there is an existing demand and for these products throughout the county these products will
be very much sold out at an attractive price. The introduction of the power tools will make the work environment more comfortable for the artisans as
that will also reduce the work load and hardship. Moreover effort for finishing will also be reduced in this case. Another important thing that has been
observed is the requirement of treatment for wood and bamboo which will make the products durable and long lasting, thus increasing the confidence
of the customers.
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BAMBOO & WOOD CRAFT WORKS
2.1 The Process: Bamboo/ Wood as raw materials are treated first for the power tools till date .The machines like sander and cutter will be very
termite resistance. As there is moisture in the raw form they are dried up for a useful as they will make the work more accurate and easy and ensure the
period and then the actual work with these raw materials are started. The display of the finished products is good. Moreover there will be less wastage of
raw materials which will also help in reduction of the cost of production.
treatment make the Bamboo & Wood resistant to the insects and cool and
moist weather the durability of the products is increased in this way and in the
process the satisfaction of the customer also increases there is very little use of
A.Sizing by
cutting
Supliers B.
and Treatment
Dealers process
G. Final C. Cleaning
Finishing Process the surface
D.To
F. smoothen
Burnishing the rough
edg
E.curving
Design
Patterns
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2.2 Raw Materials
The raw materials Bamboo & Wood is easily available in plenty. As a result
there is no problem with the raw materials. The cost of raw materials is also
very low which results in more profit for the producers a the raw materials are
available locally this result in low transportation cost and the producers are
also not needed to invest a huge amount to keep a stock of the raw material to
ensure continuous production.
Assam has probably the maximum resources for the Bamboo & Wood industry
in India, comparable with Canada and the Scandinavian countries -Sweden,
Norway and Finland. In bamboo and Wood, Assam has the most concentrated
forests in the whole of India. As many as 51 species of bamboo grow in Assam
and they are being used for diverse purposes, mainly for buildings, furniture
and diverse contraptions. Studies are being conducted in some research
centers in India as to the suitability of the bamboo being used as
reinforcement to replace mild steel bars in light concrete structures. Bamboo is
also used for umbrella handles, walking sticks, tool handles, fishing rods, tent
poles, cordage adders, yokes, baskets, toys, hand-fans and various domestic
and agricultural implements. All these articles can be produced on a cottage
and small-scale basis with small machineries.
2.3 Tools and Equipments;- 16
Traditional tools are very much in use till date. For wood the tools like Karat, Renda, Cutter etc are in use. For Bamboo the tools like Dao, Katari etc
are used. These tools are out dated and make the production process more tiresome and time consuming. Moreover the products are also not able to
get desired display and look and lack in finishing. The modern day tools which are mostly electrically operated will make the process faster and the
finished products will be more attractive.
Double Bevel Sliding Mitre Saw
17
Motor Drill Machine
Jigsaw
18
Dremel
Router
19
Random Orbit Sander
Drill Bit Set
20
Circular Saw
Planer
21
Jack
Cordless Drill/ Driver
22
Traditional jack machine
Blue lamp
23
Design cutting machine
Generator
24
Randa (traditional equipment)
Traditional Equipment
25
26
READMADE TRADITIONAL
DESIGNS
27
Why Bamboo and Wood Products & Furniture are in

As both of these are natural that is certain advantage for the users. Moreover the
products are very unique. These natural raw materials do not cause any harm to
the users and are eco friendly. The bamboo & wood products give pleasure to the
user also. The products are generally very durable and needs very less
maintenance. The cost of raw materials is also very less and easily affordable.
The products are easily designed because of their characteristics, with little effort
these products can be produced. The designs as per the thinking and thoughts of
the artisans are easily transferred to the products.
The bamboo & wood can be transformed and used in manufacturing products as
per the demand of the customers the colors as per preference / choice of the
customers can easily be given to these products which enhances customers
satisfaction to a very large extent. In case of mass production these raw materials
are very good for use and with very less effort the target of production can be
achieved easily.
28
BAMBOO AND WOOD CULTURE OF ASSAM:
The traditional woodcraft industry of Assam provides an insight into
the versatility of the craftsmen of the rural areas of the state.
Endowed with the traditional knowledge of making beautiful products
from woods, the woodcraft industry is one of the ancient handicraft
industries of the state. Assam has been the cradle of many
civilizations. The royal blue blood of the ancient state of Assam
encouraged in the growth of the woodcraft industry. Many important
and famous craftsmen of the ancient times received royal favor. The
woodcraft industry flourished under the patronage of the rulers of
Assam who were fond of wooden handicraft items. The traditional
skill of carving beautiful items of wood has triggered down to the
modern era. The eloquent and exquisite patterns of designs on the
wooden items reflect the rich artistic skill and creative imagination of
the craftsmen. The craftsmen of Assam are adept in producing
excellent items of wood that has captured the imagination of the
poet. The splendid woodcraft items have taken the world by storm
because of its fine designs that makes them one of the unique
products of the handicraft industry of Assam. The only reminiscent of
the glorious cultural past of our country, the woodcraft handicraft
industry once again rose into prominence during the recent years
with the intervention of the state government of Assam.
29
Assam is rich in sylvan resources and most of its forests are richly
stocked with bamboos and wood of various species. Bamboo is a raw
material of great versatility and forms an integral part of the lifestyle
and economy of Assam. Special mention may however be made of the
forests of Mizo Hills, Cachar, Mikir and North Cachar Hills, Nowgong
and Lakhimpur districts. While touring in the hill districts, one
sometimes wonders at the vast expanses of bamboos and woods. The
important species of bamboos of economic value are the Muli
(Melocanna bambusoides), Dalu (Teinostachyum dalloa), Khang
(Dendrocalmuslongispatnus),Kaligoda (Oxytenanthera nigrociliata) and
Pecha (Dendrocalamus Hamilton-ii). The Muli and the Dalu have great
commercial importance, the former for pulping, constructional and
fencing purposes, and the latter for the mat and basket industry. The
making of bamboo and wood products is perhaps the most universal
of all the crafts practiced by a large number of artisans scattered
throughout the State. It is practiced as a household industry and no
mechanical device is used. Wood and bamboo products are used for a
wide range of purposes and extensively used in every household. This
industry has carved for itself an important place among the
handicrafts of the State. It provides part time employment to the
30
cultivators in their spare time and full time employment to the few
highly skilled artisans who produce only fine decorative baskets,
furniture and mats on a commercial basis. No definite records are
available to establish the antiquity, history and origin of this craft in
Assam. However, it can be safely assumed that the craft was practiced
since the misty past with the very dawn of civilization. In the early
period in Assam, bamboo was held with special reference and is
forbidden to cut in “auspicious days”. It is a general belief that
bamboo possesses auspicious character and is of religious significance.
An idea about the flourishing state of wood and bamboo products of Assam was fond even during the time of Bhaskara Varman (early part of
the 7th century A.D.), the king of Assam, may be had from the following extract. (An extract from “The History of civilization of the people of
Assam” by Dr P.C. Choudhury “Early literature refers to the well-decorated and coloured Sital patis (cool mats) used by the rich people. Mats
were usually made of wood. The classical writers testify the abundance of wood in the forests of Assam. Ptolemy, for instance , states that to
the east of Serica, which we have identified with Assam, there were hills and marshes where woods were grown and used as bridges.
Evidence of the production of other wood articles is also supplied by the ‘Harshacharita’, which mentions stools of wood. The cultivation of
bamboo and its use for various purposes are well known. Bana again testifies to this highly developed craft. He states that Bhaskara sent to
Harsha ‘baskets of variously coloured reeds’, ‘thick bamboo tubes’ and various birds in ‘bamboo cages’. All these prove that various industrial
arts were developed in Assam at an early period and were continued to be practiced till recent times, based on that traditions like those of
the craftsmen of other parts of India.”
History of Wooden Furniture 31
India has a very long woodcraft history with its prime time during Vijayanagar Empire southern India (1336AD). Wood craftsmen then were
highly respected by the royalty because woodcraft was considered an art and a trade. Woodcrafts can be found everywhere in In dia, on
wooden doors, posts, walls, in remote villages, in cities, in modern buildings, in temples, and one will be impressed by the wide variety of
styles of this craftwork. Woodwork carries several important implications in India. Being
heavily influenced by art and literature, ebony wood was the symbol in the south,
particularly among the royalties, whereas walnut was the symbol in the north. With woodcraft,
legends and folklores are kept for many years. It is this element of continuity which ancient art
and culture are preserved. It is well-known that Indian craftsmen can turn wood into many
other amazing wooden inventions in the world. They use wood locally found and change it
into decorative objects such as cabinets, screens, tables, candleholders, boxes, trays and even
toys or in a different scale houses and rooftops. The wide variety of wood sources such as
sesham wood, Indian rosewood, teakwood, and sandalwood and coconut tree also
encourages the wide range of wooden creations in the region. With sandalwood in particular,
it is considered by most Indians to be a gift from God because of its fragrance which lasts for
years. Contrast to the present rapid developments in information and technology,
Indian wooden furniture still maintains its traditional way of using simple tools and
processes in its production. Because of this, there is still much ethnic flavour to be found in the furniture. And also due t o the way the
furniture is made, Indian wooden furniture is the symbol of durability and elegance. The availability of raw material and regional variations
has long influenced furniture making in India. Wooden furniture has always been known for its durability, elegance and design, which lends an
aristocratic look to a particular room, be it an office or a home. The reason why Indian furniture has been regarded as prized possession is its
ethnic flavour. In some parts of Rajasthan and Gujarat colourful painting of furniture is quite common. Traditional designs and motifs are
painted in colours, which are again traditional. The items that are generally available in this range are small chairs and tables, bajots and 32
chowkis, stools with string seats, boxes, cabinets, mirror/picture frames, doors and windows. In Rajasthan, the furniture that comes from
Shekhawati holds its unique importance in the market. This furniture is made from local timbers like sheesham (Dalbergia sissoo), mango
(Mangifera indica), and babool or kikar (Acacia nilotica). We will also find several pieces of Indian furniture that have been transformed into
something else. As an example, window grills and doors have now been turned into coffee tables and cupboards. Although India is known for
many fine things, it stands at the top of the list when it comes to furniture. Remember, domestic furniture as it is known in Europe today was
not traditional in India prior to the 16th century. It was soon discovered that while the Indians were not good or accurate a t copying, they
were highly skilled. We specialize in the following range of furniture and iron items:
Lasa III
The about few pieces of shisham furniture are from our LASA III collection which is made by using ‘A’ grade plantation shisham wood from
Bihar. Shisham is a dense hardwood, with high natural oil content, naturally repelling moisture. No other wood shares shisham exceptional
strength and durability. All products are classified in coherent ranges, which are based on the principle of complementarily of function and
style. This implies a range of furniture intended to be simple but powerful, pure in function and spirit, but attractive to the senses.
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Copenhagen
The Copenhagen collection is created from mango wood with rich medium finish that's sealed for practicality. The Copenhagen colle ction
products are designed to balance quality and design with the practicality that home would demand. This collection is perfectl y designed with a
variety of options, it will work perfectly whatever the space or room design.
Scandinavian
Here are few pieces from our Scandinavian Range, the combination of modern & old lines. This whole collection is made from Ac acia wood
sourced from managed environmentally friendly timber sources and assembled in accordance with old time traditions. Each individual piece of
furniture features a unique grain and therefore has its own distinctive characteristics that give it a special authentic atmosphere & appearance.
Classic, Scandinavian traditions of design match perfectly with the look of the light and natural acacia whilst the darker colours signal an
elegant. The whole collection of Scandinavian range has a simple, beautiful and timeless design. Being handmade, each piece has a unique
appearance appealing to the individual. All of this acacia furniture has been crafted with daily pleasure and practical use i n mind which has
been made for years of use in many different homes.
Cubo
Each piece in the Cubo collection has been beautifully designed using the best quality of Acacia wood available on the outskirts of Jaipur. As
the range is handcrafted each piece is unique in shade and texture which is inspired by bold contemporary lines & warm grains. The range has
many marvelously designed pieces such as dining sets, coffee tables and shelving units all are available in the Cubo collection to give a modern
& contemporary touch to your home.
Doka
The range of painted furniture from Laxmi brings back the olden French times of country living. The expert craftsmanship involved in painting
solid mango wood ensures that each piece is unique and colorful, bursting with character and full of life. In its carefully crafted details, the
collection of painted furniture takes you back to a different way of life where your house becomes a family home with furnitu re that
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transcends generations. Crafted from solid mango wood then distressed, this collection strives for authenticity and doesn't just show a facade
but is genuine in both appearance and construction. Each item of furniture in this range is made mainly from carefully selected solid mango
wood with the combination of new wood called 'MDF' .
Patti
Each piece in this collection given an ageing process to create the classic look and feel of distressed and antique furniture. Due to the finishing
process each unit is giving unique touch to Laxmi's Patti collection that is both beautiful and practical for today's living.
Chandeliers
We are proud presenting our exclusive range of Chandelier's from India for sophisticated interiors. Our handmade Chandelier's products are
manufactured using the best quality material's of crystals, wood, wrought iron, & brass , and are designed by our well experi enced master
artisans. We also offer a wide range selection of painted Chandelier's which are specially care take-up for breath takings effects related to
finishing, which are achieved through complex layer gilding, made from the finest wood and wrought iron. All Chandelier's are carefully
manufactured and checked up at each and every stage upto the final by our well experienced and qualified persons to present not only high
esthetic value to our client abroad , but also to provide the best and highest quality standard products with attractive looking’s too. All the
electric fittings used in these chandeliers comply with legislation of every country in which we supply. Explore our Chandeli er Collections,
which have a unique and antique rich finish for your halls, bedrooms, entry ways, Lobby's , dining rooms and libraries, our Chandelier's shall
surely give your sweet homes pleasant and romantic look which will surely touch your heart with the lovely lights surrounded over them.
Assam has always remained one of the most forest-covered states of the country, and the variety of wood and timber available here have
formed a part of the people's culture and economy. An Assamese can identify the timber by touching it even in darkness, and c an produce a
series of items from it. While decorative panels in the royal Ahom palaces of the past and the 600-years old satras or Vaishnative monasteries
are intricately carved on wood, a special class of people who excelled in wood carving came to be known as Khanikar, a surname proudly
passed down from generation to generation. The various articles in a satra and naam-ghar(place of worship) are stiff cut on wood, depicting
the guru asana (pedestal of the lords), apart from various kinds of birds and animals figuring in mythology. Modern-day Khanikar have taken
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to producing articles of commercial values, including figures of one-horned rhino and replicas of the world-famous Kamakhya temple - two
items heading the list of demands of a visitor from outside.
The Process of Wooden Furniture Making

