Friday 15 October 2021

Cement and concrete industry publishes roadmap to reach net-zero emissions by 2050

Slite cement plant in Gotland, Sweden

Forty leading international cement and concrete manufacturers have published a plan to eliminate carbon emissions from one of the world's most polluting industries.

The commitment has been made by members of the Global Cement and Concrete Association (GCCA). Together, they represent nearly 80 per cent of the industry outside China.

Published ahead of next month's COP26 climate conference, the roadmap includes an intermediate pledge to reduce greenhouse gas emissions by up to 25 per cent by 2030. This could prevent an estimated five billion tonnes of CO2 emissions.

"We now need swift and decisive political action"

"We highly welcome the industry’s ambitious climate protection targets set forth in the GCCA’s 2050 roadmap," said HeidelbergCement CEO Dominik von Achten."Together, we are doing everything we can to achieve them."

Earlier this year, HeidelbergCement announced plans to eliminate carbon emissions from a plant in Sweden by upgrading the factory with technology that captures carbon emissions.

"We now need swift and decisive political action to create the right framework conditions, particularly in the area of CO2 infrastructure and market incentives for low-emission building materials," von Achten added.

UK Concrete director Chris Leese also called for government support.

"It’s now critical as we head towards COP26 that the UK industry sees a package of policy measures that will support decarbonisation over the coming decades," he said.

The roadmap is aligned with the Paris Agreement to limit global warming to 1.5 degrees Celsius and follows a similar roadmap published by the UK cement industry showing how it could achieve net-zero by 2050.

The cement industry is responsible for seven per cent of the world's CO2 emissions. The roadmap sets out seven steps to achieve net-zero emissions by 2050.

Roadmap includes reducing fossil fuel and clinker use

Substituting high-carbon clinker, which is the main ingredient in Portland cement, with lower-carbon materials will contribute to lowering the CO2 footprint of both cement and concrete, according to the roadmap.

A commitment to significantly reducing fossil fuel use in manufacturing and increasing the use of alternative fuels will also contribute to lowering the CO2 footprint.

The industry has committed to building 10 industrial-scale carbon capture plants by 2030, building on current pilots in North America, India, China and Europe.

New chemical substitutes for clinker and concrete mix play an important role in the roadmap, with the plan to build on approaches that are already in the research or development phase.

Investments in kiln technologies and more research will also be implemented. The GCCA will utilise its global research network, Innovandi, to advance the research.

Additionally, a global innovation challenge that matches startups with GCCA member companies will take place.

The GCCA will create a procurement framework that the industry can use during construction to improve efficiency in the design and use of concrete during construction.

This will involve using recycled materials, extending the lifetime of projects and more efficient use of resources.

Support from governments and policymakers needed

The roadmap requires policymakers, governments and multilateral organisations to play their part in supporting a circular economy and the development of new technologies.

GCCA members have committed to reaching this target without using offsets, and the organisation claims it can achieve net-zero emissions even if the global cement and concrete products market doubles as expected from $333 billion in 2020 to $645 billion in 2030.

Net-zero means that an entity such as a company, industry sector or country makes zero contribution to atmospheric CO2 across its entire value chain.

Cement is a huge source of carbon emissions, largely because it relies on clinker made from crushed and burned limestone. This process separates the calcium, which is a key ingredient in cement, from the carbon, which is released into the atmosphere. Emissions are also generated by heating the kilns to above 1,000 degrees Celsius to process the limestone.

Companies in the architecture and design sector that have committed to becoming net-zero include Swedish cosmetics brand Forgo and British car manufacturer Rolls Royce.

Dezeen has also pledged to become a net-zero business by 2025.

The post Cement and concrete industry publishes roadmap to reach net-zero emissions by 2050 appeared first on Dezeen.



from Dezeen https://ift.tt/3p81RWK

Equitone develops facade material Lunara that "evokes the moon's cratered landscape"

Dezeen promotion: facade manufacturer Equitone has launched Lunara, a fibre cement material designed to appear like the surface of the moon.

Lunara is a high-performance material that is part of the Equitone facade range. It is the latest material to be developed by the brand and took a decade to create, review and test.

A photograph of Lunara
The material is made from cement, mineral materials and cellulose

Lunara has irregular depressions and elevations on its surface that enable the material to react to light and shadow, which is intended to create a "playful" aesthetic.

"Lunara looks like something from another world, with irregular elevations and depressions which evoke the moon's cratered landscape," said Equitone.

A photograph of Lunara
Lunara is a high-performance facade material

Similar to the brand's other materials, the fibre cement panel was tailor-made in collaboration with architects via workshops and in-depth research.

"It is all-important to Equitone to involve the specifiers and artisans who will be creating with the materials in all stages of the product development process," said Gráinne Cook, brand and customer journey manager at Equitone.

"The insights gained are used to validate concepts and prototypes for their potential in the real world from both design and practical perspectives."

A photograph of Lunara
It has an uneven surface for a playful aesthetic

Fibre cement is a composite material made up of cement, mineral materials and cellulose.

