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iCHSTM 2013 Programme • Version 5.3.6, 27 July 2013 • ONLINE (includes late changes)
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Taking a closer look at a characteristic mini bicycle, the DBS Kombi, this paper seeks to explore the multifarious ways this iconic artifact affords material memories. Manufactured by the Norwegian company Jonas Øglænd A/S from 1967 to 1987, it has been a paradigmatic feature of the personal and social recollections of generations of Norwegians—including the author. Spurred by the considerable interest expressed recently in the Kombi bicycle as a vintage item, this study reflects on the role of material artifacts in mediating memories. Viewed against a backdrop of a broader trend often described as retro, or “the culture of revival,” personal engagement on the part of historians with objects such as the Kombi bicycle may help to shed light on the inner workings of vintage culture and the notion of nostalgia in contemporary society. The DBS Kombi emerged as an appropriation by way of redesign of the more famous British mini bike, the Moulton. Øglænd manufactured the Moulton under license from 1965, but, as this was a very expensive model (due mostly to its characteristic feature of both front and rear suspension), the Norwegian manufacturer’s designers soon came up with their own interpretation of the small-wheeled, one-size-fits-all bicycle. More than providing a history of the DBS Kombi, though, this paper offers a personal account of this mini bicycle as a mediator of material memories and explores the role of emotional engagement with non-new objects of use in contemporary design culture. It was on a DBS Kombi that a girl next door, four years my senior, taught me the magic of riding one spring day in 1980; and it was with this bike my father taught me the basics of bicycle maintenance. I am currently the owner of three such bikes (plus a DBS Moulton), purchased, obviously, more for their emotional, nostalgic, and memory-conveying properties than for their utilitarian ones. Restoring and re-possessing them has made me reflect on these objects as “memory machines,” and this paper is a recording of these reflections.