Bronze Generative, Algorithmic, Parametric and AI-Assisted Design · 2024
Phoresy Pack Backpack
- A' Design Award 2024 Bronze Winner in Generative, Algorithmic, Parametric and AI-Assisted Design
- Awarded April 15, 2024
- CLIENT: Stepan Pianykh
- Estimated Number of Design Views: 139,953
- Verification code B3046425C3 · Verify this award
About Phoresy Pack Backpack
Phoresy Pack is an ergonomic backpack design with a unique foldable structure. Its structure is produced from a single sheet of genuine leather that has been precisely CNC-milled and creased to form a material that can expand or shrink flat to adjust the backpack's volume. While the final outcome of the project is merely a backpack, the aim of the project was to explore applications of Computational Design and Digital Fabrication principles in the fields of customizable fashion and industrial design.
Press Kit
- Unique Properties
- Phoresy Pack Is an ergonomic backpack design based on a unique flexible tessellated material.
Produced from a single sheet of precisely CNC-milled and folded genuine leather, Phoresy Pack’s structure expands and shrinks flat based on the volume of its contents.
While the final outcome of the project is merely a backpack, the aim of the project was to explore applications of parametric design principles in the fields of fashion and industrial design. - Dimensions & Packaging
- This backpack is of average size, with approximate dimensions of 500 x 320 x 200 mm, offering a total volume of 15 liters.
When empty, the backpack compresses to a smaller, flatter size. - Tags
- Backpack, Fashion, Wearable, Computational Design, Leather
- Production Technology
- The Phoresy Pack is crafted from various types of natural cowhide leather. The back shell is constructed using blue-dyed leather milled on a CNC router, creating a crease pattern for folding and subsequent stitching on the sides. To add elasticity and enable the bag to fold flat when not filled, a separate layer of Spandex is integrated into the shell.
The glossy finish on the leather is achieved through a special varnish, making it non-breathable and watertight. This varnish was crucial to ensure perfect adhesion of the leather sheet to the vacuum table during the milling process, preventing damage to the leather caused by gaps between the material and the table.
Initially considering plastic/rubber, we opted for leather due to its superior tactile properties. The front side of the backpack incorporates traditional leather-working techniques, including leather forming, die-cutting, and sewing, to enhance comfort against the user's body.
Design accessories like buckles are crafted from CNC-milled aluminum, while minor engravings on the bag's surface are created using a Laser Cutter. The cushioning on the front side is filled with soft cork pieces. - Design Challenge
- The most challenging aspects of the project involved the unconventional production techniques employed to bring it to fruition. While some leatherworking techniques adhered to traditional and well-documented craft methodologies, others, such as CNC milling cowhide leather, had to be developed during the project's evolution. One notable feature of the design, wherein the backside is crafted from a single sheet of leather, meant that any significant defect in the manufacturing stage required redoing an entire half of the backpack. This resulted in a highly iterative prototyping process.
Additional challenges, like mastering the appropriate software for the project—specifically, the parametric modeling tool called Grasshopper 3D—took considerable time but were not as arduous in comparison. - Project Duration
- This project served as Stepan’s degree thesis, taking one semester for completion. Initiated in February 2015, it reached fruition by June of the same year. Following its completion, the Phoresy Pack made its debut at the degree show, the End of the Year exhibition at the British Higher School of Art and Design.
Subsequently, the design gained recognition through participation in multiple exhibitions, such as:
"Faces and Laces" 2015
"Uno" at Center MARS 2018
"Design Next" at the Central House of Artists 2018
Printed features included an appearance in Esquire Russia (July 2015 issue) and inclusion in the book "Ergonomics in Product Design" by SendPoints in 2018. Furthermore, the design has been showcased in various online publications, including YankoDesign, Designboom, and others." - Operation Flow
- Despite its transformative properties, the backpack operates in a straightforward manner. It features a single large compartment that, thanks to the elastic properties of the backpack's shell, naturally expands and contracts to accommodate the volume of its contents.
- Research
- This project combined design and market research to improve backpack functionality, emphasizing ergonomic principles and innovative materials. Utilizing literature reviews, user feedback, expert interviews, and iterative prototyping, it successfully implemented foldable tessellation patterns for adaptability and comfort. The impact reached exhibitions and publications, shaping societal perspectives on technology and craftsmanship in design.
