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MODPACK Biodegradable Backpack for Urban and Rural Use

LIOKA STELLA

Special thanks to Tania Niko Anna Catherine L. Catherine X. Froso P. Foti Yanni

LIOKA STELLA JUNE 2021 SUPERVISOR PROFESSOR PSYCHOULIS ALEXANDER UNIVERSITY OF THESSALY DEPARTMENT OF ARCHITECTURE

ΠΕΡΙΕΧΟΜΕΝΑ

Α. INTRODUCTION...............................................................................................10

Β. REASONING PROCESS ..................................................................................12

C. SELECTION OF MATERIALS/TECHNICAL CHARACTERISTICS ..........................14 CORK ...............................................................................................................15 HEMP...............................................................................................................20 ORGANO-TEX .................................................................................................25 TABLES ...........................................................................................................28 D. DESIGN PROCESS ..........................................................................................30 SKETCHES .......................................................................................................31 SEAT ...............................................................................................................55

Ε.IMPLEMENTATION / CONSTRUCTION ..........................................................66 STEP BY STEP ................................................................................................68 CONSTRUCTION SCREENSHOTS ..................................................................70 TABLE ...........................................................................................................74

F. MODPACK: USE ..............................................................................................76 TABLE .......................................................................................................... 79 PLANS ...........................................................................................................80 ACTION .........................................................................................................90

G. DESIGN EVOLUTION ...................................................................................100

H. SOURCES / REFERENCES ...........................................................................102

Α. INTRODUCTION

“We are almost at the dawn of the third decade of the 21st century and the snapshot of humanity is framed by galloping technological developments and discoveries. In this exponentially evolving world, we will sooner or later be confronted with moral dilemmas that will inevitably arise along with the discovery of the uncharted paths of science. It is crucial to recognise the need for critical thinking on the events of humanity, while gazing at a sustainable and fruitful future. In this research paper, i have chosen to analyse wandering, as a practice and as a producer of meaning, ultimately attempting to redefine its place in the contemporary era, examining how it can provide a solution to the aforementioned need of critical thinking. The research is divided into three parts. The first begins by referring to specific historical moments where the aesthetic act of walking was observed, commenting on its relationship to wandering and the conceptual/symbolic space. At the same time, i analyse man’s primordial need to create landmarks and how this led to the creation of paths (empty) and space (solids). Then, the second part provides a social and psycho-

logical analysis - in a philosophical spectrum - of modern man, looking inductively at the individual, the group, the set of groups and finally society, in relation to the concepts and practices associated with wandering, in order to understand its role. A fragmentation of the individual is attempted, in order to try and decipher the constituent elements of behaviour and thoughts that underlie it. The third part presents my personal experience with wandering as a practice and as a cognitive process, as well as some thoughts for the future, where, having preceded the individual and social analysis, it attempts to answer the initial question posed.” (Lioka, Wandering and Desire: Society’s Need for Critical Thinking, 2020)

Concluding the research topic with some thoughts for the future, my train of thought was moving around how design must be responsible, ethical and critical towards the living and non-living organisms of the planet. It is immoral to design

objects or architectures with no regard for their purpose and their death, especially when industry pollutants, deforestation for zero biodiversity pastures and other invasive human actions are steadily polluting the atmosphere, intensifying weather imbalances, disrupting ecosystems. These ecosystems are very sensitive to the balances that have been established over centuries of evolution and are essential for the maintenance and evolution of biodiversity. It goes without saying that humans also need biodiversity to survive, but tend to be indifferent because it will not be ‘them, there’ to experience the consequences, but future generations, while profit and production pay off in the here and now. It is not unreasonable for man to act in this way. The high speed at which everyday life and society’s development unfold, leaves the man, overwhelmed with meanings and images, seeking reward for his speed-work in the present. The labor of work needs immediate reward to justify the “labor” and the time devoted to it. It is therefore understandable that people cannot universally and overnight begin to think globally and ecologically, but any action towards this direction is still another step to its realization. Since i have been wanting to work on the design of a small-scale utilitarian object, combined with my admiration for hiking, mountains and trekking, I chose to design and implement the construction of a backpack. The 2 main axes that drove the design and conception are the

biodegradability and adaptability of the object. This is the ModPack, a modular backpack i.e. a modular backpack in both form and use (structured by elements/modularity/layout).

Β. REASONING PROCESS

Dieter Rams, a German industrial designer, defined a set of design points which are detrimental to achieving an optimal and successful design. Those are the following: - innovative

- simple

- easy to use

- honest

- aesthetic

- durable

- understandable

- accurate

- long lasting

- understandable

- ethical

- ecological

Starting with the ten key pillars of Rams, particular attention was given to the following points: - Design for the object’s disuse / object’s ‘death’ - Use of natural / biodegradable materials

- Proof of carbon dioxide emissions during the processing of materials - Mechanical connections / Ergonomics - Repairability of the object - Anatomical design Having already analysed the wanderer in the physical and mental realm and considering that the evolution to a sustainable future lies in contemplation and consciously abstract thinking, wandering was approached in a more tangible way. That of physical presence in a space and the equipment that would enrich this experience. Thus the design focused on the creation of the backpack. A key starting point for the design of any utilitarian object is to identify which social needs it will meet: - In recent years there has been an increasing movement of populations, either for permanent or for transient settlement. The Work-From-Home revolution in-

troduced during the Covid-19 pandemic is expected to outlast the pandemic itself. Work is becoming less dependent of “space” thus rendering body movement both easier and more liberating. In a trend among young people for transient movement and lack of a permanent ‘base’, the need for versatile and multifunctional luggage arises. - At the same time any object design should take into account climate change and the sustainability of the object itself. With the huge amounts of ephemeral disposable objects thrown away every day it is crucial to redefine the ethics of design. To provide for its ‘death’ on a par with its use. In the name of sustainability and reuse, the future lies in renewable sources of materials and energy, with biodegradable materials at the forefront of sustainable materials. A biodegradable material is one which, when subjected to the right conditions of decomposition (moisture, microbes, heat, oxidation), it does not leave toxic residues in the soil, which until recently penetrated the subsoil, contaminating groundwater, crops and animals. In addition to the use of ecological materials, sustainability also lies in the repairability of the object in order to extend its life.

