NYLON VESSEL
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Louis McGowan Louis currently is currently undertaking a degree in Industrial Design (Honors) at the Royal Melbourne Institute of Technology. He is the recipient of the Erik Romoke Award for academic excellence and is a finalist for the Design institute of Australia’s Graduate of the year award 2020 (Furniture). He has been involved in various solo and group exhibitions, showcasing both experimental and market ready objects. Exhibitions: The Office St Kilda NWEB: Domestic Place NWEB: Future-spective WORKSHOP71 Alt Material: Ductility c/o Ash Allen Offcuts c/o Angus Brown
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Contents 3.
About the author
7. Introduction 8. History 10.
Key Figures
12.
Societal context
14. Frameworks 16.
Technological influence
18. Augmentation 20.
Survey
24. Conclusion 25.
Proposition
26.
Development
30.
Features
40.
Outcome
42. Bibliogrpahy
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COMFORT ASPIRATION WEAR ADVENTURE YOU DEFINITION CULTURE BUSH URBAN FOREVER ESCAPE POSSESSIONS RE-USE DURABLE BEHAVIOUR TECHNOLOGY CANVAS BUCKLE FREEDOM SOLO
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Urban
Outdoor
A enquiry into future Australian backpack design.
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Introduction Modern backpacks play a significant role in the way we transport and access personal items through daily activity and exploration. Modern backpacks, in their varying forms enable the secure transport of personal object necessary for work, travel and hiking. Through establishing a confine between the user’s contents and the outside world, backpacks require user activation in order to achieve its intended securing and convenience purpose. Discussions will concern the ways in which contemporary backpacks, specifically hiking backpacks can provide more meaningful outdoor experiences and increase their usable life in alternative urban environments. This essay attempts to resolve how these objects can further be considered as extensions of identity, through discussions of technology and cultural influences. Utilising frameworks developed by leading theorists of emotional design, the user experience of hiking packs is reconsidered in hope for a lasting, personal producthuman relationship. Exploring how material culture is crucial to identity and the emotional connection humans have to this carrying apparatus can be misrepresented, as often it is the contents within that are of greater importance. This essay seeks to prescribe how an emotional connection to backpacks, in addition to contents, can facilitate and improve time spent outdoors. [3]
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History Bags (as a predecessor for backpacks), as transportation objects, have been fundamental in the development of civilisation. Throughout human history, we have relied heavily on backpacks as a way of containing goods for exploration or daily necessity. Advanced harnessing systems and compartments employed in modern hiking backpacks, have evolved from its many predecessors, each serving functions relative to the users’ needs at the time. Palaeolithic period; to carry nuts and berries or the 2000’s to carry computers. [9] The first patented backpack design was filed in 1878 by Henry Merriam (fig1), developed for the US military. It was made of canvas and featured a steel support frame for a more comfortable distribution of weight toward the hips. From then, backpacks were popularised and made available for civilians, in the form of children’s school bags as the physical benefits of backpacks were recognised over satchels. In 1967 American designer Gerry Cunningham implemented Nylon 6/6 as an alternative to traditional canvas packs. Although the material is lighter and simpler to construct, it is inherently less sustainable and harder to repair (fig7). [14] Examples of backpacks being used as comfort objects has only been recognised in recent years, with companies like Trunki (fig2) incorporating elements of plush toys into backpacks travel companions. Within the field of outdoor recreation, an emerging trend of “ultra-light” hiking is seeing backpacks stripped down to their simplest form in order to endure a barebones experience in addition saving weight. Backpacks have evolved throughout history, developing as a product field that runs in parallel with technological mechanisms and materials, all feeding into existing and emerging markets.