- Inspiration
- The inspiration for this project came from the works of applied mathematicians like Ron Resch, who developed foldable tessellation patterns, and modern architects like Zaha Hadid, known for using computational design principles. The entire discipline of leatherworking and craftsmanship was a constant inspiration, guiding every detail. In terms of specific backpacks, I drew inspiration from the Meiosis backpack by Davidi Gilad and the Solid Gray backpack
- Image Credits
- Image #1: Photographer Timofey Sherstennikov, 2015.
Image #2: Photographer Timofey Sherstennikov, 2015.
Image #3: Photographer Timofey Sherstennikov, 2015.
Image #4: Photographer Renata Garipova, 2015.
Image #5: Photographer Renata Garipova, 2015.
Colors of Phoresy Pack Backpack
Grand Interview about Phoresy Pack Backpack
I find it most rewarding to work at the intersection of various techniques, fields, or even industries. Specializing in just one area can be incredibly competitive, but by combining disciplines, you create a unique skill set that far fewer people have explored. This approach greatly increases your chances of crafting something truly original.For the Phoresy Pack Backpack, the physicality of working with real leather, cork, metal, and textiles perfectly complements the precision and innovation of computational design. They say the best way to rest is to switch activities, and that’s exactly how I work. A day spent in the workshop crafting with physical materials leaves me refreshed and ready to dive back into digital design. By the time I finish a digital session, I’m already eager to return to hands-on work. It’s a dynamic process that keeps both my creativity and energy flowing.
The Phoresy Pack Backpack was heavily inspired by the works of Ron Resch, a pioneer in computational design and a master of exploring the structural beauty of folding patterns. His work encouraged me to look at design not just as a means to solve problems but as a way to create elegant, functional forms with minimal material waste.I’ve always been drawn to parametric design, but what truly led me to explore its intersection with fashion was recognizing the unique requirements of products like backpacks. These objects sit at the sweet spot between physical and aesthetic configuration. They must adapt to our lifestyles functionally while also serving as pieces of self-expression. Backpacks, in particular, are fascinating—they’re incredibly utilitarian but also deeply personal, reflecting the style and individuality of the wearer.When I approach new design projects, I often draw on past ideas, sketches, and notes from my research. This backpack’s foldable structure, crafted from a single sheet of CNC-milled leather, evolved from a desire to merge simplicity, efficiency, and beauty. My process involved leveraging tools like Rhino and Grasshopper to experiment with folding patterns and material behaviors. It was also a way to celebrate the blend of digital precision and the tangible artistry of leatherworking—a recurring theme in my creative journey.
My background in game development played a pivotal role in shaping the Phoresy Pack Backpack's expandable tessellation pattern. Game development taught me to script logical processes, break down complex systems into manageable parts, and achieve intricate outcomes by combining simple elements. These principles naturally transitioned into my computational and industrial design work, creating a synergy between the disciplines.For the Phoresy Pack, the tessellation pattern required precision and adaptability to ensure both structural integrity and aesthetic appeal. This level of complexity would have been nearly impossible to achieve within the given timeframe without leveraging digital tools and simulations. Using techniques I had developed during my game design work, I was able to simulate material deformation and refine the tessellation to suit the unique properties of CNC-milled leather.The iterative mindset from game development also helped—testing, adjusting, and refining until the pattern met both functional and aesthetic goals. In many ways, the skills I honed in game development directly informed the computational approach that made this project a reality.
I don’t find balancing practical functionality and technical innovation to be much of a challenge—they’re essentially two sides of the same coin. There’s always room for improvement in the objects that surround us, and innovation often stems from either applying a new technology to a product or breaking some user experience down to identify some flaws that a technology can solve.The key lies in the iterative process, which is essential no matter the approach. For the Phoresy Pack Backpack, I alternated between creating digital cut patterns and simulating them to achieve the desired shapes, and physically prototyping with progressively more complex materials.The process began with simple materials like paper, which allowed me to quickly test ideas and refine the tessellation structure. From there, I moved on to sturdier materials like cardboard and plastics, which provided better insight into the structural and functional challenges. Finally, I worked with leather—the most intricate and demanding material in this sequence. Each iteration revealed new insights, shaping the final design and ensuring it met both aesthetic and practical goals.