Building furniture is a complex procedure, knowing and following correct woodworking guidelines will enhance your skill and show in the
finished piece.
Basics of Furniture Making

Starting with the basics of furniture building, the skills needed to build highly crafted piece can be acquired.
By carefully choosing which projects to build, you can acquire useful pieces of furniture and gain skills for the more advanc ed pieces.
Building Children's Furniture

Building children's furniture is a good way to learn the basics, and then you can upscale them for full -sized furniture.
Children's furniture is also an excellent area for making sales over the internet.
Building Furniture
Choosing either the type or style of furniture you want to build depends both on your current skill level, and your current needs.
WOOD FURNITURE: Introduction
Finding wood furniture that will stand the test of time, endure everyday use and abuse, and remain beautiful isn't as daunting when we have
some basic information. When it comes to furniture design, ask yourself, how does a piece make you feel? Is it aesthetically pleasing? Does it
feel proportioned properly? If you moved, could the piece adapt to different environments? Does it provide the functionality you need?
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All About Applying a Finish
Most finishes can be applied to a wood surface using one of three basic techniques: a wiping
rag, a brush, or a spray gun.
The Basics:
• Spray gun: Lies on most finishes fast and evenly.
• Wiping rag: This is the easiest skill to master.
• Brush: Amateurs and professionals find this a good choice.
Most woodworkers who have tried all three settle in on a preferred method and stick with it.
What follows are some tips that will help you broaden the scope of your finishing talents.
Spray gun:-
Without a doubt, we can lay on most finishes faster and more evenly with a spray gun than with
any other technique. In professional shops where time is money, spray guns rule for those reasons.
They are especially efficient at applying fast-drying finishes such as shellac and lacquer. The
downside is, of course, that to use them correctly, we need to invest in air-handling equipment to
exhaust the inevitable overspray that accumulates even with HVLP guns that are designed to reduce
it. The cost, both financially and in the amount of square footage a booth takes up, makes spraying
less appealing to small, home-based shops. It is possible to spray finishes outdoors, in good
weather, but then we face other obstacles in terms of wind-driven dust and pollen, as well as
insects that can contaminate the finish film. If we choose to take those risks and try our hand at
spraying, and if we already own a compressor, we can buy a decent spray gun for as little as Rs.
10000.
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Getting a feel for the right finish viscosity is a trial-and-error process, but it won't take long. Most finishes need to be thinned, some as much as 50%, to
get them to flow out the tip of a gun. It's important to keep the gun moving in a smooth, sweeping pattern over the surface of the work, and to overlap
the finish pattern as you move the gun across the surface. By applying each subsequent coat at a 90° angle to the last one, you can achieve even
coverage.
Wiping rag:-
By far, using wiping rags is the easiest skill to master. They work especially well with slower drying finishes, such as
oil-based varnishes and oil/varnish mixes, but they also work with shellac. Wiping rags lay on a little finish at a
time, so you're less likely to make mistakes. The key is to use a good lint-free cloth, such as old T-shirts made of
cotton that have been washed and dried so many times that they don't have a lot of loose fibers left in them to
contaminate the finish. Simply wad the rag up into a ball, dip it into the finish, and have at it. The disadvantage of
this technique is that it can be extremely time-consuming to build the final finish, so it isn't a good first choice if
you're in a hurry to get the job done.
Brush
Most amateur and some professional woodworkers prefer to reach f or a brush to lay on a finish. Brushes are really efficient for applying oils, oil/varnish
mixes, oil-based varnish, polyurethane, shellac, lacquer that's been thinned with slower-drying solvents, and many water-based films finishes. Used
properly, brushes lay on a good amount of finish and level it out evenly in the process. Once you overcome the learning curve, using a brush is not
difficult. Each type of finish possesses its own particular personality, and you'll often need to adjust the viscosity before brushing by adding some amount
of solvent. Also, before you begin, it's always a good practice to dip the brush first into whatever solvent has been used to thin the finish-alcohol, paint
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or lacquer thinner, or water. Doing this will help the finish to flow more smoothly and minimize the build-up of any dried finish on the bristles as you
work the finish. After pre-wetting the brush, dip it about halfway into the finish and wipe off the excess
on the edge of the can. The bristles will absorb enough finish to allow you to start putting it on. Begin
by holding the brush at an angle, 45° or so to the surface, and lay it on in long, even strokes, working
parallel to the direction of the wood grain. To avoid drips and runs on vertical surfaces, it's better to lay on
too little rather than too much finish. Correcting those mistakes ultimately will take more time than
simply brushing on another coat to get the build up that you need. For most solvent-based finishes, you'll
need a good quality china-bristle or badger-hair brush, and you don't need a very large one-2 ½ in. wide
is big enough for most projects. For water-based finishes, some people prefer a brush with synthetic
bristles. Also, disposable foam brushes often are overlooked, but they work incredibly well for leveling
out oil-based varnish, and even the professionals use them (though some may hesitate to admit it). Foam brushes, however, cannot be used with shel lac
and lacquer because the solvents in those finishes will dissolve the foam.
All About Choosing a Finish

After speaking with hundreds of woodworkers over the span of many years, one thing is crystal clear to me:
Applying a finish to furniture and cabinetwork represents the biggest headache to most woodworkers.
Many accomplished woodworkers spend countless hours building what is sometimes museum-quality work --
designing the piece to the proper scale, milling the lumber to size, executing complicated joinery techniques,
even carving intricate details -- and then when they're ready to apply a finish, they freeze up with fear. But
a worse problem than being panic-stricken about applying a finish happens when you blithely forge on,
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slopping on a bad finish without looking at the results with a critical eye. Nothing can more readily ruin a project. To choose which finish you want to use
on any given job, ask yourself a series of questions.
The basic
 Whether the finish needs to resist water, scuffing, and abrasion?
 Must be easy to repair.
 Use of amber or "water-white" tone preferable.
 Deep, lustrous, filled, and polished surface.
 The amount of time it takes to apply a finish matter.
 Evaporative vs. reactive.
 Why do so many woodworkers dread finishing?
We are convinced that the reasons are twofold. First, some finishes are highly complicated chemical formulas, and the contents are not always listed on
the labels. Manufacturers employ chemists with doctoral degrees to research and develop their products. This c an make people feel like they have to be
an expert on hydrocarbons to be able to put a good finish on a woodworking project. Second -- and perhaps more important -- early on in their hobbies
or careers, woodworkers tend to find one finish they prefer and stick with it. Learning how to lay on a finish is like riding a bicycle or playing golf -- there's
a learning curve involved with the process, and the more you do it, the more skilled you become. The best approach to learning how to apply a new
finish is to practice on scraps of lumber or plywood. Experiment with a new technique until you get it down pat. The results can be immens ely rewarding,
both for you and for the quality of your future projects.
An 18th-century reproduction demands a different finish from a set of new kitchen cabinets, or a keepsake box, or the wood frame of a mostly modern
upholstered chair. Most of the priceless furniture in museums was finished with either shellac or an oil-based varnish, and the surfaces of tabletops were
often filled and highly polished. And chances are that the museum furniture has been refinished and coated with wax several times over its lifespan. If
you've built a set of new kitchen cabinets, you'll want the most durable finish you can find, to withstand the daily onslaught of greas e-laden air and
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chemicals in foodstuffs and cleansers. It's no accident that most kitchen-cabinet manufacturers use catalyzed lacquers or conversion varnishes. For a
simple keepsake box, it's hard to beat the natural looking beauty of an oiled surface. And for a project such as the wood fra me of a contemporary chair,
the choice is wide open: You don't have any concerns about being historically correct in your choice, nor is durability much of an issue.
Whether the finish needs to resist water, scuffing and abrasion:-

If so, shellac, plain oil finishes, and waxes would not work. To varying degrees, they scratch easily and do not hold up well to the threat of moisture
absorption. Most oil- and water-based varnishes and polyurethanes, catalyzed lacquers, and conversion varnishes do a much better job protecting the
surface of wood.
Must be easy to repair:-
Wood finishes vary greatly in how easy they are to fix when something goes wrong. In general, the easier a finish is to apply, the easier it will be to
repair. Straight oil finishes are a good example. If the surface is lightly scratched or marred by a water stain, simply sand down or scrape the surface
clean, and then apply a new coat of oil. The same applies to waxed surfaces -- applying and rubbing out a new coat of wax will often make the surface
look like new. This is not the case with many varnishes (including polyurethane) and more modern catalyzed finishes. By sanding the surface, you risk
going through the very top coat, or more, and you're left with what are often called "witness lines," which means you've gone all the way through the
layers of film. When that happens, it's sometimes not possible to fix the mess without removing all of the finish and starting over.
Use amber or "water-white" tone preferable:-