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fig.5
1886 first patent by
Colonel Henry Clay
fig.2
3100 B.C Otzi the fig.9
1900 Leather school
fig.8
1950 Fjallraven fig.9
1967 Nylon packs
fig.11
2019 Hyperlite
fig.7
2019 Hyperlite
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Key figures The current backpack and outdoor wear market, is incredibly saturated. With the majority of production off shore, materialist is no longer relevant to region. Contemporary designers focus heavily on physical comfort, material durability and aesthetic trends as metrics to which a backpack must full fill. Within our current material driven society, backpacks have coming an extension of self-identify. [3] Brands such as Freitag have acknowledged this and pair this notion of individuality with environmentally sustainable underpinnings. In 1993, German brand Freitag by Markus and Daniel Freitag began reusing PVC truck tarps to design bags for the urban environment. -Each bag (fig3) is unique in the fact that the graphic elements on each are that of the original truck graphic. In addition to the narrative of the material, these object have strong visceral ties as one’s unique taste is met with a unique design, providing a sense of autonomy to the user. These heavy wearing materials patina overtime and share a modern day nostalgia of that of. Wear and imperfection of the object displays endurance and regular use; attributes that can help someone’s identify stand out from the mass crowds, of course without looking battered. [9] Freitag bother
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fig.13
Currently, there is a resurgence of custom made hiking backpacks locally in Melbourne and aboard fuelled by people dissatisfied with the mass market. Dan Pitt from Wilderness Threadworks in Melbourne is one of those pioneering the resurgence. This method of manufacturing provides the clients with more options and a tailored fit, involving them in the process and building a relationship from the start (fig4). Of course the nature custom made packs are reserved and valued by those heavily invested in outdoor exploration, leaving the majority off the market at odds with mass manufactured items. Making the outdoors accessible for all means reducing financial barriers of entry, cheaper gear is one of the ways this can be achieved. Ironically, this can lead to a decline in quality and fuels our throwaway society. [1] [12]
Dan Pitt
fig.4
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N
Narm (Melbourne) Wurundjeri country
Toot-buck-nulluck (Howitt high plains) Gunai country
2k
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Social influence This shift in approach, paired with the city commuting necessity, has reduced the stigma associate with backpacks as child’s objects toward one that displays purpose; be it work or recreation. Large internal aluminium frames and an abundance of utilized straps make modern hiking packs unsuitable for use in urban environments, reducing the usable time frame of packs. This of course adds to a bulky and occasionally used object, that is seen to be in the way when not in use. [12] [10] More recently, backpacks and outdoor wear in the broader sense have become a status symbol. In metropolitan areas, abundant with heating and shelter, people warm to the aesthetic of outdoor wear, regardless of whether they use it for true intent (fig8).
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Frameworks In order to evaluate the emotional relationships between humans and objects, key frameworks have been established by theorists and researchers to deconstruct the user journey. American design researcher Don Norman, proposes three levels of emotion at to evaluate objects. These include; visceral [appearance], behavioural [function], and reflective [memories] (Norman, 2003). Any real experience with an object involves all 3, each interacting with one another. Each must be considered throughout, in order to achieve a successful design. Norman reinforces the notion that in order for objects to pleasurable to use, as well as beautiful. By definition, hiking backpacks are an object that facilitate the transportation of essential personal items along with the user, hvowever culturally provide more than that, being one of identity and a display of adventure. They are produced in a variety of colours and with an abundance of features and material advancements, confined into an aesthetically pleasing silhouette. Hiking backpacks facilitate a unique experience; one in the open out-doors. Thus, they have the capacity for the user to assign meaningful associations of travel and self, aiding to a more heightened reflective stage. Norman acknowledges that no single design with satisfy the masses, variants and options are necessary to cater to a variety of needs, however personal. [15]
fig.6
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Don Norman
fig.10
Professor Dr. Hassenzahl
Viseral
Concerns itself with appearances
Behavioural
Pleasure and effectiveness of use.
Reflective
The rationalization and intellectualization of a product
Professor Dr. Hassenzahl also provides different ways of evaluating user interaction to improve the human and object relationship. Hassenzahl identifies physical wellbeing as something all humans strive for. Independence and accomplishment build competence, following the human desire to be “good” at things. In lecture at Koç University, Hassenzahl describes outdoor, using rockclimbing as an example, as affiliating mixed experiences of both positive and negative to build ones identity. [6] The necessity of owning a hyper-functional pack is stimulated by the lifestyle image of adventure and conquering, however it doesn’t always translate. This highlights the need for a mediation of technology and an implementation of mechanisms that allow for positive experience.