Lunara is made by adding water to the fibre cement contents, which are then rolled and pressed into sheets. For a short time, the sheets are pliable and can be moulded into planks, tiles and panels.

Lunara can be custom cut into any size and can be used as a ventilated cladding system or wall facade. The panels are designed to allow air to circulate a building while keeping mould, frost and moisture out.

A photograph of Equitone fixed on a building
The material was made in collaboration with architects

"Fibre cement offers a huge amount of design flexibility," said the brand.

"Over the years since its arrival on construction sites, fibre cement has proved to be an ideal material solution for exterior cladding panels due to its highly practical benefits, including durability and waterproof resistance combined with the potential for textural and tonal versatility."

The sheets are available in two natural hues, hessian or pebble, and come in two sizes: 2,500 by 1,200 and 3,050 by 1,220 millimetres. They measure ten millimetres in depth.

To view more of Equitone's products, visit its website.


Partnership content

This article was written by Dezeen for Equitone as part of a partnership. Find out more about Dezeen partnership content here.

The post Equitone develops facade material Lunara that "evokes the moon's cratered landscape" appeared first on Dezeen.



from Dezeen https://ift.tt/3lLvD1A

Fjord stoneware collection by Fiandre Architectural Surfaces

Fjord stoneware collection by Fiandre Architectural Surfaces

Dezeen Showroom: the wild landscapes of Scandinavia serve as inspiration for the Fjord tile collection, created by Fiandre Architectural Surfaces.

The Fjord porcelain tile collection features tone-on-tone cloud effects that are intended to evoke staggering cliffs, rocky inlets and "pale surfaces shaped by the passage of time and primordial forces of nature".

Fjord stoneware collection by Fiandre Architectural Surfaces
The Fjord porcelain tiles are inspired by Scandinavian nature

The tiles are in a range of neutral colours and are suitable for indoors and outdoors, and for both minimalist and extravagant settings.

The indoor selection features seven different colour choices, available in formats ranging from 120 by 60 or 60 by 30 centimetres, and with either a semi-polished or structured finish.

Fjord stoneware collection by Fiandre Architectural Surfaces
There are versions for both indoors and outdoors

For outdoors, there is a choice of three colours – Dusty Fjord, Grey Fjord and Sand Fjord – in a new 100 by 100 centimetre format, with a structured surface that provides slip-resistance while feeling smooth and silky to the touch.

This makes it a good choice for pools, spas and saunas, as well as garden areas.

There are also extra-large format tiles, extending up to 100 by 300 centimetres, in the Fjord Maximum collection.

Product: Fjord
Brand: Fiandre Architectural Surfaces
Contact: msghedoni@granitifiandre.it

About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

The post Fjord stoneware collection by Fiandre Architectural Surfaces appeared first on Dezeen.



from Dezeen https://ift.tt/3j4XxUo

ST/SongEun Building by Herzog & de Meuron opens to public in Seoul

Aerial view of ST/SongEun Building

Swiss architecture studio Herzog & de Meuron has released more photos of its ST/SongEun Building, a wedge-shaped art institute that is now open in Seoul, South Korea.

The pointed concrete structure, which is located in the Chung Dam District, is Herzog & de Meuron's first realised project in South Korea.

Wedge-shaped concrete building in Seoul
The ST/SongEun Building by Herzog & de Meuron has opened in Seoul

The ST/SongEun Building contains art studios and exhibition spaces for the SongEun Art and Cultural Foundation, a non-profit organisation that supports local artists.

It is hoped to become a cultural landmark for the capital city and help with the international exposure of contemporary South Korean artists.

Entrance to ST/SongEun Building in Seoul
It has a monolithic concrete exterior

The ST/SongEun Building is distinguished by its dramatic wedge-shaped form and textured concrete surfaces that feature both internally and externally.

According to the studio, its form responds to the scale of surrounding low-lying buildings, as well as a local zoning law that "allows for higher density towards the main street".

Concrete gallery interiors
Concrete is also used inside the building

The external concrete walls are decorated with a checkerboard of wood grains, which was achieved by rotating the position of the wooden panels used in the formwork.

The decision to imprint the concrete with wood grains is a nod to the name of the building and organisation behind it, which translates as "hidden pine tree".

Concrete ramp
A ramp leads to underground living spaces

Inside, the 8,000-square-metre building contains 11 storeys above ground and five below.

The lowest levels contain a mix of exhibition spaces and art studios, while the upper storeys are used as the offices for an energy company called ST International.

Exhibition about ST/SongEun Building
An exhibition about the building is currently on show. Photo is courtesy of SongEun Art and Cultural Foundation

Visitors to the building enter via cut-outs at the base of the building. One of these cut-outs leads to the main lobby and a garden positioned on the shorter side of the building.

Another leads to a ramp that descends into the underground parking area and cave-like exhibition spaces.

Coinciding with the building's opening is the inaugural exhibition programme. The first part of this is an exhibition called Herzog & de Meuron Exploring SongEun Art Space.

As its name suggests, the main focus of the exhibition is on the building itself, and it features documentation from Herzog & de Meuron's design and building process.