All finishes, including simple oils, change the color of the wood at least somewhat, and some do more than that, giving it a slightly darker hue. Most film
finishes, such as shellac and varnish, impart an amber tone, often considered desirable for the warm tones that it leaves on the wood surface. Indeed,
various grades of shellac are sold and used strictly for their color. But if your goal is to avoid an amber color, you can us e nitrocellulose and acrylic
lacquers that are sold for that purpose -- they are often characterized as being "water-white."
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Deep, lustrous, filled, and polished surface:-
Traditionally, on tabletops and, for instance, the crotch-veneered surface on the doors of a breakfront cabinet or a clock case, the open-grain surfaces of
the wood are filled and polished. Fillers should be used sparingly, but when properly applied, the effect is nothing short of stunning. When you hear
mention of a French polish finish, that's often what is meant, but you can get the same results with other, less laborious techniques. Either way, a filled
and polished surface will require a lot more labor and time.
Does the amount of time it takes to apply a finish matter:-

To professional cabinetmakers, time is money, and it pays to get the job done quickly. For that reason, professional shops often use quick-drying finishes,
such as lacquer and shellac, because they can easily apply four coats in a day. They also tend to use spray equipment that can lay on a finish faster than
you can with a brush or a wiping rag. But some people enjoy the slow, deliberate pace of building a brushed varnish finish. When you're putting a finish
on wood, patience really can be a virtue that you learn to appreciate, especially when the resulting finish proves it.
Evaporative vs. reactive

Not long ago, finishes were categorized as either film finishes or penetrating finishes. The problem with these two groupings was that the overlap
between them caused confusion. For example, true oils, such as linseed and Tung oil, were classified as penetrating finishes because they soak into the
surface of the wood before they harden. That's true, but if you keep applying additional coats of either of these oils, they eventually will develop what
could easily be characterized as a layer of film. And oil-based varnishes dry to a hardened layer of film, but also contain oils that penetrate the wood
fibers before the film forms. Nowadays, the finishes are categorized as evaporative or reactive, according to how they cure. It's a slightly more exacting
view of the differences among the myriad finishes available, though it's still a less-than-perfect way to consider those differences.
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All about Surface Preparation
It depends upon the degree to which the surface was properly prepared.
The Basics:-
• Planing: Hand planes offer a nice surface, while machines are rough
• Scraping: A well-tuned scraper can create a glassy surface
• Sanding: Success grits lead to a polished finish
Individual woodworkers have strong opinions as to which method produces the best results, and heated arguments emerge from the debates about
using one instead of another. In truth, many woodworkers often employ more than one method. Horizontal surfaces, such as tabletops, need the most
care because they reflect the most light at an angle which is more visible.
Planing
Electrically powered machines such as planers and jointers are usually not capable of supplying a finish-ready surface to a project. The knives chop the
wood surface in a series of cuts that can sometimes leave a slightly rippled surface that is too rough to result in a smooth finish. Hand planes are another
matter: they shave the wood in long, clean slices and leave an incredibly smooth surface. Compare the ribbons coming off a well-tuned hand plane to the
sawdust flying out of a power planer, and it’s easy to see the difference.
Scraping
Scrapers cut very thin shavings off the tops of the wood fibers on a surface. They also partially burnish the surface in the process and leave it shining and
ready for a finish. Dull scrapers do not shave off the wood fibers, but only burnish the surface and accomplish little improvement to it in the process. A
well-tuned tool is critical for getting decent results.
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Sanding
Sandpaper abrades, or scratches, the surface of the wood, removing layers of wood fibers in
the process. The great advantage to using sandpaper, unlike hand planes and scrapers, is
that there is no tool that requires tuning. You can use a fresh sheet of abrasive paper and
toss it when it gets too dull to do the job. Also, by employing successively smaller grits, you
can control the scratch pattern and make the surface as smooth as you want it to be. For
preparing a wood surface for finishing, start with 80- to 100-grit paper, and carry it through
to 180- or 220-grit, which is as far as you need to take it.
All about Coloring Wood

Woodworkers are sometimes baffled and intimidated by the many choices available to them when they want to add color to their projects. Some
techniques are easy to accomplish, others can be more complicated, but just like applying clear finishes, none of the methods used to add color are
really too difficult to master with a little practice.
The Basics:
• Pigments and dyes: Pigments and dyes are easy to apply
• Toners: Toners even out color variations
• Glazes: Glazes highlight molding details or the open grain of a wood surface
• Ebonizing and pickling: Home-brew solutions to color wood
Pigments and dyes

Pigment stains, primarily oil-based, are simply finely ground mineral powders held in suspension by some kind of thinner and mixed together with resin
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binders. They are the easiest type of stain to apply. Flood them on with a rag, brush, or spray gun, and wipe off the excess vigorously. Wipe in a circular
motion to remove most of the excess, and then wipe the surface in a direction parallel to the grain pattern. Any unintended s treaking will therefore be
less visible. After wiping them down, what remains trapped in the open pores, or as a fine film on tighter grained woods, is similar to a thinned-down
layer of mud. They work better with open-grain woods such as ash, mahogany, oak, and walnut. Dye stains are made of much smaller particles, which
are actually dissolved in a solvent. You can buy them in powder or liquid form and mix your own colors. The solvent base can be alcohol-, lacquer-, oil-,
or water-based. Dye stains afford much better clarity than pigments stains, so you can see the patterns in the wood grain more clearly after a finish goes
on the wood. Dye stains also tend to penetrate more deeply, leaving more color on the wood surface after they’ve dried. The learning curve to using dye
stains is steeper than that of pigment stains, and they pose more of a threat toward s omething going wrong. One common problem is that of overlap,
caused by streaks of darker color that can emerge on some areas that receive more stain than others. One way to avoid color disparities from forming is
to flood the surface as quickly and thoroughly as possible. It also helps to pre-wet the surface with the s ame solvent used to make the stain -- water and
alcohol are the most common solvents used to make dye stains. Doing that will lessen the amount of stain that soaks into the wood fibers, and it will also
decrease the depth of color left behind. The pre-wetting technique is especially useful for applying water-based dye stains. By flooding the surface first,
and then letting it dry, you’re left with raised grain, which can then be sanded off before the stain goes on, which lessens the chances of ending up with a
rough finish.
Toners
Maybe you've looked at mass-produced furniture and wondered how they made all the pieces of that complete cherry bedroom set look just alike. They
did it by using toners. Toners are simply clear finishes, usually lacquer or shellac, that have been tainted with a pigment or a dye stain. They even out
color variations, leaving a more balanced overall color tone to the wood. Dye stains are preferable because they lay on ea ch coat of color in a clearer,
more transparent fashion. We can apply toners effectively only by spraying them on, either with your own spray equipment or by buying pre-mixed
toners from finish suppliers. These are packaged in disposable aerosol cans, just like those used for spray paints. The biggest mistake novices make with
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toners is trying to lay on too much color at once. Once you’ve made a surface too dark, it’s very difficult to lighten it up again. When that happens, the
best solution is just to strip off the finish and start over. The better approach is to sneak up on the color, just a little at a time, until you get it right. Both
lacquer and shellac dry so quickly, that you can put on several coats of toner in a day.
Glazes
Glazes are more easily reversible than toners, as long as you use the oil-based variety. Glazes are simply pigment stains that are applied by brush or
wiping rag to an already sealed surface and partially wiped off, leaving some color behind to highlight molding details or the open grain of a wood
surface. Commercial varieties commonly available are both oil- and water-based acrylic latex formulations. The oil-based versions take longer to dry,
which gives you more working time to get the effect you are after. Because you apply glazes to an already sealed or finished surface, they are easy to
remove if you’re not happy with the results. Simply saturate a rag with the solvent used to make the glazing stain, wipe it off and start again. The first
coat can go on quickly, and you don’t have to be neat because after slopping on the stain, you wipe most of it off anyway. Af ter the first wipe, you can
use a dry brush to better blend in the pigments left behind. Once the first coat is dry (usually an overnight wait), if you are satisfied with the results, you
need to seal in the color with another clear coat of finish.
Ebonizing and pickling

Ebonizing wood is sounds mysterious, and it’s sometimes suggested that the process is difficult to do. Nothing could be further from the tru th. All the
word means is “to make it black,” and you can do that in any number of ways, or by using a combination of them. The practice arose when woodworkers
decided to fool their customers into believing parts of projects were made from ebony, which is costly. To make wood black, you can dye it with pigment,
dye, or chemical stains; or you can paint it with black lacquer. Whatever technique you choose, you’ll probably want to compl ete the job with a clear
coat of finish over the ebonized surface. The age-old homemade chemical stain produced by soaking nails and steel wool in vinegar works incredibly well
on woods (such as oak and mahogany) that contain a lot of tannins. Black dye stains also penetrate the surface effectively and deliver a deeply rich color
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to the wood. Pigment stains are the least effective; they often leave the surface looking a somewhat lifeless, dark gray, not the deep brown/black of real
African ebony. One method is to use both the chemical stain and a dye stain after the first one has dried. Or you can use a dye stain, and then topcoat it
with a misted layer of black lacquer. You should follow either of those approaches with a final clear coat for protection aga inst wear-and-tear on the
colored finish. During the 1970s to early 1980s, pickling was a very popular finishing effect in demand for use on custom-built furniture. It has since fallen
out of favor, for the most part, but will likely surface again at some point. Think of pickling as the opposite of ebonizing: the intent is to lighten the wood,
not darken it. To accomplish the task, most finishers turn to pigmented white paint, thinned or right from the can. This technique works better on open-
grain woods (such as ash or white oak), but will also work with tighter-grain woods (such as maple). The process is identical to glazing: you slop on a coat
of white paint, wipe some or most of it off, let that dry, and then top coat that to seal in the color. A CAB -acrylic lacquer or some of the water-based film
finishes would be a good choice for a clear finish over a pickled surface because they will not yellow as they age.
The only trick to learning how to do it well is in the wiping. How vigorously you wipe is how you control the amount of color left behind. Like anything
else, it just takes a little practice.
All about Repairing Finishes