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Common backpack Bill of Materials
Zippers
Zinc
Exterior
Polyester
Straps
Polyester
Lining
Nylon
Buckle
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Polyurethane
Technological influence Backpacks in recent decades have exceed most human’s basic functional needs, adopting ultra-lightweight, waterproof, theft roof technologies etc. These advances in technology give the illusion of a societal advantage for those who have the latest versus those who have not, leading to rapid obsolescence of last year’s technology and style. Backpacks use off the shelf materials, often riding on the back of other technological advancements such as nylon, silicon and other synthetic composites which have replaced canvas and natural fibre used previously. Advancements in harness technologies such as Velcro and sleek buckles, allow for a near custom fit, with most brands catering to a variety of body shapes (fig5). There is an existing belief that technology will progresses to a point where the intrinsic value of exploration is lost. In regards to backpacks, it possible this may occur in the ease and ill-considered purchasing. [13] Furthermore, these technologies and “features” also make the outdoor experience more convenient, are pressed upon consumers, fabricating the idealised glamour and triumph associated with hiking and exploration.
fig.12
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Augmentation Although one would think outdoor clothing and accessories may appear out of place in an urban environment, they emit an image of adventure and selfdom that extends beyond the concrete landscape. Hiking backpacks are unique from other backpacks in the way they facilitate self-reliance and curiosity when used in outdoor settings, but those same attributes are conveyed similarly when work in urban environments. Through reconsidering backpack design using Norman’s frameworks for emotional design, enhancements can be made to the user experience. The functional necessity of hiking backpacks is indisputable, however there may be ways to improve user experience outdoors and urban use. Altering the initial visceral stage of Normans emotional design through creating personal identifiable features may allow people to build trust with their backpack, similar that of tags on suitcases on airport carousels (fig6). This blend of custom design at a mass manufactured scale, may create a stronger relationship through user autonomy in the purchasing experience. This has the potential to transfer into latter stages, as users take further ownership of the object. [15]
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In the behavioural stage, there is potential for hiking backpacks to be absorbed into the urban environment we weekday use, through possible modular configurations. This constant use of the backpack builds reliance as an essential item rather than one that takes up space the majority of its possession. Consciously using materials that improve with age, like that of past canvas or leather bags may also aid a memorable reflective stage. Adopting Hassenzahl idea of interaction as a material focusing on the functional experience, removing the frustrations of current backpacks and causing the user to become more present. [6]
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Survey A survey was conducted over a set group of 13 people aged 18-27, majority of which residing in Melbourne. Some currently partake in outdoor activities, others aspire to.
How many backpacks do you own? (Hiking, travel, school, work etc.)
0
1
2
4+
8+
Do you use your university or work for weekend adventures or travel?
YES
NO
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How often do you buy a new backpack? `
6 months
1 years
2 years
5 years
10 years
Do you regard you backpack as a means of utility or rather an accessory?
Utility
Accessory
Do you own a hiking / travel backpack, or do you hire / borrow? `
Own
Borrow
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Do you prefer zipper or rucksack style opening mechanisms?
Zipper
Rucksack
Do you feel your items are items are safe from theft in a public context ? (trams, cafe, footpath) `
YES
NO
Do you want to know the origins of the objects you consume?
YES
NO
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Do you have a stronger connection to objects that you have been involved in the making process? `
YES
NO
Do you prefer reused materials over virgin?
YES
NO
Do you prefer objects that become more aesthetically beautiful with age?
YES
NO
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fig.3
Conclusion The research documented above provides footholds for further investigation into how designers can contribute to peoples wellbeing in outdoor and urban contexts. Revaluating technologies implemented in current backpack design is needed to necessity from accessory. Further investigation into emotional connection humans share with organic versus synthetic materials must be undertaken. [7] This essay seeks to prescribe how an emotional connection to backpacks, in addition to the contents within, can facilitate and improve time spent outdoors. Intensely targeted products excel in fulfilling their specific needs, however in the case of hiking backpacks, these needs are only met on the irregular bi-monthly basis. Using frameworks established by Norman and Hassenzahl a more consider approach can be taken when designing backpacks, stimulating user activation and building upon positive memories through that time. Attempting to maximise the time spent with a pack, through multi use design and more personable aesthetics, may improve and encourage time spent outdoors.
