Donut Lab’s battery claims reportedly subject of whistleblower complaint

Startup Donut Lab made a splash at the start of the year with some astonishing — and suspicious — claims about its solid state batteries. Now Finnish newspaper Helsingin Sanomat reports an individual has filed a criminal whistleblower complaint against the company over those claims.

Until recently, Lauri Peltola was listed as the Chief Commercial Officer at Nordic Nano — the firm reportedly contracted to handle portions of the manufacturing on Donut's behalf, and which Donut Lab has invested in. He reportedly filed a criminal complaint that Donut Lab’s promises of energy density and longevity have been overstated and that the company lacks the production capacity previously claimed.

HS suggests it has seen copies of internal communications between Donut Lab and two partner companies, CT-Coating and Nordic Nano. The paper says that CT-Coating’s first-generation battery is the one that Donut Lab has been advertising, and is the model it handed to Finnish national lab VTT to test. But, according to the emails viewed by HS, CT-Coating had abandoned development on that cell in favor of a one still in early development, despite Donut Lab’s claim in January that it had a technology ready to enter mass production.

Donut Lab CEO Marko Lehtimäki reportedly told HS he had no knowledge of Peltola’s complaint. Nordic Nano CEO Esa Parjanen, meanwhile, denied Peltola’s accusations, saying that his views were not shared by the company and that Peltola had no involvement with Nordic’s battery project. In a joint public statement Donut Lab and Nordic Nano stated they "do not know the exact nature of the complaint" but denied "having committed any crime or misleading investors." They also describe the complainant (presumably Peltola, though the statement does not name him) as not having "the necessary knowledge of battery technology or the overall picture of the development work."

This article originally appeared on Engadget at https://www.engadget.com/transportation/donut-labs-battery-claims-reportedly-subject-of-whistleblower-complaint-142133269.html?src=rss

The ZERO Chair Has No Welds, No Joints, No Apologies

Most chairs are built on compromise. You stack the legs, screw the seat, bolt the back, and somewhere in that assembly, a little bit of the original idea gets lost to the necessity of structure. Davide Bozzo’s ZERO Chair refuses to play that game entirely.

The concept is almost confrontationally simple: one single ribbon of metal, bent and curved into a complete chair. No welds holding two pieces together. No joints disguised under upholstery. No hardware quietly doing the heavy lifting behind the scenes. Just one continuous piece of material pushed into a form that includes the base, the cantilevered seat, and the backrest all at once. The name isn’t branding. It’s a philosophy.

Designer: Davide Bozzo

Looking at the photographs, the first thing I kept circling back to was the sheer audacity of the backrest. It doesn’t connect to the base through hidden brackets or clever joinery. It simply rises from the same ribbon, curving upward and backward in a motion that looks more like a wave caught mid-break than anything you’d typically call furniture. It’s graceful in a way that makes you slightly suspicious of it. How is this thing holding anyone’s weight?

The answer lies in what Bozzo describes as structural tension. Form doesn’t just follow function here. It is the function. The material itself carries the engineering logic. Every curve has a reason, and every bend is calculated to distribute load through the continuity of the form rather than through added components. It’s the same principle behind suspension bridge cables or the way a curved shell is structurally stronger than a flat panel. Applied to a chair, it feels almost radical.

I’ll be honest. My first instinct was skepticism. A single-piece metal chair sounds like one of those design school exercises that makes for great renderings but falls apart under real scrutiny. But looking at the close-up photographs, especially the one capturing the S-curve where the seat meets the backrest, you start to believe it. The brushed metal finish shows actual material depth and actual intentionality in how the surface was treated. This isn’t a concept render floating in a void. It has weight and presence.

That said, I do have questions. Comfort is conspicuously absent from the conversation. Metal, even beautifully formed metal, is hard. The cantilevered seat gives some flexibility, which should help, but a chair without cushioning asks something significant of the person sitting in it. Bozzo’s design makes a statement about material honesty and structural purity, which I respect deeply, but at some point a chair has to be sat in. That’s the tension that makes it interesting rather than just pretty.

The piece also reads as a quiet counterargument to the current era of maximalist furniture. We’ve spent years surrounded by bouclé armchairs, curved velvet sofas, and furniture dressed up in layers of texture and warmth. Bozzo’s chair strips all of that away and asks whether furniture can earn your attention through restraint and engineering alone. My honest opinion? It can. Whether it earns a place in your living room is a different question entirely.