Fine furniture is built to last several lifetimes, but that's not always true for its finish. Dings, nicks, scratches,
burns, and other defects are bound to materialize as a furniture piece gets used in the real world. Fixing a finish
often first requires that you clean the area thoroughly with a solvent, such as naphtha, and then lightly sand the
area with a high-grit abrasive and steel wool to produce an even surface. Depending on the size of the blemish,
the next steps you take may vary.
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The Basics:
• Simple touchups: Touch up a scraped or worn edge with a marker or small paintbrush.
• Filling dents: Fill a dent with wax or a burn-in stick.
• Beyond repair: Some damages can't, or shouldn't, be repaired.
Simple touchups
Small blemishes on colored surfaces might require a simple touchup with a marker or a bit of paint. Felt-tipped markers work well at mimicking a black
finish, and dry pigments mixed with shellac offer a good material for finishes of other colors. Small blemishes on a clear-finished surface might just
require a few more coats of the original product.
Filling dents
There are two common ways to repair larger gouges or dents -- with burn-in sticks or colored wax. Burn-in sticks fill a void with melted shellac resin and
are topped off with an appropriate finish. This method is effective for oil, varnish, shellac, and lacquer finishes. It is al so good for repair and restoration
work where the piece won't be finished over again. A less permanent fix is to use a colored wax in the same fashion. However, you can't apply a top coat
over wax.
Beyond repair
Sometimes a blemish is beyond repair. This is the case if damage has affected not just the finish but the wood underneath it. If it's essential that these
types of blemishes be repaired, you may have to strip the entire surface of the finish and start over from scratch. It should also be noted that defects can
build character in a piece (especially antiques) and don't always have to be repaired.
All About Sealing and Priming 48
Most finishes are self-sealing, meaning that the first coat that goes on the wood soaks in, dries, and does the job of preparing it for subsequent coats of
finish just fine. But there are three reasons to consider using another type of finish as the sealer coat:
The Basics:
• Selecting a sealer: Your choices are oils, shellac, lacquer sanding sealer, and vinyl sanding sealer
• The function of primers: When to use them, and what to use
Selecting a sealer
No matter what topcoat you intend to use, any of the true oils make good sealers for highly figured woods because they highlight the figure better, and
they darken the color of the wood. Boiled linseed oil and Tung oil are both good choices, but it’s important to let them dry thoroughly before proceeding
to the next layer of finish. In dry, warm weather, overnight is usually enough time for them to set; but in humid or cool conditions, you might want to
wait longer. Shellac bonds extremely well to raw wood and to other finishes. One of the darker varieties of shellac, such as shellac or garnet, will also
serve to add some depth of color to all woods, light and dark. A layer of shellac will also make the wood fibers fairly impervious to absorbing additional
finishes, so it works as a good first step to building a film finish over it. When used as a sealer under other finishes, it’s important to use dew axed shellac;
otherwise you may have problems with other finishes not bonding well to the shellac seal coat. If the final goal is to build a healthy lacquer film capable
of being rubbed out to a high polish, lacquer sanding sealer is the best choice. It has high solids content, and stearates have been added to it to facilitate
sanding the finish smooth after it has dried. Sanding sealer is not a substitute for filler, but it goes on so thick that onc e it has been sanded out (220-grit,
open-coat silicon carbide paper works best for this purpose), the sanding sealer does partially fill open grain. Enhanced moisture resistance in the big
benefit to using a vinyl sanding sealer. It is a good choice for sealing any projects that will be finished with CAB-acrylic lacquer, or most of the catalyzed
lacquers and conversion varnishes. And it is especially appropriate for kitchen or bathroom cabinets that will be subjected to the abuse of a moisture-
laden environment.
The function of primers 49
Primers bond tightly to raw wood and to other finishes, and they’re used under any kind of pigmented finish, such as paint or lacquer. We can buy
primers made with shellac-, oil-, lacquer-, or water-based formulations, and it’s best to match each of those to the intended to coat of our choice.
History of Bamboo in Assam

It is observed that there is no particular caste or community in the Assam Valley
who are exclusively connected with this traditional craft. It is generally carried on
by all, particularly the peasants irrespective of caste, community or creed. At
present, there are vast untapped resources of bamboo that can open avenues for
Bamboo basket
utilization of bamboo for many productive works. Such a huge surplus of bamboo
is not to be found elsewhere in India. At present, there are vast untapped
resources of bamboo that can open avenues for utilization of bamboo for many
productive works. Such a huge surplus of bamboo is not to be found elsewhere in
India. The prospects of establishment of several pulp and paper plants, big and
small, on bamboo alone, are tremendous. The important species mentioned
below are available in commercial quantities.
1. Muli (Malocanna Bambusoides).

2. Hill Jati (Oxytenanthera Parvifola).
3. Kako (Dendrocalamus Hamiltoni)
4. Dalu (Teinostachyum Dalloa)
50
Apart from forests, bamboo is also plentiful in the villages throughout the State.
Even though Assam has been traditionally rich in bamboo, bamboo craft from
Kula & Chalani

Assam do not figure prominently in the handicraft market of India and Assam’s
share in the export trade is negligible.
Chalani (sieve):- It is woven with fine bamboo slips in a criss-cross way, keeping
some open spaces between the different slips as required for different purposes.
The ‘chalani’ is a round-shaped disc-like object and its diameter varies from 1½ ft-
3½ ft. It is used sieving rice, paddy, tea-leaves, etc. and also for washing fish.
Kula (winnowing fan):- It is prepared out of flat bamboo slips for winnowing
Bamboo basket
purposes in different sizes and shapes. Twilled design is used for a ‘kula’. The
edge of the ‘kula’ is made strong by fixing of two sets of one-inch wide bamboo
pieces wrapped up in flexible wood strips.
Khorahi (small basket):- Khorahi is made of fine bamboo splits for washing rice,
vegetables, fish, etc. It is a small basket-like thing with provision to allow water
and dirt to pass out. The Khorahi is woven in plain and square form but is
gradually bent in a round form at the time of final stitching by flexible wood slips.
Tukuri
Dukula / Tukuri (Big basket):- The shape of a dukula is exactly the same as that of
the Khorahi, but the size and process of preparation is a bit different. The
required shape of a ‘tukuri’ is made by bending the bamboo splits forming the
51
warp gradually when the process of weaving with the weft is in operation. Fixing
two or four flat bamboo strips strengthens the edge. The last stage is to stitch the
edge along with those flat bamboo strips with some flexible wood slips. The size
of a ‘dukula’ or a ‘tukuri’ is much bigger than that of the Khorahi and is used for
Dala
carrying as well as keeping paddy, rice, etc
Dala (bamboo tray):- Dala is prepared out of flexible bamboo slips in twilled
design. The shape of a dala is exactly like a disc with various sizes for different
purposes. The edge around the dala is stitched in the same way as that of the
edge of a tukuri or dukula, but the bamboo rims used in the edge of the dala is
about 1½". The dala is used specially for rearing silk worms and for winnowing in
addition to other domestic purposes.
Duli
Duli (Assamese) / Tali (Bengali), Big Basket:- The ‘duli’ or ‘tali’ are used for
preserving paddy. The process of weaving is almost the same as that of a tukuri
but the size of bamboo slips used is more flat and flexible. The dulis are much
bigger than the tukuri and the shape is a bit different too.
Doon (Assamese) Kathi (Bengali), Measure:- It is prepared in an almost conical shape with
fine bamboo strips for measuring rice or paddy. Its holding capacity varies from 2 seers - 3½ seers from place to place. A ring is attached at the bottom
to enable it to stand on the ground.
52
Fishing Implements: - There are various kinds of fishing contraptions
prepared out of wood and bamboo in different parts of the state. A brief
description of some of the fishing implements widely used like polo ,Jakai, Khalai,
Fishing Implements
Dori, Chepa, Paran, Jhuti, Hogra, etc. is given below:
Polo:- It resembles the shape of a dome with short stem of about 6"diameter open
at the top. The diameter at the bottom varies from 2 ft-3½ ft. and even upto 4 ft.
and the height varies from 2 ft. to 3 ft. It is prepared out of small bamboo strips
fastened with fine and flexible wood slips. Polo is used for fishing in shallow water.
The man who uses it hold it by the side of the stem, presses its rim on the mud, then
pulls it back and lifts above or up to the level of water and again presses it as before
while moving on through water. Whenever any fish is caught, he puts his hand inside
through the stem to catch hold of the fish; julki is a small polo prepared in the same
fashion.
Jakai
Jakai:- The ‘jakai’ is a species of wicker work shovel that is either dragged along the
bottom or placed on the water bed to catch the small fishes which take refuge in it
when the weed is trampled. It is prepared with bamboo slips, which are locally
known as ‘dai’. ‘Jati’ bamboo is specially used for making this particular implement.
Chepa :-The Chepa is made of some prepared bamboo rods according to required size. These are woven in a roundish fashion with jute string or soft
wood slips. A bamboo-made valve locally known as ‘par’ (Bengali) and ‘kal’ (Assamese) is fitted in the middle of the chepa to allow the fishes to enter
inside with no scope for going out.
Dori:- Fishermen in the rural areas of the state manufacture dories of various types. A 53
‘dori’ is generally rectangular. It is prepared out of small bamboo strips woven with
flexible wood slips. A trap is fitted with a ‘dori’ in such a way that a bamboo-made
screen is prolonged inwards from either side of the oval mouth and the pointed
splints of the two sides interlock.
Khalai:- The ‘khalai’ is also prepared with bamboo strips. The strips required for the
weft are very long, while those for the warp are short. The ‘khalai’ is woven in the
shape of an earthen ‘kalasi’ or pitcher. This is used for temporary keeping of fishes
Khalai
during hand-net fishing.
Parans:- These are various cages or basket traps made of bamboo splits used for
catching fishes. There are two kinds of ‘parans’, namely (i) ‘uba paran’ (vertical
cage) and (ii) ‘pora paran’ (horizontal cage). These are provided with one or two
valves or trap doors through which fishes can be easily trapped.
All these implements mentioned above are generally used in catching fishes in
shallow water. Apart from these contrivances, there are some other implements
made of bamboo and wood and are used for catching fishes in deep waters. These
are locally known as gui, jhuti, dingaru, thupa, hogra, etc.
54
‘Japi or Chhata’( Bamboo/ Leaf Headgear)
Bamboo and leaf headgear is the most indispensable item of the open air workers.
Such ordinary headgears are produced throughout the State. ‘Chhatas’ on commercial
basis are largely produced in some villages (e. g. Rangpur, Chinipatan, etc.) of Cachar
district and supplied mainly to neighboring tea-gardens and some parts of Nowgong
district. The products are generally carried on shoulder loads to the nearby ‘hats’ and
sold to consumers in retail or to middlemen in bulk. Many varieties of ‘Japis’ such as
‘halua japi’, ‘pitha japi’, ‘sorudoiya japi’, ‘bordoiya japi’, ‘cap japi’, etc. are produced
in the districts of Kamrup, Nowgong, Darrang, Sibsagar and Lakhimpur. Nalbari and its
neighbouring villages (such as Kamarkuchi, Mughkuchi, etc.) of Kamrup district
Japi
deserve special mention in respect of manufacturing of ‘fulam japis’ (decorated
bamboo umbrellas). In olden days, this particular type of ‘japis’served as headgears
for the females of noble and rich families, but now it has become outdated.
Productions of ‘fulam japis’ are now only intended to serve as items of drawing-room
decorations.This traditional headgear (japi) is made of strips of bamboo and a special
kind of dried palm leaves locally known as ‘tokow-pat’. The manufacture of ordinary
‘japi’ does not require any special skill. First of all, the selected bamboos are split into
small strips of required sizes. Then the strips are woven in open hexagonal design into
a circular disc with a dome in the centre for the head to fit in, putting a few dried
55
‘tokow’ leaves (previously cut into required sizes) in between two such discs and
finally sewing them securely with yarn and fine strands of wood. Thus, the
Japi
manufacture of ordinary ‘japi ’is completed. A japi is more advantageous to the
cultivators and other open air workers than the conventional umbrella, because the
cultivator after putting it on can tie the strings around his chin leaving his hands free
to work in any position standing, squatting or stooping. ‘Japi’ can also be called a poor
man’s umbrella, because of its cheap price.
Folk Medicine from bamboo as used in Rural Areas of Assam

Fresh Cuts: Greenish portion of the bamboo stem is grounded and made into a paste for application over the fresh cut area. It usually serves as an
antiseptic and acts fast in the wound healing process.
Early Diabetes: Water collected inside the bamboo stem when taken relieves the disease considerably.
Toothache: Toothache is relieved by heating young bamboo twigs and applying over it.
Loose Tooth: The sticky juice that comes out from burning dried bamboo is applied on the root of the tooth to make it firmer.
Hypertension: White part of the mew bamboo leaf is to be taken on empty stomach early in the morning, which helps to control hypertension.
Dandruff: The ash of clump sheath of bamboo is effective for removing dandruff.
Body pain: Sleeping in a bed made of whole bamboo relieves body ache.
Chicken pox, Small pox and Ulcers: Dried young bamboo shoot is to be grounded and taken with cooked Catfish which helps in early healing of
chicken pox, small pox and ulcers.
Giddiness and Chronic Pain: Curd prepared with young bamboo shoots taken with black pepper relieves giddiness and chronic pain.
Headache and Sinusitis: Dried bamboo burnt and the inhaling of the smoke of the bamboo relieves headache and sinusitis.
56
Some other common products
Considering the present market demand and export potentiality, entrepreneurs
are either proposing of starting manufacture of following bamboo and wood
products:
Weaved bamboo blind and screen