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Proposition In response to the information gathered through secondary research and surveys undertaken, there is potential to see future backpack design facilitate both function in urban and outdoor contexts, resulting in a richer, lengthier object-human relationship. In recognising the ongoing advancements of technology in backpacks, paired with a saturated market that feeds unnecessary consumption, consumers are left with lifeless and short-lived products who’s portrayal of adventure and recluse, collects dust. Focus is needed to reconsider the way in which people access the contents of the backpack, it must be intuitive and pleasurable to use; refusing to deteriorate with prolonged wear. Rekindling the once profound relationship Australians had with canvas as a durable and reliable material will in stow a narrative rich history, as well as aging beautifully over time. Expansion or separation of components will allow for literate change, making the backpack appropriate for its current context Sourcing materials that have been made redundant such as used sails and canvas offcuts, allow unique patterns to fall upon the refined silhouette, facilitating a personal and autonomous buying experience. In order for this backpack so excel in both fields, storage solutions must accommodate both urban practicality and outdoor ruggedness. Security and honest design must be considered throughout.
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Development
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Secure stroage for valuable items such as maps and passports for travel or laptops for work. hidden zipper.
Expandable section on front of backpack increases internal volume.
Zip free mechanisms for a softer opening approach and quick access and accommodate large objects.
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A volume extension can be attached via velcro and straps that feeds onto an aliumium frame. This reuslts in a full 60 litre pack that can be separted when not in use. Lunch bag style roll top secures contents.
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Exploration into volume segmentation, considering balance and ease of attachment.
Backpack expands by releasing excess fabric that stretches out, elongating the form.
Exploring ways to integrate intuitive and secure storage, that also gives the user autonomy in how they want to use the bag.
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Canvas integrated at top and bottom of backpack drawing on traditional backpacks in the hope to age gracefully with use. Sail material makes up body of the bag with expansion straps controlling the internal volume
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Hiking harness is removed from hiking backpack and straps remain for urban use. This interaction builds anticipation for outdoor adventure and allows the users intention for backpack use to be implemented.
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Urban backpack meets hiking extension Silhouette of backpack shows susepnsion harness. Front pocket for easily acessed non preacious items.
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Canvas
Recyled sail cloth.
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Nylon 6 sail material
Materials + Process Various process with be used to manufacture this backpack. Pairing traditional cut and sew techniques with CNC fabric cutting, random patterns can be generated from the sail cloth. Nylon 6 main sail material will be used for the pockets as it is light and durable. It also has a slight translucency that shows a silhouette of non-personal contents. Double stitching and overlocking the canvas on to the sail cloth is essential to reduce fraying and increase durability. Sourcing materials from local boat houses and canvas from military surplus stores, feeds a local economy and further connects the user to the product.
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Velcro
Buckles
Straps
Nylon
Canvas
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Wide opening to access large items, snag free. Random sail decal “4� from the CNC cutting process.
Hip belt seperates from harness provideing a bum bag with zipped pockets for smaller personal items.
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Secure concealment of personal items. Nylon foam filled straps are removed from extension and re attached to urban backpack.
Detachable extension transforms the hiking pack to suit urban use. Aluminium frame releases and can be stored until the next trip.
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Urban pack (contracted)
550 X 350 X 180
Extension
250 X 350 X 320
Total
800 X 350 X 300
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Citations: 1. Soetsu Yanagi, Michael Brase, The Beauty of Everyday Things, 2017, book. 2. Unpacking The History of the Backpack, Albert Muzquiz, 2018, Heddels, https://www.heddels.com/2018/08/ unpacking-history-backpack/ 3. Belk, Russell. (1988). Possessions and the Extended Self. Journal of Consumer Research, 15(2), 139-168. 4. Ingham, S., White, Philip, Underhill, Michael, & Wolf, Peter. (2011). Furniture Longevity: How Mass-Produced Heirloom Furniture Supports Sustainable Consumption, ProQuest Dissertations and Theses. 5. Edelson, S. (2011). Beauty Beat: Freitag Bags: From Trucks To Luxe. WWD, 201(108), 8. 6. Designing Wellbeing, Prof. Dr. Marc Hassenzahl:, video, 2017https://www.youtube.com/ watch?v=3UPuu4SWQLs&t=2458s 7. Woodward, I. (2007). Understanding material culture. Chapter seven. Los Angeles: Sage Publications. 8. Ingham. Sarah, Furniture Longevity: How Mass-Produced Heirloom Furniture Supports Sustainable Consumption, 2011, https://pdfs.semanticscholar.org/84f7/816905b10a753756deebdd753a11f5ed4525.pdf 9. THE FREITAG STORY, Freitag 2019, https://www.freitag.ch/en/about 10. Hale. Lee, From ‘Book Strap’ To ‘Burrito’: A History Of The School Backpack, 2015, NPR, https://www.npr.org/ sections/ed/2015/11/02/445339503/from-book-strap-to-burrito-a-history-of-the-school-backpack 11. Lindahl, Elyse, “The Outdoor Apparel Industry:Measuring the Premium for Sustainability with a Hedonic Pricing Model” (2019). Scripps Senior Theses. 1322. 12. Caffin. Roger, Packs of all sorts, Roger Gaffin 2002, https://bushwalkingnsw.org.au/clubsites/FAQ/FAQ_Packs.htm 13. Lindahl. Elyse, The Outdoor Apparel Industry:Measuring the Premium for Sustainability with a Hedonic Pricing Mode, 2019, Scripss College, https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=2283&context=scripps_ theses 14. Christensen. Dianne, Nylon’s Properties & Uses,2018, https://sciencing.com/nylons-properties-uses-8627049. html 15. Norman, D. A. (2004). Emotional design: Why we love (or hate) everyday things, Chapter 2 “The Multiple Faces of Emotion and design”, New York: Basic Books.