The chair also does something that doesn’t get discussed enough in design coverage: it makes the negative space part of the design. The open rectangle formed by the base creates a void that’s almost as deliberate as the metal itself. In the lifestyle image set against a Japanese garden backdrop, that void frames the gravel and ground beyond it. The chair becomes a viewfinder. That’s not accidental. That’s a designer who understands that what you leave out is just as powerful as what you put in.

Bozzo has been building a reputation for material-forward work. His stainless steel pet bowl Dune explored similar ideas around fluid curves in a single medium, but the ZERO Chair feels like a significant step up in ambition. It’s the kind of piece that stops you mid-scroll, makes you set your phone down, and actually think. That, more than any material specification, is probably the point.

The post The ZERO Chair Has No Welds, No Joints, No Apologies first appeared on Yanko Design.

New Samsung Galaxy Z TriFold 2 Leak Reveals Wider Design

New Samsung Galaxy Z TriFold 2 Leak Reveals Wider Design Samsung Galaxy Z TriFold 2

Samsung’s decision to discontinue the Galaxy Z Tri Fold shortly after its release was not a failure but a calculated move. By treating the device as a limited-edition experiment, Samsung tested consumer interest in premium foldable devices. This strategy has paved the way for a new chapter in foldable innovation, with the company now focusing […]

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Foshan’s Forgotten Warehouses Got a Rooftop Park Under Floating Domes

Somewhere along the Huadi River in Foshan, China, a cluster of old grain storage warehouses has been turned into one of the most quietly poetic pieces of architecture I’ve seen all year. The Yongping Warehouse Renovation, completed in 2025 by Guangzhou-based Atelier cnS, is exactly the kind of project that makes you stop scrolling and actually look.

The site sits in Dali Town, Nanhai District, a former industrial pocket of the Pearl River Delta that’s been gradually shedding its factory-town skin in favor of something more livable and publicly accessible. These particular warehouses, lined up along the riverfront, were derelict grain storage buildings with no obvious future. Not exactly glamorous source material. But Atelier cnS didn’t flinch, and the result is a project that earns its attention without asking for it loudly.

Designer: Atelier cnS

Because the site has a narrow footprint, the architects pushed the public space upward, placing a landscaped rooftop park above the commercial interiors below. Vertical programming isn’t a new idea, but what makes Yongping feel different is how thoughtfully the transition between levels was handled. The gaps between warehouse blocks weren’t sealed or filled in. Instead, they were preserved and widened into passageways, so as you move through the building, you catch glimpses of the river framed by walls before the whole view opens up at the top. It’s a slow reveal, and it’s deliberate.

And then there are the canopies. A series of translucent, domed structures built from hexagonal frames cluster across the roofline like a quiet gathering of clouds. Atelier cnS actually named the project “A Wisp of Cloud” over Huadi River, and the photos earn that name completely. The domes are light-diffusing, casting shade without blocking river views. They create zones for sitting, moving, and play without ever feeling like they’re closing the space in. They look like they arrived gently, rather than being imposed on the building below them.

The rooftop itself is shaped into slopes, steps, and play surfaces that echo the original pitched forms of the warehouse roofs. It’s one of those details that most visitors probably won’t consciously register, but it’s exactly the kind of architectural memory that makes a renovation feel grounded rather than gratuitous. The old buildings aren’t being pretended out of existence. The new design is in active conversation with what was there before.

I’m genuinely drawn to this project because it gets the balance right in a way that many adaptive reuse projects don’t quite manage. Too often, the renovations that attract the most attention are the ones where the new design overwhelms the original structure, turning the old building into nothing more than a convenient shell. Yongping avoids that trap. The warehouses are still very much present. Their bones dictate the rhythm, the circulation, and some of the visual language of the final result. You can feel the history of the place without having to read about it first.

Atelier cnS has been developing this kind of thinking for years. The studio’s earlier work on elevated public circulation, including a “roof-hopping” design approach explored in their White House Guesthouse project, signals a long-running interest in finding new life in existing structures. Yongping feels like a maturation of that sensibility. More refined, more integrated, and more tuned in to the texture of a neighborhood mid-transition.

The project spans 4,311 square meters, and it’s worth noting what it does beyond the architecture itself. Turning a commercial renovation into a publicly accessible rooftop park, in a district shifting away from its industrial past, is a real act of generosity. A park on a roof could easily read as a private amenity. Here, it reads like a gift to the neighborhood, a place to walk, rest, and look out at the river without needing a reason to be there.