flection and contemplation of meanings. They are daily recipients of a barrage of information and images and consumers of a vast array of products that they have neither the time nor the fortitude to select and purchase critically. The competition of products is so great and unfortunately in the wrong competitive points, such as low production costs at the expense of the use of ecological materials, promotion and advertising without any concern for the ‘death’ or ethics of the products. Beyond the consumer’s debt to the choices they make, change is more likely to be brought about by the designers themselves. For if the market is supplied with the corresponding future-friendly - products, combined with the trend towards ecological awareness, then these products can in turn become competitive, with the ultimate aim of becoming the market as a whole in the future. - There is a need for critical thinking and promoting it. The backpack promotes walking and wandering, acting as an object that invites the user to new experiences. Reflecting in the design wandering and critical thinking, it is not just another utilitarian object, but an object initiated by meanings and ideas that have been connected and structured into an honest end product from materials to uses.

- We are in a present characterised by rapid change and a society whose people live in a mechanical repetitiveness of work, days and ultimately life, having been led to abstain from re-

C. SELECTION OF MATERIALS/TECHNICAL CHARACTERISTICS

A material is considered biodegradable when, given the right environmental conditions and the presence of micro-organisms, fungi or bacteria, it will eventually break down into its basic components and mix with the soil. Ideally, but not always, these substances degrade without leaving any toxins behind. As biodegradation, i.e. the ‘death’ of the object, was one of the main design considerations, particular emphasis was given on the search for materials. Thus, a variety of materials were studied, such as algae fabrics, tomato and hemp filaments for 3D printing, cork, shrilk, cotton and hemp fabrics, wood, sponges, etc. Many initial options were rejected due to the lack of strength of the materials or their properties since the main desired properties were waterproofing and durability. However, the fact that an object is made of natural materials does not necessarily make it ecological. The processing of many natural materials emits large amounts of carbon dioxide which ultimately acts more harmful to the environment. Furthermore harvesting the material in question may destroy the ecosystem that it was

hosting it or deteriorate the rates of its regeneration. Therefore, adopting a hollistic approach which takes into consideration all of the above is deemed essential when choosing materials for the creation of an object. In addition to biodegradation I was also led to the use of some recyclable materials which for the sake of the construction could not be replaced by others, such as aluminium and neodym magnets which, although they annot be broken down in a time that makes them biodegradable, can be reused as spare parts in a hypothetical mass production of the backpack. Both materials could theoretically be replaced with solid and curved wood, however they were substituted with the aforementioned materials to save time and resources.

Cork

PROPERTIES

Cork is a natural material used worldwide as a sealant for wine bottles. It has been used in this way since their appearance in the early 17th century, and sealed ceramic amphorae many centuries earlier (Taber, 2007; Pereira, 2007). It is a material of biological origin and occurs as the epidermis of tree bark. It forms a protective barrier (called phellem in plant anatomy) at the interface between internally living tissues and the external environment (Evert & Eichhorn, 2006).

Due to its honeycomb-like cellular structure and chemical composition, cork acquires the following properties: - lightness - impermeability to liquids and gases - resistance to physical and mechanical wear and tear - resistance to heat and high temperatures - ability to be compressed and recover very quickly to its original size - resistance to abrasion - does not stain / is easily cleaned

Image 1

Cork has a honeycomb-like structure, consisting of very small impermeable cells made of Suberin, which is a complex of fatty acids. Each cell has gas inside it, similar in composition to that of air. The high degree of compression and expansion of the cellular structure of cork makes it less likely to suffer any kind of damage from mechanical treatments. Cork cells also exhibit the characteristic of ‘elastic memory’ as it is commonly known. Resistance to biological corrosion. Corrosion is caused

by moisture and favourable conditions of decomposition. The increased resistance to biological corrosion of cork is due, inter alia, to the fact that it contains tannins and the absence of protein material susceptible to degradation. It also retains resistance to fungi and mould. Suberin: Suberin is a complex macromolecule of the peripheral cell wall, the upper epidermal layer of the plant, which forms a protective barrier. Suberin, a complex polyester biopolymer, is lipophilic and is composed of long chain fatty acids called suberin acids and glycerol. Suberins and lignins are considered to be covalently linked to lipids and carbohydrates, and lignin is covalently linked to suberin and, to a lesser extent, to corin. Suberin is an important component of cork, and is named after the cork tree, Quercus suber. Its main function is as a barrier to the movement of water and solutions. Oak cork is an evergreen tree, of the family Fagaceae (Quercus suber), which also includes chestnut and oak. There are 465 species, found mainly in temperate and subtropical regions of the Northern Hemisphere. Cork is harvested from Quercus suber L. The tree originates from the Western Mediterranean basin, Spain, Italy, France, Morocco, Tunisia and Algeria, where ideal growing conditions exist: - Sandy, chalk-free soils with low nitrogen and

phosphorus, high potassium and a pH of 4.8 to 7.0. - Rainfall of 400-800 mm per year. - Temperature from -5 ºC to 40 ºC. - Altitude from 100 to 300 m. The tree has a life span of about 200 years. Husking is the ancient process of extracting the bark of the oak tree - the cork. Today, this work is still done by skilled professionals, with absolute precision, while only one tool is used: the axe. This delicate process is carried out between May and August, when the tree is at its most active growth time and it is easier to remove the bark from the trunk. The first barking is carried out when the tree is 25 years old and the trunk has reached a diameter of 70 cm, measuring 1,3 m from the ground. Subsequent peeling takes place at an interval of at least nine years. The first peeling is called ‘desboia’, from which virgin cork is obtained, which has an extremely uneven structure and hardness that makes it difficult to process. Nine years later, when the second peeling takes place, the cork, known as ‘secundeira’, has a normal structure that is not so hard. The cork from these first two harvests is not suitable for the manufacture of sealant caps and is therefore used in other applications such as insulation, flooring, decorative items, textiles, etc. From the third peeling and after, ‘amadia’ or

breeding cork is obtained. Only this cork has a regular structure, with the ideal characteristics for the production of natural, quality cork stoppers. USES