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Booklet images *
All images without citation have been taken and are owned by Louis Mcgowan from various locations and dates.
fig.2
Ă–tzi- the Iceman, image, 2020, https://www.ecsite.eu/activities-and-services/resources/extra/ otzi-iceman
fig.3
image, CC/Flickr/TheeErin, https://www.timeout.com/newyork/blog/people-who-wearbackpacks-on-the-subway-are-the-worst-new-yorkers-090517
fig.4
Dan Pitt. Photo. 2020. https://wildernessthreadworks.com/about/
fig.5
The first patented framed backpack design,diagram, 2020, https://www.timetoast.com/timelines/ the-origins-of-the-backpack
fig.6
Don Norman, image 2020, nngroup, https://www.nngroup.com/people/don-norman/
fig.7
2400 SOUTHWEST, image 2020, https://www.hyperlitemountaingear.com/collections/packs/ products/2400-southwest
fig.8
FJALLRAVEN, image, 2020, https://www.surfdome.com. au/Fjallraven-Kanken-Classic-Backpack/sd5019858.
fig.9
Backpack, image, 2018, Heddels, https://www.heddels.com/2018/08/unpacking-historybackpack/
fig.10
Marc Hassenzahl, Photo, 2017, www.experienceandinteraction.com/blog/2017/8/7/formatvorlagegenerell-x5yc7-7k63f
fig.11 fig.12
Medium PaddlePak, image, 2020, https://www.trunki.com.au/collections/all/products/paddlepakpink-tropical Nylon, image, 2020, Netmark, https://netmarkas.com/twines/
fig.13
Daniel and Markus, image, 2020,https://www.freitag.ch/en/about/bros
fig.14
Toddlepak Backpack - Leeroy, images, 2020, https://www.trunki.com.au/products/toddlepakbackpack-lion?variant=49306448213&currency=AUD&gclid=CjwKCAjw95D0BRBFEiwAcO1KDBH
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Essay images: FIG3. F155 backpack, 2020, image,https://www.freitag.ch/en/f155?productID=959712 FIG8. Make Room for Hiking, image, Les Six, Young & Rubicam, 2010, www.creativeadawards.com/make-room-forhiking/ FIG5. What are all the straps on a backpack used for? image/diagram, Tam McTavish 2018, https://www.quora.com/ What-are-all-the-straps-on-a-backpack-used-for FIG6. My White Polka-dotted Pink Ribbon Bag, image, Blog,https://flyingtealeaves.com/2019/04/12/my-white-polkadotted-pink-ribbon-bag/ FIG7. SWD pack, image,Tanner Bowden, 2018, Gearpatrol, https://gearpatrol.com/2018/10/10/superior-wildernessdesigns/ FIG4. Dan Pitt. Photo. 2020. https://wildernessthreadworks.com/about/ FIG1. The first patented framed backpack design,diagram, 2020, https://www.timetoast.com/timelines/the-origins-ofthe-backpack FIG2. Toddlepak Backpack - Leeroy, images, 2020, https://www.trunki.com.au/products/toddlepak-backpack-lion?varia
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Essay appendix:
FIG1
FIG2 FIG6.
FIG3 FIG4.
FIG6.
FIG6.
FIG5.
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