When it comes to kitchen items, certain objects will last forever, like a cast iron frying pan. Other things get chewed up and need eventual replacement, like cutting boards. But if you want a cutting board that falls in the former category, here's your chance.

This Siki cutting board, up on Kickstarter right now, is made out of freaking titanium. This seems insane to me; whether you're slicing or chopping, your knife can't hold a keen edge when it's contacting metal, and I'd think you'd need to re-sharpen constantly.

(The campaign writes: "Titanium…has a hardness that is about one-third of the steel used in most kitchen knives.… Pure titanium has the characteristic of being a soft metal. It is however harder compared to other materials that are used in other chopping boards such as wood or plastic, and so you may need to sharpen your knife a little more than necessary [sic].")

Another caveat is that, being softer than steel, it will show scratches on its surface (unless you're some kind of EDC maniac that's using titanium kitchen knives).

Interestingly it's manufactured by Asahi Tekko, which is not a kitchen goods company; they're a Japanese automotive supplier that makes engine and transmission parts(!).

The board is roughly the size of an 11" squircle, and is just 1mm thick; to make it possible for you to lift it, one corner has been bent upwards for clearance.

The company says the benefits of a titanium cutting board are that it won't transfer odors, it's easy to clean, it can be wiped dry instantly (for when you wash it and want to get it right back into service, but are cutting something that oughtn't get wet, like bread), it's lightweight, it cannot trap mold, and it is of course likely to last forever.

The Siki cutting board runs $147, and has already been successfully Kickstarted, with 18 days left to pledge. It's expected to ship next January.

I'd love to get my hands on a copy of this book. "The Function of Colour in Factories Schools & Hospitals" is a British book published in 1930. UK-based stationery retailer Present & Correct owns a copy, and posted these (uncaptioned) scans on their blog:

I found an old eBay listing to an already-sold copy, and was able to make out some of the text in the industrial section:

Woodworking Mill

The Problem
The material being fabricated supplies large areas of neutral colour which need some slight colour-contrast in the surroundings to prevent monotony and the consequent loss of production efficiency. It is desired to achieve harmony with the various machines employed—originally supplied in various colours—by repainting them to tone-in with the main scheme.Heavy Engineering Works

The ProblemThis is a large area in which the presence of a great number of very high and heavy machines gives an impression of overpowering weight. It is necessary to reduce the feeling of oppression caused by the size and quantity of machinery, for otherwise premature fatigue will be caused to workers.Cigarette Sorting Room

The ProblemA large room lit almost entirely from the roof, with a consequent oppressive feeling of enclosure. The work done in it is monotonous and repetitive, and the staff entirely feminine. It is desirable, by the use of colour, to create a pleasant scheme which will diminish the feeling of enclosure and, while being quiet enough to prevent distraction, will be sufficiently stimulating to counteract the monotony of the work.

Color vs. monotony, oppression, repetitiveness. Which do you reckon won?

It is nice to think that a hundred years ago, the publishers thought to put this book out at all. (I wonder what the uptake was.) If you look at most modern factories, it sure doesn't seem like color is a big priority.

This unusual-looking cup was designed by Dr. Mark Weislogel, a former NASA research scientist and expert in fluid dynamics. It has the unusual provenance of having been prototyped not on Earth, but in space.

As the story goes, Dr. Weislogel learned that Donald Pettit, an astronaut doing experiments with fluids on the International Space Station in 2008, was getting sick of drinking out of the pouch-and-straw arrangement astronauts use. Weislogel sent Pettit diagrams of something that could possibly be cobbled together on the ISS, using available materials.

Using Mylar sheeting and tape, Pettit created this primitive "cup." It's just a sheet with two opposite edges taped together and an added bottom.

The arrangement uses the principal of "capillary channel flow," meaning that liquid is naturally drawn towards the crevice-like edge of the cup, and will stay there. Pettit tested it out, and it worked:

With the liquid gathered in the crevice, it's easy for astronauts to slurp the fluid out.