The properties of cork attracted attention a long time ago. It is a lightweight material with very low permeability to liquids and gases that exhibits buoyancy, can withstand compressive defor-

mation without being subjected to compression and has low heat transfer properties (Fortes et al., 2004; Pereira, 2007). Cork has been used in various applications such as floating devices, waterproofing and insulation products, energy absorption and surface materials. In particular today cork products are used for: - thermal insulation in refrigerators - refrigeration chambers and rockets - acoustic insulation in submarines - theatres and recording studios - seals and joints in woodwind instruments - combustion engines - concrete structures - as a means of energy absorption in floors - in packaging - stoppers - granulated cork is used in a process for the bioremediation of lead ions from waste water - at a molecular level, cork particles are incorporated into paints to improve their thermal and acoustic properties - clothing, shoes, bags.

Images 2,3

Nothing is wasted from the cork tree, all its components have a useful ecological or economic purpose:

cost of the finished product. In comparison 1m2 of cotton ≈ 6€ / 1m2 of cork fabric ≈ 15€

- The seed is used for propagation of the species, as animal feed and for the preparation of cooking oils. - The leaves are used as animal feed and as a natural fertilizer. - The foliage from pruning and broken trees is used as firewood and charcoal. - The tannins and natural acids contained in the wood from the tree are used in chemicals and beauty products. The largest proportion (1/3) of all cork trees is found in Portugal, where they account for 23% of the total forest area. The remaining percentage is shared by Spain, Italy, France, Morocco, Tunisia, Algeria and Italy. - Light. 50% of the volume consists of air - Waterproof - Hydrophobic: impermeable to liquids and gases The work of cork peeling is considered the most expensive of all agricultural operations worldwide and this is due to the high level of skill required to remove the useful cork without damaging the vital trunk inside. This of course also affects the

Images 4,5

ENVIRONMENTAL IMPACT

PROCESS

The main consumption of cork trees is limited to their bark, which is fully regenerated every 9 years. This means that there is no deforestation, thus preserving the biodiversity of the area. The cork forest forms the basis of one of the 35 most important ecosystems in the world for biodiversity conservation, compared to the Amazon, the African Savannah and Borneo. It is a natural habitat for 135 plant species and over 200 animal species - including 160 bird species, 37 mammal species (in Portugal, it is home to 60% of the country’s mammals) and 24 species of reptiles and amphibians. Among the animals found, there are some that are in danger of extinction, such as the Iberian Wolf, the most endangered feline species in the world and the most endangered carnivore in Europe.

After harvesting the cork, the large pieces are boiled in water to clean and soften them. The unusable part is then removed and either cut into thin skins which are then glued together with a synthetic or natural fabric for further stabilisation, or cut into strips or stoppers. Depending on the design and the intended use.

It is estimated that every year cork forests retain up to 14 million tonnes of carbon dioxide (CO2), a significant contribution to reducing greenhouse gas emissions, which are the main cause of climate change. In Portugal alone, the retained CO2 associated with cork forests is around 5 million tonnes/year (5% of the total CO2 emissions in the country). A stripped cork tree absorbs, on average, five times more CO2 during the process of natural bark regeneration than an unstripped tree.

Image 6

Hemp Cannabis plant has been considered over the centuries as the primary plant fiber, having served humanity for thousands of years. The main functions of its fibers, that garnered most support, were its strength and resilience. Its use dates back to around 10,000 BC with several pottery finds, where hemp is used as a thread, within tombs in the region of modern Taiwan around 8,000 BC. Since then the use of hemp and its derivatives has been extensive throughout human history. Encountered derivatives and uses: - seed and oil consumption - twine - ropes - yarn for high quality fabrics - for pharmaceutical purposes - for recreational purposes - for religious purposes - paper - sails - canvases - sacks

For thousands of years hemp has traditionally been used as an industrial fibre. While hemp fibre was the first choice for industry, the coarseness of the fibres restricted hemp from clothing and most domestic uses. Its fibres had to be softened. Traditional methods to soften plant fibers were by using acids to remove lignin, a type of natural glue found in many plant fibers. While this method of lignin removal worked well on cotton, it weakened hemp fibers and left them very brittle in use. Hence, hemp remained an industrial fabric. In the mid-1980s, researchers developed an enzymatic process to remove lignin from hemp fibres without compromising its strength. For the first time in history, the now-soft hemp fibres could be wound into yarn on their own or with other fibres to produce fabrics for clothing. This technological breakthrough has brought hemp to the forefront of modern fashion and textile design. Given the superiority of hemp over other fibres, the benefits of this discovery are enormous. The difference between hemp and marijuana is that the 1st with 0.3% tetrahydrocannabinol (THC) cannot be used for recreational purposes unlike marijuana where tetrahydrocannabinol (THC) is found at 0.4% or more.