Skewers
Fruit forks
arty picks
Back scratchers and ear scrappers
Rice spoon
Plant support sticks
Tooth picks
Seat cushions
Ice-cream spoons
Bamboo brooms
Knife handle
Bamboo curtains
Wooden tray
Flower vases and ash trays
Wall hanging
Folding fans
Walking Sticks
Plaited or woven basket:- Plaited basketry consists essentially of two sets of
57
elements (warp and weft) crossing each other. The plaited baskets are prepared in
different designs such as check, twilled, twined, wrapped and hexagonal. Baskets
Coiled basketry
used for keeping clothes and ornaments, wood suitcases, etc. are generally prepared
in this method.
Wicker work: - In wicker work, the warp is not pliable, but the weft is pliable and
passed alternately over and under the warp. In this method, the warp is kept in a
lesser rigidity. Plucking baskets are prepared in this method.
Coiled Basketry: - The warp is arranged by wood of sufficient length. Before arrangement, such wood is soaked in water for some time to give it a
flexible character. Simply binding coiled wood while the process of weaving is in operation preserves the shape of the basket. Finally, the edge of the
basket is stitched with a thin and flexible wood slip. Plucking baskets, ration baskets, baskets used for carrying earth, stone-chips, coal etc. are
manufactured in this method, technically known as ‘bee-skip’ design
What the Customer Want:- Customers want something that looks good and is of
better quality. The finishing should be good and the products should be durable. The
customers now a day’s do not mind to pay more to get something which is really
different from the existing range. So the products which are branded is often is in
use and have greater acceptance. The customers taste over the years has changed.
The look matters most then comes price and then quality which is never
compromised.The production rate of product especially of wood and bamboo in
south Kamrup area is very slow. First there is some treatment related problem and
secondly there is a long wait to get the raw materials dried. Even after that the
58
production rate is very slow and a result the cost of labour is never met in terms of time consumed to manufacture the products.
2.5 Insight- Understanding of the customer product producer Market relation from design point of view
After an interactive research and studying ‘Kahikuchi Bamboo & Wood Cluster’ to the point of- customer-product-producer-market relation it is observed
that, there as a big gap between their interdependency, marketing channels and linkages; which must need to be established with a proper business model
and its regulatory bodies. When we go more depth of the cluster’s business method & traders’ policy, we find a series of missing linkage from products
level to consumer level. For example-the cluster is fully depends upon few dealers and their orders. Also they are fully engaged with those fluctuated
orders which are given by the intermediates. The artisans are engaged to fulfill the orders placed directly or through some dealers. Also there is no
connection between producer and the end users who must be well known to be up to date what exactly market demands. The client or market should
need to be aware regarding customer demand, emerging life style and their need & usages. Thus, they need to motivate towards new design, multipurpose
products & their development with proper costing. (Purchasing rate & selling rate both) So here is big scope for the cluster to expand their business in
connecting with adding new products, redesign and its development to increase their earning and production growth gradually and look forward to new
client and market for expending their order.
59
RAW MATTERIALS HEALTH & SAFETY MACHINES PROCESS ERGONOMIC

• Local Community • Better Hospital • Saw • Skill Up-gradation & • Right body postures
Store for better • Mask & Safety kits * Sander Training time to time. • Awareness about
quality raw material * Drill Machine • Awareness of Modern Techniques
and it’s availability. Trend.
• Our Training Center.
2.6 OPPORTUNITY
MAPING
STACKING & PACKING TRANSPOR TATION BRANDING & LINKAGES END USERS
• Better Stacking & MARKETING
Space for Storage • Better Connectivity • Looking for marketing • Beautiful & attractive
• Better Display or With internal roads • Establishment of a • Fixing base rate products
Exhibition Room • A Common Vehicle for cluster brand according to the raw • Targeted Area
the Cluster • Proper Branding & material
Export
Marketing
60
DESIGN AUDIT FOR THE CLUSTER