However, the primitive shape also provides a sharp and unfriendly point right where the drinker's mouth goes. Back down on Earth Weislogel, who also worked as a professor in the Thermal & Fluid Science Group at Portland State University, refined the design with a more mouth-friendly shape at the drinking edge:

These are now in use on the ISS.

Here's how the astronauts fill and use them:

As interesting as the shape is, sadly there's not much application for it on Earth. Nevertheless, a company called Spaceware will sell you an SLA 3D-printed one for $650.

It's "most definitely not dishwasher safe," the company writes.

Startup Humane has debuted their Ai Pin, an $800 wearable AI assistant meant to be something like a smartphone without a screen. First-wave tech reviewers are all over the thing, and the reviews have been damning.

There's two main issues with this first-of-its-kind device. The first problem, according to reviewers, is that it just doesn't consistently work. As The Verge editor David Pierce experienced:

"Asking the AI Pin to write down that the library book sale is next week: handy! Waiting for 10 seconds while it processes, processes, and then throws a generic 'couldn't add that' error message: less handy. I'd estimate that half the time I tried to call someone, it simply didn't call. Half the time someone called me, the AI Pin would kick it straight to voicemail without even ringing."

"In general, I would say that for every successful interaction with the AI Pin, I've had three or four unsuccessful ones. I'll ask the weather in New York and get the right answer; then, I'll ask the weather in Dubai, and the AI Pin tells me that 'the current weather in Dubai is not available for the provided user location in New York.' I'll ask about 'the thing with the presidents in South Dakota,' and it'll correctly tell me I mean Mount Rushmore, but then it will confidently misidentify the Brooklyn Bridge as the Triborough Bridge. And half the time — seriously, at least half — I don't even get an answer. The system just waits, and waits, and fails."

The second issue is that both the UI and the UX are apparently horrible. Remember that the device doesn't have a screen, and provides feedback via a projector that projects onto your hand. This is an intriguing idea, and ought be handy, no pun intended: Hold out your mitt, see info you need.

However, to get to that point is difficult. Examples:

UI: To use the device, you must unlock it with a passcode. This is achieved by holding out your hand. A single-digit number is projected onto it. To reach a lower or higher number, you move your hand closer or further away. When you get to the relevant number, you make a pinching gesture to "accept" the number. In this manner you gesture out your entire passcode. "Using it made me feel pretty dumb," says Engadget's Cherlynn Low, who demonstrates the procedure below.

UX: The Ai Pin attaches to your garment via a magnet on the inside. It should of course always be attached to your outermost garment, so the projector is not obscured. This means, in coat weather, you've got the thing affixed to your coat. But then you go inside, and take your coat off. To continue using the Ai Pin you detach it from your coat and attach it to your shirt. Each time you detach/re-attach it, you have to go through the passcode sequence again to unlock it.

And that's just scratching the surface. Low—who was actually burned by the device, as it tends to overheat—describes, and most helpfully demonstrates, the laundry list of UI/UX hassles in her review:

Watching Low try to use the device, both from her POV and when she's on camera, drove home how insane it all is, how many problems are created by removing a screen.

I don't envy Humane's designers. They're trying to do something new and bold, and the idea seemed interesting on paper. Figuring out an entirely novel interface was probably a lot of work. But the end result has the user working for the technology rather than the other way around.

Here's what we looked at this week:

China's ancient Dragon Kilns were designed to work with hilly terrain.

Studio Touya built this traditional Japanese Anagama kiln in North Carolina.

NASA has revealed two additional designs for Lunar Terrain Vehicles.

From Switzerland, designey laundry kit by industrial design firm Meyer-Hayoz.

Studio Toda's beautiful Cocoda Chair, Special Edition, designed by Shigeki Matsuoka.

Thomas Longuefosse, an ébéniste based in the Basque Country, incorporates kumiko into his work.

These adorable Kuma Bokko are skillfully made from offcuts and cleverly exploit the material's properties.