PROPERTIES Hemp fibre is one of the strongest and most durable natural textile fibres. Not only is it strong, but it also holds its shape, stretching less than any other natural fiber. This prevents hemp clothing or fabrics from stretching or deforming during use. Hemp is known for its durability, while not lacking in comfort and aesthetics either. Instead of wearing out with each use, the fabric softens even more, enhancing its mechanical and practical properties. Hemp is also naturally resistant to mould and ultraviolet light. Due to the porous nature of the fibre, hemp is more absorbent than water so when dyed it retains its colour better than any fabric including cotton. This porous nature allows hemp to “breathe” so that it is cool in hot periods. In addition, the air trapped in the fibers is warmed by the body, making hemp garments naturally warm in cool weather. The properties attributed to hemp fibres are: - abrasion resistance due to the fibres’ tough outer layer and elastic molecular bonds > does not tear - resistance to compression due to the molecular structure which causes the fibres to stiffen > bonds do not break and once crumpled it is easily restored to its original form. Images 7,8,9

- anticorrosive because its molecules do not con-

tain sulphur > ideal for storage - hydrophilic > absorbs liquids - UV resistance due to its chemical composition > ideal for continuous outdoor use - translucent > light-transmissive - antimicrobial - hypoallergenic > ideal for sensitive skin

the soil. Hemp plants shed their leaves throughout the growing season, adding rich organic matter to the soil and helping it retain moisture. Farmers reported excellent hemp growth on land that had been consistently cultivated for nearly 100 years. Depending on the intended use of the plant, the process of sowing and harvesting varies. The characteristics of hemp cultivation are summarised: - annual plant - sensitive to solar conditions

PROCESS / ENVIRONMENTAL IMPACT Hemp is an extremely fast crop, having a higher fibre yield per hectare than any other source. Hemp can produce 250% more fibre than cotton and 600% more fibre than flax using the same amount of land. The amount of land required to achieve equal hemp fibre yields puts hemp at an advantage over other fibres. Hemp grows best in warm tropical zones or in moderately cool, temperate climates such as the United States. Hemp leaves the soil in excellent condition for any subsequent crop since the plant has de-parasitic properties. Where the soil allows, strong hemp roots extend to a depth of 1 meter or more. The roots act as an anchor and protect the soil from runoff, building and maintaining soil and subsoil structures similar to forest roots. In addition, hemp does not deplete

- antimicrobial - maintenance of good soil conditions, regulates toxins - high production, up to 3 harvests per year - needs little water - no need for deparasiticides and chemicals Hemp matures quickly and plants reach a height of 2-4 meters in 80 to 120 days. It can be densely planted in fields with up to 150 plants per square metre of soil. Since it is naturally pest resistant, it can be grown organically without the help of chemicals. The steps to be followed once the hemp is ready to be harvested are as follows: The plant is harvested during early to mid-flowering. Running cutting rods 1.5 meters from the

ground surface harvest both the hemp fibers and the seeds. After that, the stalk is cut and tied. The hemp fibres are separated by drying, which is the process of decomposing the pectin that connects the hemp fibres to the core of the stalk. In this process, the long fibres of the plant are separated from the non-fibrous parts of the plant. This is done either by using chemicals such as enzymes or by natural methods. Once the fibres are separated, they are twisted together to produce long, continuous filaments. Weaving the yarn into fabric can be achieved by various ways and techniques. The fibres can also be mixed with other fibres such as cotton and silk, for example, to create a fabric with different properties. The fabric is then washed and shrunk in order to tighten the weave. A fabric made entirely from hemp can usually be quite stiff and heavy, requiring softening before it can be used in clothing. Chemical methods of softening include treatment with caustic soda or rinsing. The organic method employs cutting-edge combination technologies as well as biodegradable softening solutions.

- yarn - twine - ropes - fabrics (clothes, sheets, towels, curtains, carpets, rugs, etc.) - Ink - candles - ceramics - furniture (bonded fibre skeleton and furniture covers) - mattresses - brooms - skateboards / longboards / surfboards - depilatory waxes - disposable paper cups and plates - disposable paper straws

USES

- CBD smoking liquids - fertilizer

Today, the uses of hemp extend to many fields and industries and are constantly finding new applications. Typically some of the applications found are:

- stationery paper - animal feed

- dyes - edible seeds and their derivatives - fibres for padding - insulating material

Image 11 Image 10

OrganoTex

As mentioned above, hemp is one of the most durable plant fibres. However, and especially for the use of hemp fabric in a backpack, it would be desirable to be waterproof. This was achieved by using waterproofing liquid (spray) OrganoTex®, a product of Swedish origin. The OrganoTex® technology is inspired by nature’s chemistry itself and the water repellency of the leaves of the Indian lotus, or the widely known Nufaros. Using the patented OrganoClick® technology, biodegradable plant catalysts and organic water-repellent polymers (hydrophobic) are used to create the water-repellent properties in the fabric. The “fatty” polymers are bonded to the textile fibres through organocatalysis, creating a three-dimensional network of water-repellent molecules around the fibres. The chemistry used is readily biodegradable according to the OECD 301C (Organisation for Economic Co-operation and Development) test. However, the water repellent functions become durable when the polymers are attached to the textile fibres. This is achieved thanks to the structure of the polymers. One end of the polymers is reactive and the other end is water-repellent (hydrophobic).

The techniques for the manufacture of water-repellent fabrics are nowadays almost always based on fluorocarbons, also known as polyfluorinated compounds (PFCs). These are substances that do not break down in nature or take a long time to break down. Instead, they tend to accumulate in the environment and spread over long distances from their place of production and use. Studies have shown that many fluorocarbons are similar to certain hormones, leading to endocrine disruption, reduced fertility, cause cancer and dead embryos among many animal species. The effect on humans is not yet entirely clear. However, there is no doubt that fluorocarbons are persistent in nature and as they do not disappear for a long time, they may have negative effects on human health in the future. OrganoTex® is completely free of fluorocarbons and other problematic chemicals, such as isocyanates, which are often used in textile chemistry. The product is readily biodegradable according to OECD 301C and is classified as non-toxic to humans and the environment according to CLP (European regulation governing the classification, labelling and packaging of dangerous substances and mixtures). All OrganoTex products are produced by OrganoClick at its manufacturing facility in Sweden. OrganoClick operates under a quality and environmental management system that is certified to ISO9001 and ISO14001 standards. OrganoClick has won many awards for its green

chemical technologies and products. In 2018, OrganoTex® consumer products were awarded the Nordic Outdoor Sustainability Award. OrganoClick has also been selected by the World Wildlife FundWWF’s Climate Solver program, in which WWF selects companies whose technologies reduce carbon emissions by more than 20 million tonnes per year. In 2017, OrganoClick was also selected in the global Sustainable Development Goals program, aimed at accelerating the fulfillment of the 17 United Nations sustainability goals to be achieved by 2030. OrganoClick was selected for its technologies used to achieve goal number 12- Ensure sustainable consumption and production patterns.