Description of individual units (total 20 units has covered)
Description about the 20 units covered in the cluster (Kahikuchi) 61
UNIT- 01
Business Background:
Firm Name- Sahayika Cane and Bamboo Industry.
Address-
Vill – Kahikuchi, P.O. + P.S. – Azara, Pin – 781017
Dist – Kamrup, Assam
Artisans Name- Mr. Manoj Kumar Sarma
Age- 35 years
Education qualification – B.A. passed
Contact Number-+91-9864632124
Product Range- Bamboo and cane furniture (sofa, murha, jhulna, etc.)
Work duration- Started business 13 years back.
Experience: 15 years.
Number of workers-5 (himself+ 4 others)
Monthly income-Rs 10,000/= per month.
Problem faces- No new product/design produced, lack of finance, no use
of power tools and no proper working shed.
Family background-
S/o – Dhaneswar Dev Sarmah,
Family member- 6 persons
Male-3 (himself+ 1 brother+ father)
Female-2(wife and his mother)
Children-1
Education of family member- His father is a teacher, mother H.S.L.C.
passed, brother is B.A passed, wife is B.A passed.
Member involve in the firm - 1(himself)
62
UNIT- 02
Firm Name- Barnali Manalisha Furniture House
Address-
Vill – Kahikuchi, P.O. + P.S. – Azara, Pin – 781017
Artisans Name- Mr. Subhash Dev Nath
Age- 40 years.
Education –8th std.
Product Range- Wooden furniture and household items.
Work duration- He started his own business 23 years back.
Experience- He has total 25 years experience in this field.
Number of workers- 5 (himself+ 4 others)
Monthly income- Rs15, 000 /= per month.
Problem faces- Lack of finance, labour problem, no new product or design
development tried.
Family background-
S/o – Late Tarani Dev Nath
Male- 1 himself
Female-1 (wife)
Children- 2 (daughter)
Education of family member- Wife 5th std., daughter HS passed on
commerce stream, and another daughter studying in 8th std.
Member involve in this business- 1 (himself)
63
UNIT- 03
Firm Name- Nandinee Bamboo House.
Address-
Vill – Rampur, P.O.– Rampur, P.S.- Palashbari, Pin – 781132
Artisans Name- Mr.Manash Kalita.
Age-44 years.
Education – B.Sc.
Product Range- All type of bamboo furniture.
Experience- He has total 6 years experience in this field
Monthly income- Rs 8,000/= per month.
Problem faces- No proper display, no proper working shed, lack of finance
few designs have been developed but proper finish is not there.
Family background-
S/o –Late Suresh Kalita,
Male- 1 (himself)
Female-2 (mother+ his wife)
Children-2(daughter+ son)
Education of family member- His mother teacher (rtd.), wife B.Sc.,
daughter studying in 4th std,& son 2nd std.,
Member involve in this business- 1(himself)
64
UNIT- 04
Firm Name- Pragati Handicraft.
Address-
Vill – Kahikuchi, PO + PS – Azara
Pin – 781017, Dist – Kamrup, Assam
Artisans Name-. Mr. Mantu Haloi.
Age-27 years.
Education – 10th passed.
Product Range- Bamboo furniture & products
Work duration- He started his own business 5 years back
Monthly income- Rs 7, 000/= per month.
Problem faces- Lack of marketing linkage, financial assistance and use of
power tools, no new products have been manufactured.
Family background-
S/o –Utshav Haloi
Male- 3 (Father+ himself+ brother)
Female- 3 (Mother+ Sister in law)
Children- 1
Education of family member- His father x passed, mother 8th passed,
brother H.S. passed, & sister in low H.S. passed.
Member involve in this business- 2 (himself + brother)
65
UNIT- 05
Firm Name- G.G industries.
Address-
Vill – Rampur, PO –Rampur PS- Palashbari
Artisans Name- Mr. Biplabananda Goswami.
Age- 37 years.
Education – B.Sc. passed
Product Range- All types bamboo furniture and fishing items.
Number of workers-6 (himself+ 5 others)
Problem faces- No proper lack for treatment and working, marketing
linkages are poor.
Family background-
S/o – Mr. Paramananda Goswami.
Male- 3 (himself+ father + 1 older brother)
Female-2(wife+ sister)
Children-3 (1 daughter+ 2 nephew)
Education of family member- Father B.A. ( Rtd. teacher), Wife- B.A.,
Brother and Sister both are B.A passed.
66
UNIT- 06
Firm Name- Nil.
Address-
Vill – Bhagawatipara, PO – Palashbari,
PS- Mirja,Pin – 781132,Dist – Kamrup, Assam
Artisans Name- Mr. Narayan Kalita.
Age:- 42 years.
Education – 10th std. pass
Product Range- wooden furniture and household items
Number of workers- Nil.(himself)
Problem faces- Lack of proper finishing, no development in designs
products, methods of production is traditional and no use of power tools.
Family background-
S/o – Atul Kalita
Male- 2(Father+ himself)
Female-2 (Mother +wife)
Children-3(2 daughter+ 1 son)
Education of family member- Wife Metric std., daughters are 8th and 7th
std, son is 3rd std.
67
UNIT- 07
Firm Name- Nil
Address-
Vill – Azara, PO + PS – Azara
Artisans Name-Mr. Kamal Das.
Age-36 years.
Education –B.A.
Product Range- Bamboo and cane furniture.
Work duration- He is engaged in this business since 2007.
Experience- 5 years working experience.
Number of workers- Nil. (Himself+ others)
Monthly income-Rs 5,000/= per month
Problem faces- Traditional products are produced, lack of finance for
expansion and new product development.
Family background-
S/o – Jatin Das
Male- 4
Female-3
Children-Daughter 3, son 1,
Education of family member- Daughter 6th std., Son 8th std. Brother 10th
std.
68
UNIT- 08
Firm Name- Nil.
Address-
Vill – Kahikuchi, P.O + P.S – Azara
Artisans Name- Mr. Ankur Sarma.
Age- 30 years.
Education –12th passed
Contact Number-+91- 9706388944
Product Range- Bamboo and cane furniture and house hold items.
Experience- He has total years experience 5 in this field.
Number of workers- Nil.
Problem faces- Lack of marketing linkage, lack of worker, finance related
problems, no thrust on new designs on existing products etc.
Family background-
S/o – Rajesh Sarma
Male- 5
Female- 3
Children- 1
Education of family member- Father rajmistry, Mother 5th std. Brother
10th pass, Sister 10th pass, Wife 12th passed,
69
UNIT- 09
Firm Name- Nil.
Address-
Vill – Bangapara,
PO+PS – Azara, Pin – 781015
Artisans Name- Mr. Tapan Kalita.
Age- 35 years.
Education – 12th passed
Product Range- Bamboo and cane furniture and household items.
Number of workers-Nil.
Problem faces- Lack of finance, marketing linkage, similar products are
being produced.
Family background-
S/o – Putkan Kalita
Family member-5 persons
Male- 1
Female-2 (Mother+ wife)
Children-2
Education of family member- Wife is 9th std.,
UNIT- 10 70
Firm Name- Nil.
Address-
Vill – Rampur, P.O - Rampur
PS – Mirza, Pin – 781132
Dist – Kamrup, Assam.
Artisans Name- Mr. Tapan Kalita.
Age-25 years.
Education – 8th passed.,
Product Range- Bamboo and cane furniture, stools etc.
Number of workers-Nil.
Monthly income- Rs 6,000/= month approximate
Problem faces- Low level of income as the production is low due to
financial problem, similar products being produced. No development in
terms of products development or design development etc.
Family background-
S/o – Late Gobinda Kalita
Family member-5 persons
Male- 1
Female-4 (Mother+ 3 sister)
Children-Nil
Education of family member- Elder sister is 10th passed, younger one is
studying in 9th std. and another studying in 10th std.
Member involve in this business-1 (Himself)
71
UNIT- 11
Firm Name- Nil.
Address-
Vill – Rampur, P.O. – Rampur,
Pin – 781132, Dist – Kamrup, Assam.
Artisans Name- Mr. Mahesh Kalita.
Age- 25 years.
Education – 9th std.
Product Range- Bamboo fishing implements and household items.
Number of workers-3 (himself + 2 others)
Problem faces- No treatment facilities for raw materials, lack of finance,
minimum use of tools and machinery, no new design or product has been
develop.
Family background-
S/o – Sabhar Kalita
Male- 5
Female-1
Children- Nil.
Education of family member- Mother class 8th passed, two elder brothers
one is 9th std. and other is 8th std.
Member involve in this business- himself
72
UNIT- 12
Firm Name- Nijara furniture house.
Address-
Vill - Rampur (Sarurampur)
PO + PS – Azara,Pin – 781132
Artisans Name- Mr. Bilash Sharma.
Age- 51 years.
Education – HSLC passed.
Product Range- Wooden furniture and decorative items.
Problem faces- Lack of proper finishing, display is poor, rate not
appropriate for the products, no linkages for marketing.
Family background-
S/o – Bihashasor Sharma
Male- 2(himself + Son)
Female-1
Children- 2 daughter.
Education of family member- Wife H.S.L.C., both of daughter are graduate,
son is class 10th std.
Member involve in this business-1 (himself)
73
UNIT- 13
Firm Name- Nil.
Address-
Vill – Rampur, PO – Rampur, Pin – 781132
Artisans Name- Mr. Dilip Das.
Age- 50 years.
Experience- He has total 3 5 years experience in this field.
Problem faces- No new product/ design tried, lack of labour involve, no
use of power tools low investment capacity etc.
Family background-
S/o – Nabin Das
Male-2 (himself + Son)
Female-1
Children- 5 (4 daughters, 1 son)
Education of family member- Wife 4th std,
74
UNIT- 14
Firm Name- Nil.
Address-
Vill – Raja Pukhuri.
PO+ PS – Bhagwatipara.
Pin – 781132, Dist – Kamrup, Assam.
Artisans Name- Mr. Kamalesh Kumar.
Age- 45 years.
Number of workers-2( himself + 1 others)
Problem faces- No new product developed, no new design tried,
marketing linkages too poor etc.
Family background-
S/o – Late Jadab Kumar.
Male- 1 (himself )
Female-3 (wife and 2 daughters)
Children- 2 daughters.
Education of family member- Wife H.S.L.C., both of daughter are study in
lower primary std.
75
UNIT- 15
Firm Name- Ma Golapi furniture house.
Address-
Vill- Bhagawatipara, PO- Bhagawatipara,
PS- Palashbari.,Pin-781132, Dist- Kamrup, Assam.
Artisans Name-Mr. Mamat Das.
Age- 43 years.
Product Range- Wooden furniture house holds items.
Monthly income- Rs 15,000 /= per month.
Problem faces- No product/ design develop for a long time, no proper
marketing linkage etc.
Family background-
S/O- Late Ghana Kanta Das.
Male-1 (himself + Son)
Female-3 (Mother+ sister+ wife)
Children- 3 (2daughter+ 1 son)
Education of family member- Wife 9th std, one of daughter is 8th std. and
other is 4th std., son is L.P. school.
76
UNIT- 16
Firm Name- Monikut Hasta Hilpa.
Address-
Vill – Kahikuchi, PO + PS – Azara
Artisans Name- Mr.Prabin Mahanta.
Age- 42 years.
Education – HS passed.
Product Range- Bamboo & Wooden decorative items.
Work duration-He started his own business in 6 years back.
Monthly income- Rs6,000/= per month.
Problem faces- Proper price is not received, no proper display, lack of
finance.
Family background-
S/o – Late Pathak Mahanta
Male-1 (himself)
Female-1(wife)
Children-
Education of family member- Wife is H.S. passed.
77
UNIT- 17
Firm Name- Nil.
Address-
Vill- Bhagawatipara, P O- Bhagawatipara,
PS- Palashbari.,Pin-781132, Dist- Kamrup, Assam.
Artisans Name- Mr. Sunil Baishya.
Age- 37 years.
Education – HS passed.
Product Range- Wooden furniture.
Work duration-He is engaged in this business since 2000.
Problem faces- No linkages has been established, proper price of the
products not received, lack of finishing.
Family background-
- S/O- Khagen Baishya.
Male-4 (himself + brother+ uncle and father)
Female-2 (Mother and sister)
Children- Nil.
Education of family member- Sister HS passed.
78
UNIT- 18
Firm Name- Nil.
Address-
Vill – Rampur (Sarurampur)
P.O. – Rampur, Pin – 781132
Dist –Kamrup (Assam)
Artisans Name-Mr. Subhash Kalita.
Age- 38 years.
Product Range- Wooden Furniture.
Work duration- He is engaged in this business since 2002.
Problem faces- Lack of finance, labour availability, no proper working
shed.
Family background-
S/o – Late Aruan Kalita
Male-2 (himself + father)
Female-3 (Mother+ wife +sister)
Children-
Education of family member- Wife HSLC passed, sister is 9th std. elder
brother is read in HS std.
79
UNIT- 19
Firm Name- Kamal Furniture House.
Address- Vill- Kahikuchi, P.O.+P.S.- Kahikuchi
Pin-781017, Dist- Kamrup, Assam.
Artisans Name- Mr. Dipak Kalita.
Age- 34 years.
Product Range- Wooden furniture.
Number of workers-4 (himself+3 others)
Problem faces- No proper working shed, lack of marketing linkage, use of
traditional tools etc.
Family background-
Male-2 (himself + father)
Female-2 (Mother+ wife)
Children- 2 (Daughter)
Education of family member- Mother 10th passed, wife 10th std., one
daughter is studying class 2nd std.
80
UNIT- 20
Firm Name- Nil.
Address-
Vill- Bhagawatipara, P O- Bhagawatipara,
P S- Palashbari, Pin-781132, Dist- Kamrup, Assam.
Artisans Name- Mr. Arabinda Kumar Rabha.
Age- 35 years.
Education – HSLC passed.
Contact Number-+91-
Product Range- Wooden furniture and household items.
Work duration-He is engaged in this business since 2009.
Number of workers- 3 nos.
Problem faces- communication problem, lack of finance, no use of power
tools.
Family background-
S/O-Mr Mukunda Rabha.
Male-3 (himself + brother+ father)
Female-2 (Mother and wife)
Children- 3 daughter.
Education of family member- Father HSLC passed, Mother 8th Std., Wife
HSLC passed, Brother 6th std., and Daughters are studying in 10th, 6th and
2nd std.
81
3.2 EXISTING PRODUCTS
BAMBOO
WOOD
82
REDESIGN AND PRODUCT
DEVELOPMENT
Bamboo
Wood
Promotional Activities that can be taken up in future:-
There are many schemes/ projects being implemented by the Govt. of India as
well as Govt. of Assam for the artisans / entrepreneurs who are engaged with
bamboo and woodcraft. The 20 (twenty) artisans selected in the cluster will be
linked with the promotional organizations who are promoting these products in
terms of marketing as well as product development. The artisans will be
informed about the technologies/ schemes under which they can apply/ register
to get the benefits. Moreover these artisans will be encouraged for making and
selling these products and the benefits they will get from these linkages. The
artisans will also be able to take loans under Govt. sponsored schemes with
subsidies to enhance their business and earn more in the process as well as
create opportunities in terms of employment for others.
The artisans will also be able to display their products in the showrooms of different promotional agencies/ organization. The artisans will also become
eligible to participate in exhibitions and fairs in different parts of the country and aboard as well as in local places within the states. In this way they can
promote their products.
3.4 Existing status and opportunity for visual identity, branding and communication design
Need for a common Visual Identity:
The cluster has no such identity mark to be recognized. It is very difficult for users to identify the product according to cluster. The cluster should have
their own and must have niche informative product catalogue of having a common visual identity on them which can be identified by users at any
time. Apart from the product catalogue, each cluster should have their own business card (a basic one) which would help popular among clients or
users, and this would really help them in better product recognition. After holding a business card and product catalogue, the cluster should make their
84
small group community which should be according to their existing
xisting products business, identity and specialty. This unique small group would segregate
them from rest of the other similar clusters.
3.5 SCOPE FOR TECHNOLOGY, MODERNIZATION AND DESIGN COLLABORATION

Process Development:
The production process will be upgraded by use of machineries. The accuracy of the product dimensions will be i ncreased and the involvement of
machineries will help in increase in production rate as well as reduce the amount of raw materials wasted in the process. The entire production process
will undergo a major change and thus the productivity as a whole will increase. Moreover the changes in terms of stock which will also increase, there
will be increase in inventory (raw material) as well. New technologies and methods related with production will be applied for enhancing the production
rate. The treatment of the raw materials will have to take care of.
85
3.6 Scope for operations and process Use of Power tools: - What is the advantage?
innovation from design prospective The use of power tools will help in making the production
The main raw materials for the industry, i.e. bamboo and wood of rate faster, the finishing will be undoubtedly better and the
various types are abundantly available throughout the State. It products will have a better display. Moreover the
requires little or no investment and can be pursued by anybody specifications will be better and similar products can be
manufactured with ease. The power tools will ensure that
and everybody of a household as a subsidiary occupation. As such,
the industry has considerable scope for development and various there is less work load for the artisans and they are
new products suited to modern tastes can be manufactured out comfortable while working with them. The power tools will
of bamboo and wood. Market intelligence is required to be help in safety measures for the artisan. The power tools will
developed so that products can be made to cater to the need of create opportunity for mass production.
the consumer market. State Governments Emporia are also trying

to popularize a few artistic and decorative wood and bamboo
products outside the State
to organize the unorganized and scattered handicraft artisans, the
Government of Assam had launched a scheme for registration of
handicraft artisans and handicrafts units.
3.7 Design opportunity in workstation and tooling 86
Work Station: - A very unplanned condition exist in the work station. There is no proper rooting no electricity (in many cases), no proper
ventilation, and lack of proper lighting and in some cases proper space to manufacture products of higher dimensions. The workstations
lack scientific design as a whole in almost all cases. For future course to work with power tools and in a hygienic atmosphere the following
requirement are compulsory.
1. Proper Space for working:- There should be proper working should be refreshment facilities for the workers. Moreover
space to accommodate the working artisans as well as the raw there should be recreation facilities for them as after hard work
materials with higher dimensions. The worker should feel they can a bit relax. There should be sanitation facilities as well.
comfortable and work with ease while working in that space. If
required there should be provision to increase the work space to
accommodate for more production. The ventilation should be
proper to make the space comfortable.
2. Proper lighting facilities:- There should be adequate light to

work for the Artisans and even when there is no power the lights
should be ensured even by providing inverter to at least work
under sufficient light.
3. Drinking water/ Refreshment/ Recreation & Sanitation

facilities: - The drinking water should be easily available. There
87
3.8 Details of market and competition study for design
Advantage and distinction
There is a good market demand of the bamboo & wood craft all over Assam as well as countrywide but a tough competition over prices.
Whom so ever products would be cheap and best would get multiple order. The unit is making only running products which have a big
demand in the local market and it has fix clients/dealers who use to placed order and do business through their channels only. The products
being produced right now are unique and being sold at competitive prices where, more variation in product line, new designs and new
products could be proposed keeping in mind the target states for market.
3.9 Need of training and skill up gradation: 88
The training is required to upgrade the knowledge of use of power tools to increase the capacity to produce more. The product design can
be developed and the dimensions can be more accurate. The training will empower the artisans to try new products and designs and thus
increase the numbers of customers. The artisans will be able to increase the production rate as well and reduce the wastage of raw
materials. Moreover the working houses will also be increased as there will be less tiredness on part of the artisans. The power tools are
electrically as well as battery operated. As such in places where electricity or power supply is interrupted the production p rocess is
continued.
Moreover the advantages of different schemes of Govt. which are