NASA provided live broadcast coverage of Monday's total solar eclipse.

This Bauhausian Cella toy, designed by Peer Klahsen for Naef, has been in production since 1967.

When "functionalist" was a slur: Great unsung design, from East Germany.

These wild-looking vintage "road glasses" supposedly protect your eyes, without lenses.

Startup Human Material Loop has developed a more sustainable source of fabric: Human hair.

This dramatic Cabin Nordmarka in Norway was designed by Rever & Drage Architects.

Design/build/research firm Material Cultures dusts off the old-school trick of using rocks to hold roofing in place.

A series of absurdist sneaker concepts by Russian artist Canyaon.

V-Lockers: A space-efficient, paternoster-like bike storage locker system designed by Meyer-Hayoz.

This Utzon Stool, a rare piece of furniture by Danish architect Jørn Utzon, is in production after spending six decades unrealized.

This LBM Corner Table Lamp, by Mexican industrial designer Moisés Hernández, was inspired by the work of architect Luis Barragán.

Industrial design case study: ID firm Doris Dev furniture-izes a pet crate for Fable.

NYC-based dog owners Jeremy Canade and Sophie Bakalar are the founders of Fable, a pet products company. Pet crates are an essential piece of kit for many urban pet owners, and the duo wondered: Why are they always so ugly?

Canade and Bakalar worked with industrial design firm Doris Dev to create a pet crate that would better blend into one's home. "The goal of the project was to provide pet owners with a beautifully designed and functional dog crate that doubles as an end table, adding aesthetic value to the home," explains Doris Dev.

ID Foundation

In the initial stages of the industrial design process, a thorough analysis was conducted to gain insight into the brand voice and pet crate market. Research showed that traditional dog crates often lack aesthetic appeal and quality, and the common swinging door design can occupy valuable space when opened.

Design Development

Crafted with meticulous attention to detail, the Fable Pet Crate features a premium bent plywood construction and features options for metal or acrylic doors. Designed to blend effortlessly into your home decor, it can serve as a stylish side table. Its innovative sliding gate allows for easy access and can be closed or opened as needed, and stored discreetly within the crate for a seamless look.

Engineering

The Doris Dev Engineering Team brought the Fable Pet Crate design to fruition using a methodical approach of CAD design and prototype fabrication. Critical engineering obstacles included the refinement of the latch mechanism for a seamless user experience and engineering the solid plywood crate to be flat-packed for shipping. The result of their efforts is a finely crafted engineering solution, ready for large-scale production and delivery.

ManufacturingThe sourcing team collaborated closely with Fable and the engineering teams to guarantee all processes were executed with precision and quality. An extensive selection process was conducted, evaluating numerous suppliers before the program was ultimately awarded to the one that met the desired quality, cost, and program goals.During production, the team faced several unique challenges, but their expertise and dedication to quality ensured the successful manufacture of the crate. A key obstacle lay in matching wood grain across neighboring panels (part of the flat-packable design) which the team was able to overcome through creative manufacturing process controls.

The ResultsThe Fable Pet Crate launched to rave reviews. Pet owners love its stylish look, sturdy materials and secure confinement.

You can see more of Doris Dev's work here.

This unusual LBM Corner Table Lamp is by Mexican industrial designer Moisés Hernández.

"Inspired by the innovative architecture of fellow Mexican Luis Barragán*, Moisés Hernández designed the LBM Corner Table Lamp to reflect his fascination with monolithic geometry, colour, light and shadows. Constructed from thin planes of vertical sheet steel at a 90-degree angle, the utilitarian simplicity of the shape results in visual lightness with a strong design, giving it an artistic quality that is equally appealing both when in use and switched off."

"The straight, folded structure can be positioned on the corner of any flat surface, using an integrated LED light with inline step dimmer to emit an ambient downlight that creates a subtle gradient effect with a unique, calming atmosphere."

