Detta examensarbete utfördes på Karlstads universitet i samarbete med Volvo Car Group, en svensk tillverkare av premiumbilar. Arbetet är fokuserat på ett kvalitetsproblem på Volvos produktionslinje då ett tillverkningsfel uppstår när montörer sätter sig i bilarna för att utföra arbetsuppgifter. Detta gäller på andra generationen av XC90 och senare bilmodeller. Ett permanent instegsveck uppstår och återhämtar sig inte när kunden får sin bil levererad. Idag har Volvo inga provmetoder som kan efterlikna problemet och ett arbete sattes igång under 2015 för att komma fram till en ny provmetod. Arbetet fick avslutas mitt i projektet pga. andra prioriteringar, vilket resulterade i en prototyp som behövdes utvärderas vidare för att kunna bli en fullständig provmetod.   Målet för det här examensarbetet var att utvärdera prototypen med hjälp av designprocessen. En förstudie utfördes med fokus på information från det tidigare projektet, nuvarande provmetoder, läderteknik, granskning av sätesdesign, benchmarking och observationer på Volvos bilmodeller direkt från fabriken och ute hos återförsäljare. Efter förstudien påbörjades en utvärdering om prototypen kunde efterlikna problemet mellan Volvos olika varianter av stolar, såsom sportstolar. Genom att betygsätta resultatet med en betygsskala mellan 1–5 var det möjligt att se stor skillnad mellan stolarna med referens från produktion. Andra typer av slitage som nötningsskador uppstod innan det önskade resultatet, speciellt på stolar inriktade på god komfort. På sportstolarna var den avancerade geometrin ett problem att applicera efter provmetodens möjligheter.   Sista delen av projektarbetet utfördes det en bedömning av prototypen baserat på resultatet från mätningarna. Prestandan från prototypen bedöms vara svår att efterskapa på alla typer av stolar. Ett av de större problemen var att få lädret i ett skört tillstånd då prototypen hade en begränsad rörelse. För att projektet skulle fortlöpa så utfördes en kort granskning baserat på erfarenheterna där fokus låg på faktorer som hade påverkat resultatet mest, dessa var rörelse och material. Resultatet för att kunna efterlikna samma instegsveck i produktion är det optimalt med en tryckrörelse på 45° riktat mot sätets sidobolster samt ett mjukt PUR-skum. Detta gav ett optimalt resultat på alla stolar utan att andra slitage uppstod. För att lösa problemet är det nödvändigt för Volvo att titta på två områden, antingen åtgärder inom produktion med extra skydd eller tillämpa konstruktionsändringar i stolarna med en nyutvecklad provmetod som är framtagen på rätt premisser. / This thesis was carried out at Karlstad University and in corporation with Volvo Car Group, a premium car manufacturer from Sweden. The work focuses on a quality problem at the assembly line. A problem occurs on the front seats with the new generation of XC90 and further released car models. It is to Volvo Cars knowledge that an early wear occurs on the leather seats when assemblers ingress and egress the cars during work tasks and the wear then never recovers. To fix this problem and previous work has been carried out at Research & Development in 2015 but was unfortunately required to be held because of other priorities. The previous work resulted in a prototype which purpose was to become a new test method to this issue. However, the prototype needed further investigation to verify if it can replicate the early wear like the seats at the assembly line.   The goal of the research was to evaluate the prototype with a theory based on Engineering Design Process. A pre-study was performed focusing on collecting data from the previous project, current test methods, leather technology, seat design, benchmarking as well as an excursion of Volvo’s lineup of cars at the assembly line and dealerships. After the pre study, a measurement task was performed with the variety of different seat design. This was done to evaluate whether the prototype met the requested requirements or not. By grading the result with a number between 1-5 it was possible to see a difference between the seat design and to replicate the wear problem. Other attritional wear would occur before the desired outcome of wear, especially on comfort seats. It was hard to apply the sports seat to the benefits of the prototype because of the more advanced design.   The last part consisted of an assessment on the prototype and was based on its performance. The results show that the prototype does have a problem to replicate the wear and isn’t applicable on all available seats. One of the main issues was to get the leather in a brittle state based on the movement from the prototype. Furthermore, a short research was carried out on in-depth knowledge of this work to gain an understanding and cognition for continued work. For replicate the requested wear a pressure movement was required at a 45° angle and aimed to the seat side bolster with a soft polyurethane foam. It shows successfully results at every kind of seat design. To solve this issue it’s necessary for Volvo to consider precautions at the assembly line or changes in seat design with a newly developed test method based on the right premises.