The integration of Spandex with leather in the Phoresy Pack Backpack was both a rewarding and challenging process, primarily due to the contrasting material behaviors. When simulating physical deformations, soft materials like Spandex present far more complexity than rigid ones. While leather has some flexibility, its behavior is relatively predictable compared to Spandex, which is highly elastic and prone to unpredictable deformation.This unpredictability made it difficult to simulate the exact behavior of Spandex in conjunction with leather. However, its softness also became an advantage—it often compensated for small inaccuracies in the cut patterns, allowing for a more forgiving assembly process.The main challenge was accurately predicting how these materials would deform together, especially under real-world conditions. It required extensive prototyping and fine-tuning to ensure a harmonious combination of the two, achieving both the desired functionality and aesthetic appeal.
The recognition of the Phoresy Pack Backpack with the Bronze A' Design Award has been incredibly validating, especially given the interest it has sparked among people asking to purchase the product. While I don’t think a design like this could realistically hit the market at a consumer-friendly price point right now, the overwhelming interest highlights a growing demand for computational design in the fashion industry.This demand shows that people are intrigued by innovative, generative approaches to design that go beyond traditional methods. Computational methodologies open up exciting possibilities for creating accessories that are not only visually striking but also highly functional and adaptive.I envision these techniques continuing to gain traction, enabling designers to explore new materials, structures, and levels of customization. As technology becomes more accessible, I believe computational design will play an increasingly central role in shaping the future of fashion accessories, allowing for designs that were once thought impossible to become a reality.
Grasshopper 3D was instrumental in addressing the complex geometric challenges of designing the expandable structure of the Phoresy Pack Backpack. While physical prototyping is irreplaceable, there’s only so much trial and error one person can realistically accomplish by hand in a given timeframe. Grasshopper 3D allowed me to significantly accelerate the process by enabling rapid digital iterations before committing to physical models.Using Grasshopper, I generated numerous variations of cut patterns and simulated how these patterns would deform and fold into the backpack’s shell. While digital simulations can’t fully replicate physical behavior, they’re much faster and help catch design flaws early—saving hours that might otherwise be spent on paper modeling.The process was iterative: I would create several designs in Grasshopper, select the most promising one, print it on paper, and fold it to test its structure. From there, I would refine the sewing pattern by making physical adjustments—cutting, gluing, and tweaking—before scanning the updated pattern back into the software. This back-and-forth between digital and physical prototyping ensured a balance between precision and practicality, ultimately leading to the final design.
Ron Resch's mathematical principles provided a strong foundation for the design of the Phoresy Pack Backpack. His work as a mathematician created versatile models that lend themselves to a wide range of applications, including this project. In many ways, Resch had already done the heavy lifting by establishing the underlying structures and patterns, which made it easier to adapt his ideas to a functional product.The real challenge came in knowing where to strike a balance between the intricate, computational models and the practical constraints of leatherworking. While it was tempting to fully embrace complex, theoretical designs, I had to make decisions about when to simplify or incorporate traditional leatherworking techniques for durability and usability. Thankfully, I didn’t have to make too many compromises, and the combination of Resch’s principles with tried-and-true craftsmanship resulted in a product that feels both innovative and grounded.
Developing the Phoresy Pack Backpack gave me a deep appreciation for the interplay between digital fabrication and traditional craftsmanship. One of the most fascinating realizations was how often, after countless digital simulations and tests, the simplest and most traditional solution—like stitching two pieces of leather in a time-tested way—turned out to be the most optimal.It shouldn’t be surprising, though. While parametric design tools are incredibly powerful for accelerating the iterative process and solving modern design challenges, traditional techniques are the result of centuries, even millennia, of refinement and exploration. In many ways, they embody a collective "design simulation" conducted over generations of trial and error.I’ve learned to trust and integrate this accumulated wisdom into my workflow. Rather than viewing digital and traditional approaches as opposing forces, I see them as complementary. My computer can model thousands of possibilities in a fraction of the time, but it still benefits immensely from the expertise embedded in traditional craftsmanship.
The success of the Phoresy Pack Backpack has only deepened my interest in exploring computational design for adaptive, user-centered fashion accessories. I have several computational design projects currently in development, and I’m far from finished with backpacks. They offer a fascinating blend of function and style, which makes them an ideal canvas for innovation.Lately, I’ve been particularly intrigued by the possibilities of 3D printing and its potential to redefine accessory design. Many of my current projects are centered around this technology, ranging from 3D-printed ceramics to wearable parametric accessories crafted from elastic polymers. These materials and techniques open up new opportunities for customization, sustainability, and responsiveness to user needs.My goal is to continue pushing the boundaries of how computational design can transform fashion accessories into more adaptable and personalized products, blending technology with everyday functionality.