The components of OrganoTex are: • Water • Fatty acids, C12-18 and C18-unsaturated • Propylene glycol • Potassium hydroxide • Laureth-3, Laureth-9 • Sodium imino dielectric • Alcohols, C12-14, ethoxylated propoxylated (> 2.5 moles EO / PO)

Image 13

• Sodium Laureth sulfate • Sodium polyaspartate • Subtilisin, Cellulose, Alpha-amylase Phenoxyethanol • Citric acid

Image 12

NATURAL SPONGE FILAMENTS 3D printing

COTTON

CORK

HEMP

WOOD MAGNETS ALUMINUM IRON LEATHER

WEIGHT

✔

DURABILITY

✔

WATERPROOFING

✔

STRUCTURAL STABILITY

✔

BIODEGRADABILITY

✔

ECOLOGICAL IMPACT

✔

Table 1. Checking the characteristics of each candidate fabric.

Table 2. Pricing

D. DESIGN PROCESS

The design approach started from the anatomy of the human body, looking at the vertebrae, the parts of the body that can bear more weight and searching for the right shape of the backpack’s volume to make it less burdensome for the user. The basic structure of the ModPack began to take shape as a result of the anatomical analysis. The anatomy of the body, combined with the research of various backpacks and personal experience, highlighted the need for versatile backpacks. Polymorphic in such a way that the user can adapt to the body and its needs. Therefore the whole design was driven around detachable elements in order to fluctuate volume, weight, uses and customization.

Rural Use objects : - sleeping bag - camera - glasses - head torch - hammock - first aid items - food - compass

- thermos - power bank - pocket knife - clothes - hygiene items - notebook - hammock - raincoat

Urban Use objects:

Focusing on the dual use, urban and rural, a list of objects that can be used in each case was created in order to optimize the dimensions:

- laptop - books/notebooks - thermos - wallet - headphones

- charger - pens/pencils - glasses - jacket - tupperware

vacant space for head movement and observation

foamy material

less pressure shockproof spinal restoration support

Anatomy + Functionality = Body Form

ft / so my rial a o f te ma

Wider on the wings Smaller for the vertebra Wider for lower back support

stops above pelvis line

Sketch 1

The vertebrae groups of the back were studied, starting from the head and downwards: 7 cervical, 12 thoracic, 5 lumbar, 5 sacral, 4 coccygeal. As shown in the drawing, there were zones created accordingly and the load that each vertebral group could receive was studied. This leaded to a general grouping into large, medium and small loads and how these are distributed in the back. Desiring a tangential fit to the body, the curve of the back was chosen to be the curve of the backpack.

Sketches 2,3 I want A+D parts to detach ( or A only)

-A -D

C back

-A

B CITY

MOUNTA IN

PARTS CONNECTION

ACCESS

It was then studied how the volume variation, the parts join and access could be achieved.

ACCESS

Sketch 4

tal me s clip

The most common way to access a backpack is via zippers, but in order to make them resistant to washing they contain plastic in their linings. It was one of the biggest challenges to find an alternative, green but equally practical way of accessing the inside of the backpack.

Sketch 5,6

The backpack stops above the pelvis for a better fit at the waist and proper weight distribution.

Every part gets isolated in order to keep the weight from moving around and help with weight distribution. Fixed parts Detachable parts for urban use

Sketch 7

in le d b ta ea e s de h b to ovi ds o pr e Ne der t t or ppor su

Cooling system / Air flow

Where will the straps be attached? I need extra support / foam

hen ns w ? e p p t ha aves Wha ttom le o the b

Exploring the backpack’s back design. Aiming for anatomy, ventilation and correct fit to the body.

Ways of joining the different parts / MODS. One of the most persistent points in the design, as zippers and plastics were not to be used. Tests were carried out with straps ,metal rings and magnets, in order to achieve mechanical connections.

Sketch 8

PARTS JOINING

magnetic tape

fabric for sealing and waterproofing

Sketch 9

Sketch 10

Freedom of head movement / neck rest. “Look Up!”

and

Back connection ide

Strap adjustment gu

Sketch 11

- Better than RABILITY due to bigger surface=>DU tation - Different body type adap top part of - Could also work on the de the straps, to adapt on wi or narrow shoulders.

Proposition design of a 3D printed biodegradable compound , using plant based material (hemp, tomato). Used in the belt joint with the “back” of the backpack.

BACK SUPPORT IDEAS

Sketch 12

Cork layers with holes in various places for back ventilation!

VENTILATED PANELS WITH HOLES

3-4 layers of cork for durability 3-5mm.

+ LIGHTWEIGHT

- DURABLE / cork panels

- On the vertical axis the structure follows backs’ curve - On the horizontal it does not ? Ηow suitable is it for anatomical back ?? Searching for the shape of the “back”, research of possible materials based on their malleability, weight and hardness.

PADS FILLED WITH HEMP SLIVER

Sketch 13

pads filled with hemp sliver (hemp fibres)

BACK SUPPORT + VENTILATION

fabric onto which the pads are sewn

nti-

gaps for back ve lation

+ LESS OVERALL MATERIAL THAN THE PREVIOUS PROPOSAL

ELASTIC FORM ADAPTATING ON E THE BACKS’ CURV

In combination with plant-based waterproofing spray, used on the hemp fabrics

OrganoTex® biodegradable

The selected back to be implemented was based on these sketches.

ACCESS POINTS

laptop case

glasses case

no-use corner

main storage space

bottle case / positioned horizontally for better weight distribution / side access

Sketch 14

Sketch 15

DETAILS OF SEAT ATTACHMENT

Hemp strap

Sketch 16

Metal buckle

Sketch 17

permanent sewn strap

handle

for chest strap

DETACHABLE POCKET

3cm

40cm

Sewn Magnet 1,8cm x 3mm 46

33cm Sketch 18

3cm 3cm

10cm 40cm

16cm

3cm 3cm 33cm P = pocket Sketch 19

SCALE 1:20

Plan of the pattern pieces, with 2cm offset on the perimeter for stitching. The construction of MODPACK was based on these drawings, during which they were modified based on the technical needs of the design in combination with functionality.