The LBM Corner Table Lamp is an evolution of Hernández's earlier LBM Table Lamp, shown below. Both are in production by Hay.

*Pritzker Prize winner Luis Barragán was perhaps Mexico's best-known architect. Throughout his 20th century career, he flirted with Modernism, but eventually came to denounce functionalism in favor of "emotional architecture." You can get a good sense of Barragán's colorful work at the Barragan (sic) Foundation's website.

"There is a long standing tradition for the small retreat in architecture," writes Norwegian architecture firm Rever & Drage, introducing their Cabin Nordmarka project. "Historically this kind of building has served as a shelter whilst doing other recreational activities such as hiking, hunting or fishing. Since the days of Thoreau's Walden however, the small retreat, or bolthole, has also been a goal in itself. Typically to escape the stresses of everyday life. For the modern city dweller this may well be a permanent urge."

"This small cabin in Nordmarka, Oslo's immediate wilderness, fits well within the tradition of boltholes. It contains the most necessary features, but not much more. It is easy to keep clean and easy to maintain. It is light and open, but also intimate and cosy. Beyond the cosiness and the strictly practical, the effort has been mainly focused on the qualities of the site, including a serious commitment to the main view with sunset, woods and lakes."

"In addition to the restricted size of the building, the environmental impact on the site is further reduced by the foundation technique. By the use of steel bolts inserted into the bedrock, the foundation is limited to six small drilled holes. This means that, if wanted, the cabin can easily be removed and the site can be as good as fully restored with minimum effort."

"The cabin is placed just next to an older cabin, about the same size as the new one. Together the two form an angled courtyard which opens towards the sun and the main views to the southwest. A remake and enlargement of the old cabin was considered, but the client wanted to preserve the quality of the old one both in expression and material, and a remake-project was therefore abandoned. Instead the cabins are used in tandem, where the new one has all the modern facilities, such as water and electricity and the old one provides additional room for living and sleeping (in even more rudimentary conditions), when needed."

"It was important for the client to keep the old fashioned 1930s charm in the main outdoor area. The new cabin has therefore windows in this facade that relate to the windows of the old cabin. At the same time the client wanted to have an undisturbed view towards the sunset. To avoid conflict between these two goals a bench is placed in front of the open glass corner, concealing the latter from the outdoor area. The bench also contains a steel support for the roof, such that the view from within can be even less disturbed by avoiding a support in the glass corner."

"The interior has a simple but functional concept with levels going up and around the central area. From the roughest floor by the entrance a step goes up to the living area. Two steps further up is the recreational area combined with a sleeping area for the adults and then at the top of the ladder is the play- and sleeping area for the children. Bathroom and storage is placed in the remaining area underneath the respective levels."

I was wondering how the heck they framed that window...

...and imagined something complicated; turns out they kept it almost shockingly simple.

Even still, I imagine getting it just right gave the contractor some grey hairs.

Underground bike storage systems, like those seen in Japan, are amazing. But they obviously require a massive amount of excavation and construction.

A Swiss company called V-Locker has designed an easier-to-implement solution. The company has developed tower modules containing bike lockers that travel upwards in a paternoster-like arrangement.

Depending on the size of the tower, these can hold 6, 8, 12 or 20 bikes per unit, within a minimal footprint; 4.5 square meters, or 48 square feet, is all that's required.

A single door at the bottom is where riders can access the lockers (via app, of course). As a bonus, riders can also store their backpacks and helmets in the lockers, which are of course weatherproof.

The towers themselves are modular, making installation straightforward. The pieces are trucked to the site and stacked with a crane.

The exterior designs are customizable, in order to comply with any given municipality's visual regulations or tastes.

This is no mere concept, by the way; there are currently six of these located through Switzerland and seven in Germany, with more to come.

The design and engineering for these was done by consultancy Meyer-Hayoz.

Russian artist Canyaon skewers both sneaker culture and the aesthetics of various subcultures with his absurdist footwear concepts:

Nike Grapes

Adidas Neighborhood Watchers

ESports Custom

Mercedes-Benz Sneakers

There's a ton more on his Instagram.

