Acclaimed designer Hendro Hadinata unveiled the KARANA Collection at the Indonesian Design Week —a trio of pieces shaped as much by their materials as by Balinese design philosophy. Comprising the Kuta Bench, Sanur Lounge Chair, and Ubud Light, the collection features American red oak and cherry, selected for their grain, colour, and harmony with Hadinata’s vision.
Rather than imposing familiar forms onto new timber, Hadinata allowed the hardness, grain, and colour of red oak and cherry to dictate the proportions, curves, and finishes. The outcome is sculptural furniture—visually serene, yet demanding meticulous craftsmanship.
“This project was a chance to reflect on how new materials can inform my design process,” Hadinata said. “Our previous work mostly used locally sourced timber. With American cherry and red oak, we had to adapt to their distinctive hardness, grain patterns, and colour. This challenge pushed us to explore new possibilities and consider how American hardwoods might elevate future projects.”
Visually, the collection is defined by long, tapered planes and continuous curves. While the Ubud Light appears delicate, it is the bench and lounge chair that posed the greatest challenges—their uninterrupted curves and surfaces leave no room for error, with any imperfection immediately apparent.
Omega Mas, the Indonesian manufacturer, translated Hadinata’s sketches into precise production plans. Decisions about grain direction, glue-up sequencing, and tooling had outsized effects on edge quality and surface depth—making the manufacturing process central to the collection’s final appearance.
Their team is highly cooperative and dedicated to their work. They are familiar with American timbers and their infinite possibilities. What stood out most is how they approach every project wholeheartedly, not just as a job, but as a craft they truly care about.
The American Hardwood Export Council supported the project to demonstrate that responsibly sourced U.S. hardwoods can elevate high-end design rather than serve solely as commodity materials.
For Southeast Asian designers, these species offer scale and uniformity; for exporters, the collaboration highlights stories of craft, durability, and sustainable forestry. Hadinata was candid about the technical lessons learned: differences in density, finish response, and grain behaviour required adjustments to tooling, lamination, and finishing. These practical changes on the workshop floor ultimately shaped the collection’s distinctive appearance.
“American hardwoods bring a new dimension to my work,” Hadinata said. “Their uniformity, scale, and beauty make them ideal for sculptural expression, while the philosophy of Tri Hita Karana ensures the pieces carry both cultural memory and contemporary value.”
Displayed at the Indonesia Design District in Tangerang, the collection’s quality is evident in the details: smooth fillets, curves that follow the grain, and nearly invisible seams. For Hadinata, the shift to American timber was not a fleeting trend, but a deliberate experiment—setting new boundaries to advance his craft.