SCALE 1:5 FRONT VIEW

33cm.

60cm. 43cm.

SCALE 1:5 SIDE VIEW

SCALE 1:5 TOP VIEW

AXONOMETRIC SKETCHES

SEAT Since the initial conception of the idea it was desired to create a stationary mechanism, in order to further promote wandering through the object. By creating an unstable path in space, the user is given the opportunity to stop and rest in order to continue more relaxed. Initially an attempt was made to create a folding detachable seat with a metal frame. It was designed in the digital environment using SolidWorks2017, a force analysis was performed to confirm the strength of the selected materials and cross-sections. Initial selected material: stainless steel, hollow rod of diameter Φ10mm, thickness 1mm.

Ε. IMPLEMENTATION / CONSTRUCTION

The implementation of ModPack started by preparing the fabrics. MATERIAL

DIMENSIONS

APPLICATION

hemp Ondine 480gr/m2

1,5m x 1m

externally durability

hemp Mika 395gr/m2

1,58m x 1m

seat durability

hemp Pistil 180gr/m2

1,5m x 2m

internally lining - pockets

hemp strap

27mm x 13m

straps

cork Blue Navy 2x (1m x 1,35m) COF-338 hemp fibers

800gr

externally fillings

Table 3. Quantities and Application of fabrics

The processing started by impregnating the hemp fabrics with OrganoTex in order to waterproof them. The reason this was the 1st step was because before coating with the OrganoTex spray, they needed to be washed and the material’s in-

structions indicated that it can shrink up to 5% in the wash.

Photo taken during impregnation treatment.

The next step was to find an expert bag craftsman who was willing to dedicate time, knowledge and passion. After many meetings with craftsmen and due to the complexity of the designs and the fact that the implementation would require a commitment of several days, it was ultimately unprofitable as a project because it is not common

to build only one prototype in such a long time. The last meeting was with Mr. Dionysis Alexandropoulos, a retired bag craftsman, who warmly agreed to work with me. He mentioned the shortage that exists nowadays among handbag manufacturers due to fast fashion and the uncompetitive prices of imported bags. From that point 14 days of testing followed, reading the designs, optimizing, simplifying and finally manufacturing. Undoubtedly his years of experience and knowledge played a crucial role, as online research would not have been enough to identify the manufacturing details and techniques and how the design should be adapted to them. The biggest challenge we encountered was how to access and assemble each piece, due to the fact that zippers were not an option due to the fact that all linings contain nylon in their weave in order to prevent their form from altering during wash. The main entrance to the PACK was made with 2 aluminium frames, neodymium magnets were chosen for the other pockets and for stabilization purposes. Both these 2 materials, aluminium and magnets, are not biodegradable materials. The 1st can be replaced in the future with a wooden frame and the 2nd can be reused either in the construction of a new backpack or for other uses. Regarding the base material which was cork it was observed that due to its small thickness (1mm) it could not deliver the desired stability in the ModPack form. So for the sake of con-

struction and given the materials available, leather was used in the PACK which was stitched to the cork. Leather may be a biodegradable material but it is not a proposal due to its ethicality. It is proposed to be replaced with either waxed cotton fabric or waxed hemp cloth. The last and biggest design adaptation to the construction was that of the seat mechanism. The chosen frame although being functional as a structure it would eventually add too much weight, which would ultimately negate its purpose, rest. As the seat mechanism was one of the main desired additions to the backpack and its complete removal was not an option, the design was modified to successfully serve its purpose. Thus, instead of a folding seat as shown above, a floor-level folding fabric-seat was implemented which is attached and stored on the outer bottom of the backpack base.

STEP BY STEP 1. Spray the medium and dense weave Hemp Mika and Hemp Ondine with the biodegradable waterproofing spray OrganoTex and let them dry for 24 hours. 2. Cut the patterns with the cork and leather and sew them together with a Pfaff 335 sewing machine. 3. Cut and sew the back cushions, from the durable fabric Hemp Ondine (dense weave), and fill with the hemp fibers. Make sure to press the fibres because they lose a lot of their original volume when pressure is applied to them. 4. Sew the 2 straps on the inside of the back piece. These will act as pockets - guides for the 2 x 3cm x 2mm aluminium sheets that will be inserted later. 5. Sew the pads to the outside of the back and headrest. 6. On the lid of the side outer pocket, place magnets on the 3 sides between the cork / leather. 7. Place magnets similarly on the 3 sides of the right side pocket gap.

8. Sew, on the top free sides of both pieces, the side piece to the pocket piece. 9. Sew the strap to the front piece, running along the entire side, with 4 metal D-hoops and the metal buckle closure. 10. Cut out on 3mm grey cardboard the bases. 11. Sew the cardboard on either side with cork and Hemp Pistil (fine weave) and Hemp Mika (medium weave). 12. Cut the 2 aluminium profiles 2cm x 1mm, length measuring as long as the perimeter of the bag’s main access point. Shape the metal sheets using the moulding technique with the 2 patterns calculated so that one ¨nests¨ inside the other. That is a way to replace the zipper. (mechanical connection) 13. Sew the aluminium profiles into a hemp strip and then sew the strip along its free side with the cardboard trifold that was made on step 11. This is the access lid of the backpack. 14. Cut on the Hemp Ondine the 4 pieces of the support straps, the 4 pieces of the belt and sew them together leaving one side free to be

filled with hemp fibres.

place.

15. Then sew the straps and metal parts (where necessary) to the free side.

23. Sew the inner linings with Hemp Pistil (thin weave) and cork and insert the metal rivets.

16. The 2 pieces of support straps are sewn to the back piece along with all remaining parts: 4 straps 8 metal hoops (belt attachment), 2 chest support straps.