An old-school construction trick used in Japan, the Swiss Alps, and probably other places, is to hold roofing down using heavy rocks.

UK-based design/research/building firm Material Cultures used this technique, as well as timber framing, in building this Rock Hut for client Grizedale Arts:

"The timber frame was built using green larch: a locally sourced, fast growing softwood milled at Graythwaite Estate sawmill, pegged together with oak dowels hewn from locally forested oak."

"Eliminating the need for concrete footings, the structure sits on a dry-stone wall plinth, built under the guidance of John Atkinson using a technique which is ubiquitous across the Lake District for everything from farm walls to fine houses."

"Uplift on the eaves of the structure is resisted by a series of boulders from the quarry at Broughton Moor chained to the rafters, and embedded into the earth banks either side of the structure."

"A gate of irregular timber was provided by renowned oak swill craftsman Owen Jones MBE."

"In its simplest form the act of building could be thought of as a gathering up of different elements of the landscape, or the orchestration of the movement and configuration of material from one place to another. This project explores how an understanding of material context and historic technologies can play a role in contemporary building as move towards a post-carbon future."

The project was undertaken in collaboration with architect Takeshi Hayatsu, engineering firm Price & Myers, traditional oak craftsman Owen Jones and farmer/master stone wall builder John Atkinson.

Jørn Utzon is the Danish architect best known for designing the Sydney Opera House. That was a 16-year ordeal, beginning with winning a design competition in 1957, then being unpleasantly confronted with engineering challenges, ballooning costs and politically-motivated personal attacks. So vicious were the latter that Utzon left Australia in 1966, vowing never to return. He kept his promise, refused to attend the structure's eventual opening in 1973, and never got to see the completed Opera House in person.

Image: Bjarte Sorensen - CC BY-SA 3.0

While that's all been documented, less well known is that prior to Utzon's introduction to the complexities of international architecture, he actually designed a whimsical piece of furniture. He had been prototyping a sort of pre-metabolist stool in the 1950s, prior to getting swept up in the Opera House maelstrom.

The stool was never realized, but Fritz Hansen has announced they've now put the Utzon Stool into production, after six-plus decades.

"Utzon approached furniture design by applying the same principles that defined his architecture, a synthesis of diverse references and what he called additive architecture, multiple configurations using a limited number of prefabricated components," says Marie-Louise Høstbo, Fritz Hansen's Creative Design Director. "In the stool, the modular principle is evident in the repetitive shapes of the steam-bent legs. Utzon often used maritime references and the spheres of the seat recall marine fenders along with his love of nature and its recurring forms."

"The wooden spheres echo wooden models that Utzon made for some of his projects, the most famous of which is the spherical solution for the sails of the Sydney Opera House roof. The protruding mushroomlike forms also evoke the playful side of Utzon."

Made of beech with brass accents, the stool runs $1,500.

In order to manufacture the clothes we wear, things have to be pulled out of the ground. Plants for fibers, petroleum for technical fabrics. But a startup called Human Material Loop has a more sustainable idea: To create textiles out of human hair.

"Every day, hundreds of tonnes of hair clippings are thrown out," the company writes, on a section of their website addressing hair salon owners. "All the while, the textile industry is in dire need of a more sustainable, repurposed textile source. We have a solution for both – transforming your hair waste into textile fibers. Because ultimately, your hair clippings are just raw material in the wrong place."

The company reckons that human hair isn't just abundant, but the right material to make clothes out of:

"Human hair…possesses incredible durability and strength (one ponytail could hold two elephants). Like wool or alpaca, it's composed largely of keratin protein fibers, making it natural, thermal, biodegradable and moisture-regulating, sans the cruelty or allergic reactions."

The company claims they can turn hair into knits and weaves that are hypoallergenic, heat-retentive and antibacterial.