Exhibition at the ST/SongEun Building
The exhibition also features work by international artists. Photo is courtesy of SongEun Art and Cultural Foundation

Alongside details about the building, there is also work by international artists that Herzog & de Meuron architects and the foundation have previously collaborated with.

The second part of the exhibition programme will be the 21st edition of the Songeun ArtAward – the foundation's annual prize to support young Korean artists – which will open in December.

Concrete and black-tiled entrance
Cut-outs at the base of the building lead inside

Herzog & de Meuron was founded in 1978 by Jacques Herzog and Pierre de Meuron. The studio is no stranger to creating exhibition spaces, having also designed the M+ museum of visual culture in Hong Kong, the Tate Modern Switch House in London, the Perez Museum in Miami and the Parrish Art Museum in New York state.

It also recently completed the brick extension to MKM Museum Küppersmühle in Duisburg, Germany, which it originally created within a historic grain in 1999.

The photography is by Jihyun Jung unless stated. The video is by Kyoung Duk Joo, JDR Studio.


Project credits:

Architect: Herzog & de Meuron
Partners: Jacques Herzog, Pierre de Meuron, Andreas Fries, Martin Knüsel (partner in charge)
Project eeam: Eduardo Salgado Mordt (project manager), Florian Stroh (project manager), Keunyoung Ryu (project manager), David Nunes Solomon (project manager), Valentin Abend, José Amorim, Pablo Garrido, Jorge Guerra, Jeff Salvioni, Ga In Sim, André Vergueiro Jang, Ludwig Kissling, Alonso Mortera, Nicolas Mourot, Sorav Partap, Anna Salvioni, Ga In Sim and André Vergueiro
Client: SongEun Art and Cultural Foundation & ST International

The post ST/SongEun Building by Herzog & de Meuron opens to public in Seoul appeared first on Dezeen.



from Dezeen https://ift.tt/3BKNifj

Smiljan Radić creates inflated transparent bubble for Alexander McQueen show

The structure was placed ontop of a carpark

Chilean architect Smiljan Radić and ES Global topped a car park rooftop in Tobacco Dock with an inflated bulbous dome for Alexander McQueen's Spring Summer 2022 show space.

The structure was designed by architect Radić, a long-time collaborator of the fashion brand, and announced Alexander McQueen's return to physical shows following the coronavirus pandemic. It was also the brand's first London show after a 20-year hiatus.

The alexander mcqueen show was built on top of a carpark
Smiljan Radić designed a cloud-like bubble structure that provided panoramic views across London

McQueen's Spring Summer 2022 show took place in a cloud-like inflated membrane structure on Tuesday 12 October 2021 on the rooftop of a 10-storey car park in East London's Tobacco Docklands.

The show, titled London Skies, was informed by the cloud-filled skies which Alexander McQueen creative director Sarah Burton and the McQueen team see from its studio.

The structure was placed on top of a plywood platform
The structure has a bulbous form that is constrained by steel tensile cables

Creative production company ES Global worked closely with Radić to oversee the conception and fabrication of the show space.

It built a domed transparent structure that was inflated and constrained by steel cables to appear as though swelling from between its cable net.

Due to the nature of the car park's sloped surfaces, the space was built on top of a large platform supported by a proprietary scaffolding system, which was left purposely uncovered at its sides to reveal the bones of its construction.

Seats and equipment were organised within the space for the alexander Mcqueen show
The Alexander McQueen show took place inside the Radić-designed space

The physical space was constructed using a transparent panelled membrane, tied to a curving circular pipe at its base. The membrane was supported and constrained by a net of steel tensile cables that stretched between channels of the bulging membrane.

The entrance to the interior of the show space bubble was strategically placed at the rear of the rooftop location, allowing guests to walk around the space and take in panoramic views of London's skyline.

Inside, the domed, cloud-like bubble was filled with two sets of curving rows of folding wooden chairs that served as seating for the fashion show's audience.

At the centre of the space, within a loose circle of chairs, a set of stairs rose from beneath the plywood platform where models entered the space once the show had begun.

The alexander mcqueen show space by Smiljan radic is pictured against the london skyline
The space was designed as a temporary structure that could be dismantled and reused

Multiple vents located in the floor pumped air into the dome to ensure it maintained its inflated appearance, while air-locked, revolving doors controlled escaping air.

A generator located on a lower level of the car park supplied energy to the space and its functions. This was powered by hydrotreated vegetable oil (HVO), a renewable diesel alternative made from vegetable oils, grease, food waste and agricultural residues.

Wooden chairs follow the form of the structure at the alexander mcqueen show
Rows of chairs were organised in curving lines and circles for the show's audience

The show space was designed so that it can be easily taken down, transported and reused for a number of different occasions,  including education and cultural events.

Radić was also responsible for the design of McQueen's Old Bond Street flagship store in London.

In 2020, the Chilean architect completed a house formed of two angular volumes, as well as a concrete home with three oversized skylights.

The post Smiljan Radić creates inflated transparent bubble for Alexander McQueen show appeared first on Dezeen.



from Dezeen https://ift.tt/3n09b47