24. Sew the lining assembly to the inside of the PACK.

17. Sew inside out the 6 pieces that make the main body of the ModPack and then turn it inside out again. 18. Attach the 6 metal standing rivets and 2 straps to the base, along with 2 metal hoops (seat attachment). 19.

Sew the base to the Pack.

25. Sew the detachable cork pocket and insert the 2 corresponding rivets. 26. Cut 2 + 1 (2cm x 2mm) aluminium sheets 14cm and 29cm long respectively and sew them to the Hemp Mika (medium weave). 27. Sew 2 straps on the opposite side of the metal sheets (seat attachment) and the seat is ready.

20. With a large needle drill holes every 1cm on the free side of the back and on the lid accordingly. Due to the aluminium frame it was not possible to sew it on the sewing machine so it has to be done with visible hand stitching. 21. Then take the cut MOD1 cloth pieces and sew them together with the corresponding pieces of cardboard and Hemp Pistil (fine weave). 22. Place the magnets back into the trifold of pieces that make up the MOD1 lid and sew it in

DESIRABLE DESIGN

MATERIALS

IMPLEMENTED DESIGN

ROOM FOR IMPROVEMENTS

cork 25%

cork 12,5%+ leather 12,5%

hemp 60%

hemp 50%

hemp fibres 10%

metal parts 3%

metal parts 8%

magnets 2%

magnets 3%

upcycle

aluminium 4%

wooden frame

thread

waxed hemp or waxed cotton

thread BIODEGRADABILITY

98%

93%

97%

WEIGHT

2,5Kg

3,1Kg - 4Kg

waxed cloth < leather ≈ 2,7Kg - 3,6Kg

DURABILITY

✔

✔✔

ACCESS POINTS

vary depending on design development

ANATOMY

✔

Table 4. Quantitative-qualitative comparison of Desired / Implemented Design

F. MODPACK: USE

MODPACK is a biodegradable backpack for urban and rural use. It consists of the main body-PACK and additional detachable parts-MODs. It is designed to vary its usability depending on the combination of MODs.

1. PACK/MAIN BODY The pack is the main body that takes part in each selected use and on top of which all the other mods are attached. Its volume is 30lt. and it has 10 storage compartments. In more detail it has: - 1 side water pocket of easy side access. 32cm x 12cm x 12cm - 1 central compartment whose depth varies depending on the use of the water pocket. Stores larger items such as clothes, sleeping bag, shoes. - 2 pockets running on full length of the backpack for laptop, notebooks, books, folders.

- 1 pocket for fragile items such as sunglasses, batteries, portable chargers. - 3+1 smaller pockets for cutlery, knife, pens, keys, cell phone and other small items. - 1 detachable pocket/envelope for additional compartmentalization of internal storage space. The outer part on the pack lid can also be used as a table that can hold a laptop, or used as a lunch stand. MATERIALS: cork, Hemp Mika 395gr/m2, Hemp Pistil 180gr/m2, Hemp Ondine 480gr/m2, cardboard, hemp fibres, hemp straps, metal parts

2. MOD1 / SECONDARY BODY It is the main detachable piece which is attached with magnets onto the pack and fixed front and back with 2 grips. It has a single 10lt. storage com-

partment and 1 access entrance. It also has the sewn-in pad on the outside, which also acts as a head rest as the 102° blunt angle provides the user with 180° of visual range while resting their neck. Combining mod1 with mod5 (strap) it can also work as a bag serving smaller storage needs.

ing offered by cork. In addition it can be used as a separate member in combination with mod5 (strap), creating a cross-body bag. It can be used to carry essential everyday items (wallet, mobile phone, keys) when the user does not want to move with all their belongings of the backpack.

MATERIALS: cork, Hemp Mika 395gr/m2, Hemp Pistil 180gr/m2, Hemp Ondine 480gr/m2, cardboard, hemp fibres

MATERIALS: cork, metal parts

5. MOD4 / SEAT 65cm x 60cm 3. MOD2 / WAIST BELT The belt consists of 2 elements, with 2 pack straps on one side and a waist strap on the other. Its use is to stabilize the fit of the pack on the body, in case the pack is heavy, either because of the use of mod1 or because the weight of the load is heavier.

The seat is a floor seating fabric with 2 free straps on one side (attachment to the bottom of the backpack). Its use can be either by attaching it to the backpack for a short stop during a hike, or by itself laying it on the ground, next to a lake or by a controlled fire. It has been impregnated with OrganoTex waterproofing spray, so it is suitable for ground use even on rainy days.

MATERIALS: Hemp Ondine 480gr/m2, hemp fibres, hemp straps, metal parts

MATERIALS: Hemp Mika 395gr/m2, hemp straps, cork finishes, metal parts

4. MOD3 / POCKET - HANDBAG 22cm x 35cm.

6. MOD5 / MULTI STRAP 108cm - 140cm

The detachable pocket can be used as an extra space to separate items. It is suitable for storing electronics or underwear due to the waterproof-

The strap is the last mod created to attach on the other mods and complete their use. - MOD5 + MOD1

Attachment of objects, such as a sleeping bag, to the underside of the backpack in case space saving is desired. - MOD5 + MOD2 Attachment of the entire mod2 for use as an independent bag. Ideal for camera storage. - MOD5 + MOD3 Attachment to the detachable pocket for independent use. MATERIALS: hemp strap, cork finishes, metal parts

PACK

DIMESIONS

MOD1

42 x 33 x 25 cm 16 x 34 x 26 cm

MOD2

MOD3

MOD4

MOD5

WAIST BELT

POCKET / HANDBAG

SEAT

MULTI STRAP

20cm

22cm x 35cm

65cm x 60cm

108cm – 140cm

ACCESS POINTS

VOLUME

30 lt.

10lt.