They also say they've produced a sweater, a "tweed-like blazer" and a parka insulated with human hair for testing. Currently they're gathering hair from salons in the Netherlands (where they're based), Belgium and Luxembourg.

It's a fascinating idea, assuming it works. And while they say they can dye the textiles they create, they don't mention from what specific source color of hair; I wonder if they can turn black hair into different colors. China and India have 3 billion people between them, and the continent of Africa another 1.2 billion; those populations have predominantly black hair and add up to more than half the planet's population. The hair textures of those populations are also distinct from that of the Low Countries from which the company has been sourcing their trial hair.

It will be interesting to see what different varieties can be produced from different populations' hair types (unless it's all the same after the lab process).

These curious looking vintage "road glasses" were made by Kasper & Richter, a German manufacturer of precision instruments. They were designed for driving in bad weather, in the days when enclosed cars were a novelty. I am so curious to try a pair on to see what can actually be seen.

"These glasses with specially arranged viewing slits enable unobstructed vision while preventing rain from entering," writes retailer FORMost. "The sophisticated design is reminiscent of steam punk and bionics. No matter where you go, you will attract attention."

That is certainly true, as seen in these images below: An alternate vendor is selling a similar product branded with the company name, though I'd have guessed they were knockoffs. In any case they're not exactly low-profile.

In mid-20th-century Europe, Margerete Jahny belonged to a rare demographic of industrial designer: She was an East German female. And according to design historian Günter Höhne, she was the first East German industrial designer, of any gender, with a university education.

The German Democratic Republic, as East Germany was ironically called, had a Central Institute of Design (later called the Office for Industrial Design) that oversaw all ID-related matters in the GDR. In the 1960s, the Institute tasked Jahny and fellow designer Erich Müller with designing a set of tableware for use in GDR canteens.

Jahny, who had worked in a restaurant as a child, understood the needs of servers; indeed she had already designed a coffee service system as a student, while studying at the Dresden University of Fine Arts. She dusted off her old designs, which consisted of stackable coffee cups, a creamer, a coffee pot with a no-drip spout, and a lid that could fit all three objects. All were to be made of ceramics, a material Jahny had gained familiarity with while working in a ceramics factory.

Image: Von Christos Vittoratos - CC BY-SA 3.0

Müller refined the design of the lid, which required tight production tolerances to stay in place. He engineered it to stay put even when the coffee pot was held at a sharp angle, no small feat for a ceramic pressure fit.

The objects were well-designed and useful. A person could easily stack and carry multiple cups, and the coffee pot could be poured one-handed without needing the other hand to hold the lid on. The Rational line, as the objects were called, went into production in 1969 and was soon ubiquitous throughout the GDR.

Image: Von Christos Vittoratos - CC BY-SA 3.0

Though the Rational cups and pots came to populate every public institution, canteen, hotel and restaurant in the GDR, Jahny and Müller of course never received any recognition; in fact GDR leadership reportedly derided the designs as "functionalist," that term being a pejorative as it was associated with the Bauhaus and those evil West Germans.

Instead the objects became associated with the name "Mitropa." That organization, which ran the trains, train station restaurants and gas stations in the GDR, had their name branded on the objects.

Image: Von Softeis - CC BY-SA 3.0

The Rational line remained in production throughout the '70s and '80s (though it was added to by designers other than Jahny and Müller).

After the Berlin Wall came down, production was halted forever. Today you can still find some preserved Rational pieces on secondhand sites—though they're often branded, as this one is, "Mitropa" cups or pots.

There’s always something new to learn, even with something simple like breadboards.

These tips can help ensure vehicles are capable of high-speed C-V2X communications for a number of safety functions.

Supplier rankings show notable changes as AI is hot and memory is not.

Supercomputer hub will train students in AI at prominent engineering school.

Bethany Corbin, a recognized thought leader in women's health, is set to keynote IME South. The six-in-one advanced design and manufacturing expo returns June 4-6 to the Charlotte Convention Center.