implemented in Assam will be discussed and the artisans during
training will be interacting with officials of such departments and
Institution/ organizations which are implementing the schemes.
In future they can avail in those schemes and apply for financial
assistances like marketing linkages, participants in Melas &
exhibitions. Officials of the banks concerne d area, DIC, MSME and
other promotional areas will be interacting with the participants
during training programme.
89
3.10 Ergonomic and environment factors in
MSME premise 3.11 Packaging and logistics related design
opportunities
The environment of the workstation is cluttered and unorganized.
Need to pack properly with suitable material and stacking
The body posture and tools are not ergonomically designed
techniques. Need to be categorized according to the product size,
according to the workstation. The insufficient lighting
quality and grade. Need proper space division for different
arrangement reduces the work efficiency and product quality.
products which took time to arrange.
While working with bamboo or wood where its release waste and
dust may be cause internal body diseases and affect health
severely. Thus it is highly recommended that always wear a safety
mask & kits to avoid accidents.
90
3.12 Exhibition/Display design opportunities
The display of products is generally very poor and the Artisans are also not willing for proper display. As a result the products are kept in much
unorganized manner and there is not much care taken for them and they are generally dumped. As there is very less effort for promotion and as the
products are not displayed in a proper manner the customers never get an idea of what products to order for. The products are kept in storage and
before delivery the finishing touches are provided. Moreover in case of sophisticated products there is some loss when the pr oducts are dumped. The
Artisans will have to be trained about how good display will help in promoting their products. Moreover catalogues with all good designs have to be
prepared to target more over and more customers.
.
91
3.13 Study of infrastructure setup from design perspective
Need to be organized and systematic.
Precise and reduce human error.
Workers friendly practices and ergonomics and
Improper awareness of market.
4. Value Chain & Analysis

4.1 Description of bamboo and wood craft value chain
A detailed mapping of bamboo value chain was carried out and the mapping identified actors in the cluster who were involved in the business of
crafts production and sales including master crafts persons, traders and other marketing intermediaries. A detailed analysis of the existing
commerce in the cluster, including current sources of credit accessed by artisans and traders, was then undertaken.
4.2 Market
Almost all the individual artisans are supplying or dependent over local traders and middle man (Mahajans) with little or no access of bigger market.
So a marketing and selling channel is required to uplift this cluster through a direct business also it will help to create brand establishment of
“Kahikuchi cluster “and generating more value. Also this would be spread the awareness in the market as well as increased demand and trust.
92
Raw material Purchasing Bhaluka bamboo 250 & Segun 4.3 Issues in bamboo & wood value chain
17000/ per KB
(Bamboo+ wood) (a) Proper Costing and Pricing of the Products:
Most of the artisans calculate their per day labour charges as
Treatment Labour charge & medicine Rs.200 to 500 while determining the price of their products. The
Charges 10,000 labour charges of the other family members are not included
while making these calculations. Also this work needs a very hard
Sander/ preapering the raw Only Labour Charges @ Rs-200
material for next work for a day without lunch of labour and time where hardly any artisans have much time to
bamboo work for wooden think beyond their basic needs. The products made of high value
carpentry it will be 500 for a
day. and good quality and the production is done for the commercial
Design making & Cutting
sales except few products that are sold locally. The profit margin
of the producers is very small, though the volume of production is
Paper Polishing high from the same cluster.
(b) Economies of Scale:
Colouring Since the craft is practiced on a large scale the artisans mini
production centers on their own, and handle all the processes
themselves. Mostly members of the family contribute their time
Burnishing and labour during production. Most of them work as individual

artisans.
93
(c) Product Diversification and Design Inputs: (e) Low Level of Skills:
Most of the people involved in the bamboo & wood craft are the There is hardly any skilled person working in these enterprises
who has little amount of money for any kind of capital inputs, and new technologies had been introduced. Also the concern
which is why they do not want to risk diversifying into products authority has taken least interest to conduct time to time training
with new designs, which may not be taken by traders. Thus, program within the cluster. The quality of the products should
hardly any design development has taken place in the bamboo & also be enhanced in order to sell them in more up market stores
wood cluster. Most of the crafts-persons are making the same or in metros where they can fetch a better price. Even in Assam,
products or using the same designs that have been in vogue over and shops that sell bamboo & wood belong to local persons.
the years. Consequently, there is a lot of competition among the (f) Poor External Linkages:
artisans as all of them are producing similar kinds of products and Although this Bamboo & wood Cluster’s technique is unique to
selling them in the same markets and same traders . the bamboo & wood work area, there is an absence of linkages
(d) Poor Marketing: with technical institutions, design schools, and marketing bodies
One of the main obstacles faced by this craft cluster unable to which could promote the development of this craft cluster
expand the market. The target segment at which the bamboo &
wood products are aimed, over the last few years has remained
same. Also these are considered to be cheaper and handy.
94
Photographs of the Working Condition
95
SWOT Analysis of the Kahikuchi Cluster:- 2. The Wood/ Bamboo products are highly in demand in other
part of the country.
Strength: 3. Traditional products are generally manufactured thus creating
opportunity to produce new diversified products.
1. Easy availability of raw materials.
4. Creation of self employment in this sector.
2. Use of power tools is very limited in the cluster, thus creating
5. Business opportunities for the artisans.
scope for their introduction in the cluster.
Threat:-
3. Scope for product development.
4. Scope for product diversification. 1. The artisans may give up the trades as they are not able to earn
5. Existing business of the artisans is well established. the expected income.
Weakness:- 2. The raw materials are mainly wasted as firewood in which may
1. Traditional method of production. caused scarcity of raw materials in future.
2. Treatment of raw materials is poor. 3. Problem of storage after production rate is increased.
3. Lack of training facilities/ guidance for encouraging them to 4. Competition with similar products produced in other states.
take up power tools. 5. Due to lake of proper packaging & transportation facilities the
4. The price of the products in this region (N.E.) is very low and transportation of these products is very troublesome & not
even the low price has not encouraged buyers in the region. encouraging.
5. Lack of marketing linkage. Proper packaging & display is not
there.
Opportunity:-
1. The acceptance/ demand of bamboo/ wood are very

encouraging.
96
4.6 Present Status- of design at cluster
At the present scenario, the cluster has low level of design consciousness. As there is a design intervention need in every sector whether it is product,
its production process, market, health & education or their aspirations. There is lack of awareness education, health consciousness, and technology
and work environment. Also over all work environment, working pattern and time management is very monotonous and unorganized. The clusters
need a system and a proper business model where each and every things taken care by few responsible persons or committee. So thus organized
format would be helpful for their betterment from grass-root level. We as a design expert, always imagine that the cluster should be a centre of
better eco-friendly environment, quality production, user friendly workstation and tools with sustainable practices and processes in the place.
Conclusion 97
The Kahikuchi cluster is producing a lot of bamboo & wood product; this is main occupation for the artisans in that area. Now a
day’s new generation entrepreneurs and artisans are taking up this activity. There is tremendous scope for development of the
cluster considering the demand of the products at local as well as outside the state and international markets. There is huge
advantage for the availability and cost of raw materials. Transportation cost is also low as they are available locally. Many
promotional agencies and organizations are engaged in promotion of these products. There are many Govt. s chemes for the
artisans on offer for production as well as marketing.
==========XXX=============
98
References…...
Website:
 http://www.designclinicsmsme.org/
 http://www.nid.edu/
 http://kamrup.nic.in/history.htm
 http://histry/bamboo & woodcraft
Books
 Assam Handicrafts: Dreams and Designs
 Professional Power Tools for Trade & Industry (Range for 2012/2013) By BOSCH invited
for life.
99
TRAINING SCHEDULE (PROPOSED)
Duration:- 5 days Venue: Kahikuchi, Dist: Kamrup,Assam
Date Time Topic Resource person

10:00 am- 11:00 am Inauguration Director KVIC, Guwahati
11:00 am – 1:00 pm Development Entrepreneurial Qualities among the Artisans Dr. DD Mali Ex Director /IIE.
Day 1 engaged in Bamboo and woodcraft in South Kamrup
2:00 pm – 5:00 pm Introduction to different types of Power tools to be used for A.Dutta/ Design Consultant
producing Bamboo & wood products.
10:00 am -1:00 pm Different Schemes and Facilities for development of Enterprises MSME Officials
Day 2 in Bamboo & wood Products.
2:00 pm – 5:00 pm Product diversification and latest designs as per the demand of A.Dutta/ Design Consultant
customers
10:00 am -1:00 pm Bamboo & wood treatment for increasing the durability/ Expert from CBTC,Guwahati.
Day 3 Quality of the Products.
2:00 pm – 5:00 pm Change in the existing Products & blending veguirments for A.Dutta/ Design Consultant
making the products more presentable.
10:00 am -1:00 pm Role of DIC and the Role of Entrepreneurs / Artisans in DIC officials.
Day 4 Enterprise Development.
2:00 pm – 5:00 pm Introduction to different technologies and production method A.Dutta/ Design Consultant
related to Bamboo & wood products.
10:00 am -1:00 pm Linkages & Introduction to different production agencies. Expert from NEHHDC/ A.C.M.C.
Day 5 2:00 pm – 5:00 pm Product Display and Marketing concepts related with Bamboo A.Dutta/ Design Consultant
&wood products.
Daily Lunch Break: - 1:00 pm – 2:00 pm
Design Clinic Workshop
On Bamboo & Wood Craft
Under
Design Clinic Scheme at Kahikuchi Cluster
w.e.f. 28.07.2012 to 01.08.2012
at
Chilarai Bhawan, Uparhali, Bijoynagar, Assam
Programme Report
Sponsored by
Ministry of MSME, Govt. of India

And
in Collaboration with
National Institute of Design

(An organization of the Ministry of MSME, Govt. of India)
Ahmadabad
Organized By
North East Development Consortium (NEDC)

Beharbari Chariali, Guwahati-781029, Assam
Contents
1. Report
2. Registration and details of the Participants
3. Inauguration & Felicitation of Guests & Speakers
4. Profile of the Speakers and topics and brief of their Presentation
5. Valediction
6. Annexure
2
Page
Report Design Clinic Workshop:
After the conclusion and the submission of Need Assessment Survey report under the five- band
Design Clinic Scheme, a five- day workshop was conducted on Bamboo & Wood Crafts, Kahikuchi
cluster, Kamrup at Chilarai Bhawan, Uparhali, Kamrup from 28/07/2012 to 01/08/2012.
The workshop was planned based on the problems and opportunities identified during the Need
Assessment Survey. The workshop was aimed to give the artisans a few solutions on spot design for
identified opportunities for design intervention from the existing problems.
As per the Need Assessment Survey one of the main focus areas was on introduction of power tools
for better products in terms of design and quality. So for the workshop power tools were used and
each and every participant was made aware of benefits of the power tools.
Registration and details of the Participants:

In the Design Clinic Workshop 23 participants from Kahikuchi, Kamrup District, Assam participated in
the programme. List of the participants is enclosed as Annexure- I. The workshop had begun at
10.30am and before beginning all the participants were registered and they were all given a copy of
programme schedule alongwith training materials like pen, pad, and folder. The copy of their
registration cards are enclosed as Annexure- II.
Inauguration & Felicitation of Guests & Speakers:

The inauguration of the programme was held on 28th July 2012 from 10:30 am to 10:45 am. Dr. D. D
Mali, Ex- Director, Indian Institute of Entrepreneurship as Chief Guest, Mr. Nayan Moni Goswami,
Project Associate, Resource Centre in IT & Skill Development, Er. Anupam Dutta, Designer, Kahikuchi
Cluster, Ms. Trishna Mahanta, Designer, Mr. Jayanta Baruah, CEO, NEDC, Mr. Rebat Deka, Project
Assistant, Mr. Leela Gogoi, Project Assistant, & Mr. Abhijit Deka, Project Coordinator, NEDC were
3
present during the inauguration.