STORAGE SPACES

8-10

ATTACHING POINTS

ANATOMY

back

head support

waist

flooring

USAGE

main storage

secondary storage

support

minimum storage

seat / storage

adapting

Table 5. MODPACK parts, technical characteristics, use and storage capacity.

SCALE 1:5 FRONT VIEW

32,5cm. 22cm.

60cm.

42cm.

SCALE 1:5 SIDE VIEW

26cm. 12,5cm.

22,5cm.

SCALE 1:5 BACK VIEW

INNER LINING AXONOMETRIC

MOD1 / 10lt.

MOD2 / WAIST BELT

MOD3 / POCKET HANDBAG

MOD4 / SEAT

MOD5 / MUTLI STRAP

Below are two groups of photos showing the use of MODPACK in nature and urban areas. The selected action sites are Lake Triadi in Thermi and the courtyard of Thessaloniki City Hall. Models: Lioka Catherine, Tsokos Fotis. Filming / Montage: Xanthaki Catherine. Asistant: Paschalidoy Froso.

G. DESIGN EVOLUTION

Key and dominant features of MODPACK design are biodegradation, versatility and removable parts. This enables the designing of other parts to serve a variety of needs. By keeping the main body (pack) fixed and designing different mods supplying each user with the appropriate additions they need. These can be: - A metal frame with wheels onto which the backpack is attached and becomes a wheeled suitcase. - A piece like MOD1 with a 30° angle with photovoltaic attachment points. - A similar piece to MOD1 with an infant seat. - A piece like MOD1 of greater height, perforated for carrying a small pet (cat or small dog). - Customized pockets for specialized measuring instruments for various scientific missions. - Waterproof thin fabric to act as a tent for rain protection/shelter.

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- The user could even select the desired features, via an online platform, and design MODs fully customized to their needs. The goal is to enable one backpack to meet all the portable storage needs of the individual user, in order to minimize the purchase of unsustainable bags. Designed with an ecological awareness of both the use and the ‘death’ of the product in order to respond to as many population groups as possible. A backpack that morphs and changes along with the user, adaptable to their personalised needs, accompanying them from the business meeting to the nature excursion.

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H. SOURCES / REFERENCES

Cork

Hemp

https://www.mbcork.com/

https://www.naturellementchanvre.com/fr/

https://en.wikipedia.org/wiki/Suberin

https://www.hemptraders.com/Hemp-Textile-Properties-s/1881.htm

https://www.infowine.gr/el/winepedia/enology/ winemaking/?nid=360 https://bioresources.cnr.ncsu.edu/resources/therationale-behind-cork-properties-a-review-ofstructure-and-chemistry/ https://amorimcorkcomposites.com/en/whycork/facts-and-curiosities/about-cork-oak-tree/ h tt p s : / / w w w. c o r k st o re 2 4 . c o . u k / p ro p e rties-of-cork-material/ https://www.wineanorak.com/corks/howcorkismade.htm https://www.spicerbags.com/blog/how-corkhandbags-are-made/

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https://www.advancedholistichealth.org/history. html https://en.wikipedia.org/wiki/Cannabis_sativa https://www.greenmatters.com/p/hemp-fabric-advantages-disadvantages https://www.the-sustainable-fashion-collective. com/2014/12/02/hemp-fibre-fabric-eco-benefit/ h t t p s : / / h e m p w i k i . c o m / h e m p - p ro d u c t s / home-garden/page/2/

OrganoTex

Images

http://organotex.com/technology/

1. https://www.stocksy.com/54402/cork-treeplantation-showing-trunks-with-the-cork-srtipped-off

https://echa.europa.eu/el/regulations/clp/understanding-clp https://www.sentineldiagnostics.com/uibc/ https://sdgs.un.org/goals Σακίδια / Υλικά / Ραπτική https://blog.fabricuk.com/understanding-fabric-weight/ https://www.hemprinted.com/ h t t p s : / / n e w s . h a r v a r d . e d u / g a ze t t e / s t o ry/2014/05/promising-solution-to-plastic-pollution/ https://www.youtube.com/watch?v=xsVJwVKfg-k&ab_channel=ALinsdau http://eiha.org/media/2014/10/Ecological-benefits-of-hemp-and-flax-cultivation-and-products-2011.pdf https://www.aniwaa.com/guide/3d-printers/ eco-friendly-3d-filament/

2. https://preferredbynature.org/de/newsroom/ fsc-zertifizierter-korkeichenwald 3. https://preferredbynature.org/de/newsroom/ fsc-zertifizierter-korkeichenwald . Photo by Mateo Cariño Fraisse / NEPCon 4. http://hoylowcost.com/muebles-de-corcho/ 5. https://www.mazda-press.com/uk/news/2020/ cork-and-cars-the-little-known-story-of-mazdaand-cork/ 6. https://www.mbcork.com/products/navy-bluecork-textile-sheet-portuguese-cork-fabric-cof-318 7. https://www.britannica.com/plant/ramie 8. https://hempfoundation.net/the-usages-of-every-part-of-hemp-plant/ 9. https://pixabay.com/photos/abstract-background-ball-cord-21764/ 10. https://www.britannica.com/topic/surface-irrigation

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11. https://www.siebenblau.de/Hemp-SweatFabric-natur-undyed-1 12. https://www.reima.com/int/Kidswear/Accessories/Others/OrganoTex%C2%AE-Textil-Spray/p/ M00212-0000 13. https://marketplace.chemsec.org/Alternative/ORGANOTEX-is-a-fluorocarbon-free-water-repellent-technology-for-textiles-1 Backpack’s construction Dionysis Alexandropoulos Lioka Stella Filming / Montage Xanthaki Catherine Scenario

Lioka Stella Xanthaki Catherine

Actors / Models

Lioka Catherine Tsokos Fotis

All tables / sketches / plans / designs / cover where produced by researcher Lioka Stella.

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Dedicated to Mr. Dionysis Alexandropoulos, with his kindness and knowledge we made MODPACK come to life. The tangible proof that in the course of life one can always set challenges, evolve thinking, share knowledge and listen to new ideas.