Architecture doesn’t always need to announce itself to be worth paying attention to. The Yongping Warehouse Renovation is understated, purposeful, and lit from above by a cluster of translucent domes that look, from a distance, exactly like a wisp of cloud over the river.

The post Foshan’s Forgotten Warehouses Got a Rooftop Park Under Floating Domes first appeared on Yanko Design.

Why Upgrading to Claude Opus 4.7 Might Break Your Current Prompts

Why Upgrading to Claude Opus 4.7 Might Break Your Current Prompts Split screen showing high resolution image input and the corresponding Opus 4.7 multimodal output

Anthropic’s latest release, Cloud Opus 4.7, introduces significant updates aimed at improving coding, multimodal understanding and instruction-following. While these advancements enhance performance in areas like extended-sequence programming and high-resolution image analysis, they also come with notable trade-offs. For instance, the updated tokenizer increases token usage by 1 to 1.35 times, which could impact workflows reliant […]

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The M4 iPad Air Upgrade: Is a Faster Chip Enough for 2026?

The M4 iPad Air Upgrade: Is a Faster Chip Enough for 2026? 2026 iPad Air

The M4 iPad Air introduces modest upgrades, including the M4 chip and increased RAM, but stops short of delivering significant advancements. While it remains a reliable option for many users, its lack of innovation in areas such as design, display, and features reflects Apple’s cautious approach to the iPad Air lineup. The video below from […]

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TCL’s RGB-Mini LED TVs will start at $8,000

TCL introduced its new flagship X11L SQD-Mini LED TV at CES 2026, and now a few months later, the company is ready to expand its lineup with more SQD-Mini LED models and its first RGB-Mini LED TV. All sizes of the TCL QM8L SQD-Mini LED TV are available now. Meanwhile, both the TCL QM7L SQD-Mini LED TVs and the RM9L RGB-Mini LED TVs are available to pre-order.

SQD-Mini LED panels are TCL's latest iteration of its Mini LED display technology, where "SQD" stands for "Super Quantum Dot," a layer of tiny crystal dots that help filter the light from the LEDs in the company's panels. TCL claims its SQD-Mini LED screens are more color accurate than its previous models without losing out on HDR contrast. The TCL QM8L has an anti-reflective SQD-Mini LED panel, up to 4,000 discrete dimming zones, up to 6,000 nits of peak brightness and support for Dolby Vision 2 Max after a software update. The TCL QM7L also has an anti-reflective SQD-Mini LED panel, up to 2,100 discrete dimming zones, up to 3,000 nights of peak brightness and support for Dolby Vision IQ. Both TVs feature Audio by Bang & Olufsen and run the latest version of Google TV with support for Gemini.

A TCL RM9L RGB-Mini LED TV angled to the left on a white background.
TCL

Like other TV makers at CES 2026, TCL also capitalized on the growing trend of Micro RGB or RGB Mini LED panels. Rather than use a layer of white or blue LEDs that are transformed with quantum dots and color filters, TCL's RGB-Mini LED starts with discrete red, green and blue LEDs to produce richer color. The TCL RM9L features the company's new RGB-Mini LED display with an anti-reflective layer, over 3,800 discrete local dimming zones, up to 6,000 nits of peak brightness and support for Dolby Vision 2 after a software update. The TV also features Bang & Olufsen audio and Google TV with Gemini support.

TCL says the QM8L is available to order now starting at $2,500 for the 65-inch model, $3,000 for the 75-inch model, $4,000 for the 85-inch model and $6,000 for the 98-inch model. The TCL QM7L, meanwhile, is available to pre-order starting at $1,200 for the 55-inch model and goes as high as $4,000 for the 98-inch model. If you're curious about TCL's new RGB-Mini LED displays, the TCL RM9L is available to pre-order starting at $8,000 for the 85-inch model and up to an eye-popping $30,000 for a 115-inch model.

This article originally appeared on Engadget at https://www.engadget.com/home/home-theater/tcls-rgb-mini-led-tvs-will-start-at-8000-130000543.html?src=rss

How to Recreate Valve’s Delayed Steam Machine at Home Today

How to Recreate Valve’s Delayed Steam Machine at Home Today Three compact gaming PCs arranged to show different DIY Steam Machine options

The idea of building your own Steam Machine has gained momentum as gamers look for alternatives to Valve’s indefinitely delayed official release. Retro Game Corps explores how to recreate this compact, living room-friendly gaming setup using a combination of pre-built PCs, small form factor devices and Linux-based operating systems. For instance, a Mini PC like […]

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