Interview about Phoresy Pack Backpack, winner of the A' Generative, Algorithmic, Parametric and AI-Assisted Design Award 2024
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.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsI 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.
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