Page
Design Clinic Workshop Report!! Bamboo & Wood Craft Cluster, Kahikuchi, Kamrup , Assam
Er. Anupam Dutta
discussed the
curriculum of this
workshop
Er. Anupam Dutta, welcomed the chief guest, the invitees, the participants and all other
people present there and gave a brief introduction about the programme & discussed the
curriculum of this workshop. Next he introduced the chief guest and the invitees to all. All
the participants then introduced themselves and shared their expectations about the
programme.
Er. Anupam Dutta

introduced the chief
guest and the
invitees to all
Dr. D.D. Mali

inaugurating the
programme
4
Page
Design Clinic Workshop Report!! Bamboo & Wood Craft Cluster, Kahikuchi, Kamrup, Assam
After that, the workshop was inaugurated by the Chief Guest Dr. D.D. Mali, Ex- Director,
Indian Institute of Entrepreneurship and then the workshop continued with the discussions
and suggestions from the distinguished invitees who are all experts and experienced in their
own field.
Profile of the Speakers and topics and brief of their Presentation:

After inauguration the Chief Guest Dr. D. D. Mali gave a lecture on role of artisans for
enterprise development. He also discussed on development of entrepreneurial qualities among the
artisans. After Dr. Mali’ valuable speech the first session was concluded at 12:00 pm and
then there was break for tea. After that Mr. Nayanmoni Goswami, gave a lecture on benefits
of power tools. After the first session was concluded at 1.00 pm and then there was break for
lunch. After that Er. Anupam Dutta started the 2nd session & told them the treatment of
bamboo/ wood before production. After that he gave practical use of different types of power tools-
Sander, Polisher/ Saw/ Jigsaw / Planner etc.
Dr. D.D. Mali, Ex-

Director, Indian
Institute of
Entrepreneurship,
delivering his lecture
on entrepreneurship
development.
5
Page
Mr. Nayanmoni
Goswami, gave a
lecture on benefits of
power tools
Er. Anupam Dutta

discussed the
treatment of
bamboo/ wood
before production
Er. Anupam
Dutta,
introduced the
different types
of power tools
6
Page
Er. Anupam Dutta, gave
a practical use of power
tools (wood craft)

tools (bamboo craft)
On 2nd day i.e. 29th July’ 2012, Mr. Dul Chandra Das, Extension Officer (Credit), District Industries &
Commerce Centre started the 1st session at 10.00 am & discussed about different schemes and
facilities for development of enterprises in bamboo & wood products. He also discussed the
registration process DIC for artisans. After that the first session was finished participants break for
lunch. After lunch Er. Anupam Dutta, conducted the 2nd session. In this session he discussed different
design development using power tools for bamboo & wood. He also discussed the changes in terms
of production process for bamboo/wood using power tools.
7
Page
Mr. Dul Ch. Das discussed
about different schemes
and facilities for
development of enterprises
in bamboo & wood
products
Participants interact
with resource persons.

tools
8
Page
Er. Anupam Dutta discussed the changes in terms of production
process for bamboo/wood using power tools.
Er. Anupam Dutta interact with the participants
On 3rd day i.e. 30.07.2012, Er. Mridu Pawan Medhi, Expert of Power Tools (BOSCH Ltd.),
started the 1st session at 10.00 am & discussed about the manufacturing techniques for
diversified bamboo & wood products. He introduced the specific uses for expert power tools
products of bamboo & wood. In this session he also gave presentation on different types of
power tools. After that the first session was finished the participants break for lunch. After
lunch Er. Anupam Dutta started 2nd session & introduced the new products designs which are in
demand for local market.
9
Page
Er. M. P. Medhi
discussed about the
manufacturing
techniques for
diversified bamboo &
wood products.
Er. M. P. Medhi gave

presentation on different
types of power tools.
Er. M. P. Medhi gave a

demonstration of power
tools.
10
Page
Er. Anupam Dutta
interact with
participants

tools

tools
11
Page
On 4th day i.e. 31.07.2012, Er. Anupam Dutta, started the 1st session & discussed the
following topics:-
 Standardization/ specification of bamboo/ wood products- necessity for proper marketing.
 Different designs imported by different power tools for less wastage of raw materials using
minimum labour.
 Display characteristics for better marketing.
After lunch Er. Anupam Dutta, conducted the practical session.
Er. Anupam Dutta discussed the different designs imported by different power tools for less wastage of raw
materials using minimum labour.
Practical Sessions Practical Sessions

12
Page
On final day i.e 01.08.2012, Er. Anupam Dutta, gave a discussion about proper finishing/
different colouring techniques for bamboo & wood products. After that the first session was
completed the participants break for lunch.
Participants during the workshop
Valediction:
The valediction of the programme was conducted on 1st August 2012. Mr. Achyut Akash
Borah, Officer in Charge, State Institute of Rural Development along with Ms. Niloofar Seikh,
Coordinator, NID North East Zone, Er. Anupam Dutta, Design Consultant & Sri Jayanta
Baruah, CEO, NEDC also participated in the programme.
Er. Anupam Dutta, has welcomed the gathering and have shared his experience about the
programme and offered thanks to NATIONAL INSTITUTE OF DESIGN for giving him the
opportunity. Mr. Achyut Akash Borah encouraged the participants to work seriously to
launch small scale business units. He complimented the participants for their initiation to
become entrepreneurs. In his valedictory address he told the participants about how the
attitude and perception will help the entrepreneurs to excel in their business. He also
encouraged the participants by saying not to give up hope in life. Ms. Nilofar Seikh discussed
13
about the benefits on offer for the artisans under design scheme. She encouraged the
Page
artisans to go for new products and designs. She also stressed upon participation in Melas &
Exhibitions by the artisans. Mr. Jayanta Baruah then briefed about the conduct of
programme and complimented the participants for their active participation, involvement
and successfully completing the programme.
After that all the participants have identified viable business ideas of their own choice to
start a small business unit in bamboo & wood craft sector. After that Ms. Nilofar Seikh & Mr.
Achyut Akash Borah distributed the participation certificates to all the participants.
After this every participant was given a feedback form which they filled up & submitted.
The programme was concluded with vote of thanks the Mr. Jayanta Baruah
The copy of their feedback forms are enclosed as Annexure- III.
14
Page
Participants during the workshop
15
Page
Some of the products samples developed during the workshop by the artisans
16
Page
Power Tools Presentation during the programme
17
Page
**********************************
18
Page
Annexure I
Design Clinic Workshop

On
Bamboo & Wood Craft
At
Chilari Bhawan, Uparhali, Bijoynagar, Kamrup, Assam
Date:-28.07.2012 to 01.08.2012
List of Participants
SL Name of the Address Contact number
Participant
1 Narayan Kalita Bhagawatipara, Palashbari,Kamrup 8751953472
2 Arabinda Kr Rabha Bhagawatipara, Palashbari,Kamrup 8011888311
3 Biplabananda Goswami Rampur,Palashbari,Kamrup 9854030789
4 Mamat Das Bhagawatipara, Palashbari,Kamrup 9706566247
5 Manoj Kr Sarma Kahikuchi, Azara, Kamrup 9864632124
6 Subash Devnath Kahikuchi, Azara, Kamrup 8822530584
7 Bilash Sharma Sarurampur, Mirza, Kamrup 9854786764
8 Hiren Das Takradia,Chaigaon,Kamrup 9954368211
9 Subal Kalita Sarurampur, Rampur, Kamrup 9610529360
10 Dipak Kalita Borihat,Palashbari,Kamrup 9954759690
11 Prabin Mahanta Kahikuchi, Azara, Kamrup 9954655936
12 Tapan Kalita Bongara,Azara,Kamrup 9678278897
13 Mahesh Kalita Rampur,Mirza, Kamrup 9508403256
14 Tapan Kalita Rampur,Mirza, Kamrup 8752009346
15 Kamakhya Kumar Rajapukhuri, Bhagawatipara 9577844331
16 Dilip Das Rampur,Mirza, Kamrup 9613629062
17 Hiren Das Takradia,Chaigaon,Kamrup 9954368211
18 Sunil Baishya Bhagawatipara, Palashbari,Kamrup 9577108252
19 Kamal Das Azara, Kamrup, Kamrup 9957411665
20 Mantu Haloi Kahikuchi, Azara, Kamrup 9854381124
21 Anukur Sarma Kahikuchi, Azara, Kamrup 9706388944
22 Pulindra Kalita Chaigaon, Kamrup 7399561955
23 Dinesh Sarma Bhagawatipara, Palashbari,Kamrup
19
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Bamboo & Wood Craft A Need Assesment Survey Report Kahikuchi Cluster, Kamrup, Assam Kahikuchi Cluster, Kamrup, Assam

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BAMBOO & WOOD CRAFT

BAMBOO & WOOD CRAFT

Adopting a rigorous, yet applicant friendly, process.

Design Awareness Seminar:

Role of Design in Improving Competitiveness:

1.2 About National Institute of Design

NID has been a pioneer in industrial design education after Bauhaus

1.3 About North East Development Consortium (NEDC)

Offering Consulting Services in the Field of:

1.4 AN OVERVIEW OF THE DISTRICT KAMRUP

The demographic pattern of the Kamrup District is a heterogeneous one. Various

Demographic Profile of the District:

Rural Poverty context in the District:

Double Bevel Sliding Mitre Saw

Motor Drill Machine

Random Orbit Sander

Drill Bit Set

Cordless Drill/ Driver

Traditional jack machine

Design cutting machine

Randa (traditional equipment)

Why Bamboo and Wood Products & Furniture are in

The Process of Wooden Furniture Making

Basics of Furniture Making

Building Children's Furniture

WOOD FURNITURE: Introduction

All About Choosing a Finish

Whether the finish needs to resist water, scuffing and abrasion:-

Use amber or "water-white" tone preferable:-

Does the amount of time it takes to apply a finish matter:-

Evaporative vs. reactive

All about Coloring Wood

Pigments and dyes

Ebonizing and pickling

All about Repairing Finishes

History of Bamboo in Assam

1. Muli (Malocanna Bambusoides).

Kula & Chalani

Folk Medicine from bamboo as used in Rural Areas of Assam

Weaved bamboo blind and screen

RAW MATTERIALS HEALTH & SAFETY MACHINES PROCESS ERGONOMIC

DESIGN AUDIT FOR THE CLUSTER

3.2 EXISTING PRODUCTS

3.5 SCOPE FOR TECHNOLOGY, MODERNIZATION AND DESIGN COLLABORATION

the consumer market. State Governments Emporia are also trying

2. Proper lighting facilities:- There should be adequate light to

3. Drinking water/ Refreshment/ Recreation & Sanitation

Moreover the advantages of different schemes of Govt. which are

4. Value Chain & Analysis

Burnishing and labour during production. Most of them work as individual

1. The acceptance/ demand of bamboo/ wood are very

Duration:- 5 days Venue: Kahikuchi, Dist: Kamrup,Assam

Date Time Topic Resource person

Daily Lunch Break: - 1:00 pm – 2:00 pm

Chilarai Bhawan, Uparhali, Bijoynagar, Assam

Ministry of MSME, Govt. of India

National Institute of Design

North East Development Consortium (NEDC)

2. Registration and details of the Participants