The collections of the Vasa Museum in Stockholm Sweden not only include the world’s only complete 17th century warship, the famous Vasa who sank on her maiden voyage outside Stockholm in the summer of 1628, but also a unique and extensive collection of dress artifacts, fragments from clothes in textile and leather recovered during the excavation of the ship. This study aims to present historical narratives about the labour, knowledge of craft and everyday life of the ship’s crew by analysing leather mittens and other types of artifacts related to the work on board as material culture, aided by early modern Dutch depictions in art showing work being done on large ships contemporary with Vasa. Two types of leather mittens in the Vasa museum’s collections have been identified as having parallels in similar mittens also from maritime context. These mittens are further investigated regarding the mystery of their making and specific traces of use. The results indicate that some of the mittens could potentially be of a particular Dutch style or origin, perhaps worn as a fashion statement among Dutch sailors. Other mittens of an unusually dark and heavy leather bear the signs of hard labour and work with scolding hot pitch and tar from caulking wooden ships. These mittens are also characterised by an economic model of cutting the leather that may connect them with the making of simple leather shoes found on Vasa, as the left-over material for one is highly suitable for the other. Both types of mittens reveal something about the sailor’s life before they enlisted on Vasa and prove that mittens could have distinct functions within the spectra of labour in a maritime context.Most importantly the results of this study suggest that the crowns attempt to force professional practitioners of craft to move from the countryside into the cities in the early 1600’s are not only connected to the development of guilds for leatherworkers in Stockholm, but also to the navy’s need for sailors and the general lack of leather in Sweden during the ongoing war. The presence of tools and material for leathercraft as a common find category among the crew's personal belongings can be regarded together with knowledge of craft culture in the countryside in the areas where boatmen were drafted can point out skinners and cobblers in the Finish coastal regions and countryside as craftsmen who both have knowledge of leathercraftneeded for making both mittens an simple shoes as found on Vasa. These groups of poor leatherworkers were among those targeted by discharges to the navy. Leather mittens interpreted as material culture are found to be consistent with the idea that individuals with a background as Finnish leatherworkers on the countryside may have ended up as sailors on the Swedish warship Vasa.

In pieces I wanted to create a design solution inspired by traditional wooden furnitures. Furnitures, like the kitchen sofa with built in storage and a place to sleep or the lockable free-standing linen cabinet that held hand crafted treasures safe and clean inside. Furnitures that are large in size and can be hard to fit into smaller homes today but that holds a huge sentimental value to the owner and are often handed down through generations as heirlooms.   So what if I could weave in a piece of my own family history into a design solution that can fit in smaller living spaces while still be an attractive choice for larger ones?  Pieces resulted in two wooden cabinets that tell part of my family history through the repetitative, organic shapes that I have implemented into them. They are a tribute to my grandmother Aino and her three year younger sister Hanna and my way of symbolically reclaiming their right to the land, forests and lakes around their childhood home that the two sisters didn´t get to share with their siblings in the inheritance after my great grandparents.  The methods I have used in my research are surveys, workshops, in-depth interviews and my own observations. Major design decisions have been based on the input from my research process with the goal to display two full scale cabinets at Konstfack's spring exhibition in May 2023.

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I denna rapport redovisas ett examensarbete av Edvin Sjöberg utfört i samarbete med Ödins Garveri i Visby. Projektets mål har varit att ta fram ett tillverkningsunderlag för en ny axelremsväska i läder för män. Väskan är konstruerad för att vara materialbesparande, hållbar och elegant. Faktainsamlingen ger en översikt av de vanligaste sätten att bereda och garva skinn, sömnadsteknik och tillverkningsteknik. Målgrupps- och marknadsanalys har varit vägledande för utformningen av slutprodukten och stort fokus har lagts på modell- och skissarbete. Slutprodukten är en herrväska med mycket hög materialkvalité, formgivning inspirerad av klassiskt herrmode och med väl planlagda och genomtänka detaljer. / This report presents a thesis of Edvin Sjöberg performed in collaboration with Ödins Tannery in Visby.  The project's goal has been to develop a manufacturing base for a new leather shoulder bag for men. The bag is designed to be easy to produce without material loss, to be durable and stylish.  The essay provides an overview of the most common ways to prepare and tan hides, sewing techniques and manufacturing technologies. Audience and market analysis has aided the design of the finished product and focus has been placed on model and sketch work.  The end product is a bag made from high quality materials, design inspired by classic men's fashion and with well-planned and thoughtful details.

Bound Together elucidates how gay and lesbian leather communities, in the years between 1966 and 1984, contested and expanded fungible notions of sex, community, and history, mostly through material and visual cultural systems: dress codes such as the hanky code, architectural spaces (bars, bathhouses, private clubs), garments, posters, advertisements, newsletters, films, and performances. In examining visual and material cultures, procedures of archival research, as well as the physical states of key archives associated with historic gay and lesbian leather communities, this dissertation opens out a discussion of a set of visual documents and terms rarely considered within the discipline of art history, or academia at large. Through rigorous rhetorical experimentation Bound Together seeks to propose new ways of writing histories. Long and short chapters are interpolated, telescoping between historical leather communities and key works of contemporary art which reformat 1970s documents and visual sources. Jean Luc-Nancy’s conception of “being-with,” a state of coterminous existence that lies at the foundation of being and subjecthood, provides an ideal framework for coming to terms with the challenges of writing leather histories. Nancy’s notion is one that privileges mutual and relational difference. The structure of Bound Together works similarly, building a set of differential modes of viewing, analyzing and writing. In this way I wish to, in the words of Tilottama Rajan, use “history as the condition for an internal distanciation and for self-reflection on what we do,” and to furthermore present alternatives to a discipline’s often “routinized, even commodified […] repeatable techniques.” / text